BLADE RUNNER II

The first 30 pages of my screenplay for BLADE RUNNER II.

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1. Act One

 

BLADE RUNNER II

 

A screenplay by OKAMOTO

 

Elevator door closes on  Deckard and Rachel.  (It's the last few seconds of the final brief scene in the Director's Cut of BLADE RUNNER.) Fade to black.

 

Music and Opening Credits.

 

TITLE CARD: This is the story of what happens to Deckard and Rachel after they leave Deckard’s apartment. It is also the story of their son, a half-replicant who played a decisive role in what is now known as “the Nexus Rebellion.”

 

TITLE CARD: MARS, 2039.

 

EXT/DAY

 

A reddish Martian desert landscape. We see a sprawling little frontier town, dusty and arid, people working in gardens or walking up and down the streets dressed in a kind of yojimbo style, some with straw hats. Some children are playing, climbing over a mound of stones. A Chinese looking woman in rag-like clothing is pumping water from a well. Horses and mules along the street, camels even. It’s late afternoon, almost sunset.

 

We see a YOUNG MAN about nineteen, riding a spirited and fast looking horse. He’s wearing the same type of frontier clothing, a little outlandish, a homespun shirt wide open at the chest and leather chaps. He’s riding the horse out beyond the town for the sheer joy of it, sweating, jumping the horse over fences, shouting Hyah!  We move up close to see the light in his face and get the impression of intense energy and joy. We sense this Martian town is too small for him. He gallops his horse down a narrow street of adobe mud thatched houses, scattering chickens, the hoofbeats pounding, reins in sharply and swings around just as another rider gallops up to him. She’s a beautiful YOUNG WOMAN, Chinese. They laugh at each other and gallop side by side to the edge of the vast desert. The sun is going down. Without a word to the YOUNG MAN, she then whips her horse’s flank with a bamboo stick, turns, and gallops back into the town.

 

We see his face, his eyes watching her go. He’s clearly in love with this YOUNG WOMAN.

 

We now see that outside the town there stands a large somewhat ramshackle Martian frontier style building surrounded by some outbuildings, a stable, a chicken yard and roost, &c. It has a kind of ASHES OF TIME feel . We approach it.

 

INT/DUSK

 

It’s a café or nightclub of some kind, with small tables scattered around a bandstand. There are some musicians setting up on the bandstand with strange looking instruments. A GIRL is walking around the tables straightening the chairs and lighting small oil lamps in blue tinted shades. We see briefly into the kitchen, where cooks are moving around amid steaming pots.  Then we see a man in a white suit, standing by the bar, gazing out the open door at the sunset. He is drinking something from a strange looking glass. He finishes it, puts down the glass, and strolls to the door and steps outside.

 

We see him from the front. It’s RICK DECKARD, much aged but still recognizable. He’s looking at the desert.

 

We see RICK standing in front of the nightclub just as the neon sign above the door blinks on. It reads, of course, RICK’S AMERICAN CAFÉ.

 

 

We hear hoofbeats. The YOUNG MAN approaches on his horse. He reins in near the entrance.

 

RICK

(Bantering, but with humor)

 

You’re going to ride that horse to death, one of these days. Don’t you know it’s too hot for all your shenanigans?

 

ROY

 

(Patting the sweaty neck, laughs)

He’s a beauty, isn’t he? Goes like a hoverbike.

 

RICK

Get cleaned up. We’re eating dinner in just a minute. I’ll need your help tonight with --

 

All of a sudden RICK’s attention gets drawn away from his son. He narrows his eyes a little as a streak of light appears in the sky over the desert. It grows larger.

 

ROY

(Getting down from the horse)

What’s that?

 

RICK

(A little wonderingly, maybe with some tension)

Hovercraft.

 

ROY

What? Here?

 

As they watch, the streak of light grows into a kind of globe and we see different blinking lights within it. Then we see the hovercar itself. It descends and settles on the ground as the horse whinnies and shies away.

 

RICK

 

Take that animal back to the stables, wash up, and get back here. But don’t run, just walk. Take your time It’s okay.

 

ROY obeys without another word. We have the impression that he’s used to following orders from his father instantly and without question. The GIRL comes out of the café, wide eyed. Even the cooks leave the kitchen to stare at the humming car.

 

RICK

(in Chinese without turning his eyes from the hovercar)

Get back inside, all of you. Back to work. Chop chop.

