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| ナルシシズム入門
I
ナルシシズムZRN555 という術語は臨床上の記述に由来
するものであって、ある人聞が自分の肉体をあたかも対象のよ
うに取り扱う、つまり性的な快感をいだいてとれを眺め、さす
り、愛撫して、ついには完全な満足に達するにいたる行為を表
わすために、p －ネッケ（司・2卸会。）が一八九九年に選んだも
のである。このようにしてできてきたととろから、ナルシシズ
パI ヴア12 オン
ムというのは個人の性生活全体を吸収した一種の性目標倒錯を
意味しており、またそれゆえに、われわれがあらゆるパl ヴァ
l ジオンを研究するうえの手掛りがζ れによってえられるかも
しれないという期待をあたえるのであるo
つぎに精神分析的な観察を行なってみて目立つことは、たと
えばザドガ13 包向。円）によれば同性愛の人物にこのような傾
向がみられるというように、ナルシシズム的な態度のいくつか
の特徴はほかの障害にとりつかれている多くのひとびとにも見
出されるととであって、そして結局は、ナルシシズムという言
葉で表わされているリビドl の保管は非常に広い範囲にわたっ
て認められるものであり、人間の性の正常な発達の途上に一つ
の場所をしめる乙とを要求しうるものなのではあるまいか、と
想像されるにいたったのである。神経症の者に精神分析的療法
を施すととが困難であるというととからしでもまた同じような
推測に到達したのであるが、というのは、乙のようなひとびと
がしめすナルシシズム的な態度は精神分析が効果をおよぼしう
る限界の一つをなしているかのように思われたからである。と
のような意味でのナルシシズムはおそらくパl ヴァl ジオンで
はなくて、すべての生物が当然その一部をもっ乙とのできる自
己保存本能のエゴイズムをリビド！ の面で補足するものなので
あろ・つ。
109 ナルシシズム入門 10包
永0 ・一フング『ナルシシズムへの一寄与』第三巻、
（『精神分析学研究年報』）。
九
年
第一次的の正常なナルシシズムの概念を研究しようという乙
とになった切実な動機は、クレペリン（同540 －5 ）が早発性痴
呆UOB自己印有88H と名づけ、ブロイラー（巴2 ｝R ）が精神
分裂症ω口ENOHvrsEo と名づけている疾患を、リピドl 理論
を前提として理解しようとする試みとして生じてきた。私はζ
の種の患者をパラフレニア患者HvmmH3rdEZ 円とよぶように
提案したととがあったが、彼らのしめす基本的な性格特徴は二
つあって、それは誇大妄想と、外界の人物や事物からの関心の
離反である。後者のような変化を起こすととによって、彼らは
精神分析による影響から遠ざかり、われわれのJ3力によっては
癒しがたいものになるo パラフレニアの患者がしめす外界から
の離反はしかし、さらに厳密な特徴を必要とする。ヒステリー
患者や強迫神経症の者もまた、病気が進行しているかぎりでは
現実を放棄してしまっている。しかし精神分析を行なってみる
と、こういう患者は人物や事物に対するエロティックな関係ま
でも失ってしまっているのではない乙とがわかる。彼はとうい
う関係をなおも空惣のなかに保持している。つまり彼は一面に
おいては現実の対象を自己の記憶による空想上のそれによって
補充するか、それとも両者を混同しているかのどちらかであり、
が生じてきたのである。誇大妄想そのものはしかしなんら目新
しいものではなく、われわれも知っているように、すでにあら
かじめ存在していた状態が拡大され明瞭にされたものなのであ
る。したがってわれわれは、対象への割当を内にとりこむ乙と
によって生じたナルシシズムを二次的なものとして解釈するよ
うにしむけられるのであって、乙れは種々の影響によって不明
瞭Kされている一次的なナルシシズムを超えたととろにつくり
あげられるものなのである。
なお付言したいのは、私はζ 乙で精神分裂症の問題を解明し
たり掘りさげたりするつもりはないという乙とであって、ただ
すでに他の場所で述べられたζ とをナルシシズムへの入門を正
当化するためにとりまとめてお乙うとしているだけなのである。
リビドl 理論を私の考えるように正しく発展させるための第
三の流れは、児童や原始人の精神生活を観察し解釈することか
ら生じてくる。原始人のもっている特性は、もしもそれらが個
個に存在しているとするならば誇大妄想の部類にいれるととの
できるものであろうが、われわれがそζ に見出すのは自己の願
望や心的作用がもっ力の過大評価、「思想の全能性」、言葉の
もつ魔力への信仰、外界に対する技巧、乙れらの誇大妄想的な
前提の徹底的な応用として現われる「魔法」などである。児童
の発達は原始人のそれに比べるとわれわれにはずっと不明瞭な
とζ ろが多いが、われわれは乙れとまったく類似した外界に対
他面では自己の目的を達成するための運動性の行動をこのよう
な空想上の対象を頼りに開始する乙とを断念しているのである。
ユングGロロ向）が無差別に使っているリビドl の内向性『可0・
22 芯ロという表現はリビドーのこのような状態に対してだけ
適用されるべきものであろう。パラフレニアの患者は乙れとは
違っている。彼は自己のリビドーを外界の人間や事物から実際
に撤収してしまい、ζ れらのものを空想のなかで他のものによ
って補充するということはないように思われる。もしそのよう
な乙とが行なわれるとしても、それは二次的な現象であって、
リビドーを対象に向けもどそうとする治癒手段の一つであるよ
うに思われる。
中小己の所論に対しては、市参事会議長シュレ1 パl の分析中に
みられる「世界滅亡」の論議を参照されたい。年報第三巻、〔全集
第八巻〕一九一一年。さらにアプラハムの『ヒステリーおよび早発
性痴呆における性心理的差異について』一九O八年（『精神分析学
への臨床的寄与』一一一一一頁以下）。
精神分裂症の場合に対象から撤収されたリビド！の運命はど
のようなものであろうか、という疑問が生じてくる。このよう
な状態にみられる誇大妄想はその道をしめしている。誇大妄想
はおそらく対象リビドl の犠牲によって生じてきたものである。
外界から撤収されたリビドl は自我に供給されたのであり、と
うしてわれわれがナルシシズムとよぷ乙とのできる一つの態度
**
する態度を現代の児童に期待するのである。われわれはとうし
て自我にふりあてられた根源的なリビドl の割当という観念を
形づくるのであって、その一部はのちには対象にあたえられる
乙とになるのだが、ζ のものはしかし、根本的にみれば、いつ
までもあとに残って、対象への割当に対して、あたかも原生動
物とそれが送りだす偽足とのあいだのそれに似た関係にたつの
である。リピド1 の格納FF広O戸口芯忌江口問ロロ聞のとのような
部分は神経症の諸徴候から出発したわれわれの研究に対して、
最初のうちは隠蔽されたままでいないわけにはいかなかった。
乙のようなリピド1 の流出、すなわち送りだされたり、ふたた
び引っζ められたりすることのできる対象への割当は、われわ
れだけが気づいたものであった。われわれはまた大雑把にいっ
て、自我リビド！と対象リビド！ とのあいだには一つの対立が
あるとみている。一方が余計に使われれば、それだけ他方が減
ってゆくのである。後者が到達する最高の発展段階として現わ
れてくるのが恋着U EW FZ の状態であるが、この状態は
われわれの目か3りすれば対象への割当に対して自己の人格を放
棄することであって、ζ れと対立するものは偏執病者がいだく
＊hFネ
世界の没落の空想（または自覚）に見出される。最後に諸種の
心的ェ、不ルギーを区別するためにわれわれのくだす結論は、心
的工、不ルギーはさしあたりナルシシズムの状態においては一緒
に共存していて、われわれの粗雑な分析によっては区別がつけ
111 ナルシシズム入門 110
にくいというとと、また、性的ェ、不ルギーであるリビドーを自
我本能の工、不ルギーから区別することは、対象への割当をまっ
てはじめて可能になるという乙と、である。
＊他著『トーテムとタプl 』一九一一一一年〔全集第九巻〕のとれ
に対応する章を参照されたい。
本＊ S ・フェレンツィ『現実感の発達段階』（『国際精神分析学
雑誌』第一巻、一九一一一一年）。
＊当弓とのような世界滅亡のメカニズムには、あらゆるリピド
1 割当が愛する対象に向けて流れでる場合と、全部が自我に還流す
る場合との、二種類がある。
さらに論を進めてゆく前に、私はこのテ17 がもついくつか
の難問のただなかへ導いてゆくような二つの疑問に触れなくて
はならない。第一に、われわれがいま問題としているナルシシ
ズムなるものは、われわれがリピドl の初期の状態として記述
したあの自体愛とどのような関係にあるのであろうか？第二
に、もしもわれわれがリビド！ の一次的割当が自我にあたえら
れる乙とを認めるとするならば、性的リビドーを性的でない自
我欲動の工、不ルギl と区別するととがいったいなんのために必
要なのかコ一つの統一的な心的エネルギーを基礎におくとと
は、自我欲動のエネルギーと自我リビド！とを区別し、また自
我リビド！と対象リビド！とを区別するために生じるあらゆる
困難をはぷくととにはならないのであろうか？第一の疑問に
るととも辞さないのである。つまりこれらの観念はそのうえに
一切のものがのっているような学問の基礎なのではない。基礎
をなすものはむしろ観察だけなのである。これらの観念は全構
造の最下部におかれているものではなく、最上部をなしている
ものであって、なんらの損傷なしに取りかえられたり、とり去
られたりするととのできるものなのである。われわれは今日、
物理学についても同じようなことを体験しているのであって、
物質や力の中心や引力などについての基本概念のほうが乙れに
対応する精神分析学の概念よりは疑わしきが少ないというとと
はかならずしもないのである。
自我リヒドーないしは対象リビド！という概念の真価は、そ
れが神経症的および精神病的な現象に特有な性格を研究する乙
とからえられたという点にある。自我に固有のリビド！ と、対
象に付加されるリピド！とを区別する乙とは、性の欲動と自我
欲動とを互いに区別した第一の仮定の不可欠の継続なのである。
私がζ のようなζ とをする必要に迫られたのはすくなくとも、
純粋な感情転移神経症（ヒステリーと強迫観念）の分析の結果
であったし、また私の知っていることはただ、乙れらの現象を
他の手段によって説明しようとする試みはすべてまったくの失
敗に帰しているというととだけである。
なんらかの手引となるような欲動論がまったく欠けているの
で、とこで許されているのは、というよりはむしろ必要なこと
対して私のいいたいのは、自我に比べうるような統一は最ら個人のうちに存在してはいないと仮定することが必要である、
というととである。自我は発展させられなければならない。自
体愛的な欲動はしかし原初的なものである。したがってナルシ
シズムを形成するためには、自体愛になにかほかのものが、つ
まり一つの新しい心的作用がつけ加わらなければならない。
第二の疑問に対して決定的な解答をするように求められるこ
とは、あらゆる精神分析学者をひどく不愉快な気持にさせるに
違いない。非生産的な理論上の論争のために事実の観察を放するζ とには抵抗を感じさせられるものがあるのだが、だから
といって説明を試みないですませるわけにはいかない。確かに
自我リピド！ とか自我欲勤ェ、不ルギ！ とかいったような観念は
とくに明確に把握しうるものでもないし、充分に内容の豊富な
ものでもない。上述の諸関係について思弁的な理論をうちたて
るのには、まずその根抵として明確に定義された概念を獲得し
ておく必要がある。しかし私にいわせれば、ζれとそまさに思
弁的理論と経験の解釈のうえに築かれた学問とのあいだの相なのである。後者は思弁に特有の円滑な、論理上非のうちどと
ろのない基礎づけを羨んだりはせず、むしろ暖昧模糊とした、
ほとんど表象しえないようないくつかの基本思想で満足するで
あろうし、それらぞ展開の途上でいっそう明らかに把握しよう
と望んではいるが、場合によってはそれらを他の思想と交は、まずなんらかの仮説を立て、それが役に立たなくなるかあ
るいはその正しいととが証明されるかするまでζ の仮説を徹底
的に展開して吟味してみる、というととである。性の欲動とそ
れとは異なった自我欲動とを根源的に区別するという仮定は、
感情転移神経症の分析に役立つばかりでなく、またさまざまな
利点をそなえている。乙の契機だけでは多少の暖昧さがあるの
ではないか、という乙とは、私も認めている。というのは、乙
乙で問題になっているのは、対象への割当という作用によって
はじめてリビド！となるような無差別な心的ェ、不ルギーである
かもしれないからである。しかしとのような概念上の区別は、
まず第一に飢餓と愛との一般に広く行なわれている区別に対応
している。第二には、生物学的な考慮がこれに好都合な効力を
発揮する。個人は現実的には二重の存在をいとなんでいるので
あって、自己目的であると同時に鎖の一環でもあり、との鎖の
ために自己の意志に反し、またはともかく自己の意志をもたず
に奉仕している。個人は自分では性愛を自己の意図の一つであ
ると考えているが、見方を変えれば、個人は自己の遺伝形質の
付属物であるにすぎず、乙のもののために自分のカを快楽につ
られて捧げているのであり、ある｜｜おそらくは｜｜不滅の実
体を担っている死すべき者であって、ちょうど家督相続人が自
分よりも長持ちのする世襲財産を一時的に所有しているような
ものなのである。性の欲動と自我欲動とを区別するζ とはちょ
l12
118 ナノレシシズム入門
うど個人のもっとのような二重の機能を反映しているであろう。
第三に、われわれがさしあたり心理学的に考察する一切のもの
は、一度は有搬体である担い手を基盤として考えられなければ
ならないということを思いだす必要がある。そうすれば、性愛
、の諸作用をいとなみ、個人の生命を種の生命へと引きつづき媒
介してゆくものはいくつかの特殊な物質と化学的な過程である、
というζ とが蓋然的なものになってくる。われわれは特殊な化
学的物質を特殊な心的諸力で置き換えることによって、乙のよ
うな蓋然性を考慮に入れているのである。
私はふだん生物学的な考え方のようなものはもちろん、種類
を異にするものはすべて心理学から遠ざけておζ うと努力して
いるので、まさにその理由のために、このさいはっきりと告白
しておきたいと思うのだが、それは自我欲勤と性の欲動とを区
別しようとするこの仮説、すなわちリビドl 理論は、すくなく
とも心理学的な基礎のうえに立つてはいるが、根本的には生物
学によって支えられている、ということである。したがって、
もしも精神分析的な研究自体から本能に関するもっと有用な別
の前提が生じてくるとするならば、乙の仮説を捨て去るのが、
私にとってはやはり首尾一貫したととになるであろう。これま
でのと乙ろでは、そういうζ とは起こらなかったのである。と
とろで、性的工、不ルギーであるリビドl はーーそのもっとも深
くて遠い奥底においては11 ふだんは心理のなかで作用してい
応用できるものかどうかというふうに、徹底的に追究してみる
ということなのである。
たとえリビドl理論が精神分裂病の解明においてすでに挫折
してしまったという証拠が提出されたからといって、それは’も
ちろん筋違いのことであろう。乙のようι主張をだしてきたの
はC ・G －ケハ’小（の・0・』Em）であっち、そのために私は、
できるならしないですませたかったいくつかの最近の詳論を行
なわざるをえなくさせられたのである。私はむしろ、シュレ1
パl （wzor叩円）の症例を分析したさいにたどった道を、その
諸前提に関しては沈黙をまもったままで、最後まで歩いてゆき
たいと思っていたのだった。ユングの主張はしかし、すくなく
とも先を急ぎすぎている。彼の主張には論拠が乏しい。彼はま
ず私自身の証言をよりど乙ろとしているのだが、それというの
は、シュレ1パlの分析の困難さに直面して、リビドl の概念
を拡張する必要がある、というのはつまり、リビド1 の性的内
容を放棄して、リビドーを心理的な関心一般と合致させる必要
がある、と私自身が考えたというのである。乙のような惜一叶
解釈を訂正するためにいわれなければならないととは、フェレ
わ小わ（町OHERM ）がムめれの業績冷徹底的に批判した論文の
なかですでに述べているとおりであぶ。私にできるのはただ、
乙の批判者の言に賛意を表して、私は乙んなふうにリビドl 理
論の放棄などを口にした乙となど一度もない、と繰り返すとと
るエネルギーの一つの分化的な所産にすぎないものであるのか
もしれない。しかしこのような主張は重要なものではない。そ
れはわれわれの観察の対象となっている問題から非常にかけ離
れているばかりか、きわめてわずかな知識内容しかもっていな
いので、これについて論争したり乙れを利用したりするのは無
駄な乙とである。おそらくリビド！ と心的エネルギーとのこの
ような根源的同一性というのは、われわれの精神分析的な関心
とはほとんど関係のないものであって、それはちょうど、あら
ゆる人種が根源的には血縁関係にあるからといって、ζ のこと
と相続裁判の法廷が求める被相続人との親族関係の証明とはほ
とんど関係がないようなものである。ζ のような思弁はすべて
われわれにはなんの役にもたたないものである。われわれは欲
動論の決着をなにかほかの科学がつけてくれるまでまっている
わけにはいかないので、心理学的な諸現象を総合する乙とによ
って、いかなる光があの生物学上の根本的な謎のうえに投げか
けられうるかを試みてみる乙とのほうが、はるかに目的にかな
っているのである。過ちを犯す可能性のある乙とを覚悟する必
要はあるが、しかしわれわれがためらってはならないのは、感
情転移神経症の分析の結果その必要にせまられるようになった、
自我欲勤と性欲動の対立というあの最初に選びだされた仮説を、
それがはたして矛盾なしにまた効果的に発展させられるものな
のか、また、たとえば精神分裂病のようなほかの病的状態にも
だけである。ユングがもちだしているもう一つの論拠な現実機能の喪失はリビド1が引っこめられたときにだけ惹起
されうるとは考えられない、というととであるが、しは論拠でもなんでもなくて、むしろ制決のようなもの十作ル骨tp世加とレ千柑JT
世砂子P5のであって、結論を先
取りして討論をはぶいているのである。というのは、そな考え方が可能かどうか、またいかにして可能である乙と乙そ、まさに検討されなければならない乙とで
あろうから
である。ph＼小はその最近の大著におれ七、私がとっくの昔に
示唆しておいた解決については、わずかに次のようにるにすぎない｜l 「さて乙の場合ともかくなおも考慮にいれて
おかなくてはならないのは111乙れについてはととろでフロイ
トがシュレlパlの症例を扱ったその論文のなかで引合いにだ
しているのだが｜｜性的リビドlが内向するために、『自我』
へ割り当てられる結果となり、そのためにもしかする現実喪失という結果が惹き起こされるのかもしれないとである。じっさい、現実喪失の心理を乙のような仕
するというのは一つの誘惑的な可能性なのである」。一ぐわは乙のような可能性に乙れ以上深くかかずらわっい。その数頁先ではユングは、上述のような条件に
欲的な世捨人は生じてくるであろうが、早発性痴呆がるζとはない」と言明して、さきに述べた可能性を見捨ててし
114
115 ナルシシズム入門
まっている。こういう適切でない比較がいかに問題の解決に役
立たないかというととは、「性的関心のあらゆる痕跡を根絶し
ようと努力している」（しかもただ言葉の通俗的な意味におけ
る『性的』なそれを） ζ のような世捨人はリビドi の病原的な
格納をしめす、必要はぜんぜんない、という言明が教えているで
あろう。彼は自らの性的関心を人聞から完全にそらしてしまっ
ているのであろうし、それはまた神的なもの、自然なもの、動
物的なものへの高揚した関心にまで昇華されているのかもしれ
ないが、自らのリビドi を彼の空想に内向させたり、あるいは
それを自我に回帰させたりするような羽自に陥ってはいない。
とのような比較は、エロティl クな源泉からきている関心と他
の関心とのあいだには相違があるという可能性を最初から無視
しているように恩われる。さらに想起しておきたいと思うのは、
スイス学派の諸研究は多くの功績をあげているにもかかわらず、
早発性痴呆の病状に関してはただ二つの点、すなわち健康者に
も神経病者にも周知のようなコンプレクスが存在するという点
と、彼らの空想の所産が民族神話と類似しているという点を解
明したにすぎず、罷患のメカニズムについてはしかし乙れ以外
にはなんらの照明もあたえる乙とができなかった、というとと
であって、したがって、リヒド1 論は早発性痴呆の問題を克服
するさいに挫折してしまい、そのためにこれ以外の神経症を解
明するうえでも役にたたなくなってしまっている、というユン
器質的疾患がリビドl の分布におよぽす影響の評価について
は、私はS ・フェレンツィが口頭でったえてくれた激励にした
がうことにする。器質的な痛苦や不快に苦しめられている者が
外界の事物に対して、それらが自分の苦痛と無関係なものであ
るかぎりは関心を失うというのは周知の事実であるし、また自
明のことであるように恩われる。乙れをさらに詳しく観察して
みると、病気に苦しめられているかぎりは、彼はリビド1 的関
心を自己の愛の対象から引きあげ、愛する乙とをやめているの
がわかる。このような事実が月並だからといって、乙れをリビ
ドl 理論の表現に応用する乙とをはばかる必要はない。だとす
ればわれわれは、病人は彼のリビド！の割当を彼の自我へと引
きもどし、全快後にふたたびそれを送りだすのだ、というであ
ろうow －ブッシュ（当・切戸田口『）は歯痛に悩む詩人のζ とを、
「もっぱら奥歯d 小さな洞のなかに心が逗留している」と述べ
ている。リピド！と自我への関心とがとの場合は同じ運命をも
ち、またしても互いに分かちがたいものになっている。周知の
病人のエゴイズムなるものは乙の両者をうちにふくんでいる。
われわれは病人のエゴイズムを分かりきったものと考えている
が、それは病気になればわれわれもまた同じように振舞うζ と
を確信しているからである。激しく燃えあがっていた恋心が、
肉体上の障害のために追いはらわれ、完全な無関心が突然それ
にとってかわる有様は、喜劇にふさわしい好題目である。
グの主張をわれわれは拒否するととができるであろう。
＊『リピド1 の変転とシンボル』（『精神分析学研究年報』、第四
巻、一九一三年）。
＊＊『国際精神分析学雑誌』第一巻、一九一一二年。
水＊＊『精神分析理論の叙述の試み』年報第五巻、一九一一一一年。 ++++ CUT TO INT. SEBASTIAN'S APARTMENT - NIGHT Pris is staring out the window, watching. Batty lies quietly on the couch, rubbing one of his hands. Sounds emanate from the kitchen. Batty gets up and goes to a chess set in the corner of the room, a game is obviously in progress. Batty studies it for a moment, then moves the White Queen to the Bishop. Pris walks over to him. 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 ? BATTY There's only two 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 ? Pris doesnt answer, as they hear Sebastian coming out of the kitchen. PRIS What if he won't co-operate ? BATTY Mr. Sebastian is a host who wants to be appreciated. We'll appreciate him and he'll co-operate. Sebastian walks into the room with a tray. He takes some eggs and puts them into a glass flask full of bubbling water that is standing on a retort stand over a bunsen burner on his work bench. He notices the move on the chess set. SEBASTIAN No. The Knight takes the Queen, see ? It won't do. He takes the White Queen with the Black Knight. Batty smiles a smile totally without feeling or interest. Sebastian stares at Batty for a long moment, then at Pris. BATTY Why are you staring at us ? SEBASTIAN You're just so... so different. Batty nods his head smiling, sending home the fact and Sebastian is certainly getting it. BATTY What Sebastian ? A long pause. PRIS What makes you think so, Sebastian? SEBASTIAN Well, you're ....so perfect. Sebastian is grinning from ear to ear. SEBASTIAN What generation are you ? BATTY Nexus 6. Sebastian whistles. To the couch. Batty couldn't be more pleased. SEBASTIAN I know because I do genetic design work for the Tyrell Corporation. (proudly) There's some of me in you ! BATTY We have a lot in common. SEBASTIAN What do you mean ? BATTY We have similar problems. Accelerated decrepitude. (or) Like the fabled salmon we came home to die. But we don't want to die quite yet. SEBASTIAN Of course not...... Could you.... His voice is trembling. SEBASTIAN Show me something. BATTY Like what ? SEBASTIAN Like... anything? 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. Without a moment's hesitation, Pris walks over to the flask, sticks her hands into the boiling water and pulls out one of the eggs and hands it to Sebastian. 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. Then drops the egg which is suddenly burning his hand. 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. Batty walks back to the chess set. BATTY Is he good ? SEBASTIAN Who? BATTY Your opponent. SEBASTIAN Dr. Tyrell.... More than brilliant. He's a genius. He's the Einstein of genetics. BATTY Maybe he can help us, Sebastian. 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 leans forward and looks right into Sebastian's eyes. BATTY Will you help us ? SEBASTIAN I....I.. can't. He gets up and walks slowly over to Pris. PRIS We really need you Sebastian, you're our best and only friend. A smile begins to spread across Sebastian's face. She is irresistable. He sits there for a long moment enjoying her embrace. Batty leans back nodding in gratitude. BATTY I'm sure glad you found us, Sebastian. What do you thin, Pris ? PRIS I don't think there's another human being in this whole world who would have helped us. Pris gives Sebastian a big kiss. INT. HOSPITAL (DAY) A horrid image! Tight on Holden very tight. His eyes are bulging almost out of his head. Tears streaming down his face, spittle spraying from his mouth as he wheezes and grimace in horrid convulsions. Haw haw haw. We're going to figure out that he's laughing, but only after a moment, after we pull back wide enough to see he's still engulfed in the breather and necklaced with blinking lights, one of which blinks particularly violently with every wheeze. HOLDEN Cut it... ha, ah, ah.. cut it a haw, ah ah... cut it out.. Deckard. You're... ah... making me... peeeee. Looka the... ah, haw, light... you're making me piss, you... ass hole. Deckard looks uncomfortable and horrified. DECKARD Sorry. HOLDEN Eeeeeeee... haw, ahw, ha. Hee... he... Hit you with a... ah. Ah. Snake... Oh Jesus! Aaaah. Stark ... Stark naked... Ah, ah oh ah... I love it. DECKARD I thought you'd go for the part about the big guy... Leon. Holden's eyes change mood immediately at the thought of Leon but the laughter has to continue like a wind- up toy running down. Finally he can talk again. HOLDEN You aired him... what's funny about that? DECKARD Revenge. I thought you'd... Holden interrupts, no longer amused. HOLDEN You don't revenge a machine, asshole! Your slicer cuts your finger, whaddya do? Punish it? Holden looks at Deckard and lets his wisdom sink in. HOLDEN You can't make a 'thing' feel sorry, Deck. DECKARD They're different, the new ones. That big one... he... it had feelings. Holden glares at Deckard for a long moment. HOLDEN Whatja do? Fuck it? DECKARD Huh? Wh-what? Who who? Deckard is alarmed. The secret is out. HOLDEN The tit job, the one with the snake. You stuck it in, didn't