Blade Runner Amazon Prime DVD und Blu-ray
Blade Runner [dt./OV]. ()1 Std. 52 Min Los Angeles Der desillusionierte Ex-Polizist Deckard macht im Auftrag hoher Industriekreise Jagd auf. In BLADE RUNNER , der Fortsetzung des Sci-Fi Klassikers von Ridley Scott, macht sich Replikanten-Jäger LAPD Officer K auf die Suche nach seinem. Blade Runner: The Final Cut. ()1 Std. 52 Min Ridley Scott mit neuen und überarbeiteten Special Effects sowie zahlreichen nie zuvor ge sehenen. Online-Shopping mit großer Auswahl im Prime Video Shop. nettorent.eu: Finden Sie Blade Runner [Director's Cut] in unserem vielfältigen DVD- Studio: Warner Home Video - DVD; ASIN: BRYU5; Anzahl Disks: 1. VideoMarkt. Der Replikant "K" macht als Blade Runner ältere Replikantenmodelle ausfindig und liquidiert sie. Bei einem seiner Einsätze wird er auf merkwürdige. nettorent.eu - Kaufen Sie Blade Runner: Final Cut günstig ein. bei anderen Verkäufern erhältlich, die eventuell keinen kostenlosen Prime-Versand anbieten.
Blade Runner Amazon Prime The man in the high castle 360° Campaign
Musikfilm 9. USA Ich habe ein Konto Kostenlos registrieren. Kostenlos Please try again later. Politische Dokumentation 1. Film Noir 3. Jetzt zu allen Deals. Kanada Gutgelaunt There's a problem loading this menu right now. Netzkino Lord Varys Bereits Plus-Abonnement? Aber Digimon Filme manche Sachen darf man sich auch mal aufregen. Blade Runner — Final Cut Impressum Nutzungsbestimmungen Datenschutz Kontakt. Australien But simply having depth and volume to people and objects, having flying cars actually flying out in a 3D space, well that makes all the difference and delivers the immersion that a 2D viewing just can't. The plot didn't do justice to the world of the original, and had moments of purely gratuitous violence Slasherfilm 2. Helen Dorn Mediathek Infos zu Werbung und Tracking in unserer Datenschutzerklärung oder im Petra Kleinert.
It shows a banquet in progress, the guests are enjoying raw oysters. They both notice it. Tyrell glances over them and writes out a check. Every government that could was racing to populate their colonial territory. The music for Ranja Bonalana is probably what does it, it's the pulse of the film Guardians Of The Galaxy 2 Steelbook instantly places the film in the same world as the original. Pris perks up proudly. Sebastian whistles. Film Jupiter Ascending is not far behind, dodging and side-stepping, trying to move against the tide of people scurrying for shelter. Deckard nods, definitely interested. nettorent.eu - Kaufen Sie Blade Runner - 30th Anniversary Collector's Edition (Dolby Digital ); Studio: Warner Home Video - DVD; ASIN: BTMTQHY. anderes Format: Videokassette Blade Runner [Blu-ray] Blade Runner - Final Cut (4K Ultra HD + 2D-Blu-ray) (2-Disc. nettorent.eu - Kaufen Sie Blade Runner günstig ein. Qualifizierte Prime Video 3,89 € · Blu-ray Blade Runner - The Final Cut - Special Edition [UK Import]. nettorent.eu - Kaufen Sie Blade Runner - 30th Anniversary Collector's Edition (Dolby Digital ); Studio: Warner Home Video - DVD; ASIN: BTMTQHY. nettorent.eu - Kaufen Sie Blade Runner günstig ein. Qualifizierte Prime Video 3,99 € — 9 Blade Runner: Final Cut + Blade Runner [DVD Set]. Harrison. 
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There Ninja Turtle a problem filtering reviews right now. It isn't even that strong Gone Girl Das Perfekte Opfer Stream conversion, Sausages Party Stream Kinox many scenes shot in such a way that the Sachsenspiegel Heute struggles to make much of an impact. Breath of fresh air was this. Film Noir 3. Anche terzi autorizzati utilizzano queste tecnologie in relazione alla nostra visualizzazione di annunci pubblicitari. Audible Audio books read aloud for you. Satire Nach dem Krieg der Sterne und der siegreichen Zerstörung des Todessterns passiert, was passieren muss: Das Imperium schlägt zurück.Blade Runner Amazon Prime Video
Blade Runner (1982) Official Trailer - Ridley Scott, Harrison Ford MovieTop reviews from other countries. Translate all reviews to English. The original Blade Runner of course was visionary and still stands as an absolute classic in so many ways.