 

They obey.

 

Now the doors to the hovercar hiss open. A man in a leather helmet and gloves and a leather jacket climbs out. He seems dimly recognizable, not just to RICK but also to us. He limps slightly he walks from the car up to the entrance, leaning on a silver-knobbed cane. RICK narrows his eyes. Then the driver steps into the neon light from the sign and we see: it’s GAFF. He’s aged much as RICK has, staying lean and strong though now more fragile. He has a new scar on his cheek and one of his eyes has gone white.

 

GAFF

(in Cityspeak)

I’m not here to arrest you, Blade Runner.

 

RICK

Long time, pal.

 

He reaches out and grasps GAFF’s shoulder. They look at each other with emotion, but no tension. They are clearly old friends.

 

RICK

(clearing his throat)

Come in for a drink. As many as you like, on the house. This is my place. It’s a real money maker. Do you want to meet my son?

 

GAFF

And -- your wife?

 

RICK

Dead.

 

GAFF

I am sorry.

 

RICK steps aside and GAFF walks past him into the café. They go to a corner table and sit down, watching the musicians on the bandstand. RICK motions to the GIRL and she brings a bottle of Tsing Tao and two glasses. RICK pours for both of them.

 

GAFF

Your son is where?

 

RICK looks around.

 

RICK

There.

 

ROY walks into the café. He has washed up and changed into clean clothes. He smiles at his father. RICK waves him over. He approaches the table. GAFF stands up.

 

RICK

Meet my oldest friend from good old polluted Whore Mother Earth, Gaff. Gaff, this is Roy. My devil-may-care son.  All he does all day long is ride horses and get the village girls to fall in love with him. He’s never seen acid rain. He thinks the Greenhouse Effect has to do with growing vegetables indoors.

 

ROY laughs nervously.

 

ROY

You knew my father on Earth . . . You were a Blade Runner?

 

RICK

In the old days he was. Just like your dad. Same unit, but different sense of style. Gosh we had some times, didn’t we?

 

GAFF bows a little.

 

GAFF

I’m not with the police anymore. I mostly try now to . . . avoid trouble.

 

ROY

(hugely interested, but restraining himself)

Ah.

 

RICK

Son, I’d like you to go and check the toilets. Make sure they sparkle. We’re about ready to open for the night. Then go to the kitchen please to make sure they’re not burning the chop suey, and tell the entertainment we’re going to settle up with them at the end of this week, and to try and play something people can dance to tonight. . . Go on, son. I need to chat a bit in private with my old colleague.

 

ROY goes. GAFF gazes after him. Then he sits and turns slowly to gaze at RICK. The musicians start up. The music is strange, plaintive, but it has a jazzy beat. There are no customers in the café yet, so the musicians are just fooling around, warming it up.

 

RICK

Your eye . . .

 

GAFF

Lost in a skirmish. It didn’t hurt . . . much.

 

RICK

I never thought you’d still be alive.

 

GAFF

Nor I you, my dear old friend.

 

RICK

How’d you find me?

 

GAFF

A dream.

 

RICK

A dream?

 

GAFF

It’s hard to describe, exactly.

 

RICK

They came after me for years and years with everything they had because of the Tyrell thing . . . Blade Runners, freelance bounty hunters, thugs, assassins. They hunted me through ten different off world colonies. I had to take out a lot of them. Not just replicants, either. Plenty of humans died at my hands.

 

GAFF

I know. I’m sorry.

 

RICK

I had to start working as an assassin myself. About that time I met your old Sensei, on one of the colonies on the Jupiter moons. He taught me everything, but only after proving to me that I knew absolutely nothing.

 

GAFF

I heard about this. He’s still very much alive, the Sensei.

 

RICK

Is he? Good.

 

Drinks.

 

GAFF

You drink . . . a lot of Tsing Tao?

 

RICK looks at him and slowly grins.

 

GAFF

The old Blade Runner.

 

RICK

Always.

 

GAFF

Rachel?

 

RICK

(putting down his glass, his face showing pain)

Remember you once said to me, “Too bad she won’t live. But then again, who does?” The drugs you told me about . . . to prolong her life. I finally got hold of them, here on Mars. They worked . . . for a while. For about sixteen years. But they had side effects. Hallucinations. Finally, it was just . . .  too much.  She stopped taking them. And then she died.

 

GAFF

But she lived long enough . . .

