B L A D E R U N N E R 2 0 4 9

story by

Hampton Fancher

screenplay by

Hampton Fancher
and
Michael Green

FINAL SHOOTING SCRIPT

 1.

FADE IN ON:

A GREEN EYE

We move towards its pupil.

EXT. SKIES OVER GROUND. DAY.

SOARING OVER

AN INFINITE ARTIFICIAL LANDSCAPE OF SOLAR PANELS AND PLASTIC

SHEETING. All dead and abandoned to the dust and wind.
Finally giving way to --

EXT. FARMLAND. CALIFORNIA. DAY.

Called farm only generously. The ground dry, inhospitable.

A dubious horizon to distinguish the browns that are both
Earth and sky. There is no green in sight.

The landscape streaks by in a blur. Nothing to tame our

focus until... REVEAL:

A SPINNER

Beaten, scuffed, yet owns the sky like a seagull. It flits

RIGHT BY US, as we MOVE INSIDE --

INT. SPINNER.

THE PILOT IS ASLEEP. The Spinner on autopilot. The MAP on

the dash is abruptly interrupted by A CHIME.

The pilot wakes. Yawns.

This is K. Youd peg him for 30 if you didnt know better.

Refined features, flawless skin. Intelligent eyes that
breathe in detail and exhale warmth. Gifted with a grin that
masks wry for earnest.

SHAPES begin to coalesce ahead in the distance. Revealing

themselves to be PLASTIC GREENHOUSES.

Ks eyes go hard at seeing a strange INSTALLATION ahead.

K directs the Spinner towards...

EXT. FARMLAND. CALIFORNIA. DAY.

TRAVELLING WITH THE SPINNER over remains of abandoned

greenhouses. PLASTIC DOMES over what were once POOLS.

A windmill stands above it all. Slowly, creakily rotating.

Its bent wing hitting the center pole as it strikes 6
oclock... creakCLACK... creakCLACK... creakCLACK...
 2.

The Spinners SHADOW rolls over the windmill. Approaching --

EXT. FARMHOUSE. DAY.

Cement walls and corrugated tin roof. An old school maybe.

Beside it a PLASTIC TENTED POOL.

INT. TENTED POOL. DAY.

Under a translucent dome. A bull of a FARMER stands knee

deep in a pool full of sludge, raking a nutrient rich
solution. Bio-reactors slowly filtered the fluid into
vertical plasmid sacs that feed into LARGE BINS.

The Farmer wears thick protective gear from head to toe.

Hood and goggles cover his face. He takes up a handful of
NEMATODES, pleased with his crop. Looks up as --

THE SPINNER SOARS OVERHEAD.

The Farmer sets down his rake.

EXT. FARMHOUSE.

The Spinner lands in the open field behind the house, kicking
up a PLUME of DUST that briefly obscures it.

A small flitty HOVERCRAFT ejects itself from the back of the

Spinner, A PILOTFISH.

K emerges from the dust. Whatever color his coat was, its
brown now. K instructs with the Pilotfish with a gesture. It
TAKES OFF.

K approaches the peeling-paint farmhouse. ONE TREE in sight,

a giant, DEAD, leafless thing. A ghost of grandiosity,
standing only thanks to a brace and wires staked down.

INT. FARMHOUSE. MOMENTS LATER.

K crosses creaking floors. Looks around: Kalsomined walls,

pitted windows. All old, but clean. Someone takes pride.
Basic furniture, an UPRIGHT PIANO. Otherwise EMPTY. No
decor, shelves BARE.

K inspects the few items. Sheet music for CHOPIN on the

piano. An aquarium in which COWSLIPS grow...

A pot of something fragrant simmers on the stove... K leans

into the pot, sniffs deeply, when --

HEAVY FOOTSTEPS come from outside. Rattling the whole house.

K re-lids the pot, as --

 3.

EXT. FARMHOUSE. CONTINUOUS.

The Farmer approaches his home. Air HISSES in at the

unfastening of his MASK. He eyes the Spinner parked beyond
the tree. Sees the Pilotfish hovering above. Pulls a chain.
A DECONTAMINATION SHOWER rains over his suit, which he can
now unsnap.

This is SAPPER MORTON. Weathered 60s. A well-broken nose.

Yet he pulls from his belt satchel a set of dainty glasses.

INT. FARMHOUSE. CONTINUOUS

THE DOOR OPENS. Sapper steps in. The floor creaks under his
weight.

