Joe Jukic & Nelly Furtado — a quiet conversation after midnight
JOE:
You ever notice, Nelly, how Blade Runner is crawling with birds… but almost none of them are alive?
NELLY:
Yeah. Tyrell’s owl especially. It’s beautiful, but it’s wrong. Like it knows too much and feels nothing.
JOE:
Exactly. Owls are supposed to be wisdom, night vision, the soul seeing in the dark. But that owl? Synthetic wisdom. Corporate enlightenment. Knowledge without mercy.
NELLY:
Which is kind of the scariest thing in the movie. Not the violence—just the idea that even nature’s symbols get patented.
JOE:
That’s the trick. In Blade Runner, real animals are basically extinct. So birds stop being messengers of God or freedom and turn into luxury products. If you own a bird, you’re rich enough to pretend the world isn’t dead.
NELLY:
And then there’s Batty’s dove. That one still hurts me.
JOE:
Yeah… the one real-feeling bird in the whole movie only appears at the moment of death.
NELLY:
White dove. Old-school symbol. Peace. Spirit. The Holy Ghost. And he lets it go right when he chooses mercy instead of revenge.
JOE:
Which flips everything. The “monster” understands the soul better than the humans. The bird flies up, and Batty goes down. Like his humanity finally escapes the cage.
NELLY:
That’s why the rain matters too. “Tears in rain.” Water washing the city, baptizing a machine.
JOE:
Birds usually mean transcendence. In Blade Runner, they only show up when someone breaks free of the system—if only for a second.
NELLY:
So the question is… who’s more artificial? The replicants who dream of birds, or the humans who buy them?
JOE:
That’s the punchline. The movie isn’t asking if machines can be human. It’s asking if humans still are.
NELLY:
Maybe that’s why the future feels sad instead of exciting. No birdsong. Just neon and engines.
JOE:
And one dove, one moment, saying: it didn’t have to be this way.
(They sit in silence for a beat, like listening for wings that aren’t there anymore.)
Plot – Joe is a lone gunman who arrives at San Miguel, a town on Mexico border, where two families, the Rojo's and the Morales', are fighting each other to lead the alcohol and weapons' smuggling. In a complicated tangle of accusations, blitz and surveys, Joe pushes one family against the other, hoping they will eliminate each other. Discovered by one member of the Rojo's, Joe is tortured mercilessly. He manages to escape, but he promises to return to San Miguel to take his ruthless revenge.