ya? Deckard is immensely relieved and confused. DECKARD Uh... no... I mean... uh. HOLDEN You made zig zig, then you aired her out, now you got conscience, right? Deckard is smug, sure of himself. He knows the score. As he pontificates we CUT and suddenly we are seeing him on a TV screen. CUT TO: INT. BRYANT'S OFFICE - DAY A TV monitor FILLS THE SCREEN. Holden is continuing to lecture Deckard on the TV screen. HOLDEN You got the feelings, pal, not her. You fucked a washing machine... then you switched it off. So what? You cry when you turn the lights out at night? Now we see Bryant. He's sitting in a chair chewing a big cigar and glaring at the screen. BRYANT It's pitiful is what it is. A couple of old blade runners trying to grapple with metaphysics... You gonna turn out that way, Gaff? GAFF I piss on metaphysics. My middle name is 'death.' See this foot... (holds up his foot) ... completely lethal! Savate! French foot fighting. See these hands...! Bryant interrupts the display, unimpressed. BRYANT You think he knows where she is? GAFF (shrugs) Maybe. Maybe not. Deckard's a deep one. You gimmee the promotion, maybe I'll find her. If I get a promotion... BRYANT Shut up! Bryant is looking back at the screen, intensely inter- ested. On the screen Holden is wheezingly explaining something to Deckard. HOLDEN ... then they bust into the record room at the Tyrell Corp... that doesn't work! They put that big bozo... whatsitsname... DECKARD Leon. HOLDEN ... they put him in to infiltrate Tyrell Corp... that doesn't work! They go after that eye designer, the Chinaman... DECKARD Chew. HOLDEN ... that doesn't work! Bryant is all attentiion, staring at the screen in suspense. Gaff is watching, too. DECKARD Work! Whaddaya mean 'work.' HOLDEN Don't you see what they're after, who they're looking for? On the screen Deckard frowns and shakes his head. DECKARD No. Who? Bryant is on the edge of his seat. HOLDEN God! Bryant stares at the screen dumbfounded. Then his jaw sags open in disbelief. BRYANT God! Gaff shakes his head, smirking. GAFF Metaphysics. BRYANT God? Bryant looks about to erupt. CUT TO: INT. DECKARD'S CAR All we see at first is the Esper screen which features the strangest face ever seen.. it's lines are weirdly oscillating and the face itself is strangely anonymous and flickering. It is in fact thousands of faces flashing on the screen sequentially at the rate of fifty per second. Deckard is watching the screen. A bunch of dwarfs run past the car. INT. DECKARD'S CAR Deckard is in the dark, suddenly a spinner appears, flashing lights across Deckard's Face. The Dwarfs run away. A PA System blares out. SPINNER This sector was closed to ground traffic 10 minutes ago. What are you doing here ? DECKARD (on intercom to Spinner) Working. What are you doing ? SPINNER Don't be a smart ass. DECKARD This is Deckard. Blade Runner. I'm filed and monitored. SPINNER Hold on... checking..... Deckard punches up. SPINNER Alright you're clear. Keep up the good work. Deckard punches a number of vid-phone. Waits. On the VIDPHONE screen (not the Esper Screen) Dr. Schlecht suddenly appears, answering the call. DR. SCHLECHT Guten Abend. DECKARD Dr. Hermann Schlecht.. DR. SCHLECHT Ja. Deckard has shoved his badge in front of the lens. Schlecht squints, inspecting the badge that must be appearing on his vid screen. DECKARD You are Senior Vice President of the Tyrell Corporation. Dr. Schlecht nods. DECKARD You have dix huit clearance at Tyrell. Right ? DR. SCHLECHT. Yes. DECKARD How many other employees have the same clearance. DR. SCHLECHT Four, including Dr. Tyrell and myself. DECKARD The others ? SCHLECHT Dr. Chew and J.F. Sebastian DECKARD Sebastian ? SCHLECHT Yes. J.F. Sebastian. DECKARD I want you to authorise access to your personnel files. Put it on Esper. SCHLECHT Now ? Do you know what time it is ? DECKARD J.F. Sebastian employment and personal information. SCHLECHT Punch in your Esper code please. Deckard punches Schlecht out and punches in Esper. DECKARD Coming in. Night Doc. INT. DECKARD'S CAR The Esper screen reveals a single face SEBASTIAN. Information and data blare out. ESPER J.F. Sebastian. AMAPT 46751. Designer, Age 27, hobbies Grand Master Chess Player.. Clearance..... Deckard punches the telephone number on the vid phone. On the vid-phone a strange out of focus face looks startled. It's Pris. DECKARD Hi.... J.F. there ? PRIS Who's this ? DECKARD An old friend of his. Pris looks for a moment then puts down the phone. DECKARD That's no way to treat a friend. As the vid phone goes blank one of the dwarfs jumps on to the hood of Deckard's car. Deckard starts up the car, screetches forward and the dwarf falls off onto the street. INT. SEBASTIAN'S APARTMENT On the vid screen is an off kilter shot of Deckard looking surprised. CUT TO INT. DECKARD'S CAR Deckard punches the vid screen. It is bright again with playback. Pris out of focus, weirdly framed, staring into the lens. Then it disconnects. Instantly Deckard replays it again, slows the image Pris frozen out of focus. CUT TO EXT. TYRELL CORP. - SUNSET The huge pyramid looms over the industrial landscape backed by a gorgeous sunset sky of polluted reds. Looking closer, we can see an elevator gliding up the steep slope of the pyramid toward the apex. CUT TO: EXT. PYRAMID - NIGHT The elevator is whizzing up the slope of the pyramid. INT. ELEVATOR - NIGHT Sebastian and Batty are in the elevator, numbers flashing on their faces as they shoot up toward the 800th floor. Sebastian looks uneasy. Suddenly the elevator comes to an abrupt halt, lights flash a buzzer sounds and a VOICE emanates from a speaker. SPEAKER Quinzieme Bleu... cinquante. You have six seconds. Counting! Uno.. due... tre... Sebastian is frantically fumbling through a stack of magnetic cards he's pulled from his pocket, as the counting goes on simultaneously in six languages. batty is watching Sebastian fumble with the cards. SPEAKER ... cuatro.. quince.... seis...... Batty reaches out impatiently and takes a card, inserts it. The voice stops, the lights go out, the elevator starts up again. Sebastian gives Batty a funny look. The Speaker voice interrupts again. SPEAKER Seven hundred up.... Tyrell Corporation. Purpose of visit please. Sebastian looks at Batty nervously. Batty gives a metallic smile. SEBASTIAN Pawn to King Three. SPEAKER Pawn to King Three. Sebastian looks worried. CUT TO INT. TYRELL'S BEDROOM -NIGHT Tyrell is lying in a huge bed mutering into a computer device. TYRELL Note to pantry milk still to hot. 300,000 of Tsin Tsin Vinyl;...sell. Sixty six thousand Prosser and Ankopitch trade at... SPEAKER Quinzieme Blue entry. A Mr. J.F. Sebastian, one-six-four-one-seven. TYRELL At this hour! SPEAKER Purpose of visit... Queen to Bishop six. Check! TYRELL Check....nonsense! Wait a minute! Wait a minute! Tyrell is frowning, gets out of bed and walks to his board. TYRELL Ridiculous. Knight takes Queen. Ha! Tell him to go home. Tyrell smirks. SPEAKER Bishop to King Seven. Mate! CUT TO: INT. ELEVATOR - NIGHT SPEAKER Knight takes Queen. Sebastian doesn't hesitate. SEBASTIAN Bishop to King Seven. Mate! Batty's eyes glow. A long pause. Suddenly the doors of the elevator opens. CUT TO: INT. TYRELL'S BEDROOM - NIGHT Tyrell is standing at the chess board in his nightgown staring at the pieces in a fit of concentration. He doesn't look up at the sound of footsteps. SEBASTIAN I....uh.... I brought a friend. Tyrell looks alarmed. Batty is standing in the shadows. Tyrell is reaching for a tasseled bell pull that hangs over his bed. Batty's eyes are like little coals glowing. Warned by the look, Tyrell abandons the bell pull and reaches under the sheets for something. 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. If he's scared though, he does a good job of concealing it. TYRELL I'm surprised you didn't come here sooner. Batty moves closer to the bed and the dogs slink away, scared toothless. BATTY It's not an easy thing to meet your Maker. TYRELL And what can He do for you? Batty sits on the end of Tyrell's bed. BATTY Can the Maker repair what He makes? TYRELL Would you like to be modified? BATTY Had 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 leans close across the sheets and cuts in in an urgent whisper. BATTY I want more life, fucker. Sebastain looks alarmed. Tyrell faces Batty with admirable cool. After a tense pause, the old man slides away from Batty and out of bed. He's wearing a long night shirt and he looks a little silly. He looks down at Batty who's still sit- ting on the bed and addresses him as a professor add- resses a pupil. 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, is 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 created a virus so lethal the subject was destroyed before we left the table. Tyrell doesn't notice the subtle flicker of suspicion on Batty's face... like maybe Batty's not buying all this. 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've got a virus again... but all this is academic... you are made as well as we could make you. BATTY But not to last? Batty's expression doesn't reveal whether Tyrell has allayed his suspicions as Tyrell approaches Batty (sitting on the edge of the bed) and puts a fatherly hand on Batty's shoulder. TYRELL The light that burns twice as bright burns half as long. And you have burned so very, very brightly, Roy. Batty looks up at "Father" Tyrell, Tyrell is swelling with pride. TYRELL The best of all possible replicants. We're proud of our prodigal son... glad you've returned. You're quite a prize. Batty looks down in a sudden, uncharacteristically humble posture and speaks with guilt in his voice. BATTY I've done questionable things. TYRELL Also extraordinary things. -- BATTY Nothing the God of bio-mechanics wouldn't let you in heaven for. Tyrell in a burst of camaraderie, decides to give laughing a try and comes out with a little titter. After all, Roy Batty, that swell replicant is about to embrace him. Everything's gonna be okay after all. Batty gets up from the bed and puts his hands around Tyrell's face. CRACK! Tyrell's skull cracks like dry wood. Sebastian stares in horror. SQUISH! Batty squashes the head in a gruesome moment. Tyrell slumps to the floor like empty clothes. Batty looks at the remains with disgust. BATTY Revertant colonies! Methane sulfate! Bright lights! Batty turns to Sebastian. Sebastian looks like a heart attack. Batty's eyes glow with fury. Sebastian cowers. EXT. ELEVATOR - NIGHT The tiny elevator whizzes down the huge nighttime pyramid. INT. ELEVATOR - NIGHT Lights flash, the buzzer sounds and the elevator stops. The speaker crackles. SPEAKER Dix huitieme Rouge. 18 Red. You have ten seconds. Counting! Un... de....... CLICK! Batty slaps one of Sebastian's many cards into the slot almost instantly. The lights go off, the elevator hums again. Batty is alone, solemn. The numbers reflect on his face. CUT TO EXT. SEBASTIAN'S APARTMENT - NIGHT The spinner comes down in a whirlwind of garbage blown up from the street. Deckard gets out and looks at the building. CUT TO INT. LOBBY/SEBASTIAN'S - NIGHT Deckard steps cautiously into the gloom and looks around. The shadow areas look dangerous. The place looks vacant. Deckard pulls his blaster out. DECKARD Mr. Sebastian? No answer. His voice echoes in the emptiness. Deckard walks across the dark lobby, stepping around the heaps of trash, his footfalls echoing noisily in the silence. CUT TO INT. SEBASTIAN'S APARTMENT - NIGHT Pris is pacing nervously around the room. INT. STAIRWELL/SEBASTIAN'S BUILDING - NIGHT Deckard is at the foot of the gloomy stairwell looking up. He can hear faint noises... very eerie. Cautiously he begins to climb, blaster ready. The noises continue. CUT TO INT. SEBASTIAN'S APARTMENT - NIGHT Pris is lurking in the shadows like a vampire, she hears footsteps. INT. STAIRWELL - NIGHT Deckard is several flights up now, listening to the eerie noises. He starts up, stumbles on a piece of masonry. The masonry clatters noisily down the stairwell. Deckard freezes blaster ready. CUT TO INT. SEBASTIAN'S APARTMENT - NIGHT Pris is alert listening to the clattering echo die. She frowns. Is it Batty? INT. STAIRWELL - NIGHT Deckard cautiously starts to climb again, tiptoeing, blaster ready. INT. SEBASTIAN'S APARTMENT - NIGHT A shadowy hallway cluttered with debris.. spooky. Nothing moves. Then we catch the sight of something. Deckard ! He enters the hallway, pressed flat against a wall , weapon up. Very carefully he slides along the wall. We can see a doorway ahead of him, the door to Sebastian's apartment. He moves to the door. It's open a crack. He peeks in. The apartment seems empty. INT. SEBASTIAN'S APARTMENT - NIGHT Deckard inches the door open, blaster ready. He looks around warily studying the apartment. He sees nothing moving. He levels his blaster, arm extended full out cop-style, as he ventures deeper into the apartment. Suddenly a noise behind him makes him spin, blaster pointed. A mouse runs across the floor. Deep breath. WHUMP! Pris drops on Deckard from above and wraps her bare thighs around his neck as she takes him down. Deckard finds himself choking ot death in bare thighs as she applies a brutal scissors grip with her legs. All he can do is bite at the flesh near her crotch as he fights for air and life. Pris might look like a punk waif but she's a powerful replicant and Deckard is falls from his hand as he writhes and his body. Finally he gets his head loose and gasps for air but she is immediately sitting on his chest and he looks up into her furious face and flailing fists. Deckard grabs at her trying to fight her off, tears her tank top loose, exposing one breast, but a lot of good that does him. Pris starts to choke Deckard with one hand and Deckard's only hope is to grasp blindly for his blaster on the floor. His hand paws wildly... he can't look... in the general area, and when he feels it he grabs it. He struggles to point it at her. DECKARD Please! I don't want... She catches his gun wrist and he fires a shot widly. BOW! Masonry erupts on the ceiling. Dekcard struggles to point the weapon but she has his wrist in her replicant grip. DECKARD Please! I don't want to kill you. Fat chance! It doesn't look like he could if he wanted to. She's choking him with one hand, squeezing the weapon loose with the other. Deckard, fighting for breath and life, gives a violent wrench and manages to bring the weapon to bear just long enough to squeeze off one shot. BOW! Pris's left arm is torn away at the shoulder. Pris's face erupts in fury as she clutches at the empty socket. Deckard rolls free and tries to cover her. DECKARD Please! I... WHAP! She kicks him in the chest and he flies back into a wall. She's advancing on him, kicking like some martial arts master... WHAP! WHAP! WHAP! Deckard has to shoot