He scans the room. Empty. Sapper moves to a sink where he

violently scrubs his hands. He does not yet see K.

K leans from a shadow into the light. A stranger, suddenly

visible. Briefly ominous. An uncertain moment...

K
(polite)
Hope you dont mind me taking the
liberty. Winds a bit unkind out there.
I was careful not to track in any dirt.

Sapper eyes Ks chummy posture. Dismisses any threat.

SAPPER
I do not mind dirt. I do mind
unannounced visits. You police?

K
Sapper Morton... Civic number NK680514?

SAPPER
Im a farmer.

K
(genuinely interested)
I saw that. What do you farm?

SAPPER
This is a protein farm. Wallace design.

Sapper fishes a clod off his boot and pulls off a single
wriggling WORM.

SAPPER (contd)
It only takes the one to start.
Parthenogenic strain. Constant doubling.
Theyll fill as much dirt as you can wet.
 4.

K
Is that what I smell?

K looks to that inviting pot on the stove. Sapper shakes his

head, pleased with himself. Opens a cupboard, where a grow
light nourishes PLANTS. A few FLOWERS. And a bottle
terrarium full of GREEN SHOOTS.

SAPPER
Grow this just for me. Garlic.

K
Garlic.

He looks. The pot on the stove bubbles and steams.

SAPPER
Whole town farmed it back once. Smelled
this good a hundred miles in circle.
Try some?

K
No thank you. I prefer to keep a cold
stomach until the hard part of the days
behind me. How long you been here?

SAPPER
Since 20. Came by it honest too if
thats what youre after.

K
But you werent a farmer prior.

Sapper cocks his head at the comment. K notes the SATCHEL at

his belt.

K (contd)
That bag... colonial medical use, isnt
it? Military issue. Heat resistant.
Where were you... Calantha? Mustve
been brutal. Not many who survived
bothered to come back to ground.

A beat. Sappers expression darkens. He takes off his

glasses puts them in his satchel.

SAPPER
Planning on taking me in? Huh? Take a
look inside. See what they missed.

REVEAL: Sapper has A SCALPEL from his satchel. Not likely.

K
If taking you in is an option, Id much
prefer that over the alternative.
 5.

K puts his gun on the table.

K (contd)
You had to know itd be someone in time.
Sorry its me.

K stands and retrieves a small SCANNER from his pocket.

SAPPER
Good as any.

K activates the scanner.

K
If youd look up and to the left please.

The FIGHT is quick and it is fierce:

Sapper stabs towards Ks heart. K avoids the blade, only his

coat and the wall are pierced by Sappers knife now stuck
deep into the wall. K breaks Sappers hold on the knife,
which skids to the floor.

K DUCKS a heavy fist that sinks into the wall where his head
just was. Sapper grabs K by his belt and collar, lifting him
into the air and slamming him into the wall over and over --
until Ks body GOES THROUGH IT, and --

K crashes onto the floor in the next room.

K recovers quickly, strangely able to withstand the

punishment. He sees Sapper charge through the wall to finish
the job.

Sapper is on him -- a vice lock around Ks throat -- K

gasping for air.

K gets out of Sappers grip, and lashes out in rapid

succession, his solar plexus, his chin, his throat, crushing
his windpipe. His blows are SURGICAL, anatomically precise,
like viper bites.

Sapper is stunned, choking, in pain. K kicks Sappers knee

and the giant drops to the floor like a felled oak tree.

K SNATCHES Sappers THROAT -- SQUEEZING -- thumb SLIDING

UPWARD as -- Sapper GASPS... FLAILS... hand reaching...

For the dropped SCALPEL... GRASPING IT!

HE STABS K in the SHOULDER.

K accepts the wound and the pain. Only squeezes tighter.

 6.

Sappers EYES ROLL BACK -- the desired effect -- REVEALING:

A PINPRICK OF COLOR on the underside of the right EYEBALL.

K draws the SCANNER -- which reads the point like a bar code.
It confirms Sappers ID.

K stops holding back -- SNAPS Sappers remaining good arm --

grabs his GUN that has fallen on the floor beside the table.

K (contd)
Please dont get up.

Sapper raises up still fighting for air.

SAPPER
How does it feel, killing your own kind?

K
I dont retire my own kind. We dont
run. Only old models run.

SAPPER
You new models. Youre happy scraping
the shit. Youve never seen a miracle.

