Ridley Scott : The Film Director and the Film
company of Deckard. After the confrontational
climax with Batty, Deckard, whilst leaving his
flat with Rachael, finds an origami unicorn
maquette on the floor outside his front door.
This is supposed to indicate that Gaff has been
to Deckard's flat and, for whatever reason,
which is not fully elaborated in the film,
allowed Rachael - who is classed at that time as
a renegade replicant - to live.

In the original version of the film's
screenplay there is a sequence in which Deckard
is asleep - after his encounter with Leon, and
Rachael has saved his life - and begins to
dream. He finds himself standing in front of a
very large tree in a forest, there is a thunder
of hooves and as he looks up he sees a
magnificent unicorn galloping out of the trees
towards him. Just before he is impaled by the
horn of the beast, he suddenly wakes up and is
puzzled by the vision.

The significance of this scene is to show
that Deckard himself is a replicant, because he,
as a replicant, is supposed to dream this

bizarre dream, though the character is unaware
of this fact. The only way that Gaff could have
known about Deckard's unicorn dream is that he
has access to to the personal information files
regarding the memory implants in the replicant
defect library. This may also explain why Rick
Deckard is the best bounty hunter the department
has, because he is specifically programmed to
track down and retire replicants. Exactly why
this scene was removed is unclear, although
there is sufficient evidence to suggest that the
Hollywood people thought it unwise to further
show the main character, Rick Deckard, as an
inhuman hero or replicant. However, ten-years
later this sequence was available for all to see
via the director's cut.

A very narrow range of relationships and
situations can be investigated on film without
examining the content of speech. Within the
range, verbal communication is either
unnecessary, as with the science fiction film
2001 : A Space Odyssey, directed by Stanley
Kubrick, which has a minimum of twenty minutes
dialogue within a two hour film, or so direct

[PAGE 34]