or be kicked to death, he's already badly battered by her furious feet. BOW! BOW! Pris is blown away hits. BOW! The third hit catches her in the back of the neck as she spins away from Deckard... and that's it, she goes down in a limp heap, leaving Deckard standing there, bloody and stupified. He's still staring when he hears it... the drone of the elevator ascending. Deckard frowns. He starts toward the door, reaching in his pocket as he goes and pulling out a cassette. INT. CORRIDOR - NIGHT Deckard slams the cassette into his blaster as he steps intop the corridor and looks toward the sound. He sees the elevator coming up.... glowing. Deckard doesn't like this. He glances quickly as the various possible routes for escpe. Not the stairs. Nothing else. The lift is almost to Sebastian's floor. Deckard retreats hastily into Sebastian's apartment. CUT TO INT. SEBASTIAN'S APARTMENT - NIGHT Deckard steps into the room with Pris' body in it. He hears the elevator stop. Then footsteps. Deckard considers. The footsteps are getting closer. Deckard walks silently toward the other door leading into the next room and steps through it. The footsteps keep coming. And the breathing has started. Asthmatic, rasping. CUT TO INT. BILLIARD ROOM - NIGHT Deckard slides around the door and puts his back to the wall, blaster ready. INT. SEBASTIAN'S APARTMENT NIGHT Deckard comes running into the lobby (hand held)through the billiard room and into the darkened area the other side of the billiard room and stands breathing heavily gun aimed towards the lobby. INT. LOBBY - NIGHT Batty's shadow appears in the doorway (Deckard's POV) he stares at Pris' dead body. His body walks into the shadow. Deckard fires, but Batty is faster, he ducks back and disappears. Deckard's bullet smashes into the dresser in the bedroom, the mirror explodes. Deckard runs into the billiard room. INT. BILLIARD ROOM - NIGHT He ducks back behind the wall. Suddenly a hand comes tearing through the wall, and pulls Deckard's hand through. Systematically, Batty breaks two of Deckard's fingers. BATTY For Pris... for Zhora.... Proud of yourself little man.... As Deckard screams, Batty puts the gun back in Deckard's broken hand and pushes it back through the hole. Batty's head peers through the hole, and Deckards fires at him grazing the side of his face and blowing off his ear. Deckard starts running (hand held) through the rooms looking for an escape. BATTY(OS) Not very sporting to fire on an unarmed opponent. I thought you were supposed to be good... arent you the man. CUT TO INT. DARK ROOM - NIGHT Batty in semi darkness is streaming down in his from his wounds. He starts to daub his face with his own blood, like a commanche warrior. Then he starts to strip down - a tribal ritual. INT. DARKENED ROOM (re-dressed lobby) ARMOIRE - NIGHT Deckard runs into the darkened room. Rats scuttle across the floor. He hears footsteps coming. There are no other exits. He looks at the armoire. His only escape. He runs to a table and with great pain bends his fingers back then runs to the armoire and starts to climb it. Batty walks into the room looks up at Deckard and starts to laugh. BATTY Where are you going ? Deckard continues towards the ceiling, the armoire starts to tilt, water drips on his head. Thunder and lightning erupt. INT. FLOOR B - TOILET - NIGHT Deckard's head pops up through the floor next to an overflowing toilet. All of a sudden he too starts to laugh, as he lays down on the floor, his laughter becoming hysterical. He looks around for some tape and starts to wrap his broken fingers. Suddenly, with a resounding crash Batty's head comes through the marble above the basin. Deckard gets up and makes a run for the door at the end of the room, as Batty, animal like, starts slurping the water out of the basin. Deckard pulls and tugs at the door, frantic with fear. The other door opens and Batty walks in, as Deckard manages to open his door. INT. CLOSET - NIGHT Two hundred objects (pigeons) burst out of the room into Deckard's face as he runs into the closed off room. There is no way out except by the proceeds to tear down. BATTY Now where are you going? Deckard climbs out the window, as Batty watches. EXT. ROOF - WINDOW LEDGE - NIGHT Deckard slowly eases himself around the window ledge and edges his way around to a cornice. Batty appears at another window, as Deckard scrambles up the cornice and on to the roof, wind and rain hindering his climb. EXT ROOF - NIGHT Wind and rain. Deckard dashes onto the roof and looks frantically over his shoulder. Batty isn't in sight yet. He looks around desperately. The roof is a desert no shelter. Deckard looks across at the next building. Suddenly a rooftop door opens and Batty steps out. Deckard looks back at the next building. Is it possible ? A long jump. But what choice. Decision time. Deckard decides to go. He runs directly towards Batty, turns, pumping like crazy, going for the gap. CUT TO EXT. THE ROOF - LOW ANGLE - NIGHT Looking up from way below, two buildings loom into the dark with a gap between them and a tiny figure running like hell and... jumping! Deckard leaps across the gap, flies through the air... almost makes it... catches a cornice on the second building... hangs many stories up over the street and we: CUT TO: EXT. THE SECOND ROOF - NIGHT Deckard hangs onto the cornice in the wind and rain. One hand is almost useless, the other's strained to the limit. He looks down. A long, long fall to the ground. Deckard looks behind him, over his shoulder. He can see Batty twenty feet away on the edge of the first roof, watching him. Deckard is almost sobbing, holding on with everything he's got as we: CUT TO: EXT. THE FIRST ROOF - NIGHT Batty stands there watching Deckard hang. Batty grins. Then one of his hands cramps badly. He has to work the fingers open with effort. He looks at Deckard again. Batty walks back five yards, sprints quickly, and leaps as we: CUT TO: EXT. ROOF - LOW ANGLE - NIGHT From below we see the tiny figure of Batty as he leaps easily across the gap between the two looming skyscrapers and we: CUT TO: EXT. SECOND ROOF - NIGHT Deckard is hanging there as Batty lands not far from Deckard's desperate hands. Batty looks down at Deckard. Batty grins and takes a seat only a couple of feet from Deckard. Deckard's bad hand lets go. He's hanging by one hand. The street looms way below. Deckard looks desperately into Batty's cold eyes. Batty grins and shakes his head at the absurdity of it. Deckard looks into that awful smile and sees no hope there. Batty glances down at his own hand. Spasms again. Deckard's hand is going. He knows it's over now, he bites the bullet of his anger. He glares at Batty as his grip gives way. DECKARD Asshole! Batty meets Deckard's angry eyes. Deckard's hand continues to slip. Batty is still looking at Deckard's rage. It moves the warrior in him, you can see Batty change his opinion. Too late! Deckard's hand goes. Batty's hand is like lightning. He catches Deckard's hand and holds Deckard. Deckard is suspended above the awesome drop, not sure why he's not falling. He opens his tightly closed eyes and looks up. He looks up into the stern warrior face of Batty, the cold eyes! Deckard hangs there and for a moment he has to consider whether this is the continuation of a cruel game. The Batty is hauling him up one-handed and with that scary strength he has. Deckard is pulled onto the roof where he lies on his stomach gasping for breath, not moving, just feeling something solid under him. Batty looks at the man gasping next to him with the cold eyes of a man looking at a fish. It is as though Deckard is some species far below Batty on the evolu- tionary scale. Batty's hand cramps again. Batty looks at it, almost with curiosity. JUMP CUT TO: EXT. THE SECOND ROOF (LATER) Deckard is looking at Batty. Batty is partly crumpled, frozen in an unnatural posi- tion as though he had been writhing and stopped mid- writhe. He looks back at Deckard with eyes full of life and intensity. They stare at each other for a long time in silence, communicating something with their eyes... without expression. Finally Batty breaks the silence. BATTY I've seen things... (long pause) seen things you little people wouldn't believe... Attack ships on fire off the shoulder of Orion bright as magnesium... I rode on the back decks of a blinker and watched c-beams glitter in the dark near the Tanhauser Gate. (pause) all those moments... they'll be gone. Batty holds Deckard's eyes like a hypnotist. CUT TO: EXT. THE SECOND ROOF (A LITTLE LATER) Batty is crumpled in a different position. It's light- er now and Batty's eyes are staring into infinity... almost lifelessly. A pigeon flutters down and perches on his shoulder. Batty doesn't stir. Deckard is watching motionless. The pigeon flies off. Batty doesn't move. Alive or dead? CUT TO: EXT. THE SECOND ROOF - DAWN A more distant perspective. Deckard is a small figure looking down at the dead body of Batty. DECKARD (V.O.) I watched him die all night. It was a long, slow thing and he fought it all the way. He never whimpered and he never quit. He took all the time he had... as though he loved life very much... every second of it... even the pain. Then he was dead. EXT. ROOF - DAWN The city is down there. Endless and gray in the first light. Deckard's at the edge of the roof. Maybe someday he'll be better. But right now he hasn't even got the energy to be sick. The Mexican's voice doesn't surprise him, it comes through the silence like the rasping of raven's wings. GAFF How do you rate yourself, now Deckard ? He is standing 20 feet away, on the edge of the roof, like a captain looking at the sea. Smarts as a rooster,he places a foot on the buttress.... GAFF You put on quite a show - no doubt about it... With a flourish he brings a dirty rag out of his pocket and starts polishing the pointed tip of his long black shoe. GAFF You think I'm a wimp - don't you. He waits for the answer. But Deckard doesn't bother. Gaff moistens the rag with his tongue and applies it to the toe. GAFF I could kill you right now - so you better say something. Deckard is unarmed. Gaff's got all the aces- seems to be bristling with concealed weapons. Deckard's eyes level on him. His voice comes out low and raw. DECKARD Yeah. I think you're a wimp. Gaff nods like he knew it all along - it seems to please him. GAFF I admire you more and more. Deckard exhales fatigue. His eyes close. The bullshit is endless. Gaff smiles like a beaver. Puts the rag back in his pocket. GAFF I guess you're through, huh. Deckard doesn't answer. GAFF Washed up. Wiped out. Finished. He cocks his head like a bluejay waiting for the answer. GAFF What about it. DECKARD Yeah. I'm through. Somewhere far away a whistle blows. Then silence. Deckard turns. He is moving away. His back to the Mexican. Gaff's voice follows him. Taunting. GAFF You did sure you are, man. He snickers. His hand comes out of his pocket with a gun. GAFF It's hard to be sure who's who around here. Deckard keeps walking. GAFF Carnall! Deckard slowly turns. Gaff shows him the gun. But it doesn't make any difference. GAFF Oye la agua. Deckard stares. He doesn't know the words. Ever the dandy, Gaff swaggers closer, stops. GAFF Here. He throws the gun across the gap to Deckard. Deckard doesn't try to catch it. It lands at his feet. Gaff dismisses the rejection with a suck on his teeth. GAFF I wouldn't wait too long. I wouldn't fool around. I'd get my little panocha and get the hell outta here. They just stare at each other. Gaff smiles. GAFF It's too bad, she don't last, eh! The smile is real and a little sad. GAFF But who does. Everybody knows the answer to that one. The Mexican shrugs. The light is brighter. The gun gleams on the wet Deckard turns and walks. CUT TO INT. DECKARD'S CORRIDOR - DAY Deckard's FEET CLICK along the corridor as he approaches his door. Near the door, on the floor, is a little tinfoil uni- corn, the kind of sculpture Gaff has been crafting on previous occasions. Deckard comes to the door, unlocks it, opens it. He doesn't see the piece of sculpture on the floor. CUT TO: INT. DECKARD'S LIVING ROOM - DAY The room is dark and quiet as Deckard enters. You can hear the SOUND OF A BABY CRYING somewhere. Deckard frowns, looks around. The CLOCK TICKS. The BABY CRIES. Nothing moves. DECKARD Rachael. No answer. Deckard looks concerned. He glances in the kitchen. CUT TO: INT. KITCHEN - DECKARD'S POV - DAY He sees the same old mess. Or did she clean it up? CUT TO: INT. BEDROOM - DAY The bedroom is dark. Deckard opens the door. He sees something on the bed. Motionless. A body? Deckard enters. The CLOCK TICKS. The BABY SQUALLS in the distance. Deckard goes close. Rachael is on the bed. Completely motionless. Deckard leans over her, very close, to see if she's breathing. A long moment. Then the tension goes out of him. She's alive. He turns away from her with a new urgency. He pulls the blaster from his holster and goes to the dresser. He opens a drawer and pulls out a box of ammo. Opens it. KACHUK! He slams a cartridge in the gun. KACHUK! Another. On the bed Rachael stirs, opens her eyes. KACHUK! She sees an ominous sight. Deckard is loading his gun in the shadows near the dresser, his back to her. KACHUK! He slams the last cartridge in. DECKARD Do you love me? He is looking at her in the mirror on the dresser. He has the gun in his hand. She is looking at his back. RACHAEL I love you. Deckard holsters the gun without turning and pulls open another drawer. DECKARD Do you trust me? Deckard is pulling clothes out of the drawer, stuff- ing them hastily into a parachute bag. RACHAEL I trust you. Deckard turns and looks at her, one hand full of clothes, the other hand holding the parachute bag. CUT TO: INT. CORRIDOR - DAY The door opens and Deckard and Rachael step out. They are carrying a couple of overnight cases. Rachael starts toward the elevator. Deckard locks the door and turns to follow her. He spots something on the floor, something small. He reaches down and picks it up. It's the tiny unicorn made of tinfoil... Gaff's gauntlet. Deckard looks at it for a moment. CUT TO: EXT. MOVING TREES - DAY Birch trees whip past at 160 miles per hour urged on by big, nasty MUSIC. We have the feeling we are going to see a unicorn. Instead we see Deckard's car rocketing through the woods. CUT TO: INT. DECKARD'S CAR - DAY Deckard is at the wheel, Rachael is beside him. Deckard smiles at her. Rachael smiles back tentatively. Deckard glances back at the road, then at the vid screen. A little blip flashes on the screen. Deckard notices it, his eyes narrow just a little. He reaches in his pocket, pulls out the unicorn. Deckard puts the tinfoil unicorn on the dash. A flicker of a smile crosses his face. CUT TO: EXT. WOODS - DAY Deckard's car bullets through the woods in a fury of speed and MUSIC. We BACK OFF IT AND UP, PAST whizzing branches, OVER the treetops, losing the car as we SOAR over what is suddenly a vast forest spreading to infinity. Enormous MUSIC! Deckard's voice over. DECKARD (V.O.) I knew it on the roof that night. We were brothers, Roy Batty and I! Combat models of the highest order. We had fought in wars not yet dreamed of... in vast nightmares still unnamed. We were the new people... Roy and me and Rachael! We were made for this world. It was ours! Trees explode PAST US in a rage of branches as we DIP and SWERVE and that's when the spinner looms INTO VIEW zooming RIGHT AT US, then tilting and yawing off in hot pursuit with Gaff at the controls. CREDITS ARE ROLLING, God help us all! FADE OUT. THE END ++++ II ナルシシズムを直接に研究する乙とにはとれを妨げるいくつ かの特別な困難があるように思われる。