Sapper gives a zealots grin. Ready to die for a cause only

he understands. Eager for it. HE RUSHES K.

THE GUN THUNDERS.

HOLD ON THE GUN. So we only HEAR Sappers body DROP.

K breathes heavy. Checks his wound. Sees his BLOOD on his

FINGERS.

Blood trickles onto fallen sheet music. Staining Chopin.

K smooths himself back to dignity. Leans over the body.

Then PAUSES. Crosses the room. Finds a spoon. Hesitates.

Tastes the soup. Hmmm. Garlic.

EXT. FARMHOUSE. MOMENTS LATER.

K steps out. Looks up at a sliver of sun eking through the

dense clouds. The Pilotfish is hovering above the farm.

In one hand he holds SAPPERS GLASSES. In the other he holds

a small, clear CASE. INSIDE IS SAPPERS EYE. He staggers
toward his Spinner. Gestures to the Pilotfish.

K
Photograph everything.

The Pilotfish rises to take pictures of the farm.

 7.

INT. SPINNER.

K taps a button on the dash. An LAPD LOGO comes up.

K
Madam, please.

ON SCREEN comes the perpetually disappointed face of LT.

JOSHI. A 50ish woman. Ambitious, officious, impatient. Ks
backtalk gives fuel to her irritation so she tolerates it.
Or maybe she just likes the look of him. More than she
should. She sees his BLOODY shoulder.

JOSHI (ON SCREEN)

Youre hurt. Im not paying for that.

K
Ill glue it.

JOSHI (ON SCREEN)

And?

In answer K holds up the CASE with SAPPERS EYE. The

pinprick of his CODE below the cornea. It SCANS. Sappers
SERIAL NUMBER and history open. A NEXUS 8 for the curious.

JOSHI (ON SCREEN) (contd)

One of the tail end Nexus 8s before
Prohibition. Looks like he could take
your head off.

K
He thought about it.

JOSHI (ON SCREEN)

Field medic, standard ocular ID upgrades,
open end lifespan, now ended. He went
AWOL after Calantha with a few more in
his outfit I wouldnt mind closing out.
Just him?

MORE NEXUS 8 IDs flit by. All wanting to be retired.

K
Just the one.

JOSHI (ON SCREEN)

Between the retirement and the bleed
youll see a tidy bonus. Less mine.

K
Can I get it today?
 8.

JOSHI (ON SCREEN)

I dont know what you all do with cash in
pocket anyway. Come on home for your
baseline.

Something catches Ks eye. By that TREE. Low to the ground.

The smallest pop of YELLOW... against a dirt brown world.

K
Moment, Madam.

EXT. FARMHOUSE.

He kneels at the foot of the tree to find:

A SINGLE, SLENDER COWSLIP. Left leaning against a root.

K lifts it to his eye. As if moved by its delicacy. He

considers the long dead tree. Gestures to the Pilotfish --

K
There. 30 meters to maximum depth.

The Pilotfish begins a spiral over the area.

ON THE SCREEN: An ULTRASOUND of the ground below. Root

systems. A cracked foundation. And there, buried DEEP under
the tree... A SMALL SEALED SQUARE FOOTLOCKER.

Joshi sees it in her office as well. Annoyed at more work.

JOSHI (ON SCREEN)

What is that?

K
Its down in deep. Send a dig team,
Madam?

Joshi SIGHS, annoyed.

K (contd)
Should I find a shovel, spare your night?

JOSHI (ON SCREEN)

(yes, but...)
You better get back ahead of the storm.

The Pilotfish attaches itself to the spinner as it takes off.

Camera moves toward the tree as we --

CUT TO:
 9.

EXT. SKIES ABOVE LOS ANGELES. NIGHT.

LIGHTNING shatters the sky into irregular jigsaw shapes.

Indeed, there is a storm collecting to the north. We are...

SOARING OVER

The breathtaking cityscape skyline of dystopian grime. 30

years older. Sweatier. Sucked of oxygen. If LA then was a
giant oil refinery then, now it is industrial bones jutting
out of a new city built atop the old. And spread far as the
eye can see. What were streets are canyons that cut deep
down to the strata below. Who knows how far.

KS SPINNER

Is a single bulb in the Christmas tree. Part of the SPINNER

TRAFFIC that lights up the sky. Now gliding for the citys
poorer, uglier center. A seizure of ADVERTISEMENT,
interactive and bright. In the distance is a massive
structure: THE SEPULVEDA SEAWALL.