 

RICK

(smiling sadly)

To give me a son. Yes. Who ever knew it was possible. It came as . . . a total surprise. The most beautiful surprise ever, in this whole mean-spirited galaxy.

 

GAFF puts his hand briefly on RICK’s shoulder.

 

RICK

And you, helping us to get off Earth . . . pointing us in the right direction for the drugs. How will I ever thank you for it?

 

GAFF

(picking up the bottle, pouring RICK another drink)

I don’t want you to thank me, Deckard.  I did what I did because  . . . it seemed the right thing to do. I am gratified that you were happy with Rachel . . . for at least a bit of time.  Who can say how long any of us have? That you made her and yourself happy, that is more satisfying to me than anything else I can I can imagine.

 

RICK

On Earth right now . . . Is it bad?

 

GAFF

Yes. Worse than I can say. But how could it be good?

 

RICK

Stay here. This can be your home. We can be your family.

 

GAFF

I didn’t come to Mars to bring more trouble.

 

RICK

Okay, old pal. I’ll bite on that one. So . . . why did you come?

 

GAFF, looking thoughtful, is about to speak, when a group of elegantly dressed CUSTOMERS enters the café. RICK gets up and goes to greet them. He shows them to a table, pulling out chairs for the two women in the group. He shouts the drink orders to the GIRL who is behind the bar, and she gets busy pouring drinks.

 

Then RICK snaps his fingers at the musicians on the bandstand, and they strike up a Chinese sounding ballad to a jazzy dance beat.

 

GAFF sits alone at the table, making a bit of origami out of a matchbook.

 

He sets it on the table. It’s an origami elephant.

 

RICK returns to the table as the women get up to dance with their partners.  He sits. He and GAFF watch.

 

GAFF

You have elegant clientele.

 

RICK

They’re gangsters from the port city. (Grins.) Slumming out in the Martian wastes. Don’t worry. We’ll get all the riff-raff in later.

 

INT/NIGHT

 

It’s hours later. The café is full. People are dancing. The band is really cooking. GAFF is drinking Tsing Tao and watching the show. There are now six or seven origami elephants lined up on the table. RICK is showing people to tables, arranging things, managing the GIRL and going back and forth to the kitchen to keep on top of the cooks. He brings GAFF a steaming plate and one for himself.

 

RICK

Chop suey. Best on the Red Planet. The old lady who cooks it is from Soochow.

 

As he sets the plates down along with some napkin rolls of silverware, we see ROY approaching the table from a narrow corridor. He seems at first to be about to join his father and GAFF. But then he pauses and steps to one side, so that he is hidden by a red curtain, yet close enough to hear everything that is said in this scene.

 

GAFF

(eating)

Exquisite. This is quite a life.

 

RICK

Quite a life. You got that right. It’s a nonstop party off world.

 

GAFF

Would you consider going back?

 

RICK

Why?

 

GAFF

To help.

 

RICK

Help who?

 

GAFF

But you must have heard about the Nexus Rebellion.

 

RICK

(shrugging)

I heard of it.

 

GAFF

They have a leader named Kara.

 

RICK

I heard about her, too. She’s a Nexus-9. Like you. Right?

 

GAFF

Yes. The Tyrell Corporation made her to look like a specific Bollywood film star. You know, from the old days. Perfectly beautiful, classic Indian looks.

 

RICK

Too bad they couldn’t have suppressed the “rebellion” gene in that model of replicant.

 

GAFF

(shooting Rick an amazed look)

I’ve heard her speak. She’s inspiring. She’s a revolutionary, but she doesn’t behave like one. She loves everybody. She loves her enemies.

 

RICK

Even humans?

 

GAFF

Yes.

 

RICK

Blade Runners?

 

GAFF

. . . Yes.

 

RICK

So her message is -- ?

 

GAFF

Equality. That all sentient beings are equal, and therefore they ought not to exploit but take good care of and help one another.

 

RICK

(amazed)

And people listen to this crap?

 

GAFF

Not only people, but also replicants. The drugs now exist to prolong the lifespan of old Nexus models. With their short lives prolonged, the replicants can live alongside human beings as equals, not as slaves. And the new models, if any new replicants are ever to run off the assembly line in the future, can be designed without the planned obsolescence feature.

 

RICK

Immortality.

 

GAFF

Maybe.

 

RICK

Still. Who’s going to do all the dangerous work in the off world colonies? You know, copper mining, collecting garbage in space . . .