そのための本筋がバラ フレニアの分析にあるζ とにはたぶんかわりはないだろう。感 情転移神経症がわれわれに欲動のリビドl 的な動きを追求する 乙とを可能にしてくれたように、早発性痴呆やパラノイアは自 我心理への洞察をわれわれにゆるしてくれるであろう。またし てもわれわれは、病的なものがそなえている多くの歪みや粗雑 さから正常なもののもつ一見単純なものを推測しなければなら ないだろう。それはともかく、ナルシシズムの理解に近づくた めには、ほかにもいくつかの道がわれわれには関かれているの であって、それを私はζ れから順を追って述べてゆきたいと岡山 うのだが、それは器質的疾患や、ヒポコンデリーや、両性問の 愛情生活を観察するζ となのである。 疾患と同様に、睡眠中の状態もまたリピドl の位置が自己自 身に向かって、より正確には、眠りたいという願望に向かって ナルシシズム的に引っこめられるととを意味する。夢のなかに みられるエゴイズムは、おそらくとのような関係に適合するも のであろう。とれら二つの場合にわれわれは、たとえそれ以外 のなにものでもないとしても、自我の変化の結果としてリビド l の分布が変化するという実例をみるのである。 ヒポコンデリーも器質的疾患と同様に肉体的な苦痛感として 現われ、リビドl の分布におよぼす作用の点でもこれと一致し ている。ヒポコンデリー患者は関心とリピド！とを｜｜後者に ついてはとくに顕著であるが｜｜外界の対象から引っとめ、両 者を自分が気をとられている器官に集中する。ヒポコンデリー と器質的疾患との差異がいまや前面におしだしてくるのだが、 それは後者においては苦痛の感覚が証明しうる変化を根拠とし ているのに対して、前者の場合にはそうではない、というとと である。しかし、もしも、われわれが思いきって次のようにい おうとするならば、以上のととは神経症の諸現象についてわれ われがζ れまでに行なってきた解釈の枠内に完全におさまるζ とであろう｜ i つまり、ヒポコンデリーにはそれなりの理由が あるに違いないし、器官の変化がヒポコンデリーの場合にも欠 けているはずはない、と。それではこのような変化の本質はど とにあるのだろうか。 116 117 ナノレシシズム入門 われわれはζ 乙では、ヒポコンデリーの場合と似たような肉 体的な不快感は他の神経症においても見られない乙とはない、 という経験の指示にしたがおうと思う。私は以前に一度、ヒポ コンデリーを神経衰弱症や不安神経症とならぷ第三の現実神経 症としたい、という気持を表明したととがある。乙のととを、 他の神経症の場合でもきまってなにがしかのヒポコンデリーが 併発するものである、というふうにいっても、おそらく行き過 ぎではないだろう。それがもっともよくみられるのはたぶん、 不安神経症ないしは不安神経症のうえに生じてくるヒステリー の場合であろう。ところで、苦痛なまでに敏感であり、なんら かの変化をうけてはいるが、しかし普通の意味では病的とはい えないような器官の状態で、われわれによく知られている典型 的な例は、興奮状態Kある性器である。それは乙ういう場合に は充血し、膨脹し、しっとりとしめって、さまざまな感覚の座 となるのである。もしもわれわれが性的な刺激を精神生活のな かに送りこむような身体のある部分の働きをその部分の性感性 とよび、また、身体のいくつかの他の部分1｜性感帯ーが性 器の代理をしたりそれに類似した働きをしたりしうるという考 え方に、性理論の考察をとおしてわれわれがとっくの士自に慣れ ているというζ とをも思いだすならば、われわれはζ とでほん の一歩、思いきって足をふみだしさえすればいいのである。わ れわれは性感性をすべての器官がそなえている普遍的な特性と 感情転移神経症における罷患と症候形成とのメカニズムを、内 向性から退行への進展を、対象リビドl の穆積と結び－つけて考 えるととにわれわれはすでに慣れているのであるから、自我リ ビドlの穆積という観念にもっと近づいていって、乙れをヒポ コンデリーやパラフレニアなどの現象と関係づけるととをして もよいはずである。 ネ『神経症羅患の類型について』一九一一二年〔全集第八巻Uを参 昭…されたい。 もちろんわれわれの知識欲はことで、なぜ乙のような自我に おけるリビトlの穆積が不快なものとして感じられなければな らないのか、という問を投げかけるであろう。私はとれに対し て、不快の念は一般にかなり高度な緊張の表現であり、したが って、乙乙で他の場合と同様に不快という心理的な質に置きか えられるのは物質的な量なのである、という答で満足するとと にしたい。だとすればいずれにしても、不快の発生にとって決 定的なのはあの物質的な現象の絶対的な大きさではなくて、む しろ乙のような大きさのもつある種の働きなのかもしれない。 とこからは思いきって、ナルシシズムの限界をふみとえ、そし てリビドーを対象にふりあてるζ とを心的生活に強要するもの はいったいど乙からきているのか、という問題に近よっていっ てもかまわない。われわれの考え方から当然でてくる解答はと みる決心をするζ とができるし、そうすれば、身体の一定の箇 処における性感性の増加ないしは減少について語ることもでき るわけである。器官における性感性のとのような変化はいずれ も、自我におけるリビトl 割当の変化と平行して進行するもの なのかもしれない。乙のような契機のなかにわれわれが求めな ければならないと恩われるのは、われわれがヒポコンデリーの 基礎と目しているものであり、またリビドl の分布に対して器 官が実質的に侵された場合と同様な作用をおよぼすかもしれな いものであろう。 こうした考え方を進めてゆくと、われわれは単にヒポコンデ リーの問題だけでなく、他の現実神経症、つまり神経衰弱症や 不安神経症の問題にもゆきあたる乙とに気がつく。それゆえわ れわれはとこで立ちどまることにしたい。限界を乙えて生理学 的研究の領域にまでも踏みこんでいく乙とは、純粋な心理学的 研究の意図するととろではないからである。ただ言及しておき たいのは、と乙から推測される乙とであるが、ヒポコンデリー はパラフレニアに対して、他の現実神経症がヒステリーや強迫 神経症に対する関係と同じような関係に立っており、したがっ て、他の神経症が対象リビドーに左右されるように、ヒポコン デリーは自我リビドlk 左右される、というζ とであり、ヒポ コンデリーの不安は自我リビドーからくる神経症的な不安と対 をなすものである、という乙とである。そればかりではなく、 乙でもまた、とのような強要はリピドーによる自我への割当が ある一定の度を越したときに生じるのだ、というであろしいエゴイズムというものは罷患を防ぎはするが、しかしつい には病気にならないために相手を愛しはじめねばならず、また 拒絶されて愛する乙とができなければ、病気にならざるをえな い。たとえばH ・十十恥（出・出25 ）が世界創造の心理過程 を想像して歌っている次のような範例にしたがって11 病とそはたぶん、創造のあらゆる 衝動の究極の根拠であった。 創作しつつ私は治癒するととができたし、 創作しつつ私は健康になった。 われわれは、われわれの心的装置のなかにはとりわけある一 つの能力があって、もしそれがなければ苦痛に感じられたり、 病原的な作用をいとなんだりするであろうようない容を処理する任務がとれにあたえられている、というζ とを知 っている。乙の心的な加工は、直接外部へ搬出する乙とができ ない、または当分はこのようにして搬出することが望ましくい興奮を内部に転向させるうえで、非常に大きな効果をいる。乙のような内的な加工にとってはしか し、それが対象について行なわれるかそれとも想像上のそれについわれるかというζとは、さしあたってはどうでもいい乙とであ る。その相異はのちに、リビドl が非現実的な対象に向けられ 118 119 ナルシシズム入門 て（内向性）リビドl の穆積が生じたときに、はじめて明らか になるのである。自我に回帰したリビドl に対して乙れと同じ ような内的加工をゆるすのは、パラフレニア患者の場合の誇大 妄想である。おそらくはζ れが拒否されてはじめて、自我にお けるリビド！の穆積が病原的なものになり、われわれに病気と しての印象をあたえるような治癒過程を惹き起こすのであろう。 私はここでパラフレニアのメカニズムのなかにほんの数歩だ け立ち入り、今臼すでに私にとって注目に値すると考えられる いくつかの解釈をまとめてみるととにしよう。乙の病的状態が 感情転移神経症と区別される点は、拒否によって自由になった りビドl が空想中の対象のもとにはとどまらずに自我に回帰し てくるという事態にある、と私は考えている。誇大妄想はそこ でこのようなリビドl の集合量を心的に処理することに対応し、 したがって、感情転移神経症にみられる空想形成への内向性に 対応する。このような心的作業の拒否に対応するのはパラフレ ニアのヒポコンデリーであって、ζ れは感情転移神経症におけ る不安と同種のものである。われわれは乙のような不安がもっ とほかの心的加工によって、というのはつまり転換や反動形成 や防御形成（恐怖症）などによって解消しうることを知ってい る。パラフレニア患者の場合にこのような役割を果たすのは回 復への努力であって、このおかげでわれわれは、いくつかの際 立った病的現象を知るζ とができるのである。パラフレニアは 象を自分が味わった満足の体験からとってきていることに、ま ず気づいたのだった。最初の自体愛的な性的満足はいくつかの 生存上必要な、自己保存に役立つ機能と関連して体験される。 性の欲動は最初のうちは自我の欲動の満足に依存し、のちにな ってはじめて後者から自立するようになる。乙の依存関係はし かし、小児の養育、扶養、保護に関係のある人物、したがって まず母親やその代理者が最初の性的対象となる、ということに も現われている。依存型とでも名づける乙とのできる対象選択 のこのような類型および起源とならんで、われわれはしかし分 析的研究によって、こういうものを見出そうとは恩いもかけな かったことだが、第二の類型の存在を知らされたのであった。 われわれは、性目標倒錯者や同性愛者の場合と同様に、リビド ーの発達に障害を乙うむった人物の場合にはとくにはっきりと、 彼らがのちに愛の対象を選択するさいに、母親を典型とせずに 自分自身を典型として選ぶ、という乙とを見出したのである。 彼らはあからさまに自己自身を愛の対象に求め、ナルシシズム 的と名づけるととのできる対象選択の類型をしめす。このよう な観察のなかに、われわれにナルシシズムというものを仮定せ ずにはいられなくさせた最大の動機が認められるのである。 ところでわれわれは、その対象選択が依存型であるかそれと もナルシシズム型であるかに応じて、二つの際立って区別され たグループに人間が分けられるという結論をくだしたのではな しばしば｜｜たいていの場合にとはいえないまでも｜｜対象か らの単に部分的なリビドl の離脱をともなうものであるから、 その病型は現象上三つのグループに区別されてきた。すなわち、 （1 ）正常性を保持しているか、または神経症をしめすグルー プ（残存現象）、（2 ）疾病の進行過程をしめすグループ（リ ビドl が対象から離脱しているもの、乙れには誇大妄惣、ヒポ コンデリー、感動障害、すべての退行などがはいる）、（ 3 ）回 復をしめす、グループ、これはヒステリー（早発性痴呆、真正の パラフレニア）あるいは強迫神経症（パラノイア）と同様に、 リビドーをふたたび対象物に付着させる。このような新たなり ピド！の割当は、一次的割当とは異なった条件のもとに、ある 別の水準から生じる。ζ の新たなリビドl 割当のもとで作りだ された感情転移神経症と、乙れに対応する正常な自我の形成物 とのあいだの差異は、われわれの心的装置の構造を乙のうえな く深く洞察するための手掛りをあたえてくれるにちがいない。 120 ナルシシズムを研究するための第三の方途をあたえてくれる のは、男性と女性とで種々な相違をそなえている人間の愛情生 活である。ちょうど対象リビドl が最初のうちは自我リビドー をわれわれの観察から隠蔽していたのと同様に、小児（および 青年）の対象選択においてもわれわれはまた、彼らがその性対 く、それぞれの人聞には対象選択にあたって二つの道が開けて おり、好むままにζ の道ないしはあの道をも選ぶζ とができる、 という仮説をとりあげたのである。われわれがいっているのは、 人聞は二つの根源的な性対象、すなわち自己自身と世話をして くれる女性の二つをもっている、というζ とであるが、乙の場 合すべての人間は一次的ナルシシズムをそなえており、乙れが 場合によっては対象選択のさいに優勢に現われてくるととがあ るかもしれない、と仮定するのである。 男性と女性とを比較してみると、対象選択の類型に関して両 者のあいだに、必ずというわけではもちろんないが、いくつか の基本的な相違の生じてくることが分かる。依存型にのっとっ た完全な対象愛は、本来男性の特色をなすものである。ζ のよ うな対象愛は際立った性的過大評価をしているが、乙れはたぶ ん小児の根源的なナルシシズムに由来し、したがって性対象へ のナルシシズムの転移に対応するものであろう。このような性 的過大評価は、恋着という神経症的強迫を思わせる独特な状態 を発生させるのであるが、乙の状態の原因はこうして、対象物 のために自我のリビド！が之しくなるという点に帰せられる。 女性の場合にもっともよくみうけられ、おそらくもっとも純粋 で真正な類型と考えられるものにあっては、その発展のぐあい がこれとは異なっている。乙こでは思春期になるにつれて、今 まで潜伏していた女性の性器が発達するために、根源的ナルシ 121 ナノレシシズム入門 シズムの高まりが現われてくるように見えるが、ζ の高まりは 性的過大評価をともなう正規の対象愛を構成しがたいものにす る。とくに美しく発育してゆくような炉d合には女性の自己満足 が生じてきて、とれが女性のために社会的に侵害された対象選 択の自由の煩いをするのである。このような女性は厳密にいう ならば、男性が彼女を愛するのと同じような強さでもって自分 自身を愛しているにすぎない。彼女が求めているものは愛する ζ とではなくて、愛されるととであり、乙のような条件をみた してくれる男性を彼女は受け入れるのである。このような女性 のタイプが人間の愛情生活に対してもつ意義は非常に高く評価 されなければならない。このような女性は男性に対して最大の 魅力を発揮するのだが、それは彼女たちが通常もっとも美人で あるからという審美的な理由からばかりではなく、また興味深 い心理学的な情勢にもよるのである。つまりはっきりと認めら れるように恩われるのは、ある人物のナルシシズムは、自己の ナルシシズムを最大限K 放棄して対象愛を求めようとしている 他のひとびとにとっては非常な魅力をもつものだ、というζ と である。小児がもっている魅力の大部分はそのナルシシズムや、 自己満足ゃ、近つきがたさにもとおついているのであり、われわ れのζ となぞ眼中にないようにみえるある種の動物、たとえば 猫や巨大な肉食獣などの魅力もζ れと同じであって、それどと ろか、極悪人や沼穏家などが文学作品のなかでわれわれの興味 彼女たちが生む子供の場合には、自己の肉体の一部が別個の対 象のように彼女たちに対立するので、乙れに対しては、彼女た ちはナルシシズムからでて、完全な対象愛を贈る乙とができる のである。さらに、（二次的）ナルシシズムから対象愛へと成 長の一歩を進めてゆくために、子供が生まれるのをまつ必要の ない別の女性たちもある。彼女たちは思春期以前には自分を男 性のように感じ、しばらくのあいだは男性的に成長してきたの である。このような傾向が女性的成熟の開始によって中断され たのちには、理想的な男性を憧れる気持だけが残るのだが、と の理想とは元来、彼女たち自身がかつてそうであった男児的な 性質の継続なのである。 以上の示唆的な記述の結びとして、対象選択へのいくつかの 道を簡単に概観してみよう。ひとが愛するのは、 （l ）ナルシシズム型によるものでは （a ）現在の自分（自己自身） （b ）過去の自分 （C ）そうなりたい自分 ｛d ）自己自身の一部であった人物 （2 ）依存型によるものでは （a）養育してくれる女性 （b ）保護してくれる男性 およびζ れらから発する一連の代理的人物である。ナルシシズ をそそるのさえも、それは彼らが自分の自我を傷つける一切の ものを遠ざけておくすべを心得ている、ナルシシズム的な首尾 一貫性によるのである。とれはまるで彼らが幸福な心的状態を 保持し、われわれ自身がすでに放棄してしまった不可侵なリピ ドl の状態を保持しているととを、われわれがうらやんででも いるかのような有様なのである。しかしナルシシズム的女性の もつ大きな魅力にも欠点がないわけではない。恋着している男 性が感じる不満ゃ、女性の愛に対する疑惑や、女性の本質にひ そむ謎に対する嘆きなどの大部分は、対象選択のとのような不 一致に根ざしているのである。 女性の愛情生活をこのように述べたからといって、私には女 性を侮辱しようという傾向などすとしもない乙とを確言してお くのは、おそらく余計な乙とではないであろう。そもそも傾向 というようなものと私があまり関係のない乙とは別としても、 私はまた、とのように種々な方向へ形成が行なわれるのは、非 常に錯雑した生物学的関速において男女の諸機能が相違してい るζ とに対応しているのだ、というととを知っている。さらに 私は、男性的な類型にしたがって恋愛し、この類型に属してい る性的過大評価をもしめすような女性が、確かに多く存在して いるととを承認するのにやぶさかではない。 ナルシシズム的で、男性に対していつまでち冷淡であるよう な女性にも、彼女を完全な対象愛に導いてゆく道が存在する。 ム型の（ C ）の場合については後述する詳論にそってその正し さが認められるはずである。 男子の同性愛に対してナルシシズム的対象選択がもっ意義は、 別の関速において評価されるべきであるととに変りはない。 われわれのリビドl 理論の前提の一つをふくむ、われわれに よって推定された小児の一次的ナルシシズムなるものは、直接 の観察によって理解するのは容易なことではなく、むしろ別の 観点からの逆推論によって証明するほうがやさしい。ものやさ しい両親が子供たちに対してとっている態度を注意してみると、 それがもうとっくに放棄された自己のナルシシズムの復活であ り再生にほかならないζ とを認めないわけにはいかない。われ われがすでに対象選択のさいにナルシシズム的な傷痕として評 価したあの過大評価のはっきりした徴候乙そは、周知のように、 乙のような感情関係を支配しているものなのである。こうして、 冷静に考えればなんのいわれもない乙とだが、いろいろな完全 さが子供にそなわっていると考えたり、また、乙れは子供の性 愛を否定する乙ととも関係のあるととであるが、子供のあらゆ る欠点を隠したり忘れたりしようとするような、無理が生じて くる。しかしまた、自己のナルシシズムには無理に認めさせた あらゆる文化的な収穫を子供に対しては延期してやり、とっく に放棄してしまった特権を子供において復活しようとするよう な傾向も生じてくる。子供は両親よりも幸福であるべきだし、 123 ナルシシズム入門 122 人生を支配していると認められてきた多くの必然事に従属すべ きではない。病気や、死ゃ、享楽の放棄や、自己意志の制限な どは子供には無効であるべきだし、自然法則や社会法則も子供 に対して停止されなければならず、子供ζ そはふたたび創造の 中心となり核心となるべきである。つまり、かつて自分がそう であると思いこんでいたような「赤心砂陛下」というわけなの である。子供は両親のかなえられなかった夢のような願望を実 現すべきであり、父親のかわりとしては偉人や英雄となり、母 親の夢をのちにつぐなってやるためには王子を夫にもたなけれ ばならない。ナルシシズム的体系のもっとも微妙な点であり、 現実のきびしい圧迫をvづけている自我の不滅性は、子供へ逃避 する乙とによってその安全を確保してきたのである。とのいじ らしい、しかし根本においてはきわめて子供っぽい両親の愛情 は、両親の再生したナルシシズム以外のなに・ものでもなく、そ れは対象愛へと変化するととによってかつての本質をまどうと となくあらわにするのである。 III 小児の線源的なナルシシズムがいかなる障害にさらされてい プレクスに由来するものであるζ とが、弁護されてきたのであ る。男性的抗議は性格形成と深い関係があり、その発生に多く の他の要素とともに関与してはいるが、神経症問題を解明する のにはまったく適していない。アドラ！は乙の問題については、 これらの要素が自我関心に奉仕する仕方しか考慮しようとはし ないのであるが。去勢コンプレクスは男性の場合には、神経症 の治癒に抵抗して強く現われてくるものではあるが、神経症の 発生を去勢コンプレクスという幅の狭い基底のうえに置くとと はまったく不可能である、と私は考えている。私は最後にまた、 「男性的抗議」ないしはわれわれのいわゆる去勢コンプレクス がなんら病原的な役割を果たしていなかったり、あるいは全然 現われて乙なかったりするような神経症の症例をも知っている のである。 正常な成人を観察してみると、彼のかつての誇大妄想が抑制 されており、われわれがそれによって彼の小児的ナルシシズム を推論した心的な特性がぼかされているという乙とが分かる。 彼の自我リビドーはどうなってしまっているのであろうか？ 自我リビド！の全量は対象の割当に変わってしまったとみるべ きであろうか？乙のような可能性がわれわれの解釈の特性と まったくあい容れないととは明らかである。われわれはしかし、 抑圧の心理学から、乙の問題に対するもう一つ別の解答を示唆 する乙とはできる。 るか、また乙れに対していかなる反応をしめして防衛するのか、 さらにそのさいこのナルシシズムはいかなる方向に押されてゆ くのか、このような問題を私は、解決をせまられている重要な 研究素材として別にとっておくζ とにしたい。このうちのもっ とも重要な部分は、「去勢コンプレクス」（男児におけるペニス 不安、女児におけるペニス羨望）としてとりあげ、早期の性的 威嚇がおよぼす影響と関連させて取り扱うととができる。精神 分析的研究は、リビドl 的欲動が自我欲動から孤立して、後者 と対立関係にあるような場合に、通常はわれわれにリビド！的 欲勤の運命を追求するととができるようにしてくれるのである が、乙の研究が当面の分野においては、両本能がナルシシズム 的な関心として不可分に混渚したままでまだ一致して作用して いるような時期と心的状況とを、逆推論する乙とをわれわれに ゆるしてくれるのであるoA・アドラl （〉・〉広ぽ円）はζ の ような関連から彼の「男性的抗議」自営三EHR 句55 えとい う概念をつくりあげたのであって、ζ れを彼は性格形成および 神経症形成のほとんど唯一の原動力とするまで高める一方では、 彼はまたとれをナルシシズム的、すなわち依然としてリビドl 的な志向にではなしに、社会的な評価に根ざすものであるとし た。精神分析学的研究の立場からは、「男性的抗議」の存在お よび意味は最初から認められているものであって、もいれわいと は反対に、ただそれがナルシシズム的な性質をもち、去勢コン 124 われわれがすでに学んだととろでは、リピドl 的な欲動活動 は、それがもしも個人の文化的および倫理的な諸観念と衝突す ると、病的抑圧をこうむらなければならない運命にたちいたる。 このような条件のもとでは、個人がとれらの観念の存在を単に 知識として知っているというのではなんの意味もないのであっ て、意味があるのはつねに、ζ れらの観念を白分に対する規範 として認め、それらが要求すると乙ろに自らしたがおうとする 乙となのである。すでに述べたように、抑圧は自我から発する。 もっと厳密に、自我の自尊から発する、といってもいいであろ う。ある人聞がその内心に生ずるにまかせたり、またはすくな くとも意識的に」加工したりするような、同じ印象や、体験や、 欲動や、願望が、他の人間からは憤然として拒否されたり、あ るいはそれらが意識される前に、はやくもおし殺されてしまっ たりする。抑圧の条件をふくんでいる乙のような両者間の差異 は、リビドl 理論を使いとなすととによって容易にはっきりと した形で把握するととができるのである。われわれがいう乙と のできるのは、一方の人聞は自己のうちに一つの理想をうちた て、それに現実上の自我をあわせるのに対して、他方の人簡に はそのような理想の形成が欠けている、ということである。と のような理想形成が自我の側からみれば抑圧の条件であると恩 われる。 ところでこのような理想自我（Eg －－ nr） 125 ナルシシズム入門 にあてはまるもの が、幼時には現実の自我が享受していた自己愛ω色）印己5Z な のである。ナルシシズムは、幼時の自我と同様にあらゆる貴重 な完全性をそなえて存在する、乙の新たな理想的な自我に変位 したものとして姿を現わしてくる。人間はζ 乙では、リビドー の分野においていつでもそうであったように、ひとたび享受し た満足感を断念するのは不可能であるζ とを証明したのである。 彼は幼時のナルシシズム的な完全性なしではすませないのであ って、生長期にいろいろな警告によって妨げられたり、自らの 判断に目覚めたりした結果、乙のような完全性を確保すること ができなくなると、彼はこれを自我理想FE舟色という新し い形式のなかにもう一度獲得しようとする。彼が自己ω理想と してその眼前に投影するものは、彼自身が自己の理想であった 幼時の、失われたナルシシズムの代理物なのである。 乙ういう理想形成と昇華とのあいだの関係を探究するととは 容易である。昇華とは対象リビドーにみられる一つの過程であ って、その本質は欲動が性的満足とはかけ離れた、別の目標に 突き進んでゆく点にある。そのさいに重要なのは、性的なもの からの離脱というζ とである。理想化というのは対象について 行なわれる現象であって、それによって対象はその性質を変じ るととなく拡大され、心的に高められる。理惣化は自我リビド l の領域においても、また対象リビドl の領域においても可能 である。したがってたとえば、対象の性的過大評価は対象の理 ナルシシズム的満足の確保を自我理想の立場から監視すると いう使命を果たし、また乙ういう意図をもって現実の自我をた えず観察し理想にあわせようとしているある特殊な心的法廷を、 われわれがもし発見するようなととになったとしても、別に驚 くにはあたらないであろう。もしも乙のような法廷が存在する としても、乙れを発見するという事態が起乙る乙とはまずあり えない。われわれにできるのは乙ういう法廷の存在自体をただ 承認することだけであるが、われわれが良心とよんでいるもの がこのような特性をみたしているということは、いってもさし っかえないのである。乙ういう法廷を認めることによって、わ れわれはいわゆる注意妄想、ないしより正確には観察妄想図0・ 0σ白口YZ口問2srロを正しく理解する乙とができるのであるが、 との妄想は偏執病的疾患の症候学のなかにきわめてはっきりと 現われているものであり、おそらくはまた単独の疾病として現 われる乙ともあれば、あるいは感情転移神経症のなかにまじっ て現われてくる乙ともありうるものなのである。患者たちは乙 の場合、自分たちの考えがすべて知られているし、自分たちの 行為は観『採され監視されている、といって訴える。彼らはこの ような法廷が支配している乙とを人の声によって知らされるの であるが、その声は、特徴的な乙とには、三人称で彼らに話し かけるのである（「いま彼女はまたあの事を考えている。いま 彼は立ち去ってゆく」）。このような訴えはもっともな乙とであ 想化なのである。そ乙で、昇華が欲動について行なわれるもの を現わし、理想化が対象において行なわれるものを現わす以上、 両者は概念上区別されなければならない。 自我理想の形成はしばしば、理解が欠けているために欲動の 昇華ととり違えられる。高い自我理想の尊敬と引換えにナルシ シズムをえた者は、それゆえに、リビドl 的欲勤の昇率に成功 したものである必要はない。自我理想はとのような昇華を要求 はするが、乙れを強要するζ とはできない。昇華はあくまでも 一つの特殊な過程なのであって、その開始は理想に刺激されて 行なわれるのかもしれないが、その成就は乙のような刺激とは あくまでもまったく無関係なのである。じっさい神経症患者を みると、自我理想の形成と素朴なリビドl 欲動の昇率の程度と のあいだにかもしだされる緊張度には、非常な差異のある乙と が分かるし、リピドーがなんの当もなく穆積している乙とを納 得させるのは一般に、自分の要求に満足している単純な人間に 対してよりも、理想家型の人聞に対してのほうがずっと困難な のである。神経症の原因に対する理想形成と昇華との関係もま たまったく異なっている。理想形成は、われわれも知っている ように、自我の諸要求を高めるとともに、抑圧をもっとも強力 に支援するものである。昇華のほうは、抑圧を惹き起乙すとと なしに、どうしたらとの要求をみたす乙とができるかという、 逃げ道となっているのである。 って、それは真実を述べているのである。われわれの一図を観察し、関知し、批判するこのような力は事実存在してるものであって、しかも正常な生活をいとな んでいるわれわれ すべてに見られるものなのである。観察妄想は乙の力を退行的 な形で表わしており、それと同時にζ の力の発生と、またなぜ 患者がこのカに対して反抗するのかという理由をも暴露してるのである。 良心がその番人として立てられているζ の自我理想の形成を 刺激したのは、つまり、声によって媒介された両親の批判的影 響からきたものであって、乙れにはさらに時がたつにつれ教育者や教師や、その他周囲にいる無数の漠然とした多くのひ とびとが加わってきたのである（同胞、世論など）。 乙うして本質的に同性愛的なリビドl の大量はナルシシズム 的自我理想の形成に引きいれられたのであり、また乙れを維するζとに離脱と満足とを見出しているのである。良心という 捉は結局第一には両親の批判の、それについでは社会の批判の 具体化されたものであり、はじめは外部からの禁止または妨によって抑圧傾向が生じてくるさいに反復される現象であっそれが今度は、病気のために例の声や漠 然と放置されていた大 衆が姿を現わし、こうして良心の発達史を逆行的に再生する乙 とになる。ところでとうした枕昨掛惜に対する反抗は、当人が 病気の根本性格に対応して、両親からの影響をはじめとし、乙 126 l27 ナノレシシズム入門 のようなあらゆる影響から離脱しようとして、同性愛的リビド ーをそれらのものから引きもどす、というととに由来している。 との人物の良心はそζ で、外界からの影響という退行的な形を とって、敵対的に乙の人物にたち向かっていくととになるので ある。 パラノイア患者の訴えはまた、自己観察のうえにきずかれた 良心の自己批判が結局はとの自己観察と一致するものである乙 とをしめしているo 良心の機能をひきうけていた同じ一つの心 的活動がつまり内界探求の役目をも果たしていたのであって、 ζ の内界探求は哲学に対してその思考活動の材料を提供するの である。乙のととは偏執病の特徴である思弁的体系形成への発 動力と無関係ではないであろふ。 ネほんの推察として付言するならば、このような観察機構の形 成と強化とは（主観的な）記憶や、無意識の過程に対しては妥当し ない時間的契機が、のちに成立するゆえんをふくんでいるかもしれ ないのである。 ζ のような批判的観察をつかさどる｜ 1 良心ないしは哲学的 内省にまで高められた｜｜法廷の活動の徴候を、もしもわれわ れが他の領域においても認めうるとするならば、それはわれわ 小川叩とって確かに重要な乙とであろう。私はζ とでH ・めか小 ラl （国・ω己目百円。円）が「機能的現象」と名づけたものを引合い にだすことにするが、それは夢理論の若干の補説のなかの一つ みるならば、われわれは自我理想や良心の動的な表出のなかに もまた、夢の検閲者吋SCENEωR を認める乙とができる。ζ の検閲者が睡眠中にすこしでも注意しているならば、その活動 の前提である自己観察や自己批判が、今は物を考えられないほ どに睡い、とか、今は目が覚めている、とかといったような趣 旨でもって、夢の内容に寄与しているととをわれわれは理解す るであろう。 