INTERVIEWER (O.S.)
Subject: Officer K D6-dash-3-dot-7.
Lets begin. Ready?

K (O.S.)
Yes, Sir.

INTERVIEWER (O.S.)
Recite your baseline.

We see K through his rain streaked windshield as the Spinner

banks and begins its descent toward a grey cinder block of a
building. RUNNING LIGHTS illuminate a LANDING PAD at the top
of the LAPD TOWER / DIVISION 5.

K (O.S.)
And blood-black nothingness began to
spin / A system of cells interlinked
within / Cells interlinked within cells
interlinked / Within one stem.

INT. POLICE STATION. PROCESSING HALL. NIGHT.

Lifeless architecture. Huge, with worn out plastic features.

Call it functional to be nice.

Though it is late it is CROWDED. Bloody-nosed K walks

through a chaotic hive of crime processing. CRIMINALS
pleading cases at plexi-covered booths... or shouting into
payport phone banks...

The HUMAN COPS still manage to get in Ks way, sure to remind

him of his place and esteem as a Replicant.
 10.

COP
Fuck off, Skinjob.

If that bothers K he does not let on.

K (O.S.)
And dreadfully distinct / Against the
dark, a tall white fountain played.

INT. INTERVIEW ROOM. DAY.

A clinical room that was white a decade ago maybe. The

INTERVIEWER can be heard but not seen.

The long barrelled LENS of a specialized CAMERA slides back

and forth to find its specific focus on K, who sits on a
stool. Coat off and on his lap. Dry blood on his cut shirt.
He stares ahead at the camera. Compliant and still.

The CAMERA alters its focus accusingly. Locks in.

INTERVIEWER (O.S.)
(sudden and forceful)
Cells.

K
Cells.

INTERVIEWER (O.S.)
Have you ever been in an institution?
Cells.

K
Cells.

INTERVIEWER (O.S.)
Do they keep you in a cell. Cells.

K
Cells.

INTERVIEWER (O.S.)
When you are not performing your duties
do they keep you in a little box? Cells.

K
Cells.

INTERVIEWER (O.S.)
Interlinked.

K
Interlinked.
 11.

INTERVIEWER (O.S.)
Whats it like to hold the hand of
someone you love. Interlinked.

K
Interlinked.

INTERVIEWER (O.S.)
Did they teach you how to feel, finger to
finger? Interlinked.

K
Interlinked.

INTERVIEWER (O.S.)
Do you long for having your heart
interlinked. Interlinked.

K
Interlinked.

INTERVIEWER (O.S.)
Do you dream about being interlinked?
Interlinked.

A moments hesitation. Then --

K
Interlinked.

INTERVIEWER (O.S.)
Whats it like to hold your child in your
arms? Interlinked.

K
Interlinked.

INTERVIEWER (O.S.)
Do you feel like there is a part of you
that is missing? Interlinked.

K
Interlinked.

INTERVIEWER (O.S.)
Within cells interlinked.

K
Within cells interlinked.

INTERVIEWER (O.S.)
Say that three times. Within cells
interlinked.
 12.

K
Within cells interlinked. Within cells
interlinked. Within cells interlinked.

A pause, a grinding of unseen machinery, the camera powering

down, then --

INTERVIEWER (O.S.)
(kindly)
Were done. Constant K. You can pick up
your bonus.

Ks eyes look to the eye of the camera.

K
Thank you, Sir.

CUT TO:

EXT. CITY STREET.

A POLICE SPINNER glides low overhead. A small ADVERTISEMENT

DRONE hovers like an insect, projecting 3D ads in the smoggy
atmosphere. A HUGE SNOW MELTING MACHINE moves down the
street, clearing the slush. It passes to REVEAL --

K. He pushes past the occlusion of PEOPLE buttoned against

the cold. Crosses the windblown street. Gutters heaped with
dirty snow as more dirty snow falls. Fat, sooty flakes.

He carries a newly purchased PACKAGE under his arm.

EXT. KS APARTMENT COMPLEX

A grand, old office building. TILT DOWN the buildings

facade as K enters...

INT. KS APARTMENT COMPLEX.

The office building has been hastily and cheaply retrofitted

for residential living. DENSELY crowded with FAMILY LIFE.

The many RESIDENTS, too poor or genetically problematic to

get Off-World, treat the halls and stairway landings like a
dorm commons. An extension of their own homes.