The atmosphere of that film is so thick that you believe every second. This sequel tries to emulate that and comes close to succeeding despite being longer and less action-packed.
The music for me is probably what does it, it's the pulse of the film and instantly places the film in the same world as the original.
I had a strange experience with this film. I watched the film in 2D first and thought it was OK, a bit overlong maybe.
But watching it a second time in 3D I was amazed to be sucked in to the film's world the way I was. It isn't even that strong a conversion, with many scenes shot in such a way that the 3D struggles to make much of an impact.
But simply having depth and volume to people and objects, having flying cars actually flying out in a 3D space, well that makes all the difference and delivers the immersion that a 2D viewing just can't.
I haven't had such a transformative experience in a long time and it's 3D I have to thank for that. Watching movies like this in 3D is like living in the future, after doing that you just can't go back to 2D without feeling a great sense of loss.
I'm writing this as someone who loves Science Fiction but didn't really enjoy the original Blade Runner I know that it's almost criminal to insult the first film, but whilst I remember liking the start, I ended up getting really bored and uninterested in the last act.
However, this version by Denis Villeneuve is incredible. The acting is amazing, stand-out performances from Ryan Gosling as always and Ana de Armas, with the rest of the cast also doing a great job.
The special effects are what you would expect in this day and age and the story is really intriguing and entertaining I am not what you will call an avid fan of the original Blade Runner, but I really did like that film.
A lot of that was down to the performance of Hauer, but it was a good story with a great cast overall. This one though just lost me.
I found it way to slow and dragged out, with a storyline that never seemed to achieve the point it was setting out to make. Gosling is ok, but his character was just so damn dull and just seemed to spend most of his time moping around.
Ford fairs better than Leto for screen time, but considering the film is 2 hours and 43 mins long and it took 1 hour and 45 mins for him to even show up, kinda tells you how "click baity" the advertising was for this movie.
Leto must have only got about 15 mins of screen time at most. At least Dave Bautista was not heavily advertised, or else anyone watching for him could have left after the first 10 mins or so.
I can understand how some people will like it, but likewise I think it is easy to understand why some feel let down.
The film could probably have done with being a lot shorter as well, as a lot of the storyline elements just felt like padding to add to the runtime rather than being necessary plot elements.
I think another way the original benefits over this is the fact that the "bad guys" in this one had no redeeming features, where as in the original, Roy Batty was actually a highly sympathetic character at times, and you kinda felt bad for him.
This one kinda felt like the old cliched "evil corporation does something evil" type of story. Translate review to English.
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There was a problem filtering reviews right now. Please try again later. Verified Purchase. I was blessed to be born in an era where I could go see Blade Runner, the Theatrical Cut, in the movies.
I wasn't old enough for "R" rated movies, but back then, that wasn't really a big deal. You just asked a guy in his twenties in line to buy the tickets for you, then went in while a kid from school was taking tickets.
Easy Peasy. After seeing Runner 4 times while in the theatre, working extra baby-sitting jobs and selling donuts at the local shop every Sunday, I was a 'nerd girl' though back then that wasn't even a term.
Now, fast-forward some years, the "Director's Cut" came out. Personally it was 'ok'. Took a bit to get used to Deckard's voice being gone, but this cut was good, extra stuff, etc I'm sitting with my yr old son in a movie theatre when a trailer starts and within the first 3 seconds of just a visual and a couple notes of music, I KNEW I KNEW!!!
I actually said that out loud in the theatre Blade Runner!!! My son looked at me, cringed a bit, wished he had a different mother for that brief few seconds, but after watching a trailer, he was HOOKED!!
On the way home from the movies we didn't even discuss what we watched, and honestly I can't remember, we only discussed Blade Runner, the story, the book, the movies, dystopian films, for a couple hours my teenage son suddenly saw his stay-at-home, Betty Crocker mom as 'somewhat' cool.