このような検閲的機構を別の自我と区別するζ とが、意識と 自我意識とを哲学的に分離するための心理学的基礎づけを可能にす るものかどうか、私にはζ とでは決定する乙とができない。 乙の点をもとにしてわれわれは、正常者および神経症患者に おける自我感情の論議を試みることができる。 自我感情はまず自我誇大（同会開門000）という形で現わされて くるが、その構成がどうなっているかというような乙とはもは や問題とはならない。人が現に所有しまたはとれまでに達成し た一切のもの、経験によって裏書された素朴な全能感情のあら ゆる残存物が、自我感情のす同揚を助けるのである。 もしも性的本能と自我本能との区別をとこにもちこむならば、 自我感情がナルシシズム的リピドーにとくに緊密に依存してい ることを、われわれは認めないわけにはいかない。われわれは その場合二つの基本的事実をよりど乙ろとしているのであるが、 それはパラフレニアにおいては自我感情が高められ、感情転移 であって、その価値は異論の余地のないものである。JW…c？？ ーは周知のように、睡眠と覚醒の中間状態においては、思想を 可視的な像におきかえて直接に観察するζ とができるというこ と、しかしとのような情況のもとではしばしば思想内容の表出 が行なわれないで、睡魔と戦っている当人が現にある状態（心 備えや疲労など）が表現されるというととを明らかにしている。 同様に彼はまた、夢の結末や夢の内容にふくまれる段落の多く は陸眠と覚醒の自己知覚以外のなにものをも意味していないと いうととを明らかにしている。彼はつまり自己観察111パラノ イア観察妄想宮門戸ロ05F耳切grRZEmω 者向Fロの意味にお ける’ーーが夢の形成に関与しているととを証明したのである。 とのような関与は不定なものである。私がとれを見落としてい たのはたぶん、私自身の夢のなかではζ れがたいした役を果た していないからであろう。哲学的な素質のある、内観に習熟し ているひとの場合にはとれが非常にはっきり現われるのかもし れない。 夢の形成は夢のなかの思想が歪められざるをえないような検 閲の支配下で行なわれるものであるζ とを、われわれはすでに 見出した。われわれは乙の検閲というものになにか特殊な力が あるとは考えず、こういう表現を選んだのも、自我を支配し抑 圧する傾向のうちで夢のなかの思想に向けられた側面を表わす ためなのであった。自我の構造のなかへさらに深く入りとんで 128 神経症においてはそれが低下せしめられているという乙と、ま た、愛情生活においては愛されない乙とは自我感情を低下させ、 愛されるζ とはそれを高揚するというとと、である。愛される ことがナルシシズム的対象選択における目的であり満足である ことについては、われわれはすでに述べた。 さらに容易に観察しうるのは、対象へのリビドl 割当が自我 感情を高めないという乙とである。愛する対象への依存は自我 感情を低下させる働きをする。相手に恋着している人物は卑屈 である。恋愛している人物はいわば自己のナルシシズムの一部 を喪失しているのであり、愛される乙とによってはじめてその 補いがつけられるのである。すべてこのような関係からみて、 自我感情は愛情生活へのナルシシズム的な関与とあくまでも関 連があるように思われる。 精神的ないしは肉体的障害の結果として、インポテンツ、す なわち自分は愛する乙とができないのだというととを知覚する 乙とは、自我感情をおおいに低下させる働きをする。私の推測 では、感情転移神経症の患者が自ら乙のんで表明する劣等感の 原因の一つは、ζ の点に求めることができる。とのような感情 の主な原因はしかし自我の貧困化にあるのであって、乙れは極 度に大きなリビドl 割当が自我から取り去られた結果生ずるも のであり、したがって性的な志向がもはや制御されないために 起ζ った自我の損傷なのである。 129 ナノレシシズム入門 A －アトラーが、自己の器宮の劣等性を知覚することは、能 力のある精神生活に刺激的な作用をおよぼし、過剰代償的な仕 方でいっそう多くの仕事を達成させる、と主張しているのは正 しい。しかし、もしもすべての立派な仕事を、アドラーになら って、本来的な器官の劣等性という乙の条件に帰そうとするな らば、それはまったくの行き過ぎであろう。すべての画家が眼 病にかかっていたわけではないし、すべての雄弁家が生来ども りであったわけではない。またすぐれた素質をもっ器宮によっ てあげられた優秀な業績もたくさんにある。神経症の病因とし ては器官の劣等性や萎縮はとるに足らない役割しか演じてはい ないのであって、それはちょうど、現実の知覚素材が夢の形成 に対して果たしている役割に似ている。神経症患者は乙うした ことを、役に立つ他のあらゆる契機と同様に口実として利用す るのである。ある女性の神経症患者が、自分は不美人で、醜く て、魅力がないから、誰にも愛戸れず、そのために病気になら ざるをえなかったのだといって訴えるのを、もしも信用してや るならば、今度はみたところ十人並以上に魅力的であり、また 求愛もされているのに、神経症や性の拒否にとりつかれている 神経症患者がでできて、いっそうよい教訓をあたえてくれるだ ろう。ヒステリー気味の女性はだいたいにおいて魅力があり、 向性のなかでも美人の部類に属しているのであるが、一方では 社会の比較的低い階層に醜悪な者や器官の萎縮した者や不具者 よって成りたち、そしてこの一次的ナルシシズムをふたたび獲 得しようとする激しい努力を生みだす。このような隔離はリビ ドーを外部から強要された自我理想に、つまりこの理想を実現 するととによってえられる満足感に移動させることによって生 じてくる。 同時に、自我は対象割当のリビドーを送りだしてきたもので ある。自我は乙のような割当と自我理想とのために貧困になっ ているが、対象満足や理想実現によってふたたび豊富になる。 自我感情の一部分は一次的なものであり、小児的ナルシシズ ムの名残であるが、第二の部分は経験によって裏書された全能 性（すなわち自我理想の実現）に由来し、第三の部分は対象リ ビドl の満足に由来している。 自我理想は対象物におけるリビド！の満足を、困難な条件の もとに、というのはこういう満足の一部をその検閲者によって あいいれないものとして拒否されながら、実現したのである。 このような理想が発達していないととろでは、当該の性的志向 は変化をせずに、性目標倒錯として人格のなかに入ってくる。 幼時においてと同様に、性的志向に関してであっても、またし ても自分自身の理想となるとと、それを人聞は自分の幸福とし て達成しようとするのである。 恋慕の本質は自我リビドl が対象をめがけて溢れだすと乙ろ にある。それは抑圧を廃棄して、ふたたびパ！ヴァl ジオンを などが多いという乙とも、ζ の階層における神経症権患の頻発 度になんら貢献しているわけではない。 エロユアイ1 ク 自我感情と性愛（すなわちリビドl の対象割当）との諸関係 は公式的には次のように表わされる｜｜ 愛情の割当が「骨わかA 平に行なわれているか、それとも逆に抑圧をζ うむっているか、 という二つの場合を区別しなくてはならない。第一の場合（す なわちリビドーが自我に公平に使用されている場合）には、恋 愛は自我のあらゆる他の活動と同様に評価される。恋愛それ自 体は、憧れや欠之として、自我感情を低下させるが、愛される ととや、相愛の仲になるととや、愛する対象を所有するととは、 自我感情をふたたび高める。リビドーが抑圧されれば、愛の割 当は自我の惨めな減少として感じられ、愛の満足は不可能であ って、自我をふたたび豊富にするととは対象からリビドーを引 きあげるζ とによってのみ可能となる。対象リピドーを自我へ 復帰させ、乙れをナルシシズムに転ずるととはいわばふたたび 幸福な恋愛を表わす乙とになるのだが、しかし一方ではまた、 実際の幸福な恋愛というものは対象リビド！と自我リピド！と が互いに区別されていない原初の状態に対応しているのである。 当面の問題の重要性と、とれを概観する乙とのむずかしさに かんがみて、さらにいくつかの他の命題を多少乱雑に引用する 乙とを認めていただきたい。 自我の発達は一次的ナルシシズムからある距離をとる乙とに 130 生みだす力をもっている。それは性的対象を性的理想にまで高 める。乙れは対象型ないしは依存型の場合に幼児的な愛の条件 の実現にもとづいて生じてくるものであるから、このような恋 愛条件を実現するものは理想化される、ということができる。 性的理想は自我理想に対して興味ある補助関係をもっζ とが ある。ナルシシズム的満足が現実の障害につきあたると、性的 理想は代償的満足として用いられることがある。そうなると、 ナルシシズム的な対象選択の類型にしたがって、自分がかつて そうであったものや喪失してしまったものを、あるいは一般に 所有されていないような長所をもっているものを、愛するよう になる（既述の帥の場合を参照されたい）。既述の公式に即し た表現をするならば、自我に理想として欠けているような長所 を所有している者は愛される、という乙とである。こういう一 時しのぎの場合は、過度の対象物割当によって自我が貧困とな り、自己の自我理想を実現する乙とができなくなっているよう な神経症患者にとっては、一つの特別な意味をもっている。彼 はそうなると対象へ向けての自らのリピド！の濫費からナルシ シズムへと引きかえしてゆく道を求め、ナルシシズム的類型に したがって、自分では達成できないような長所をもっている性 的理想を選ぶのである。乙れがすなわち恋愛による治癒であっ て、彼は通常精神分析的治療よりも乙のほうを好むのである。 それどころか、彼は別個の治癒のメカニズムを信じるととがで 131 ナルシシズム入門 きず、たいていは同一の期待を治療のなかにまでもちこんで、 自分を扱ってくれる医姉という人物に期待を向ける。もちろん、 患者は抑圧がひろがっているために、愛するζ とが不可能にな っているから、ζ のような治癒計画は妨害を・つける。そこで手 当を加えて、ある程度愛するととが可能になるようにしてやる と、思いもかけない結果を体験する乙とがしばしばあるのであ って、つまり患者は恋愛の相手を選択し、愛人と同棲すること に以後の回復をゆだねようとして、それ以上の手当を忌避する のである。患者がこのような救いの神ともいうべき人物をひど く頼りにしすぎるという危険に必ずしもおちいるととがないに しても、こうした結果でもって満足する乙とはできないであろ ．つ。 自我理想からは群衆心理学を理解するための重要な道が通じ ている。この理想は個人的な部分のほかに社会的な部分ももっ ており、それはまた家族や、階級ゃ、国民の共通の理想でもあ 性格と紅門愛 精神分析的な努力をとおして助けをかしてやろうとしている 人物のなかで、ある種の類型にであうことが実際かなりしばし ばあるのだが、それというのが、特定の性格特質が協働してい るという点で際立っている一方では、これらの人物の小児期に おける肉体のある種の機能ゃ、乙の機能に関与している器官の 働き方が、注意をひきつけるものをもっているのである。その ような性格とこのような器官の働き方とのあいだにはある有機 的な関連があるのだという印象が、どのような個々の機縁から 私の心のなかで大きくなってきたのかということについては 、 私は今日ではもはや述べることができないが、しかし理論的な 期待というようなものはこの印象にはまったく関与していなか った、という乙とは確言することができる。 経験をつみ重ねた結果、このような関連に対する信念が私に は非常に強くなってきているので、それについてあえて報告し てみるととにする。 る。それはナルシシズム的リピドーのほかにひとりの人間の同 性愛的リビドーを大量に拘束しているのであるが、乙れはζ の 道を通って自我に回帰してきたものなのである。こういう理想 が実現されないために不満が生じると、それは同性愛的なリピ ドーを解放し、乙れが罪責の意識（社会的不安）に変化する。 罪責の意識は元来は両親の罰に対する不安の念であったし、よ り正確にいうならば、両親の愛を失うととに対する不安であっ た。両親にかわって、のちに同胞という不特定多数者が現われ てきたのである。自我が傷つけられる乙とや、自我理想の領域 で満足が拒まれることがしばしばパラノイアの原因になるとい うことが、乙うしていっそうわかりやすくなるし、また自我理 想のなかで理想形成と昇華とが同時に行なわれることや、パラ フレニア的な疾患において、昇華の萎縮や理想の一時的な作り かえが行なわれるというζ とも、いっそうわかりやすくなるの である。 乙乙に記述しようと思っている人物はいつでも一致して次の ような三つの特徴をしめす点で目立っている、つまり彼らはと くにん情配下、俳か最下、骨骨なのである。これらの言葉の一 つ一つは元来、互いに類縁関係にあるいくつかの性格傾向のあ るグループないしは系列を包含している。「九帳面」といは肉体的な清潔さばかりでなく、些細な義務の遂行にあり、また信頼がおけるという意味をふくんでい る。その反対 は九帳面でない乙と、なげやりな乙と、であろう。節約高じ ると客沓となって現われる。我俸は反抗になりやすく、乙れに は激怒や復讐欲への傾向が結びつきゃすい。乙のあとの二つの 性質il倹約と我俵｜｜は第一の性質である九帳面よりは、互 いのあいだでいっそう密接に関連しあっている。乙の二た複合体全体のうちでも比較的恒常的な部分をなす・もるが、しかし、乙れらの三つのものがなんらかの 仕方で一つの 全体を形づくっているという乙とは、私には否定するととがで 132 133 性格とH工門愛 生きることさえできないほど絶望しているという事実である。前者はまだ幻滅の段階にとに直面しているのである0 ・この絶望の中から救いを求める現代人の叫びを聞いたとき、フロイドは一体何と答えるのしかし乙れはもはやフロイドの問題ではなく、現代に生きるわれわれ の問題である。われわれはに対するメッセージを発見せねばならないであろう。しかしその場合でも、われわれがフロ求の方法がわれわれに測り知れない助けを 与えるととは言うをまたないのである。 434 フロイト著作集第五巻定価二八OO円 一九六九年五月三十日初版発行 一九七八年八月三十日重版発行 訳者懸田克荊高橋義孝他 （分） 1311 （製） 330040 （出） 3266 発行者渡辺睦久 印刷、ιki寸JHH4 －TK A立中日開閉 製本坂井製本所 発行所人文書院 京都市下京区仏光寺一角倉西振替京都二O三 |
BLADE RUNNER
Screenplay by
HAMPTON FANCHER
and
DAVID PEOPLES
February 23, 1981
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR
THIS SOFT COPY.
android (an'droid) adj. Possessing human features - n.
A synthetic man created from biological materials.
Also called humanoid. (Late Greek androeides,
manlike: ANDR(O) - OID.)
THE AMERICAN HERITAGE
DICTIONARY OF THE ENGLISH
LANGUAGE (1976)
android (an'droid) n, Gk. humanoid automation. more at
robot./ 1. early version utilized for work too
boring, dangerous or unpleasant for humans.
2. second generation bio-engineered. Electronic
relay units and positronic brains. Used in space
to explore inhospitable environments. 3. third
generation synthogenetic. REPLICANT, constructed
of skin/flesh culture. Selected enogenic transfer
conversion. Capable of self perpetuating thought.
paraphysical abilities. Developed for emigration
program.
WEBSTER'S DICTIONARY
New International (2012)
FADE IN:
EXT. HADES - DUSK
We are MOVING TOWARD the Tyrell Corporation across a
vast plain of industrialization, menacing shapes on the
horizon, stacks belching flames five hundred feet into
the sky the color of cigar ash. The CAMERA MOVES INTO
a window in the large pyramid-shaped building. A man
is sitting at a table. Another man enters the room and
sits down. The following scene is reflected in the eye
until HOLDEN is seated.
INT. TYRELL CORPORATION INTERROGATION ROOM - DUSK
The eye is magnified and deeply revealed. Flecks of
green and yellow in a field of milky blue. Icy fila-
ments 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
fluctuation 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 overstuffed kid. LEON it says on his
breast pocket. He's dressed in a warehouseman's uni-
form 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 grey. 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
WHIRR 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
I already had I.Q. test this year...
but I don't think I never had a...
HOLDEN
Reaction time is a factor in this so
please pay attention. Answer as quickly
as you can.
LEON
Uh... sure...
HOLDEN
One one eight seven at Hunterwasser...
LEON
Oh... that's the hotel.
HOLDEN
What?
LEON
Where I live.
HOLDEN
Nice place ?
LEON
Huh? Sure. Yeah. I guess. Is
that.. part of the test ?
Holden smiles a patronising smile.
HOLDEN
Warming you up, that's all.
LEON
Oh.
It's
HOLDEN
You're in a desert, walking along
in the sand when....
LEON
Is this the test now ?
HOLDEN
Yes. You're in a desert, walking
along in the sand when all of a sudden
you lookdown 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 toward
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
Whatya mean, I'm not helping?
HOLDEN
I mean you're not helping! Why is
that, Leon?
Holden looks hard at Leon, piercing look.
Leon is flushed with anger, breathing hard, it's a
bad moment, he might erupt.
Suddenly Holden grins disarmingly.
HOLDEN
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.
Leon is glaring now, the blush subsides, his anger
slightly defused.
Holden smiles cheerfully, very smooth.
HOLDEN
Shall we continue?
Leon nods, still frowning, suspiciously.
HOLDEN
Describe in single words. Only
the good things that come into
your mind. About your mother.
LEON
My...
Leon looks shocked, surprised. But the needles in
the computer barely move. Holden goes for the in-
side 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 shoulder and
comes out his back, clean as a whistle. Like a
rag doll he falls back into the seat. Big slow Leon
is already walking away, but he stops, turns, and
with a little smile of satisfaction fires through
the back of the seat.
As Leon walks out of the room the Voight-Kampff
begins to blink, faint but steady.
CUT TO:
EXT. OVERHEAD VIEW CITY - NIGHT
We are looking down on a city of the future where
gigantic buildings dwarf the ancient skyscrapers --
of -- now as a huge blimp, flashing lights and
BLARING SOUND drifts slowly over the tall buildings.
CUT TO:
EXT. THE BLIMP - FROM BELOW - NIGHT
As the blimp drifts through the tall buildings ad-
vertisements appear on the curved sides of dirigible
and an accompanying SOUNDTRACK proclaims, with AM
enthusiasm, the virtues of Offworld emigration.
BLIMP TRACK
ATTENTION SUPERVISORY PERSONNEL!
(WE NEED YOU YOU YOU)
ATTENTION FAMILY MAKERS!
(WE NEED YOU you you)
OPPORTUNITY!
(WE NEED YOU you you you)
AUTOMATIC ADVANCEMENT!
(WE NEED YOU YOU YOU)
TOP PAY!
(WE NEED YOU YOU you you)
NUMEROUS BONUSES!
(WE NEED YOU YOU you you)
SPECIAL INCENTIVES!
(WE NEED YOU YOU YOU you)
NINE PAID VACATIONS PER YEAR!
(WE NEED YOU you you)
(beat, beat)
The Dominguez-Shimata colony
wants supervisory recruits and
families.
Join us in a clean, fresh
environment featuring the
invigorating Johnson and
Murikami California Climate!
(WE NEED YOU YOU you you you)
Enjoy the numerous recreation
areas and resorts such as the
famous Elysium Crater Resort!
(WE NEED YOU YOU you you)
Let our abundant man-made labour
force cater to your personal needs!
(WE NEED YOU YOU you you)
If you meet health and experience
qualifications for the Offworld
Emmigration Programs... the
standard OPE short form... there's
a place for you at Dominguez and
Shimata Colonies.
Press the button now!
Give yourself a brand new world!
(WE NEED YOU YOU you you)
EXT. CITY STREET - NIGHT
Lights from the blimp flash along the street and wipe
across the crowds of pedestrians as the VOICE TRACK
CONTINUES TO BLARE from above.
A portable noodle bar is crowded with customers, sit-
ting on stools slurping their food out of bowls.
DECKARD is standing near the noodle bar waiting for a
seat. He's in his thirties, wiry, athletic, rumpled,
used, unshaven. He's holding a newspaper, made of
tissue paper, open while he glances at the blimp
passing NOISILY overhead. Then he notices the
COUNTERMAN.
The Counterman is beckoning to him to a newly vacated
seat.
Deckard sits down at the noodle bar and the Counterman,
an elderly Japanese, slaps a menu in front of him.
No words on the menu, just pictures of sliced fish
parts.
Deckard points to a particular item and holds up four
fingers.
The Counterman looks at the item on the menu, confirms
the order by holding up two fingers.
Deckard shakes his head "no" and repeats his four
fingers.
The Counterman nods, corrected and hurries off.
Deckard glances overhead.
The blimp drifts off among the buildings like a fish
disappearing in seaweed, the NOISY VOICE doing a
diminuendo.
Whap. The Counterman slaps a bowl of rice and a pot
of tea in front of Deckard. Then he puts the little
bowl with the two slices of fish on the counter.
Deckard looks at the fish. Two slices of fish.
He looks at the Counterman and holds up four fingers.
The Counterman looks down at the two slices of fish,
looks like two to him. He looks at Deckard as though
Deckard was a fool and holds up two fingers. He can
count!
Deckard stares bleakly at the fish. Can't win.
He starts to eat and that's when he feels a tap on his
shoulder. He glances over his right shoulder.
A huge cop in uniform is looming behind him.
Deckard feels funny, looks left.
Another cop is looming over his left shoulder.
Deckard is tapped again from the right.
Turning again he realizes that it isn't the cop tapping
him, it's the short Japanese guy next to the cop. The
guy's got beady eyes and lots of energy. His name is
GAFF.
GAFF
(in Japanese)
*** You will be required to
accompany me, sir. ***
Deckard doesn't understand Japanese, thinks the man
wants a seat.
DECKARD
Wait your turn, pal.
Deckard turns back to his food.
GAFF
(in Japanese)
*** If you do not comply with an
official request, I will be
obliged to exert my authority. ***
Deckard is ignoring Gaff but the Counterman leans in
Deckard's face and translates.
THE COUNTERMAN
He say, you go with him.
Deckard turns and finds Gaff waving a badge in his face.
GAFF
(in Japanese)
*** To defy duly constituted
authority is to flaunt the public
good. ***
Deckard doesn't understand a word.
THE COUNTERMAN
He say, you're under arrest, Deckard.
Deckard turns back to his food.
DECKARD
Tell him he's got the wrong guy.
(turning to Gaff
loudly)
You got the wrong guy, pal.
GAFF
(in Japanese)
*** Wrong guy, my ass. You're
known as The Boogeyman in every
mean joint in town. ***
THE COUNTERMAN
He say, Boogeyman.
Deckard flinches at the word "Boogeyman," but goes on
eating. But now we know, and he knows it's not a
mistake.
GAFF
(in Japanese)
*** You are a Blade Runner in the
Four Sector and after the slaughter
at the steel shop they called you
Mister Nighttime. ***
THE COUNTERMAN
He say, Brade Runner. He say,
Mister Nightime.
DECKARD
Tell him I'm eating.