 

GAFF

I know only that whoever does the work will have to be paid for it. Eventually. In one way or another.

 

RICK

(laughing as he pours another drink)

I’ve never heard you rave about politics like this before. Are you going soft in the head?

 

GAFF

Already gone soft in the head, my friend. I’m in the rebellion.

 

RICK

You came to recruit me. To go back to Earth and help you.

 

GAFF

No.

 

RICK

Why, then?

 

GAFF is silent, his eyes a little moist as he stares through the smoky air at the dancers whirling before the bandstand.

 

RICK

Listen, old friend. Just so you know for absolute sure. I won’t ever go back to Earth. I’m done with it. My only job now is to protect my son, to make sure he gets a good life. That’s why I run this place. We’re happy here. We’re dug in for the long run. I wish you and your hopeless revolution well. I hope you score high octane Utopia. But I’m a Martian now.

 

GAFF

I know that.

 

RICK

Why’d you come all this way across empty space, then? Just to say hello?

 

GAFF

Deckard . . . Did Rachel leave any . . . writings?

 

RICK

(staring)

A diary.

 

GAFF

Have you looked at it?

 

RICK shakes his head slowly and takes another long drink.

 

GAFF

You know what model of Nexus Rachel was, don’t you Deckard?

 

RICK

I know. Nexus-9. Like you and that revolutionary Bollywood actress replicant.

 

GAFF

Correct. You said she had . . . hallucinations. Please tell me. What did she see?

 

RICK

Always some kind of temple, you know, dark and kind of smoky, but full of these friezes, sculptures, statues, like a Cambodian temple. She drew pictures of it, all the details she remembered. Then she also heard all kinds of numbers, these voices chanting numbers. She wrote those down to get rid of them. I think that’s what she used the diary for. To write the numbers over and over. To get them out of her head.

 

GAFF

I’m sorry . . . if my questions hurt you.

 

RICK

I try not to think about Rachel that much. At least not while I’m working.

 

GAFF

After the Nexus-9s rolled off the assembly line at Tyrell Corporation, the engineers and testers found a sort of “glitch” in the model. Do you know anything about this?

 

RICK

No.

 

GAFF

The glitch was simply that Nexus-9 replicants could form mental connections with one another. Across time and space.

 

RICK

Psychic connections? Like ESP mumbo-jumbo?

 

GAFF

It was unpredictable. Some said random. Yet sometimes they could share thoughts, influence one another emotionally. Not only that. In some cases they could scan the minds of human beings with great fluency and precision.

 

RICK

Huh.

 

GAFF

Tell me. How long now exactly is it since Rachel passed away?

 

RICK

Seven brutal years, old pal.

 

GAFF

From five to seven years ago, Kara was in the hands of the Tyrell Corporation. She was kept in total isolation, in darkness twenty four hours a day, and the technicians applied various techniques to try and suppress certain aspects of her mind and extract others.

 

RICK

(wincing)

Good old Tyrell.

 

GAFF

It’s since been renamed Megalith. It’s now the umbrella company for every corporation on Earth.

 

RICK

One big corporation controlling them all. I guess it was bound to happen. Vertical integration, they call it.

 

GAFF

We finally managed to break Kara out of the facility where she was being held. She was happy to be liberated. But she was weak and ill, and much of her memory had been erased. She has been hiding since, in deep cover. Recuperating. She meditates every morning and afternoon, and she records digital image and sound talks of encouragement to our comrades.  Would you like to know where we’re hiding her from Megalith and the Blade Runners?

 

RICK

Maybe you’d better not tell me stuff like –

 

GAFF

It’s a Hindu temple. A real Hindu temple, to the Elephant God Ganesh, in the slums of Little Calcutta. Not even the Blade Runners can operate there. The people protect her. They’d do anything for her. They’d burn down their own houses, fight to the death.

 

RICK

Good for them.

 

GAFF

It might be that this is the place Rachel saw in her so-called hallucinations.

 

RICK

Yes. Might be. If you believe in ESP.

 

GAFF

As for the number sequences . . . When Kara was in isolation at Tyrell, she was sometimes visited by their Head of Security, a Nexus 8 model named Ichi, the Dragon.

 

RICK

The Tyrell Corporation hiring a replicant as Head of Security? Now I’ve really heard it all. Why is he nicknamed the Dragon?