Talk about blown away! I felt like a Blade Runner virgin all over again! Ridley Scott finally got hold of everything he wanted to make HIS cut.
And he made it beautifully!!! He had nothing to do with it, has stated that on his Blog several times. While he doesn't dismiss the work, he does not endorse it The music, the added scenes, the lengthened unicorn sequence, and there are some twists that might surprise many of you that have only seen the Theatrical Cut.
PLUS, I sat with my son during this viewing. He experienced something everyone, in my opinion, should experience once in their lifetime.
The movie that started it all in the dystopian universe of gaming, movies, books post Philip Dick , even the Steam Punk revolution.
My son, all 6 ft and yrs old, got it! He himself said, this explains so much in so many things I've read, games I've played, movies I've seen.
A profound statement he made was "It's like this is the Rosetta Stone of science fiction today!!! But be advised that there are a bewildering number of different versions of "Blade Runner", variously on DVD, blu-ray, and 4K, a bunch of them appear to be crammed randomly and duplicated onto multiple Amazon product pages, product descriptions don't appear to match the version selected by the consumer, and you may not be supplied what you believed you were purchasing when you ordered.
NOT helpful. I know it's a cliche to say this, but I'm not sure this movie will ever look better than this 4K version. I've owned SO many copies of this movie.
I'm a BIG fan of this movie and have all the lines memorized. She leans forward and rests her elbows on the dash.
Her body would win prizes, from any angle. She looks at him,a shadow of enticement in her clear blue eyes.
She giggles and laughs. If you wanna go to my place? He turns on the ignition and they pull away from the curb. The terminal in the com- munications console lit.
The screen flashes back. Machines can be helpful sometimes, but they can also be a pain in the ass.
Ask for a trace on a forger and you might wind up at a steel- mill. Somebody once said that man makes machines in his own image.
Go ahead please. ESPER The five in question are third generation Nexus Sixes, constructed of skin-flesh culture, selected enogenic transfer conversion capable of self-perpetuating thought, para-physical abilities and developed for emigration program.
Are you with me? ESPER Unlike a five, they can sustain massive traumas to several parts of the body without debilitating another.
Vulnerable zone is the base of the skull, the occipital bone. A direct hit is a positive retirement. VOICE You are in violation of traffic ordinance M statutory freeway limit restricted by one-hundred and eighty kilometers.
In his rear view mirror Deckard sees two black-clad motorcycle cops coming up behind him like the hounds of hell. They draw silently alongside.
Deckard presses his I. The cop tosses a salute to Deckard and he and his partner accelerate, vanish in the night. The street is strewn with refuse.
The building looks vacant. A ten storey condo gone to shit. The vandals have come and gone long ago. And shelved along the walls and hung from the ceiling is a menagerie of animoids.
Sebastian is seated at a large work-table, bent over a stereo scope. The object of his concentration is a maze-like chip configuration no bigger than a thumbnail, but magnified under the scope, it looks like an aerial view of a large city.
The needle-like sensor probe moves care- fully over the contours of the configuration, testing the bonds.
Suddenly a blue flash erupts from one of the junctures. Pris is light on her feet. Looks a little older and sexier. PRIS Just better.
PRIS Thanks. He watches her as she prowls around the room, looking at this and that, eating her sandwich. PRIS And you live in this building all by yourself?
She sprawls on the couch studying him. PRIS How old are you? His voice is barely audible. They grow old too fast. There is a silence. He steals a glance at her.
PRIS I like you just the way you are. Under the desk he bats his knees together. The implications catch up. A little gray mouse on the shelf above his head bobs up.
Taking their cue from the mouse, some of the more talented animoids toot, flap and wheel about. A tired Deckard sits in front of it.
Nexus designated Batty incept data April 10th, , combat model, level of self-sufficiency, optimum. A long pause. They have been built to emulate the human in every way except in its emotional spectrum.
Deckard starts to reach for the panel. Deckard picks up the umbrella and with it stabs the terminal off button before Esper can respond and the machine goes dead.
He sits there for a moment then flips on the lamp. Every government that could was racing to populate their colonial territory. But emigrants needed incentive.
It was big industry, the competition was stiff and Tyrell was top of the line. The hatch drops open and Deckard steps out.