GAFF
(to the Counterman
in Japanese)
*** Please tell this notorious
gentleman that I am acting as an
emmisary from Captain Bryant and
Captain Bryant has ordered me to
bring Mr. Deckard to headquarters
even if I have to serve him like
so much sushi. ***
Deckard is continuing to eat but he has reacted to
Gaff's repeated use of the word "Bryant."
THE COUNTERMAN
(to Deckard)
He say, you be ornery, okay. He
say big boss Bryant give him
permission to use violence make
arrest. He say Bryant tell him
rearrange your brains akay. Make
you raw fish.
Deckard looks disgusted and resigned.
DECKARD
Bryant huh.
CUT TO:
EXT. STREET - NIGHT
Deckard, still holding his bowl of food, is climbing
into a spinner behind Gaff as the two cops loom over
him. One of the cops shuts the spinner door behind
Deckard and the spinner lifts off in a flurry of wind.
CUT TO:
EXT. CITY - BIRD'S EYE VIEW - NIGHT
The spinner zips through the canyons of the city.
Deckard is sitting in the passenger seat, eating while
he watches the maze of suspension bridges, platforms
and catwalks swim by below. The tops of larger build-
ings emblazoned with fluorescent numerals and scrawls
of neon ads.
CUT TO:
INT. SPINNER - NIGHT
Deckard is sitting gloomily in the passenger seat,
still eating from his bowl with chopsticks as Gaff
maneuvers the spinner through the city canyons chat-
tering in rapid Japanese.
GAFF
(in Japanese)
I told Bryant I could take care of
this myself. Just move me up.
I'll do the job, I told him. Five
phonies. I just air 'em out.
(he imitates shooting)
Bow! Bow! Bow!
Deckard looks at Gaff uncomprehendingly.
GAFF
(continuing in Japanese)
But no, he says. Bryant thinks
you're hot shit, smartest spotter,
baddest Blade Runner. You don't
look so hot to me. Don't even
shave. Bad grooming reflects on
the whole department. You don't
dress well, that reflects on me...
makes the whole department look
like shit.
The skin jobs look better than you
do! What's the point of wiping out
skin jobs if they look better than
Enforcement? pretty soon the public
will want skin jobs for Enforcement.
I guess you'd prefer that, hunh?
That why you quit?
Deckard looks at Gaff. He hasn't understood a word.
DECKARD
I don't understand a word you're
saying.
Gaff glares and mutters, turning his attention to navi-
gation of the spinner.
GAFF
(in Japanese)
Exactly! Whatta jerk! If I wasn't
up for promotion I'd put this baby
in a hot spin and leave your dinner
all over the glass!
The spinner flies low along the center of a busy
street and then turns right.
EXT. PRECINCT SPINNER PAD - NIGHT
The spinner slides toward the pad, cuts speed and
gently touches down as another lifts off.
CUT TO:
INT. POLICE HQ CONCOURSE - NIGHT
An enormous grey vault of a building, Deckard and Gaff
stride down the long corridor. Perhaps Gaff is still
jabbering in Japanese.
CUT TO:
INT. BRYANT'S OFFICE - NIGHT
BRYANT is sitting behind his big desk, a fat man in his
fifties with grey hair, jowls and gas.
BRYANT
Hiya, Deck!
Deckard is standing in the doorway, still in the cus-
tody of Gaff. Deckard glares at Bryant and doesn't
answer. Bryant dismisses Gaff with a head movement.
Deckard glares at Gaff who glares back as he departs.
BRYANT
You wouldn't have come if I'd just
asked you to. Siddown, pal.
Deckard glares at Bryant without moving.
BRYANT
Don't be an asshole, Deckard. I
got five skin jobs walking the
streets.
Deckard smiles and sits down.
BRYANT
They jumped a shuttle offworld.
Killed the crew and passengers.
Deckard reacts. This isn't usual.
BRYANT
We found the shuttle floating off
the coast two weeks ago. So we
know they're around.
DECKARD
Embarrassing.
Bryant is pouring bourbon into a thick shot glass. He
passes the amber tumbler to Deckard who takes it and
holds it to the light.
BRYANT
No, sir! Not fucking embarrassing
... Because nobody's ever gonna
find out they're down here because
you're gonna spot 'em an' you're
gonna air 'em out.
Deckard downs his drink and slides the empty back.
DECKARD
Not me, Bryant. I won't work for
you anymore. Give it to Holden,
he's good.
Deckard turns to go.
BRYANT
I did.
Deckard freezes and turns back.
DECKARD
And?
BRYANT
He can breathe okay... as long as
nobody unplugs him.
Deckard is impressed.
BRYANT
Not good enough. Not as
good as you. I need ya, Deck.
This is a bad one, the worst yet.
I need the old Blade Runner, I
need your magic.
Deckard meets Bryant's pleading eyes for a beat.
DECKARD
I was quit when I walked in
here...
(pause)
... I'm twice as quit now.
See ya, Bryant.
Deckard turns to go.
Bryant's pleading look turns abruptly cold and hard.
BRYANT
Stop the fuck right where you are!
Deckard freezes at the hard tone.
BRYANT
You know the score, pal. When
you're not a cop, you're little
people.
DECKARD
Forgot there for a minute about
the little people. No choices
I guess.
BRYANT
No choice, pal.
CUT TO
INT. WHITE TILED ROOM (DAY)
We are looking at the bright image of a NAKED MAN in a
white tiled room with a white floor... an abbatoir
without blood. The naked man is very athletic. His
face reveals nothing as he executes one physical demon-
stration after another.... one handed pushups, gymnastic
contortions etc. An accompanying soundtrack drones
boringly and while we might pick up a few key words
such as "emigration, "incentive and "Man made
that we absorb the words.. they are the music to which
the image exercises.
After a moment a series of lines cross the screen and
the image diminishes and we realise we are looking at
a monitor.
INT. BRYANT'S OFFICE (DAY)
Deckard and Bryant are sitting in the dark looking
at a series of flickering monitors. Deckard has a
bored expression on his face.
BRYANT
We had an escape from the Off world
colonies two weeks ago. Six repli-
cants, three male, three female.
Slaughtered twenty three people and
jumped a shuttle. An aerial patrol
found the ship in the desert. No
crew.
DECKARD
These are old slave tapes, show me
something new.
The naked man continues to exercise as Bryant
continues.
BRYANT
No sign of them then three nights ago
they tried to break into the Tyrell
Corporation, one got fried going through
an electro-field but we lost the others.
Going on the possibibility they might
try to infiltrate as employees, we sent
Holden in to run Voight Kampff tests on
new workers. Guess he found himself one.
The screen changes. Roy Batty in a loin cloth is battering
a metal post with his fists. The smile on his face
indicates a total lack of pain. He continues to pummel
the post mercilessly his hands becoming bloody.
The only sound is Batty humming Beethoven's 9th.
Deckard begins to look interested.
DECKARD
Who's this ?
BRYANT
It's a Nexus 6. Roy Batty. Incept
date 2016, combat model optimum self
sufficiency. Probably the leader.
DECKARD
Why would they come down here ?
They coulda hid out ?
BRYANT
You tell me pal, that's what you're
here for.
DECKARD
They must want something pretty important
to risk coming back here. What do the
rest look like ?
Bryant pushes a button. And a series of revolving still
shots of Leon, Pris, Mary and Zhora appear on the screen.
DECKARD
Why the Tyrell Corporation? Why would
they return to the place of their
manufacture?
BRYANT
Maybe they want to find out when
they were made ?
DECKARD
Why would they bother?
BRYANT
The Nexus 6 was designed to copy human
beings in every way except their emotions.
But the makers reckoned that after a few
years they might develop their own
emotional responses - hate, love, fear,
anger, envy. So they built in
a fail safe device.
DECKARD
What's that?
BRYANT
The Nexus 6 has only four years
to live.
The screens go blank. The lights go on. Bryant pours
two more drinks and hands one to Deckard.
BRYANT
You got one more problem, pal.
Deckard downs the glass.
BRYANT (continuing)
Looks like Holden found out that
V-K machine doesn't work on the Nexus
6. The Tyrell Corporation has a demo
model so go check it out. If the
machine fails, we're in deep trouble.
CUT TO
INT. HOSPITAL - NIGHT
Small green letterforms skim soundlessly across a dark
glass panel. Beneath the panel a sick, white face
reads excerpts from Treasure Island, mouthing the
words as they appear in front of him. It's Holden.
HOLDEN
(reading)
Holden is flat on his back in a breather, an iron-
lung-type of device covered in indicator lights and
exotic paraphernalia. The hospital room is in com-
plete darkness. Holden's breaths come in sharp rasps
as he reads.
We become aware of Deckard standing in the shadows.
DECKARD
Whatcha reading?
Holden is startled, has to look in a mirror angled over
his head, rolling his eyes way back to see who it is.
HOLDEN
Deckard, Treasure Island! Good to
see ya, buddy. Old Favourite.
Deckard looks down at Holden and doesn't say anything.
HOLDEN
Pretty awful, huh?
DECKARD
Naw, you look great! Absolutely
terrific! Never saw ya look
better. Jesus, you look good.
Deckard pinches Holden's cheek.
DECKARD
Great complexion! Suit looks
really nice. Who's your tailor?
Deckard is making a joke, mocking hospital good cheer
but the touch of bitterness in his voice reveals his
sympathy for Holden.
Tears wet Holden's eyes.
HOLDEN
A big fucking skin job put the
smash on me, wrecked me up! Looka
me, for Chrissake!
Deckard works at being hard.
DECKARD
Ya blew it, huh ?
Holden recovers from his tears and whines.
HOLDEN
It ain't like it used to be, Deck.
It's tough now. These replicants
aren't just a buncha muscle miners
anymore, they're no goddamn different
than you or me...
Deckard lights up and sits down, resting his elbows on
the glass.
DECKARD
So what happened ?
HOLDEN
Ten days ago Security at the
Tyrell Corp finds three intruders
in the records room. Kills one,
two get away, okay ?
Deckard nods.
HOLDEN
They do a routine autopsy on the
one that got aired and.. whaddya know?
A skin job, one of the ones that
busted out! Top drawer replicant..
combat type.. Nexus six.
DECKARD
Pretty sexy, the sixes.
HOLDEN
Sexy! Three hours into the autopsy
they still think they're cutting
up a human. No marks, nothing.
Deckard looks impressed. Satisfied, Holden continues.
HOLDEN
I decided to check out all new employees
at Tyrell. I test 26 boring jerks until
in comes this guy Leon Somebody, nothing
special but very big...
(pause)
Anyway....
DECKARD
You Voight-Kampff him ?
Holden's eyes flutter a moment. Deckard waits. The
breathing changes rhythm.
HOLDEN
Yeah! I thought maybe I was getting
something......
Maybe it doesn't work on these ones
Deck.
Deckard gets up and gives Holden phony good cheer.
HOLDEN
(continuing)
It's all over, it's a wipe out,
they're almost us, Deck, they're
a disease, they're....
DECKARD
Take it easy, take it easy....
Tyrell Corp's got one. I'm gonna
Vee Kay it tomorrow.
HOLDEN
Push it! Push that button!
Deckard pushes.
DECKARD
What's it for?
HOLDEN
Pain!
CUT TO
EXT. CITYSCAPE - MORNING
A bleak morning.
CUT TO
EXT. SPINNER - MORNING
The police spinner is whizzing over the city.
CUT TO
INT. SPINNER - MORNING
Deckard looks very rumpled as he sits sleepily in the
passenger seat drinking coffee from a mug and smoking.
INT. SPINNER - MORNING
Gaff is terse and silent at the controls. Suddenly the
spinner rocks urgently from side to side and the sound
of a hot Ferrari Spinner dopplers off.
Gaff is pop-eyed with instant fury. He hits the spinner
lights and flashes them.
CUT TO:
EXT. OVER CITY - MORNING
The Ferrari Spinner zips right around a huge smokestack
and shoots insolently off into the distance.
CUT TO:
INT. SPINNER - MORNING
Gaff sputters and fumes as he guides the spinner around
the same stack.
Deckard looks at Gaff. It's too early in the morning
for all this energy.
CUT TO:
EXT. SPINNER - MORNING
The Spinner makes a sharp bank, drops into a steep
curve and slides toward the vast plain of industrializa-
tion, the menacing shapes on the horizon, stacks
of belching flames five hundred feet into the sky the
color of cigar ash, towards a large pyramid shaped
building.
CUT TO:
EXT. THE PYRAMID - MORNING
The spinner is in a holding pattern.
CUT TO:
INT. SPINNER - MORNING
Traffic control purrs its SOFT ELECTRONIC INSTRUCTION
into the cockpit as the spinner rocks gently lower,
spiralling into the vortex.
[page 22 missing from script]
CONTINUED
Now we see for the first time, Rachael, a beautiful
woman in her late twenties dressed with taste and
dignity.
DECKARD
Replicants are like any other
machine. They can be a benefit
or a hazard. If it's a benefit,
it's not my problem.
RACHAEL
May I ask a personal question?
DECKARD
Go ahead.
RACHAEL
Have you ever retired a human by
mistake ?
Deckard blinks... hesitates before answering the
question.
DECKARD
No.
RACHAEL
But in your position that is a risk.
An OWL flaps around the huge marble office.
TYRELL (os)
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 Voight Kampff for short.
Deckard turns to see an older man, very distinguished
very well tailored has entered the huge marble office.
TYRELL!
RACHAEL
Mr. Deckard. Dr. Eldon Tyrell.
Tyrell has extended his hand to Deckard. Deckard shakes.
TYRELL
Demonstrate it. I want to see it
work.
DECKARD
Where's the prototype ?
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 gonna prove?
TYRELL
Indulge me.
DECKARD
On you?
Tyrell indicates Rachael.
TYRELL
Try her.
Deckard looks at Rachael. She's a beauty alright. He
shrugs.
DECKARD
It's too bright in here.
Tyrell hits a button.
The windows darken, a polaroid effect that seems to
give Tyrell the power to turn off the sun.
Deckard is placing the Voight Kampff case on the table.
The Voight Kampff opens like a butterfly as the room
darkens.
INT. TYRELL'S OFFICE - A LITTLE LATER
Rachael's eye fills the screen, the iris brilliant,
shot with light, the pupil contracting. We hear
Deckard's voice and we have the impression the test
has been going on for a while.
DECKARD (O.S.)
You are given a calfskin wallet
for your birthday...
Tyrell stands silhouetted behind Deckard, who sits in
front of Rachael.
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 TV and suddenly
you notice a wasp crawling on
your wrist.
RACHAEL
I'd kill it.
Both needles go 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 a
replicant or a lesbian?
DECKARD
You show the pciture to your
husband. He likes it and hangs
it on the wall. The girl is lying
on a bearskin rug.
RACHAEL
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
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
(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.
He picks up another.
He puts the speck in his wallet.
Gaff sits motionless on the sill.
CUT TO:
INT. HOTEL ROOM - NIGHT (A LITTLE LATER)
Deckard takes off the goggles. He motions Gaff off
the sill with his head.
Deckard steps to the window, pulls the photos from
his pocket and studies them in the faint light from
outside.
Snapshots. Very ordinary.
Gaff stands near the door, watching Deckard.
Deckard shuffles through the pictures in front of the
window.
CUT TO:
EXT. HOTEL - NIGHT
Leon is looking up at the hotel.
He can see Deckard in the window looking at pictures.
Leon is breathing hard, angry.
CUT TO:
INT. HOTEL ROOM - NIGHT
Deckard feels funny as he studies the pictures, his
mind changes focus. He steps aside, against the wall,
and glances out of the window.
Gaff watches Deckard and frowns uncomprehending.
Deckard, satisfied at what he sees out the window,
studies the photographs again, but not in front of
the window.
Gaff, frowning, approaches the window and looks out,
puzzled.
CUT TO:
EXT. HOTEL - NIGHT
An angry Leon sees Gaff peering out the window above.
Leon's eyes blaze with anger. He turns and runs off.
CUT TO:
EXT. STREET - NIGHT
A blimp is drifting silently over the city reflect-
ed in an eyeball while we hear the SOUNDS OF THE
STREET.
The eyeball belongs to BATTY who is standing on
the sidewalk. He resembles a tradition, the gym
instructor, short, cropped hair with the body of a
drill sergeant but the eyes are gray and chilling.
Roy Batty is a presence of force with a lazy, but
acute sense of what goes on around him.
He lowers his attention from the sky to Leon.
Leon approaches him.
BATTY
Did you get your precious photos?
LEON
Somebody was there.
BATTY
Police.
LEON
Just men.
BATTY
Police men.
Leon looks sullen. He doesn't know.
Batty is looking at the storefront across the street,
the one that says HANNIBAL CHEW over the door.
Batty indicates the store to Leon with a head movement.
CUT TO
INT. CHEW'S SHOP - NIGHT
Eyes. Nothing but eyes swimming in a thick, clear
solution.
The eyes are in an aquarium inside Chew's shop.
There are other aquariums and technical equipment.
CHEW himself, wearing a heavy fur coat and gloves is
hunched over a workbench in a pool of light doing
meticulous work with a pair of forceps. He is an
ancient Asian and his steamy breath and frosty beard
indicate just how cold it is in this sub-zero
laboratory.
Chew dips the forceps into a vat at his side.
Deep cold!
The forceps and the tiny item in the forceps come out
of the solution frozen solid.
A SPEAKER on the wall CRACKLES and FARTS STATIC.
WALL SPEAKER
Mr. Chew.
Chew keeps working.
CHEW
Aaaaaaaannnnn?
The wall speaker is intermittent.
WALL SPEAKER
... one... URP... wants... to
see you.
Chew continues working.
CHEW
Busy!
WALL SPEAKER
... talk to you... Nexus Six...
designs.
Chew frowns and turns from his work disgruntled.
CHEW
Busy!
Chew continues working while he mutters in Chinese.
Peace returns, he calms down and works in chilly
silence.
Then the door opens.
Standing in the doorway is Roy Batty.
Chew gets up fuming.
CHEW
Busy! Busy! You go away! Make
appointment.
Chew bursts into Chinese.
Batty smiles. You would not want him to smile at you.
Leon enters and closes the door.
CHEW
(apoplectic)
No! No! Cold! Cold! Go away.
Batty smiles. His coat is already covered with ice.
BATTY
Questions.
CHEW
No! No questions!
Leon is staring at the floating eyes in an aquarium.
Batty smiles pleasantly and glances at a tank of
deep cold. Batty sticks his hand in.
CHEW
(urgently)
No! Cold!
Batty still smioing, pulls his hand out. It's icy.
Chew looks at Batty's hand and then at his smiling face.
Chew screams in sudden discovery and outrage.
CHEW
You replicant!
We looks at Batty's machine-gun smile, steam pouring
from his nostrils as we hear the shrill, indignant
voice of Chew being outraged.
CHEW'S VOICE (OS)
You illegal. Can't come here!
Illegal.
Batty is smiling his smokey smile and Chew is point-
ing up.
CHEW
You not belong here. Up there!
BATTY
Fiery the Angels fell... And as they
fell deep thunder rolled around their
shores;
indignant,
burning with the fires of Orc.
Chew is bug eyed. What is this shit?
Batty reaches out and puts his hands on the collar of
Chews's fur coat.
BATTY
Questions!
RRRRRIIIIIIPPPP.Batty pulls the coat apart, it splits
along the back seam and falls away like a banana peel.
Chew is suddenly totally scared, totally cold and totally
co-operative.
CHEW
Okay! Answers!
(pointing)
Gimmeee coat! Cold!
Chew is pointing to the wall pegs where more fur coats
hang.
BATTY
Morphology.. longevity... use life...
incept dates...
CHEW
(squealing)
I dunno! Dunna that stuff. I do
eyes! Just eyes! Genetic designs,
just eyes!
Batty looks around the room at the tank of eyes, the
muscle charts of eyes, the pictures of eyes.
BATTY
Ah! I thought perhaps feet...
hands... muscle tissue.. or..
noses...
CHEW
(desperate)
Just eyes. Gimee coat, okay?
Leon is staring into the tank of eyes, trying not to
blink.
The eyes stare back at Leon, unblinkingly, arrogantly.
BATTY
My eyes..... I guess you designed
them, eh?
CHEW
You Nexus? I design Nexus eyes.
SMASH! Leon, infuriated by the unblinking eyes, smashes
the tank and the insolent eyes pour out onto the floor.
Batty smiles and points to his own eyes.
BATTY
Ah, Chew.....
(squish,squish)
If only you could see the things
I have seen with your eyes.
Squish! Squish! The squishes are Batty's feet
stepping in eyeballs as he paces in front of Chew.
CHEW
Please! Cc-cc-cold!
BATTY
(prosecuting attorney)
Questions!
CHEW
D-dunno answers! P-please!
BATTY
Who does?
CHEW
Tyro! Knows everything!
BATTY
The Tyrell Corporation?
CHEW
Big boss! Big genius! Design
your brain.
BATTY
Ah! Smart!
CHEW
V-very cold, p-please....
BATTY
Not an easy man to see, I'd
guess. Security.....
CHEW
Sebastian take you! Gimmee
coat.
BATTY
And who is Sebastian?
Chew is blue and hysterical.
CHEW
J-j-j-j-j F. S-sebastian.
Please.............
BATTY
Ah! How would I find him...
J.F. Sebastian ?
Chew looks like heart attack city. Is it going to
go on forever?
CUT TO
EXT. DECKARD'S APARTMENT BUILDING - NIGHT
Deckard's car pulls up into a drive of a condominium
block that looms against the night sky like a pile
of cardboard boxes.
Deckard gets out of the car wearily and heads for the
front door.
CUT TO
INT. ELEVATOR NIGHT
The elevator is gloomy, poorly lit, full of shadows.
Deckard asks for the 97th Floor.
The ELEVATOR makes a creaking noise, very distinctive,
and starts upward.
Deckard frowns. Something is wrong. He is suddenly
very alert, ready.
There are shadows behind him but he can't turn to look.
The ELEVATOR CREAKS UPWARDS.
Deckard goes for his blaster, gets it out quick and
whirls.