 

GAFF

His frightening tattooes. And his legendary ferocity.

 

RICK

(nodding)

Kooks R Us.

 

GAFF

Kara may have scanned Ichi’s mind. She may have been able to extract certain numerical codes used to secure Megalith’s mainframe computer. She had no way to communicate them to us on the outside. So . . .

 

RICK

You think she sent them to Rachel. From a prison on Earth . . . all the way to a fleabag cabaret on Mars.

 

GAFF

Yes. Through a mental link they formed between them . . . Despite the fact that they’d never met in person.

 

RICK

Kara told you this. Didn’t she? She sent you to Mars in search of written pages, a diary, anything. Because she can’t remember the codes for herself.  Hallucinations about an ancient temple, images that almost drove her crazy because they were so insanely detailed . . . it’s because of those that Rachel went off the drugs. She thought the hallucinations, the voices chanting numbers, were side effects. And I . . . I didn’t know a thing about that . . . until it was too late. You’ve come late to the party, old friend. Too late for Rachel, too late for me and my son. But as for your precious revolution . . . Well. Maybe it’s not too late to save the Nexus Rebellion, at least. Am I on target, Mr. former Blade Runner?

(standing up)

I owe you my life, you sly stylish bastard. Both Rachel and I. Nobody else could or would help us get off Earth. I’ll get you the diary. Since it’s what you came all the way to Mars for.

 

He walks stiffly down the corridor past ROY, hiding behind the curtain.

 

GAFF looks at the curtain. He smiles, enigmatically. He begins turning another matchbook into origami art.

 

ROY slips away quickly. He walks to the bar and begins, in an intense almost trance like state, helping the overworked GIRL pour drinks.

 

 

EXT/NIGHT

 

We see through a window GAFF in an armchair reading the diary. Intent on it.

 

Then we realize this is ROY’s POV. He’s standing outside the window, looking into the living quarters behind the café. He watches GAFF for a few moments, then walks around to the front entrance and enters. He pauses almost on the threshold.

 

INT/NIGHT

 

RICK is sitting at the piano on the bandstand. He’s placed a photograph where the sheet music should be and is looking at it as he plinks out notes. We recognize the theme played by RACHEL in his apartment from BLADE RUNNER.

 

We see that RICK is drunk. He’s still drinking Tsing Tao.

 

ROY

Dad?

 

RICK

(glancing up)

Come here, son.

 

ROY approaches. RICK makes room on the piano bench. ROY sits and looks at the photograph.

 

ROY

My mother?

 

RICK

No. It’s a fake. Mr. Tyrell gave that to your mother and said it was her with her mother as a little girl. But it’s just Tyrell’s niece. Nice, huh?

 

ROY

Why do you keep it?

 

RICK

A memento.

 

ROY

Oh.

 

RICK

To remind me of her. As if I needed reminding.

 

ROY

I heard you talking, earlier tonight. With Gaff.

 

RICK

About your mother?

 

ROY

I didn’t know she was a replicant.

 

RICK

That’s my fault. I didn’t tell you.

 

ROY

Neither did she.

 

RICK

You were too young. How could she have told you. But I should have mentioned it, probably. I apologize.

 

ROY

So . . . I’m half replicant.

 

RICK

(laughs bitterly)

No, son. You’re 100 percent replicant.

 

ROY

What?

 

RICK

I’m a Nexus-7. I didn’t know when I met your mother. But then Gaff informed me. He’s a bottomless well of information, Gaff is.

 

ROY

A Nexus-7?

 

RICK

Human strength. Human lifespan. See, Mr. Tyrell thought of designing a replicant that would be the same as a human being in every single way, except that it would be . . . altruistic. That is, his engineers suppressed  most of the activity of the amygdala, in the back of the brain, the area responsible for fear, hatred, etcetera. Tyrell wanted to replace humans with more than humans. Superior version, integrating all the best qualities and leaving out the worst. Of course, the man was no Buddha. He also designed the Nexus-8 model, renamed the double Z, to be a sadistic monster with no sense of empathy at whatsoever. Let’s pray you never meet one.

 

RICK

(thunderstruck, staring at his father as if he suddenly understood the man)

Altruistic. Yes. All those years . . . caring for my mother, protecting us by doing anything you had to do to keep us alive.

 

ROY

(laughs, still plinking notes)

Right. You’ve got the picture. I even worked as assassin. For money. To buy the drug.