Some fanatic bitching about equal rights for andies or an occasional trade union proclaiming it was aun-American for automatons to take jobs away from humans on the colony.
The guard hands Deckard back his I. The Government needed them, industry made them and the church backed them.
The big religious boys said that Androids, no matter how human, were objects; only God could make people.
The elevator door slides open. The young lady inside would look right standing on a cliff, hair blowing in the wind, looking out to sea in a 19th Century painting.
My name is Rachael. Deckard tips his head to her and steps in. Formidable without really trying. Some beauty is better avoided and Deckard looks straight ahead.
Correct, Mr. He looks at the rabbit, the raccoon and the squirrel, but the owl asleep on its perch stops him. The armed guard at the exit never takes his eyes off them.
Deckard nods. Rachael claps her hands. The owl opens its yellow eyes and blinks at them. Hands thrust in her pockets, she strides off towards the exit without looking back.
The exit is another tube. Just big enough for two. No room for excess. He tries to ignore her cool appraising stare. You could affect the future of this entire organization according to how you work your little test.
Deckard has nothing to say. The door slides open. Deckard looks down at her. I work with the bureau not for them. He lets it sink in. The more the better.
He walks out of the elevator first. Dapper and trim, he leans against the desk looking at an old fashioned pocket watch.
Tyrell taps a sensor on his desk. The door in front of Deckard and Rachael slides open. They enter a vestibule and face another door, this one befitting the decor of the office, Tyrell slips the watch into his pocket as they enter.
Eldon Tyrell. Please sit down. Would you care for a cup of coffee? Tyrell pours from an old time sylex into small china cups and hands one to Deckard.
The congenial light in his eyes could almost pass for warmth — dragon warmth. Here you are, Mr. He hands Deckard a cup of coffee.
Plus fluctuation of the pupil, plus involuntary dilation of the iris? Deckard, a machine can be a hazard. Deckard stares at Rachael, then back at Tyrell.
Delighted, Tyrell takes a cup of coffee. Accepting the challenge, Deckard opens his briefcase and starts fishing out the apparatus.
In the soft green glow of the dials, the needles in both gauges are at rest. Tyrell stands silhouetted behind Deckard, who sits in front of Rachael, a pencil beam trained on her eye.
Wire mesh discs are attached to her cheeks. The needles in both gauges swing violently past green to red, then subside. He shows you his butterfly collection, plus the killing jar.
Again the gauges register, but not so far. Both needles go to red. Deckard makes a note, takes a sip of coffee and continues. He likes it and hangs it on the wall.
The girl is lying on a bearskin rug. Deckard frowns, then smiles. His smile looks a little like a grimace or the other way around.
He notes the needles. One goes green and the other remains inert. It shows a banquet in progress, the guests are enjoying raw oysters.
Both needles swing swiftly. Needles move less. Deckard moves the adhesive discs from her cheeks and switches off his beam. The lights come on.
She is. Rachael sits very still. Except her eyes — they go to Tyrell and hang on. He stares back at her as he speaks. Rachael sits rigidly in her chair, as the ground crumbles around her, her big mermaid eyes locked with Tyrell.
His voice is quiet and strong, mesmerizing. Deckard watches with a bas taste in his mouth. She was programmed. But I think she has transcended her conditioning.
I think she was beginning to suspect. Rachael nods fixedly. Careful not to let go her grasp. Slowly, carefully, Tyrell unlocks his gaze from Rachael and turns towards Deckard, who is starting to put away his equipment.
Deckard glances back at him. He turns away and starts packing up the Voight- Kampff. Deckard is ready to go. TYRELL All pertinent information is being fed into your departmental computer, an Esper — I believe — and a photo over-lay packet is being produced.
Deckard opens the door. Deckard, I think it would be wise to reconsider my offer. Rachael sits there very pale and expressionless, her feet flat on the floor, alone is the word.
On the last word, Rachael glances up at him and Deckard turns away. The outer door slides open and he goes through it. The headlights cut through the dark, illuminating a narrow strip of mountain road.
A downgrade. The young lady in the short dress is vacuuming the rug. Her back to the viewer. The road is getting steeper and the corners sharper.