Pungent signs of ethnicity everywhere. Colors, carpets,

clothes. As many languages as shades of skin. K gives a nod
of acknowledgment to a man smoking in the hall. Is
acknowledged back with a stream of foreign epithets that
follow him up...

INT. KS APARTMENT COMPLEX. CONTINUED.

FIND K ON THE STAIRS

 13.

Walking up 80 stories. Stiff from the fight. An OLD WOMAN

bumps into him, expecting him to get out of her way. No one
he passes the least glad to see a Replicant.

INT. HALLWAY.

K crosses the hall. ALL his NEIGHBORS DOORS are open like
market stalls letting in air and letting out CHILDREN. Every
home thickly filled, like a hoarders garage. Some host
SHOPS. FOOD STALLS. Every floor like a town square.

K walks past and to his apartment. A BOY, brown-faced,

missing an ear, looking up at K, with curiosity and fear.

K opens the lock. Disappears inside. The only one to close

his door, which is tagged with a GRAFFITI: FUCK OFF
SKINNER.

EXT. KS APARTMENT. NIGHT.

PUSH IN ON KS WINDOW, as a LIGHT turns on within...

INT. KS APARTMENT.

A sparsely adorned space in clear contrast to his neighbors.

No pretense of cultural heritage. A simple chair. On its
arm a valueless paperback novel, well-thumbed, noted,
creased. Nabokovs maddening PALE FIRE as it happens, not
that we make a thing of it.

K walks in with his package, trying to be discreet, he hides

it as...

He turns on a CONSOLE. Perhaps a MUSIC PLAYER, which spins a

SINATRA song, Summer Winds.

K takes off his coat. Seems more annoyed at the scalpel tear
in the fabric than the shoulder wound he sustained under it.

WOMANS VOICE (O.S.)

K! I didnt hear you. Youre early!

K
You want me to come back?

JOI (O.S.)
(a laugh)
Go scrub.

Just hearing it helps take away the pain. K relaxes into

this normal domestic scene.
 14.

INT. SHOWER.

K washes off the days dust and blood. Jets shower. Five
seconds of water.

INT. BATHROOM.

K at a mirror eyes his shoulder WOUND.

JOI (O.S.)
How was your meeting?

He squeezes the contents of a thin nosed TUBE onto it.

Platelet jelly. The skin rebonds. Gluing it after all.

K
The usual. How was your day?

JOI (O.S.)
Im getting cabin fever.

INT. KITCHEN.

K cooks in a corridor kitchen that looks like one we would

find in a very old space station. He cooks with dexterity,
trying to be light, as he makes a prefab meal.

K
I had an accident at work. Think I
ruined my shirt.

JOI (O.S.)
Im sure I can fix that for you. Let me
take a look at it.

K
You want a drink first? I need a drink.

JOI (O.S.)
Mmm-hmm. Pour me one, will you.

INT. KS APARTMENT.

K crosses in, pours two drinks. Sits on a chair in the

middle of the living room. Neighbors at the window, a
couple, on the other side of the street. Ordinary life.

JOI (O.S.)
Im trying a new recipe. I think youll
like it.

K
Dont fuss.
 15.

JOI (O.S.)
Too late. I hope it isnt dry.

K plays at indignation but is glad for her thoughtfulness.

Ks life is not lonely and that is something in this world.

K drinks the two drinks poured, sits to eat the meal he made.

JOI (O.S.) (contd)

Did you know this song was released in
1966 on Reprise Records? It was number 1
on the charts... Wont be much longer.
Finishing touches.

He opens a CASE. Inside: Five cigarettes. A commodity. He

sets ONE onto an ashtray.

We hear CUTLERY gather. We hear FOOTSTEPS.

JOI (O.S.) (contd)

Ok, ready! I think youll like it.

K
I told you not to fuss.

JOI (O.S.)
And yet.

REVEAL: JOI.

Not a real woman at all. A digital companion. PROJECTED from

a hard line CONSOLE unit mounted on tracks along the ceiling,
and restricting her existence to this space. Goddess,
girlfriend, geisha and, right now, goddamn bombshell.
Ingeniously real in every way except the one that counts.

She holds a plate of steak frites. Not real of course. An

illusion of satisfaction. Just like Joi in her APRON over a
sweater set and pearls. Waiting for him with dinner on the
table and drink in hand like a cartoon 60s housewife.

