On the other hand, there's Sebastian's flat, which is situated in an old, empty and nearly decomposing building, once having been the best, which the town offered. To this architectural blending one can add the market-like character of the Los Angeles` streets where members of different nationalities rush from Chinese outdoor fast food restaurants to another. The reference to the nationalities brings me to the problem of identity of the people living in L.A. in 2019. From what the viewer sees, he / she can easily assume that it was a "place of vast immigration from countries of overpopulation and poverty" Consequently, the city dialect, which the inhabitants of the metropolis, used were as Deckard said: "mishmash of Japanese, German, and Spanish whatever you got." The multinational character of L.A. is also highlighted by logos of the supranational companies (a Japanese face, a dragon at the fast food, Coca-Cola, TDK, or Budweiser) illuminating in the night but at the same time reminding us of its impersonal and soulless face. In connection to what I've just written I should add that somehow one couldn’t notice the "upper classes" appearing in the film (maybe with an exception of Dr. Tyrell), because they were either off the city centre (leaving it to the poorer members of the society) or they might very well have been in some space colony. Those who stayed on the Earth either couldn't afford the journey, or were not fit enough to go, as in case of J.F.Sebastian who did not pass the test because he suffered from, what Priss described as, an "accelerated decrepitude". The darkness of the film is, in my opinion, another factor that supports the spatial pastiche. Nearly the whole film takes place in the night or at places where there is none, or very little light. This mournful picture is underlined by the omnipresent rain, "a corrosive rain which wears things away" In these passages Vangelis' music is the only element which lightens the gloomy atmosphere of the film.
Finally, the last aspect, which I would like to mention in connection with the spatial pastiche, is the very ending of the film. The whole colourful scene of Deckard and Rachel driving to the North works as a kind of opposition to the whole film. What should have looked as natural and enequivocal ending might have seemed to some viewers as quite unnatural and artificial. (My impression was not, however, negative. I perceived it as the only positive moment of the film, illustrating the ambiguity of "humanity" and love together with the need to be loved.