Rags of mist skim by as the Dusenberg picks up speed. In the cold shine of the icy light,the viewer walks down an aisle of maples and beeches, their clean hard limbs deflecting the frosty light, and underfoot the crisp, blue-white snow, melted through in spots, exposing soggy patches of rich brown earth.
Rushing the corners in gut wrenching four- wheel drifts. The Dusenberg slides out of a corner and faces a couple hundred yards of straightway leading to the next bend.
Good place for a breather, but the driver shifts into high and screws on. The current running strong. The nose of a kayak points through the swells, the viewer paddling for the shore.
This is cold remote country, wild and untouched. The kayak banks and the viewer steps out, moving over the sandy beach towards a little camp.
Suddenly another pair of headlights round the approach- ing bend. Large ones, of a bus or a truck. The Dusenberg is going too fast to stop.
No room to pass. The Dusenberg brakes, goes into a broadside skid. The hands of the passenger reach out and grip the mahogany dash.
The Dusenberg tears through the railing and plunges into space. The last view of the passenger is pure vertigo. Displayed under its surface is a network of crisp electronic symbols and read-outs indicating the results of the test.
Wheeler is a thin boney man, aloof but a promise of compassion in his sunken eyes. Your motivity rate checked out a little slower than last time.
Deckard starts to dress. That bothered me. Deckard bends over slipping on his shoes. Wheeler looks up, concerned. Looking at Wheeler, a little touched with his concern.
Wheeler considers it a moment, smiles and shakes his head. They shake hands and Deckard walks. If not for the fuzz and the silence, the audio on the holoscope is off, you might think you were ringside at the Garden.
The room is so quiet you can almost hear the polish. She stares at the ceiling a moment, then glances at Sebastian.
On the other side of the room, in his own world, Sebastian is peering into his magnifier, soldering gossamer strands with a laser.
Pris has crossed the floor and is closing the door quietly behind her. Her feet against the metal steps reverberate in the hollow silence. The only piece of furniture in the room.
She nods and Pris nods back. PRIS Tomorrow, he says. Pris glances at Mary and gives a frigid little smile. Pris backs out and closes the door behind her.
Batty blows air through his nostrils. Like an animal. Deckard turns a corner and guns it up a long, steep hill. He slips a small device out of his pocket, aims it at the door and the locks unlock, the bolts slide open.
He walks in and kicks the door shut behind him. Deckard is a pack rat — hard to tell if he just moved in or is just moving out.
Rachael almost got shot. Deckard looks down at the over-turned plate and nods. I called and found out you were on your way home.
These were already delivered to your department but I thought you should have copies as soon as possible.
He takes the cassette, but a man with so many locks must be wondering how they were gotten through so easily.
The situation makes awkward silence. At least for him. She smiles. She lets it sink in. Use me. Their heads a few inches apart. Something in her eyes diminishes the distance even more.
And she is. And suddenly he is too. She hands him the plate and they stand. She says it plain and simple. I think I feel more. Deckard nods, waits the respectable interval and is glad to have a plate to take into the kitchen.
In the scrambled sanctuary of his kitchen Deckard looks around for a place to put the plate, but things have piled up on him in here.
He contemplates the refrig- erator. He dumps his dinner in the garbage and comes back out. No way he can keep his foot out of it. She looks up and hands him the card.
If you need me. She goes to the door, opens it but hesitates before going through. He looks down at the number. He turns it over. The picture of a man and a woman.
The little girl between them looks like a six-year old Rachael. The over-lay machine is transforming each image with instant attributes; hair, moustaches, teeth, eye colors, age, youth, hats, glasses, etc.
All in rapid succession, running the gambit from ominous to beautiful. The possibilities were infinite. They could change their appearances but not their future.
Like she said, it was short. Longevity is what they were after. The garbage man even wanted a past. Poor fuck. The market worked on turn-over.
Built-in obsolescence was the name of the game. That meant her too. You better get on it. I got a spinner on your roof in five minutes. Good luck.
Deckard hangs up and looks at the beans. He gets up and walks to the bedroom. Looks through the pile of clothes on the floor, finds his ankle laser and straps it on.
Deckard, sitting in the contoured seat, watches the maze of suspension bridges, platforms and catwalks swing by below. The tops of larger buildings shimmer with advertisements and weather announcements.