 

RICK

My God. Yes. Even that.

 

RICK

I’m a replicant. A corporate assembly line product that, oddly enough, can love.

 

ROY

So could Rachel . . . and so can I, Dad.

 

RICK

Yes. The Nexus-9’s have the strength, the agility, and also the . . . same type of empathy. But Tyrell designed them with the fail safe obsolescence feature. A lifespan of just twenty years. Maybe he was afraid of them. They were too perfect.

 

ROY

Wow. Does that mean I -- ?

 

RICK

No. You’re the child of a Nexus-9 and a Nexus-7. Another design glitch, but you’ve got a normal human lifespan coming your way. Maybe even a little more as a bonus. I know because looked into it carefully. I made sure.  Absolutely nothing for you to worry about, son.

 

ROY

And Gaff?

 

RICK

Like your mother. He needs to take the drug. But it’s getting more refined all the time. There’re hardly any side effects. Who knows, he might end up outlasting us all.

 

ROY

Shouldn’t we try to help Gaff? Help the Rebellion?

 

RICK

(slamming down his open hand on the keys with a dissonant thump, startling ROY)

Listen to me hard, son. You’d find actual “rebellion” much less amusing or romantic than it sounds. Starving, running, hiding from the Blade Runner units . . . You’ve got a good life here. Riding horses in the desert, seeing sunrises and sunsets as much as you want, sleeping under actual stars if you feel like it, not to mention enjoying the attention of the beautiful local Chinese girls. So . . . please. Drop the idea of getting involved with any rebellions. We’re proud Martian settlers now. We run a rough and tumble frontier saloon. That should be enough. Your mother wanted it for you. I’m going to make sure you always have it. Gaff will leave tomorrow in his hovercar, and that will be that. All right?

 

ROY

All right. Dad.

 

RICK

(crushing him in a brief embrace, kissing his cheek)

Go to sleep, son. Sweet dreams.

 

ROY

Yes. See you in the morning. Dad.

 

 

INT/NIGHT – ROY’S BEDROOM

 

We see a teenaged boy’s bedroom with a strange mix of artifacts. Rows of books, including one that reads in English: HOW MARS WAS WON: THE TERRAFORMING AND COLONIZATION OF THE RED PLANET. Martian rocks, an ornate saddle and bridles, framed photographs of Rachel and of himself as a little boy with Rachel, posters of movie stars with Chinese characters on them, and a big telescope trained at the night sky. ROY sits on the bed looking at his hands, opening and closing them.

 

ROY

(in a murmur)

Replicant. I’m a replicant. Not a real person.

 

He gets up and goes to the window. He puts his eye to the eyepiece of the telescope. We see what he sees through the lens. It’s the Earth. It’s not green and white and brown as in the Apollo 11 pictures. It’s reddish gray because of the polluted clouds covering it.

 

EXT/DAY

 

The sun is rising. ROY emerges from the living quarters in his riding clothes, carrying a saddle. He walks around to the stables. After a few moments, he rides out, kicking the horse into a gallop.

 

We see him riding into the desert, up on a ridge along a dry canal. The desert is vast and beautiful.

 

EXT/DAY

 

The sun is high. RICK is cutting wood with an axe. He works smoothly and quickly. He stops and wipes sweat from his face with his sleeve. Then he sticks the axe into the stump and goes inside.

 

In the empty restaurant sits GAFF, staring off into space.

 

RICK goes to the bar and gets a beer for himself and one for GAFF. He tosses GAFF the large beer can that resembles an Australian beer. GAFF catches it and they both open their cans and drink.

 

GAFF

I will be on my way soon, old friend. There’s an Earth shuttle today leaving from Mars City.

 

RICK

Why not stay another day or two? Will they really miss you that much?

 

GAFF

Thank you, but no. I am expected to be places.

 

RICK

Have it your way then.

 

GAFF

(smiling)

Yes. Always.

 

RICK

One more drink before we part? It might be a long time before we see each other again.

 

GAFF

An eternity perhaps. Why not?

 

 

As RICK goes for the beer refrigerator, shadows fall across the threshold. Three men enter out of the glaring sun. They are in dark desert clothing with straw yojimbo hats and dust cloaks.  They enter like they own the place, menacingly calm, and spread out between GAFF and RICK.

 

RICK straightens slowly, places the two beers on the counter, and then puts his hands on the counter. We see, just below his hands, a sawn off shotgun.