Rachael is there, in the shadows.
Deckard's blaster is pointed at her. One more second.....
Deckard lowers the blaster. He's shaking all of a sudden.
RACHAEL
I'm sorry.
INT. CORRIDOR NIGHT
Deckard exits the elevator and approaches his door.
Rachael is behind him, she's desperate.
Deckard takes out his wallet, it drops to the floor
scattering his cards.
Rachael picks up the cards.
RACHAEL
Let me help you.
DECKARD
What do I need help for?
Deckard takes the card from her and starts to open
the door.
RACHAEL
I don't know why he told you what
he did.
DECKARD
Talk to him.
INT. DECKARD'S APARTMENT - NIGHT
The place is a mess.Deckard walks in leaving the door open.
RACHAEL
He wouldn't see me.
Deckard goes into the kitchen, comes out with a towel drying
his hair. He walks to the cocktail cabinet and pours himself
a drink.
DECKARD
I'm gonna have a drink.
RACHAEL
You think I'm a replicant, don't
you?
Deckard takes off his wet raincoat and throws it on a chair.
RACHAEL
Look.
She goes to him holding a picture in her hand.
Deckard looks at it.
It's an old snapshot, a little girl with a mother and father.
RACHAEL
It's me with my parents.
Deckard hands it back to her slowly. Finally speaks.
DECKARD
You remember when you were about six and you
and your brother snuck into an empty building....
through the basement window ?
RACHAEL
What? Y-yes....
DECKARD
You were going to play Doctor. He showed
you his, then you chickened and ran out.
RACHAEL
But....
She looks up and he's staring at her, but she doesn't seem
to notice.
DECKARD
Remember the bush outside your window
with the spider in it.
Rachael looks up at him.
DECKARD
Green body, orange legs... you watched
her build a web all summer.
RACHAEL
Yes.
Her voice is getting very small.
DECKARD
One day there was an egg in the webb.
Rachael nods faintly.
RACHAEL
After a while, the egg hatched and
hundreds of baby spiders came out and
ate her. That made quite an impression
on me, Mr. Deckard.
DECKARD
You still don't get it?
RACHAEL
No.. I... I .... don't.
Deckard is now nasty, downright bitter.
DECKARD
Implants. They are not your memories,
they belong to Tyrell's sixteen year
old niece.
Rachael doesnt say anything, she can't.
DECKARD
He's very proud of them. He ran them
on a scanner for me.
Rachael just stares at him, stunned and barely holding on.
DECKARD
Still don't believe me ?
RACHAEL
I... I...
DECKARD
Right. I made it all up. You're not
a replicant. It was a nasty joke. Go home.
Rachael is biting her lip or something, holding it back.
DECKARD
Go on. Beat it. Sorry. Bad joke.
Deckard sees he's gotten through... maybe too far.
DECKARD
Wanna drink ?
She's completely destroyed, silent.
DECKARD
I'll getcha one.
Deckard hurries out.
The CLOCK IS TICKING.
CUT TO
INT. KITCHEN - NIGHT
Deckard is peering at her from the doorway, a Peeping
Tom. He sees the shaking hands. He doesn't like this
shit.
He turns his attention to getting the drink. The
kitchen is a disaster area, dirty dishes overflowing
from the sink the way a plant grows out of a pot.
Deckard opens the refrigerator. The contents aren't
messy so much as unusual. He opens the freezer com-
partment and pulls out a bottle of Tsing Tao vodka
and eyes it. Half-empty.
He rummages among the dirty dishes for a glass that
doesn't actually have fungus growing in it. He finds
one that's only greasy, wipes it with a dirty towel
(making it greasier) and pours vodka into it.
He heads back into the living room.
INT. LIVING ROOM - NIGHT
Deckard stops in the doorway,surprised.
The room is empty. Rachael is gone.
Deckard stares at the empty room for a long moment. Then
he chug-a-lugs the vodka. As he brings his head back and
winces from the fiery booze he sees something.
Something crumpled on the floor.
He goes over and picks it up.
It's the picture of Rachael with her parents. He studies
it.
On the other side is a phone number.
Deckard walks over to the window and stares out.
A spinner flashes by smearing light on his face.
CUT TO
EXT. AN ABANDONED BUILDING - NIGHT
Pris exits the building and starts across the street.
A spinner rockets past overhead. She reacts nervously
watches the spinner slide away.
She crosses the street past a window full of wedding dresses
as the spinner zips off in the distance.
EXT. SEBASTIAN'S BUILDING - NIGHT
Pris walks under the art deco marquee between the twisted
corduroy columns and into the foyer.
She picks a spot near the entrance and is covering herself with
old newspapers and trash for warmth when she hears a strange
NOISE.
A weird street cleaning MACHINE GRINDS past.
Pris watches the machine with interest, then huddles
under the trash.
A battered old truck, Sebastian's, SPUTTER AND FARTS
to a halt in front.
SEBASTIAN gets out, a young man with skin that is yel-
lowing into old parchment. He's wearing a World War
Two leather pilot's cap and dark goggles and carrying
a pack.
In spite of his youth, he carries himself like Old
China as he walks toward the entrance with the gait
of an old man.
Sebastian stumbles over the trash covered body of Pris
and Pris leaps to her feet and start to run like a
frightened gazelle.
SEBASTIAN
Hey!
He reaches down and picks up the bag she left in the
trash.
SEBASTIAN
You forgot your bag.
He's holding it up.
She eyes him from a distance... unsure of him. Then
she moves toward him tentatively.
Sebastian smiles awkwardly and holds out the bag.
PRIS
I'm lost.
SEBASTIAN
Don't worry, I won't hurt you.
Both of them are silent. People are not Sebastian's
forte... 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 were you going?
She shrugs. That leaves him a lot of responsibility.
He throws her side-long glances, but she's not helping.
SEBASTIAN
Home?
PRIS
I don't have one.
SEBASTIAN
Oh.
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 inside, you wanna
come in.
PRIS
I was hoping you'd say that.
Sebastian's grey face flushes with pleasure. He turns
and inserts a key in the ornate iron mesh door and
swings it open.
CUT TO:
INT. SEBASTIAN'S LOBBY - NIGHT (SHOT)
Stacks of gaudy balconies loom into shadows above.
Overhead lights reveal a shark-like blimp cruising
above the building glowing with advertisements.
Pris stares in wonder.
PRIS
And you live in this building all
by yourself ?
SEBASTIAN
Yeah, I live here pretty much alone
right now....
CUT TO
INT. CAGE ELEVATOR (SHOT)
Pris and Sebastian are standing in the mesh elevator
as it grumbles noisily into the shadows above.
INT. CORRIDOR - NIGHT (SHOT)
Pris and Sebastian are standing in the mesh elevator
as it grumbles noisily into the shadows above.
INT. CORRIDOR - NIGHT (SHOT)
Sebastian and Pris walk down the corridor towards
his apartment .
PRIS (WILD LINE)
No housing shortage around here.
SEBASTIAN (WILD LINE)
Plenty of room for everybody... most
of the others have emigrated already.
INT. CORRIDOR - NIGHT
Sebastian is unlocking his door. He opens the door
and ushers Pris into the apartment.
INT. SEBASTIAN'S APARTMENT -NIGHT
Sebastian flicks on the light revealing the high
walls, elegant moulding and strange contents.
A three foot high Kaiser Wilhelm figure and a teddy
bear dressed as Napoleon march into view from a
doorway. An alarm sounds.
SEBASTIAN
Yoo hoo, home again, home again!
BEAR
Good evening J.F.
The alarm cuts out.
The Bear and Kasier Wilhelm stare woodenly at Pris
for a moment, then turn away disappearing into the gloom.
SEBASTIAN
They're my friends... here,
can I take your things, they're soaked.
BEAR
(muttering)
Home again, home again, jiggidy jig.
Pris is delighted. She strips off her topcoat,
revealing a shape to pop eyes.
SEBASTIAN
(besides himself)
Where are your folks ?
PRIS
I'm sort of an orphan.
Pris smiles.
SEBASTIAN
What about friends?
PRIS
I have some, but I have to find them....
I'll let them know where I am tomorrow.
SEBASTIAN
Oh!
There is a silence. He steals a glance at her.
SEBASTIAN
Well..... I can sleep on the couch.
PRIS
Watch the bed bugs don't bite !
INT. DECKARD'S APARTMENT - NIGHT
A blurry photograph, unclear, FILLS THE SCREEN.
The photograph intensified. The foreground BLURS AND
SHARPENS. it's the "man" in Leon's room with the
wardrobe behind him. The head is turned away and
downward, the face unreadable.
Another change! A dramatic one. The picture is
suddenly three dimensional.
Now we see that Deckard is studying the picture in a
viewer controlling the effects with punch controls.
The ashtray next to him is full of butts. The bottle
of vodka is nearly empty.
He sucks on his cigarette and empties the vodka bottle
into his glass and goes back to peering into the
viewer.
He punches up.
A transparent grid with vectors is superimposed over
the photo.
Deckard's eyes move over it carefully.
DECKARD
Sharpen line forty-eight between
twenty point twenty-seven.
The edge of the man sharpens.
DECKARD
Profile trace.
Slowly the view tracks the periphery of the man's
shoulder, up and around the skull, down the other
side and as it approaches the bottom of the picture
passes a miniscule sparkle...
DECKARD
Stop. Back up.
The line is retraced.
DECKARD
Stop.
The faintest little sparkle. Static. Almost nothing.
Deckard leans forward.
DECKARD
Enhance.
The view squeezes in. The "spark" seems to be coming
from about fifteen feet behind the figure -- from
within the wardrobe.
DECKARD
Seesaw.
After a short pause, as if the command causes the
machine to strain, it emits a thin, high-pitched
FREQUENCY SOUND and the picture begins a horizontal
yawing motion. As it swings back and forth glimpses
of things previously obscured by the foreground
figure are revealed. Slightly at first, but the
opening grows as the process picks up momentum.
Deckard's right down there, hands on his knees like
a man watching his favorite team make a crucial play.
DECKARD
Stop!
The picture freezes.
DECKARD
Enhance.
The view pushes in to the wardrobe. In its gloomy
recesses hangs a dress.
DECKARD
Enhance.
In closer on the dress. An exotic shimmering gown
made of sequins. Deckard ponders it, smiles slightly.
DECKARD
I don't suppose one of those males
has a transvestite problem.
Pause.
DECKARD
Hey!
Esper wakes up.
ESPER
Yes?
DECKARD
I said, I don't suppose one of
those males has a transvestite
problem.
Pause.
ESPER
Negative.
Deckard considers the situation for a few moments,
then frowns thoughtfully and fishes his wallet out of
his pocket. He produces the flakes he found in the
hotel room.
Deckard lights a cigarette.
The flake.
He's holding it on the tip of his finger under the
light of the console screen. He sits down, studying
it like Hamlet, contemplating Yorick's skull. But
for the HUM OF THE MACHINE, a long silence.
ESPER
You're gonna have a fire if you
don't turn off the machine.
Absently, Deckard reaches out and flips it off. He
sits a while in the silent dark. Then goes into the
bathroom.
INT. SHOWER - NIGHT
Deckard stands in the shower, his cigarette still in
his mouth.
CUT TO:
EXT. NOODLE BAR - NIGHT
It might be 2:00 a.m. but the joint is still crowded
as noisy taxi drivers jostle each other for seats and
jabber in Kangaroo, a crude lingual mix of Chinese,
Japanese, French and Tagalog.
Deckard is hunched over his bowl of noodles, slurping
hungrily from his busy chopsticks.
Whap! The counterman slaps a serving of fish heads on
the counter in front of a CHINESE sitting next to
Deckard.
Startled by the sound Deckard glances at the bowl of
fish heads, then turns his attention back to his
noodles.
But after two bites he frowns and turns to look at
the fish heads again.
The Chinese is eating the flesh hungrily from a head.
He cleans the skull and drops it on the plate.
Deckard stares at the heads with their blank stares
that seem to gaze at eternity.
Deckard is thinking.
The Chinese is eating.
Deckard frowns lost in furious thought. Suddenly he
reaches out and grabs a fish head.
The Chinese goes bug-eyed with indignation.
CHINESE
(in Chinese)
What the hell are you doing, you
moronic ahng mo dim bulb? That's
my goddamn dinner you (in English)
dumb shit!
Deckard is peeling scales off the fish head. He grabs
his wallet, produces the flake and compares it to the
scales from the head. He ignores the ranting of the
Chinese as he stares at the flake next to the scales.
DECKARD
Fish!
CHINESE
(in Chinese)
What do you expect you get from
fish head, stupid?
(in English)
Elephant shit?
CUT TO:
EXT. ANIMAL ROW - NIGHT
An aquarium full of fish, weird looking fish, the
kind that might eat each other. They're gliding in
sinister clusters like Doberman pinschers with gills.
The CAMBODIAN LADY is a withered woman in black.
She's got a lens in her eye and she's looking at the
flake which is on the tip of her finger.
CAMBODIAN LADY
Not fish! Snake !
And she points down the row.
Deckard looks that way and we.........
CUT TO
MICROSCOPIC VIEW - NIGHT
We are looking at a huge enlargement of a snake scale
seen through a microscope.. but we don't know that.
It's just a grand abstract weirdness blurring and
sharpening and changing.
EGYPTIAN (OS)
The finest quality, yeeeeeeessssss.
Perfect workmanship.
Geniune artificial snake.
The flake becomes a landscape of forests and moon-
scapes. Buried deep in the texture of the thing is a
serial number.
EGYPTIAN (OS)
Serial Number 99069745xb7Y
That would indicate a Crotalus
Atrox......
CUT TO
EXT. EGYPTIANS JOINT - NIGHT
We see the Egyptian for the first time as he takes
his eye from the viewer and points to a snake in one
of the many tanks that writhe with groggy reptiles.
EGYPTIAN
(continuing)
... such as that one there with
the black and white ring on tail.
(making a whirring noise)
Western Diamon Back....
(whirr)
Rattler.
Deckard is looking at the ugly serpent.
The Egyptian hands the scale back to Deckard.
DECKARD
Who made it ?
EGYPTIAN
This quality... not too many.
DECKARD
How many ?
EGYPTIAN
Very few.
DECKARD
How few ?
EGYPTIAN
Perhaps less than I thought....
but still, more than I can remember.
DECKARD
What helps you to remember ?
The Egyptian pushes a hand out in front of him, revolving
the thumb slowly against the next two fingers.
Deckard slips a card out of his pocket and into the
man's fingers. It's a police card. It gets a super-
cilious smile, a sigh and a shrug. And that's all
it gets. The man knows his rights. The card is
handed back. The smile remains.
EGYPTIAN
What was the question again?
DECKARD
The question is...
Deckard steps in closer.
DECKARD
Are you a citizen?
EGYPTIAN
Yes.
DECKARD
Naturalized?
EGYPTIAN
Yes.
DECKARD
Your papers are in order.
EGYPTIAN
Of course.
This guy's got it covered.
DECKARD
You have a license for this
establishment?
He points it out with a righteous finger.
DECKARD
Fire permit?
EGYPTIAN
Right here.
He lifts it out of a drawer, displays it. A long
pause. The Egyptian smiles smugly. It pays to have
things covered. Deckard pushes closer.
DECKARD
In two seconds I'm gonna break
your fuckin' spine if you don't
tell me what I wanna know.
Pause.
EGYPTIAN
I see.
Deckard's face is two inches away. It's all very
plain.
EGYPTIAN
In that case, I think I will be obliged
to tell you that one of two men could
have done this.
DECKARD
Who ?
EGYPTIAN
Me.
The Egyptian works on an uncertain shit-eating grin
hoping to charm his way out of a hole.
Deckard lets him sweat for a beat or two, looking hard.
DECKARD
Who do you sell your junk to .
EGYPTIAN
Artists. Always to artists.
The Eygptian looks nervously at Deckard,sees he
means business and hastily begins to shuffle through a
wad of receipts from a cigar box.
CUT TO
INT. TAFFEY'S SNAKE PIT BAR - NIGHT
A big guy, back to camera is sitting at the bar in
this sleazy joint.
DECKARD (OS)
You buy a snake off an Egyptian ?
The big guy turns to face his questioner. His name
is TAFFEY LEWIS big and bad and low-life. He looks
like he's looking at a cockroach.
TAFFEY
Buzz off, fella.
Deckard is searching in his pockets. He pulls a dirty
handkerchief out, puts it on the bar, pulls out a
crumpled pack of cigs from another pocket, a wad of
money cards from another. He's putting all sorts of
things on the bar. Among them is the picture of
Rachael and her parents.
DECKARD
You ever see..... you ever se... ?
At last he finds the photo of the reclining woman, shows
it to Taffey.
DECKARD
You ever see this woman ?
Taffey doesn't even look at the picture.
TAFFEY
Never saw her. Buzz off,pal.
Deckard flashes his police card.
DECKARD
Got your licenses in order, old
buddy ?
TAFFEY
Pal, I got a license to piss,
I got a license to kiss,
An' I got a license to pee at
four in the morning.
I got licenses for things I do with
my wife an' I got licenses for things
I don't do with my wife.
I got licenses for bad dreams, pal.
I got licenses you wouldn't believe.
Now buzz the fuck off, okay ?
Deckard seems blown away, puts his hands up, palms forward,
surrendering.
DECKARD
Take it easy mister, don't get
excited.
TAFFEY
Nobody pushes me around.
DECKARD
Forget I asked. My mistake.
Water under the bridge.
Taffey looks a little startled. It was this easy ? He's
kind of pleased with himself now that he's firmly estab-
lished his authority.
TAFFEY
No hard feelings. I just don't
take a push, that's all.
DECKARD
No hard feelings.
TAFFEY
(to the bartender)
Louis, the man's dry. Give him
one on the house, huh ?
BARTENDER
Whatcha drinking ?
DECKARD
Smokey, dry.
TAFFEY
You assed about a snake.....
Deckard is suddenly hopeful.
DECKARD
Yeah.....
TAFFEY
Wanna see a snake, huh?
The Bartender puts a weird drink in front of Deckard...
tiny worms floating in a viscous liquid.
Deckard takes the drink like he was used to it and swigs.
TAFFEY
Louis, show the cop the snake,
willya?
The Bartender reaches under the bar and pulls out a
large snake that writhes lazily on the bar. It is
bright gold.
DECKARD
(disappointed)
Wrong snake.
TAFFEY
Don't like gold ?
DECKARD
Gold's okay.
TAFFEY
Original paint job was shitty. Those
fucking Egyptian's do crappy work.
DECKARD
How long ago did ya paint it?
TAFFEY
I dunno. Couple of months.
Why ?
Deckard looks discouraged, swigs the last of his drink.
DECKARD
No reason. Doesn't matter.
(to the bartender)
Gimmee another, willya?
There is a burst of applause and they all look around
toward the stage.
A large egg has appeared on the stage, beside it a
smaller egg.
TAFFEY
Getta loada this. New act.
Very artistic, very sen-shoe-all.
Beautiful.
Music starts to play.
Deckard looks bored and discouraged. Absently starts
picking up his junk off the bar... the wads of money cards,
cigarette packs, matches... the picture of Rachael. That
catches his attention.
Deckard stares at the picture for a long moment.
DECKARD
Gotta phone ?
CUT TO
INT. TAFFEY'S BAR MOMENTS LATER
Deckard is at a telephone not far from the bar. He's
got the phone hooked between his shoulder and ear while
he notes a number.
DECKARD
.......six six five. Thanks.
Deckard breaks the connection, then starts punching the
numbers.
Behind him the stage show is progressing. A beautiful
woman named SALOME is emerging from the large egg, very
scantily clad, an erotic birth scene.
Rachael appears on the telephone vid-screen.
RACHAEL
Hello.
DECKARD
People have walked out on me
before... but never when I was
being charming.
Rachael freezes when she see who it is. Says nothing.
DECKARD
Ya missed out on the drink I
poured ya.
Rachael still says nothing.
DECKARD
Wanna try again ?
For a long moment it seems Rachael isn't going to say
anything.
Rachael is bitter.
RACHAEL
(on Vid-screen)
Hunting... "skin jobs "?
DECKARD
Didn't find any.All I found was a bar.
Why waste it ?
RACHAEL
(on vid-screen)
Not my kind of place I'm afraid.
DECKARD
Meet me here. We'll go someplace
else. It's in the Fourth Sector....
Something on the stage catches Deckard's eye. He frowns.
On stage, a snake has emerged from the second egg.
Deckard is suddenly pre-occupied with the stage show as
he absently gives the address over the phone.
DECKARD
...... the Fourth Sector, on the line.
Taffey Lewis' Snake Pit.
RACHAEL
I don't think so Mr. Deckard.
As I said......
Deckard is staring at the stage show.
DECKARD
(absently)
See ya in a half hour.
He hangs up.
On stage, the snake and Salome are into sexy stuff.
CUT TO
INT. BACKSTAGE A LITTLE LATER
You can hear applause and catcalls from the audience
as Salome flounces backstage. She starts toward the
dressing room.
Deckard emerges from the shadow.
DECKARD
Excuse me, Miss Salome....
She turns. Deckard's posture and attitude suggest humble,
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 tall in her high heels and
looks down on him with haughty suspicion... a girl 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 the
management taking liberties with
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 job... 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.
INT. DRESSING ROOM - NIGHT
Musty, cramped. A portable shower, a dressing table
and not much else. On the dressing table lies a snake.
Deckard watches it undulate into the warmth of the
lights.
DECKARD
Is that mother for real ?
SALOME
Of course he's not real. You think
I'd be working here if I could afford
a real snake ?
Deckard reaches out to touch it. As his fingers make
contact, there's an electric "snap". he jerks his hand
back from the shock.
Salome is taking off her costume. There's not much to
take off.
Deckard gets a glimpse of nakedness as she slips behind
the screen and turns on the shower.
DECKARD
How long you been doing a snake act ?
SALOME
What is it with you... you looking for
holes or what ?
He starts pacing the room like's he's inspecting the walls.
DECKARD
You'd be surprised - they have their ways
of doing their dirty work without the victim
even knowing what's going on.