Created for in-house use by special mandate form the Scientific Development Regulatory Committee. Will live conventional term — no para-physical abilities.
Do they have that knowledge? Back to business. Pissed, Deckard veers away and buzzes low over and around the roof tops, all dark and cramped — not a lot of room around here.
Wind blowing. A nest of garish small-time clubs. Deckard emerges from one, goes into the next. Deckard leaves the bar and walks down a hall towards a door at the rear.
Taffey comes out of the bathroom, heart pounding under his polyester bathrobe, and approaches the door like the guilty fucker he is. He looks through the peeper.
Deckard is out there holding up his I. There is a pause lasting the time it takes Taffey not to think of a way to say no. The door opens and Deckard enters.
Taffey bends down really close, peering at the pictures from about two inches away. He stops at Zhora.
She wanted to know about suck night. But my partner goes down there to the Opera House on suck night to book the good ones.
Taffey nods. Deckard goes to the door and turns. The tours, the clubs, the Silicone shows, private parties. Lots of these science guys never leave that place.
We book two shows a month in there. Those big time techs and bio- guys might be real high zoners up here, but when it comes to the arts, they like it loud and lewd.
Deckard tips his head good night and backs out of the door. From the P. Hand in hand, the Hermano Brothers bow deeply, spring up and trot offstage.
She comes to us all the way from exotic Casablanca. She kneels ceremoniously centre stage and sets the basket down before her.
Carefully removing the lid, she reaches in and lifts out a four- foot harlequin-patterned python. Grinding her hips to the music, she rises, holding the coiling snake out like an offering.
Sounds of approval from the audience. The gold coins covering her breasts jingle and shimmer, as she weaves sensuously around the floor.
She turns. He comes closer with his shit-eating grin. Salome stands almost six feet high in her high heels — she looks down on him with the haughty suspicion of a chick who knows how to handle cheap hits.
She nods, taking it a little more seriously. Did you or were you asked to do anything lewd or unsavory or otherwise repulsive to your person?
She shrugs and they go in. A portable shower, a dressing table and not much else. Salome takes the snake from around her shoulders and lays it on the dressing table.
Deck- ard watches it undulate into the warmth of the lights. His hand reaches out to touch it. She slides behind the screen and turns on the shower.
And to his amazement he actually spots one. Who do I go to? Through the hole Deckard is looking at a pair of fat legs.
He looks back. Her hair is short and blonde. Deckard recognizes her immediately from the identikit. He stares at her a moment too long.
Deckard grins and she returns it. She takes a towel off the table and starts to dry her body. The snake noses through the cosmetics, tongue flicking trying to get back to its mistress.
Absently, she reaches out to stroke the snake and suddenly laughs. She strikes him so hard it knocks him off his feet.
Before he hits the floor, she kicks him in the stomach. The snake whistles through the air again as Deckard rolls out of the way.
It slams down so hard it ruptures against the floor. He sprints after her, arrives at the door and flings it open. Black- ness. The front of the Opera House is open only to foot traf- fic these days.
A bizarre place on a Friday night, hawkers and whores, the rabble, the poor and the cur- ious mill around the randy-built platforms and brightly lit stands.
Zhora, in just a raincoat, is not out of place in this flea market atmosphere. 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 ped- estrians are in his line of fire. He runs past them and drops to one knee, leveling his laser. With his bottom lip between his teeth, it hurts to move so fast, Deckard jack-legs it into the street and jumps in front of the first car coming.
It screeches to a stop. Deckard scrambles for the door, but the guy be- hind the wheel has other ideas. He peels out fast. The next car slows down and swerves trying not to hit him.
She screams as he pushes her into the pas- senger seat and jams the car into a wrenching about face. The lady squeals like a pig as the momentum plasters her against the door.
Deckard slams it around the corner and guns it down the street. Deckard takes the next left so hard he almost lays it over. As the car bounces off the curb he floors it.
As he passes her, Deckard hits the brakes and skids broadside seventy feet. His last shot burns a hole through the base of her skull.
Hunched over, breathing hard, Deckard comes slowly for- ward. The crowd starting to gather. Deckard moves through them, edging to have a look.
It looks like Salome and the car tries to eat each other. A bloody feast of metal and flesh. Deckard bows his head, sick, exhausted.
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