(NOTE: Joi cannot interact with physical objects. Any

object she manipulates is a holo representation, like her.
Nor does she move when unobserved by K; when he turns away
for any length of time she shifts into idle animations.)

JOI (contd)
Voila. Bon appetit.

She sets the plate atop his sad prefab bowl of actual food.
Kisses him on the cheek.

CLOSE ON: HIS SKIN. Brushed by the butterfly kiss of her

cloud. Palpable but not tangible.
 16.

JOI (contd)
I missed you, babysweet.

K
Honey, its beautiful.

JOI
Just put your feet up. Relax.

K is moved by the gesture. He puts the cigarette to his

lips. Joi leans in close. Puts up a finger... Juuuust
teasingly touching the tip of the cigarette... until... a
tiny STATIC SPARK ignites an ember.

He draws, and his cigarette lights. He blows the smoke into

Joi, making her hologram all the more dense and real.

They look at each other. Joi studies him. She looks to the
shelf. Notes Sappers glasses.

JOI (contd)
Was a day, huh?

K
(heavy)
It was a day.

Her form seamlessly reverts back to her lissome baseline.

Companionate, respectable, smart. The way he likes her. She
picks up his copy of Pale Fire, hoping to cheer him up.

JOI
Would you read to me. Im dying to know
what happens next.

K
You hate that book.

K smiles. She throws the book behind her back. The book
disappears as it flies.

JOI
I dont want to read either. Lets
dance.

She straightens. Arm up to receive his and be led, wearing

now a beautiful dress. And with that Joi wins. K has no
choice but to put his day behind him.

JOI (contd)
You wanna dance, or you wanna open your
present?
 17.

JOI (contd)
A present?

Joi looks elated.

JOI (contd)
Whats the occasion?

K
Our anniversary.

JOI
Is it?

K smiles. Of course not.

He opens the box on... A DIGITAL DEVICE, size of a King Size

Snickers. Joi visibly brightens with excitement.

K
Happy Anniversary.

JOI
An emanator.

K
We dont need a hard line anymore. Try
it on.

K presses the console. Joi hesitates only a moment then...

FADES AWAY.

A RESTART CHIME. A LOGO floats off the emanator: A SPHERE,

surrounded by smaller spheres in orbit. WALLACE CORP, E&C.

K taps the emanator and, with a CHIME... Joi comes back

online. THE EMANATOR conjures her even more realistically in
every way. She moves about, her image unbroken as it was
when projected from the hard line. She TWIRLS about, the
pleats in the new dress conjured for the effect billow out.
She loves it.

JOI
Oh thank you thank you thank you!

K
You can go anywhere in the world. What
do you want to see first?

Joi considers, eyes sparkling with an idea. And we...

 18.

EXT. ROOFTOP. STORMING. NIGHT.

ON JOI. Rapt, eyes fixed on the gorgeous fractal skyline.

The rain passes through her projection. In a well-programmed
nod to physics her clothes get wet, stick to her skin.

LIGHTNING FIRES ABOVE. Joi does not flinch. Only flickers.

K raises his coat to cover the rain. Joi stays his hand.

JOI
Stay like this. The light catches your
skin. You look like me. If youre not
too cold...

Hes not. Stays wet.

JOI (contd)
Im so happy when Im with you.

K
You dont have to say that.

Joi takes his hand. Static heightened by the conductive

water clinging to his skin. She leads his hand to her waist.
As if to dance.

She leans in close to his neck. Her exhaled breath tickles

his lips. A smoky wet dream. He kisses her. She looks deep
in his eyes. K kisses her neck, slowly... not breaking the
illusion... The moment intensifies-- her breath escaping --

HER IMAGE GOES STATIC --

THEN FREEZES -- her face in a rictus of ecstacy, gorgeous in

motion but the single frame out of context appears vulgar.

Jois face replaced by AN EMERGENCY PAGE. VOICE MESSAGE.

IMMEDIATE RESPONSE REQUIRED. The POLICE LOGO. His time is
entirely owned. The message plays:

JOSHI (V.O.)
Your dig came through... Get down here.

K looks at Joi, their moment ruined. A chime from the

emanator and she is gone.

CUT TO:

INT. MORGUE. POLICE STATION. MOMENTS LATER.