His fingers are moving over her gowns. There's about six of
them, on hangers, but nothing quite like the one in Leon's
closet.
DECKARD
You'd be surprised what a guy'll go through
to get a glimpse of a beautiful body.
SALOME
No, I wouldn't.
DECKARD
Little dirty holes they drill in the wall
so they can watch a lady undress.
And to his amazement, low on the wall, behind the dresses,
he actually spots one. He moves down for a peek.
SALOME
And what if somebody did try to "exploit"
me? Who do I go to ?
Deckard's peeking at a pair of fat legs in the next room.
DECKARD
Me.
SALOME
And who do I go to about you ?
He looks around... she's out of the shower dripping nude.
Her hair blonde and cropped short. Her black hair is a wig
which now hangs on the wall next to the shower. She didn't
look like Nexus designated Zhora to begin with, but even less
now.
SALOME
So did you find any holes ?
Deckard makes a sheepish grin.
DECKARD
One so far.
SALOME
You're a dedicated man.
Her smile is an invitation. She throws him a towel.
He catches it and she turns her back to him.
SALOME
Dry me.
The evening doesn't have to be a total waste. Deckard
steps up behind her and starts patting her down.
On the dressing table in front of them the python
noses through the cosmetics, tongue flicking, trying
to get back to its mistress. Caught up in the sensu-
ousness of the moment, absently she reaches out to
stroke the snake.
Deckard works his way down her back, over her buns and
as he reaches her thighs, sits on the cot. Concen-
trating on her buns, he leans back for a handier per-
spective. But jerks forward like he'd been stung as
his ears are hit with the BUZZ OF RATTLES directly be-
hind him.
Partly hidden behind the pillow against the wall is
the Egyptian's pride and joy, a four-and-a-half foot,
ring-tailed diamondback rattler. Its lethal looking
spade-shaped head elevated out of its coiled body,
tail erect and whirring madly.
Deckard rolls off the cot going for his blaster as he
hits the floor. SALOME/ZHORA has her hand around the
head of the python and, using it like a club, she
brings it down with all her might.
Deckard rolls out of the way as the SNAKE WHISTLES
through the air with such force, it ruptures as it
hits the floor.
If Deckard's fast, Zhora's a blur. As he FIRES, her
foot kicks into his groin, and he doubles up with the
pain of it. He tries for a second shot but she's al-
ready out the door carrying a raincoat.
INT. PASSAGEWAY - NIGHT
Bottom lip between his teeth, Deckard hops out of the
dressing room in time to see her go through the door at
the other end of the hall.
It hurts to move so fast, but he jack-legs after her,
arrives at the door and flings it open. Blackness.
The SOUND OF HER HIGH HEELS CLATTER down the metal
steps.
EXT. STREET - OPERA HOUSE - NIGHT
It's RAINING HEAVILY.
The front of the Opera House is open only to foot
traffic these days. A bizarre place on a Friday night,
hawkers and whores, the rabble, the poor and the curi-
ous mill around the crudely built platforms and
brightly lit stands. Zhora, in just a translucent
raincoat, is not out of place in this flea market at-
mosphere. 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
pedestrians are in his line of fire. He runs past
them and drops to one knee, leveling his blaster.
DECKARD
Stop or you're dead!
She doesn't.
Deckard OPENS UP, squeezing off two quick misses.
WHAP! The corner of the building disintegrates --
bricks imploding, dust in the air.
FWAAAP! Another miss! A lamppost wrenched with a
tight air implosion. Twisted metal, a breath of smoke.
Deckard FIRES again!
WHUMP! Zhora takes a hit in the back of the head, and
that's it for her except her motor reflexes which keep
her going right into a showcase window.
CRASH! Zhora explodes through a series of plate glass
windows in adjoining shops.
Deckard is trying to pour FIRE through the tunnel of her
jagged wake, but after TWO MISSES his blaster CLICKS
empty, CLICKS empty, CLICKS empty and he watches her
go.
Zhora breaks through one window after another, getting
sliced, already shot, running on reflexes. Glass
sprays like fireworks as she smashes through the last
two windows and into the street. She's going too fast
to stop.
She hits a passing bus so hard she's smeared all over the
side like a mural and the bus squeals to a halt.
The rain has stopped and turned into a quiet DRIZZLE.
WATER GURGLING down the gutters.
Hunched over, breathing hard, Deckard comes slowly
forward. The crowd starting to gather. Something here
for everybody as they're coming from all directions.
Deckard moves through them, ending up to the side of
the bus.
Zhora is wedged on her side, torn, bloody and broken.
All she can move is her eyes -- they dart about like
a wounded animal doomed in a trap and stop on
Deckard.
He's kneeled in the street, stooped low, head cocked at
an awkward angle looking back at her.
In the cramped and dripping darkness her eyes are turn-
ing glassy. The intervals between the FALLING DROPS OF
WATER accentuate the silence until there is no dripping
and even the gurgling gutters have receded into silence
as the life drains out of Zhora's face until it's
frozen, dead.
Deckard's eyes slowly follow the rivulets of blood that
lead over the slope of a blacktop to his shoes. Deckard
tries to repress his wince. His eyes reveal that it's
getting to him. He's aware of the spectators around
him.
Looking up, he sees them moving nervously away from
him with frightened looks.
Then he sees her. Rachael is standing in the crowd
staring at the dead Zhora.
Rachael's face reveals her horror. She looks from Zhora
to Deckard.
Deckard feels her eyes burn into him. He clicks his empty
pistol stupidly. CLICK CLICK.
Lights from a spinner smear over the crowd, sirens whine.
Deckard sees Rachael disappear into the crowd.
Deckard starts to say something but anything he said would
be drowned in siren noise.
Rachael is swallowed up into the crowd near a big sign
(or some other distinctive landmark).
CUT TO
EXT. THE CROWD - NIGHT
Leon and Batty are just faces in the throng of ASIANS
and LATINOS. They too see the body of Zhora.
Batty and Leon look very grim.
They turn their attention to Deckard.
From their point of view they see a pantomime out of ear
shot.... Deckard hastily flashes his badge at arriving
COPS, points to Zhora, gives a couple of instructions and
hurries off, passing under the big sign, leaving the cops
to stare after him with amazement.
Batty and Leon exchange a look. Batty makes a head movement.
Leon heads off toward the big sign.
CUT TO
EXT. STREETS - NIGHT
The tide of STREET PEOPLE moves inexorbaly as Deckard,
like a swimmer, moves through them, eyes busy, searching
for Rachael.
Thinks he sees her.
Shoves his way through the crowd.
Not her.
Looks around in dispair.
Catches sight of her half a block away.
Deckard hurries after her. Calls out.
DECKARD
Rachael. Wait.
Rachael looks back, sees him.
DECKARD
Hold on.
Rachael keeps going.
Deckard is hurrying past the mouth of an alley. Suddenly
he's being hurried into the alley.
DECKARD
Hey.
A big guy is collaring him and hauling him into the alley.
Leon.
CUT TO
EXT. ALLEY NIGHT
A family of SAMOANS look up from their dismal cooking
fire in the alley.
DECKARD
Hey, what the hell, buddy!
The Samoan's faces are blank. They stick by the fire and
express no feelings anout the events in the alley.
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 knew where Zhora was
so quick?
His hand is like 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, 2017.
How long do I live?
DECKARD
Four years.
He lets go.
LEON
More than you.
Deckard's knees come up fast, but 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
Six.
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.
DECKARD
I agree with you.
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.
LEON
Too late. Your mistake.
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.
Deckard has slumped to the ground where he sits propped
into a sitting position by the wall, staring up in
amazement at his deliverer.
He sees Rachael standing there with his blaster,
Rachael is staring at the body of Leon, stunned and
shaken at what she has done.
Deckard looks up at her, his eyes swollen into slits,
his mouth and nose bloody. He sees how shaken she is.
Rachael turns and looks at him. Their eyes meet.
She drops the blaster.
Deckard gets painfully to his feet, picks up the
blaster and starts to reload it. He doesn't make the
same mistake twice. He glances at her.
Again their eyes meet.
CUT TO:
EXT. 42ND STREET - 20 MINUTES LATER
It's the 42nd Street of the future, a garish, wicked
place.
Deckard and Rachaek are walking together, almost
zombies.
Deckard is only a little less bloody and a lot more
swollen.
Rachael looks stoned on the horror of the killing.
DECKARD
There's only one thing that works
on cuts and bruises and long nights.
She looks at him blankly.
CUT TO:
EXT. KIOSK - MOMENTS LATER
It's a grimy little tienda with a counter right on the
sidewalk and shelves crammed with dusty bottles,
bright packs of cigarettes, old magazines and assorted
junk. The SALESLADY wears an eyepatch and a sharp look
in her good eye.
Deckard and Rachael are facing her.
DECKARD
Tsing Tao.
The Saleslady tries to hand Deckard a half pint but he
shakes his head and points and she produces a fifth.
Deckard is paying when he feels a tap on his shoulder.
He turns and sees Gaff leering at him.
Not what Deckard expected or wanted. His eyes flicker
a warning in Rachael's direction.
Rachael is standing in the flow of pedestrians, Asians,
Mexicans and Indians. She has already seen Gaff and
she gets the message in Deckard's eyes and allows her-
self to drift away, part of the stream of humanity
moving down the sidewalk.
But Gaff's sharp eyes have picked up Deckard's look
and he glances.
What Gaff sees is the back of a woman's head in the
crowd.
Gaff looks back at Deckard and makes a head movement
indicating the vehicle at the curb.
It's a spinner and Bryant is grinning at the window,
chewing on a heater.
BRYANT
Christ, Deckard, ya look almost as
bad as that tit job ya left under
the bus. Almost.
Deckard walks over to the spinner.
Gaff is looking down the street, trying to make out the
Caucasian woman disappearing in the crowd.
DECKARD
You get the call on the big one?
BRYANT
Bet your ass. Two in one night,
you're the same old shitstorm,
aren't ya?
(to Gaff)
You could learn from this guy,
Gaff. A goddamn one-man slaughter
squad, that's what he is, a real
shitstorm.
Gaff has to smile and nod politely, that's his job.
Deckard has followed Bryant's beady gaze to the obvious
bottle he's holding in the paper bag.
DECKARD
I'm going home.
BRYANT
Home! A killer like you! I
figured you'd be up all night
slaughtering phonies. Four to
go, thought you'd just leave
'em dead in the alleys for us
to pick up. Haw! Haw! Come on,
Gaff.
DECKARD
Three. There's three to go.
BRYANT
Huh?
DECKARD
There's three left.
BRYANT
Four. That tit job you vee kayed
at the Tyrell Corp... disappeared.
She didn't even know she was skin
till you put the machine on her.
Some kinda brain plant, says Tyrell.
Deckard has already noticed that Gaff is looking down
the street in the direction Rachael went.
Gaff feels Deckard's eyes, turns and leers cheerfully
at Deckard. Deckard meets the look... an ominous
exchange.
BRYANT
Come on, Gaff.
(to Deckard)
Drink a couple for me, pal.
CUT TO:
INT. DECKARD'S KITCHEN - NIGHT
Deckard is about to swig some Tsing Tao for Bryant.
He puts the glass to his lip and the lip, caked with
dry blood and swollen, splits again and blood gushes
into the clear liquid in the glass.
Deckard stares at the bloodstained drink ruefully, then
takes a thirsty gulp and licks his bleeding lip.
The ice in Rachael's glass is RATTLING. She's standing
only a few feet away, half eaten by shadows, her eyes
blank with shock.
The reason the ice is rattling is because her hand is
shaking.
You can hear the CLOCK TICKING in the living room.
DECKARD
Me too.
Rachael frowns and looks at him. What ?
DECKARD
I get 'em bad. It's part of the
business.
Deckard holds out his hands. They're shaking.
Rachael gives Deckard a long hard look.
RACHAEL
I'm not in the business.
Deckard meets her look, understands he cannot comfort
her so easy, she will not be one of the boys with him.
RACHAEL
I am the business.
She is grim and angry and shaking.
You can hear the clock TICKING.
CUT TO
INT. DECKARD'S BATHROOM - NIGHT
SPLASH. Deckard sticks his head in the sink full of
water and the water turns crimson.
He lifts his face out of the water, dripping and gropes
for a towel, wipes water blindly from his face.
INT. DECKARD'S LIVING ROOM - NIGHT
Rachael is in the foreground shadows, a drink in her hand.
She's watching Deckard who is washing his face in the
bathroom,framed by the open door. You get the
Deckard in the background, goes on drying. He's naked
except for a towel around his waist.
Rachael takes a drink. Her face is enigmatic. She's
watching.
Deckard is unaware of her eyes on the back of his neck.
She's looking at the ripple of muscle around his
shoulders.
CUT TO
INT. DECKARD'S BATHROOM A FEW MINUTES LATER
Deckard is standing in front of the mirror. He's
staunched the bleeding lip and now he's studying it.
The rustle of silk.
Rachael appears in the doorway of the bathroom, drink
in hand.
Deckard doesn't acknowledge her presence.
There is a long silence. She sees the muscle ripple in
his naked back. Hard body. Scars of old wounds.
RACHAEL
What if I go North...
disappeared ?
Deckard gives her a look, turns back to the mirror.
Puts a towel over his head.
RACHAEL
Would you come hunting. ?
Rachael waits a long tense moment for an answer.
DECKARD
No.
Deckard waits before he lets it out.
DECKARD
I guess I owe you.
Deckard turns and brushes past her so she has to
step back.
DECKARD
But somebody will.
INT. BEDROOM (NIGHT)
Deckard is sitting on the bed, wasted, still in his
towel, clean white bandages on his face. He touches his
lip gently.
He can hear the clock ticking and then the whisper of her
stockings as she approaches the bedroom from the hallway.
He hears her stop, lost in the shadows beyond the door.
A pause then her voice.
RACHAEL (OS)
The file on me.. the incept date,
the longevity, the psycho-program,
those things.....
Her voice hesitates, stops. Deckard sits there as the
clock ticks for a long moment.
In the corridor, lost in shadows, Rachael is working up
the nerve to ask.
DECKARD
Yeah ?
In the shadows Rachael takes a deep breath.
RACHAEL
You saw them?
Deckard, exhausted stares absently into space.
DECKARD
They're classified.
In the corridor, Rachael persists with effort.
RACHAEL
You're a policeman.
Deckard touches a spot on his forehead, looks at the
wall.
DECKARD
I didn't look at them.
In the hallway, Rachael is hardly breathing.
DECKARD (O.S.)
I didn't want to.
It must come as a tremendous relief to her. She stands
in the shadows, grateful for the smallest favours. She
waits a moment, hearing the clock ticking, hearing the
distant noises of an apartment house, then she speaks
again.
RACHAEL
That test of yours.. The Voight
Kampff test......
She pauses before completing the question. It's a
biggie.
RACHAEL
(continuing)
.... did you ever take it yourself ?
Rachael waits for a long moment in the shadows.
The clock ticks.
No answer.
She moves into the light from the bedroom door and
peers in.
Deckard is lying on the bed, snoring gently.
CUT TO
INT. LIVING ROOM NIGHT
The CLOCK IS LOUDER in the living room.
Rachael walks through the shadowy room lit by a single
lamp.
She sees a picture of Deckard's wife and son on a
table.
She looks at it for a long moment as though she might
be jealous.
She sees a picture on top of the piano.
A picture of a little boy and his father in fishing
clothes, each holding a pole, the boy proudly display-
ing a single under-sized fish, the hint of a smile on
the father's face.
She looks at the sheet music on the piano, Chopin.
She stands close to the keys and starts to play. She
makes a mistake almost immedaitely. She sits and
starts again and she is just a hair tentative, but
there's no mistake... the feeling, the rhythm, the
beauty of the music. It fills the whole apartment.
CUT TO:
INT. BEDROOM - NIGHT
Deckard is snoring peacefully as the MUSIC ebbs and
flows.
CUT TO:
INT. LIVING ROOM - NIGHT
Rachael is lost in the music, her face a mask.
INT. CITYSCAPE DAWN
An ugly day is beginning to an eerie distortion of CHOPIN
CUT TO
EXT. SEBASTIAN'S APARTMENT - DAWN
Nasty MUSIC a dismal looking building.
Do we see strange figures in overcoats from a distance.
INT. SEBASTIAN'S BUILDING - DAWN
A shark's POV of the stairways, hallways, the one's we'll
see later a shark's POV gliding along the hall towards
Sebastian's apartment. Chopin the ax murderer!
INT. SEBASTIAN'S APARTMENT - DAWN
Pris is filling the hours of insomniacal boredom by
experimenting with her make up. A bleached white face
and black ringed eyes. A sexual waif. A savage doll.
She gets up and starts exploring the rooms.
INT. WEDDING DRESS ROOM - DAWN
She wanders into a large room filled with mannequins
dressed in dusty ball gowns.
She wanders around wistfully, full of curiosity. She picks
out one of the dresses puts it on and stands there, the
mannequins surrounding her like a family tableau.
INT. SEBASTIAN LABORATORY - DAWN
Sebastian is asleep, Kaiser Wilhelm his mouth clamped open
is propped up next to him.
Pris wanders in, studying the array of his equipment. She
puts her eye to the steroscope near Sebastian. It reveals
a world of rare beauty. Landscapes, mountains etc.
She touches a button, a blue flash erupts.
PRIS
Oh!
Sebastian is awakened.
SEBASTIAN
Whatcha doin'.
PRIS
I'm sorry, just peeking.
SEBASTIAN
Oh.
Transfixed, Sebastian stares at her. If an improvement is
possible, she looks even better now. Older and even sexier.
SEBASTIAN
You look better.
PRIS
Just better.
SEBASTIAN
(blushing)
Well... beautiful.
PRIS
Thanks.
As they are talking, Batty enters the room.
Pris sees him but does not register anything on her face.
Sebastian does not hear or see him.
Pris studies Sebastian for a moment.
PRIS
How old are you ?
SEBASTIAN
Twenty.
PRIS
What's your problem?
SEBASTIAN
Methuselah Syndrome.
PRIS
What's that's?
SEBASTIAN
My glands. They grow old too fast.
PRIS
Is that why you're still on earth?
SEBASTIAN
Yeah. Couldn't pass the medical. Anyway
I kinda like it here.
A moment.
PRIS
And I like you just the way you are.
Hi Roy.
Sebastian whips round. He is flanked a hair's breath away
by Batty. The shock almost knocks him off his chair.
PRIS
This is my friend I was
telling you about.
Batty smiles benevolently.
PRIS
Roy, this is my saviour, J.F. Sebastian.
There is a long silence whilst everyone stares at each
other.
BATTY
Can't thank you enough, Mr. Sebastian.
Sebastian, still uneasy begins to smile.
BATTY
You certainly have a nice place.
BATTY looks around admiringly. Sebastian mumbles some-
thing that sounds like "Thank you".
PRIS
Sebastian doesn't go out too much.
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
Yes....
(after a moment)
How about some breakfast, I was just
going to make some.
CUT TO
INT DECKARD'S BEDROOM - MORNING
Deckard wakes up groggily. His face hurts. He touches
the puffy purple bruises. He touches the lip and winces.
He looks around stupid with sleep, orienting himself.
He sits up... tries to remember. Was she here ? Were they
talking ? He must have dozed off. He gets up laboriously,
painfully and limps out of the bedroom still in yesterday's
clothes.
CUT TO
INT. DECKARD'S LIVING ROOM MORNING
Rachael is sitting stone silent at the piano, staring at a
picture of Deckard and his Father above the keyboard.
Shadows brush across her, then Deckard is there, close to
her, looking to see what's got her attention.
DECKARD
Me and my Dad.
RACHAEL
Do you love him?
DECKARD
He's dead.
Rachael indicates the picture of Deckard's wife.
DECKARD
Wife.
RACHAEL
Do you love her ?
DECKARD
She left me.
(pause)
Went offworld.
Wanted the good life.
RACHAEL
You didn't?
Deckard changes the subject.
DECKARD
I dreamt music.
Rachael answers his comment by touching the keys and
filling the room abruptly with music.
Deckard
RACHAEL
I didn't know if I could play.
( pause)
I remember lessons.... but I
don't know if I took them... or
Tyrell's niece.
She stops doesn't finish the thought, goes on playing
for a long moment.
DECKARD
You play fine.
Suddenly she stops playing and turns to him. Al you
can hear is the CLOCK TICKING.
RACHAEL
Am I very different?
DECKARD
Yeah.
RACHAEL
How?
Her voice is small. Something very young about her.
She looks up at him for the first time.
DECKARD
Stand up.
She does. She's looking up at him with those big mer-
maid eyes and he kisses her mouth. And then again.
She doesn't respond. His voice is a whisper.
DECKARD
Now you kiss me.
She does -- but it's self conscious...
RACHAEL
I can't rely on my memory to...
He stops her with another kiss.
DECKARD
Say what I say.
She nods. His voice intimate, low.
DECKARD
Kiss me.
RACHAEL
Kiss me.
He does, soft, wet, tender. He backs off -- magnetic,
palpable energy growing up between them.
DECKARD
My eyes.
RACHAEL
Kiss my eyes.
She closes them. He kisses each fluttering lid.
She's catching on quick. Her lips are right there.
DECKARD
I want you.
RACHAEL
I want you.
DECKARD
Again.
RACHAEL
I want you.
Her face is flushed. His fingers go to her mouth --
slowly over her lips and inside, into the wetness. her
head is leaning back, eyes shut.
RACHAEL
Bite me.
His mouth goes to her neck, her ear. His teeth evoke
a shiver and a gasp as they take her flesh. Her breath
is coming faster.
RACHAEL
Put your hands on me.
He rakes his fingers through her hair and pulls her
into him. His other hand molding and pressing her,
working around her body and under into the privacy
of her dress.
RACHAEL
Shall I take off my clothes?
DECKARD
Oh Yeah.
He's kissing her hard, deep, soft. She's hardly able to
talk she's so excited.
RACHAEL
Do whatever you want to me.
He is and her legs can no longer hold her and she's
sinking to the floor in his arms moaning, their words
obscured by kisses.
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