J'inclus ici les toutes dernières scènes. Mais c'est surtout la réflexion finale de Deckard qui me revient souvent en tête. J'aurais pu mettre ça dans 'A pour Amour' ou 'V pour Vivre'.
You will find here the last scenes. The very final thoughts of Deckard often come to mind. It is a magnificent finale for this movie. I could have posted them under 'L for Love' or 'L for Life/Living'.
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[Deckard does some amazing climbing, then jumps to next building. Roy follows, after tossing a bird.]
Roy : Quite an experience to live in fear, isn't it? That's what it is to be a slave.
[Deckard falls, Roy catches him.]
Roy : I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the darkness at Tan Hauser Gate. All those moments will be lost in time like tears in rain. Time to die.
Deckard (voice-over) : I don't know why he saved my life. Maybe in those last moments he loved life more than he ever had before. Not just his life, anybody's life, my life. All he'd wanted were the same answers the rest of us want. Where did I come from? Where am I going? How long have I got? All I could do was sit there and watch him die.
* * * * * * * * * * * * * * * * * * * * * *
[Interior - 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 unicorn, 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.]
[Interior - Decakard'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. Interior - Deckard's kitchen - Day : He sees the same old mess. Or did she clean it up?]
[Interior - 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. Heturns 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.]
Rachel : 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, stuffing them hastily into a parachute bag.]
Rachael : I trust you.
[Deckard turns and looks at her with one hand full of clothes, the other hand holding the parachute bag.]
[Interior - 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.]
[Exterior - Moving Trees - Day : Birch trees whip past at 160 miles per hour. We see Deckard's car rocketing through the woods.]
[Interior - 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.]
[Exterior - Woods - Day : Deckard's car bullets through the woods in a .We back offit and up, past whizzing branches, over the treetops, losing the car as we soard over what is suddenly a vast forest spreading to infinity.]
Gaff (memory) : Its too bad she won't live. But then again, who does?
Deckard (voice-over) : Gaff had been there, and let her live. Four years, he figured. He was wrong. Tyrell had told me Rachael was special: no termination date. I didn't know how long we had together, but who does?
THE END
Blade Runner Source : Bladezone
Oeuvre originale /Original work : Do Androïds dream of electric sheeps de/by Philip K.Dick
J'ai travaillé toute la journée vendredi avec la musique de Leonard
Cohen en arrière-plan. Des pièces de toutes les époques. Cohen,
c'est plus qu'une oeuvre, c'est un écosystème, c'est une planète,
c'est un univers. C'est multicouches. C'est une chambre d'écho. Une
voix unique, plus grave d'album en album. Des musiques obsédantes. Des
paroles qui résonnent et nous hantent longtemps après les avoir
entendues. En amont ou en aval : Cohen première manière, Cohen récent,
Cohen errant, Cohen boudhiste, c'est un tout à visiter et revisiter. Si
l'homme et le personnage parfois m'irritent, l'artiste n'a de cesse de
m'émerveiller, de me surprendre, de me ravir. Immense talent. Immense
savoir faire. Plus que poésie. Longue vie au Poète et à son Oeuvre. 