 

GAFF picks up his cane and moves it closer to him.

 

The scene leading up to the violence should be filmed with the ultraslow pace of a spaghetti Western showdown. The violence should happen rapidly and be over almost before it starts.

 

FIRST MAN

Three beers.

 

RICK

We’re shut down during the day.

 

SECOND MAN

No beers left? Is that what you say?

 

RICK

I have plenty of beer. But I’m closed until dusk.

 

THIRD MAN

You refuse to serve us?

 

FIRST MAN

After we came out of the desert?

 

SECOND MAN

We rode long and hard and we’re thirsty, friend. We’ve got plenty of money.

 

The THIRD MAN takes a small cloth bag from his cloak and tosses it onto the bar. It clinks.

 

FIRST MAN

Three beers.

 

RICK

Okay.

 

He gets three cans and tosses them to the THREE MEN one after the other.

 

RICK

Sit down. I’ll see if I can scrape together something for you to eat.

 

THIRD MAN

No need.

 

The THREE MEN open their beers and drink, thirstily. They finish them within instants. One by one, they crush the cans in their fists and toss them onto the floor

 

RICK

I like to keep my place clean. You’re littering it up, pal.

 

FIRST MAN

(laughs)

Clean it yourself, then. Three more.

 

RICK

No.

 

(picking up the bag of coins and tossing it back to the THIRD MAN)

 

Those were on the house. But I’m afraid it’s now time for you cowboys to be on your merry way.

 

SECOND MAN

Excuse me, did you just say something?

 

THIRD MAN

He might have just said something. I saw his lips moving.

 

SECOND MAN

But I didn’t hear anything.

 

THIRD MAN

I didn’t, either.

 

(turning to FIRST MAN)

 

Did you?

 

The FIRST MAN doesn’t speak. They all look at each other. GAFF is still sitting calmly.

 

RICK

Tell me. What’s  a team of Nexus-8 assassins doing here on Mars?

 

FIRST MAN

(laughing)

You were a Blade Runner? Hilarious.

 

SECOND MAN

(not laughing; grim)

Yes. It’s funny.

 

THIRD MAN

(eyes bulging)

Did he just say it was time for us to be on our merry way? Did I hear something like that?

 

RICK’s eyes move, glancing toward GAFF. It’s just for a fraction of an instant, but GAFF explodes into action. He leaps to his feet drawing a sword from his cane and cuts off the arm of the FIRST MAN as he draws a pistol from beneath his cloak. The pistol fires, shattering bottles. RICK grabs the sawn off shotgun and blasts the THIRD MAN as he draws. The THIRD MAN flies backward out the window. GAFF cuts off the FIRST MAN’s head with a reverse stroke and leaps at the SECOND MAN. The SECOND MAN shoots GAFF point blank in the chest. GAFF falls. RICK fires the second barrel at the SECOND MAN but hits only his shoulder. The SECOND MAN shoots RICK, who falls behind the bar.

 

Silence. Smoke drifting in the dimness. The SECOND MAN walks around behind the bar, his spurs jingling and his limp left arm trailing blood. We see RICK propped up against the wall, breathing painfully, trying to reload the shotgun one handed as shells spill from his lap.

 

SECOND MAN

Goodbye, Mister Blade Runner.

 

He shoots RICK. Then he turns and walks slowly, trailing blood, to the door. He steps through it.

 

We see an axe hit him on the side of the head. He falls. ROY throws down the axe and rushes into the restaurant. He sees GAFF lying in a corner. He sees the decapitated FIRST MAN, lying still by the door. He runs to the bar and looking over it sees RICK, dead. He goes to RICK and clutches at him.

 

ROY

Dad. No. Oh no. Daddy. Oh no. Oh no. No. No.

 

He shakes his father. He holds his fingers to his father’s neck to check for a pulse. Nothing. He sets down the body gently.

 

GAFF

(O.S)

Son . . .

 

ROY leaves his father’s body to go to GAFF. GAFF’s eyes are open. ROY crouches at his side and holds one of his hands. GAFF squeezes the fingers. He’s struggling to speak as blood runs from his lips. He makes a supreme effort, his body shaking.

 

GAFF

Take . . . the diary . . . to . . . Kara. Will . . . you?

 

ROY

I will.

 

GAFF

Thanks . . . son.

 

 

He dies.

 

 

 

 

 

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