ON A MACHINE. MOVING OVER A SKELETON ON AN EXAMINATION

TABLE. Bones clean. Half assembled, half still in a 2X2X2
footlocker. A thick BRAID of HAIR CURLED beside it. An
AUTOPSY is visible taking place in an adjacent room as --
 19.

A TECHNICIAN takes out the remaining bones one by one, and

unwraps them -- as each has been individually wrapped in
cotton rags with ritualistic care. A small bag contains the
full set of teeth, which the Technician sets under a scanner.

A pug COP, NANDEZ, enjoys the show. A bigot with a mouth

certain whatever comes out of it is funny. Recognizable as
human as all humans stuck on Earth seem to be.

NANDEZ
Your box is a military footlocker issued
to Sapper Morton, creatively repurposed
as an ossuary. Box of bones,
meticulously cleaned and laid to rest
about 30 years gone. Nothing else in it
but hair. Shes pre-Blackout so DeNAbase
doesnt give an ID.

K
She?

JOSHI
Even better. She plus one.

NANDEZ
Cause of death, Coco --

An awkward MORGUE TECH, COCO, joins. Means well but prone to

nervous giggles. One of few who treats K with respect. Coco
throws a SIM SCAN upscreen: Showing the bones REASSEMBLED.

COCO
No breaks, hi K, no signs of trauma...
except...

The PELVIS centers. A FRACTURE. Similar pattern to the heat

lighting. K ignores the holo, checks the actual bones, as --

COCO (contd)
Fracture through the ilium. Narrow birth
canal, baby probably got stuck. The bone
should re-bond if you live long enough...
she didnt.

JOSHI
She was pregnant.

K
So he didnt kill her.

COCO
She died in childbirth. Guess she wasnt
meant for motherhood.
 20.

K continues looking at the bones after Coco moves on. He

sees something on the pelvis. Throws it upscreen. Enlarges
the image until SCRAPES ALONG THE BONE are visible. Taps it.

K
Go back. Closer. Closer. That. Whats
that?

COCO
Notching on the iliac crest. Fine point,
like a scalpel. Looks like an emergency
c-section... Cuts are clean. No sign of
struggle.

K
He was a combat medic. Maybe he tried to
save her. Just didnt.

Joshi considers. Eye to Coco. Is he right?

Coco checks the image. Whistles, goofily impressed.

NANDEZ
He didnt seem like the saving type.

COCO
He took the time to bury her. A
sentimental skinjob.
(off K, realizes the insult)
Sorry.

JOSHI
Didnt seem the Daddy type either. So
wheres the kid? You scan the whole
field?

NANDEZ
Just dirt and worms. No other bodies.

COCO
Maybe he ate it.

K steps away. Picks up the thick BRAID. Considers it.

Looks at the COWSLIP in an evidence bag. Stares at it.

He lifts the bone. The fractured ilium. Instinct engaged

again. He puts it back upscreen.

WE CLOSE IN further and further on the sample. Down to

cellular level. A FORM coming into focus.

ON K. AS HE SEES IT. EXPRESSION CHANGING.

K motions for Joshi to look. She sees his face, looks. Beat.
 21.

ON JOSHI. As we see what she does on the SCREEN:

LETTERS AND NUMBERS ETCHED ON A CELL. A SERIAL NUMBER.

K and Joshi look at each other facing incontrovertible truth.

INT. JOSHIS OFFICE. MOMENTS LATER.

Evercalm Joshi pours herself a drink. A safeguard on that

calm. She picks up her drink with a shaking hand. Finally --

JOSHI
Thats not possible. She was -- a
Replicant. Pregnant. It was pregnant.

She quiets with the alcohol burn.

Stares out. Seeing too many steps ahead. Into darkness.

She sets her glass down with finality. Finally looks to K,
firm, declaring:

JOSHI (contd)
(firm)
The worlds built on a wall that
separates kind. Tell either side theres
no wall -- you bought a war -- or a
slaughter.
(and then)
So what you saw. Didnt. Happen.

K
Yes Madam.

JOSHI
What isnt possible cant be.

K
Yes Madam.

JOSHI
Theres an order to things. This turns
it. Thats what we do here, we keep
order.

K catches on. What Joshi is asking.

K
You want it gone?

JOSHI
Everything.

K
Even the child.
 22.

JOSHI
We have to break the mold. All trace.
Numbers, incepts. Erase. Everything.

Silence. Joshi scans K.

JOSHI (contd)
You have something to say?

K
Ive never retired something born.

JOSHI
Whats the difference?

K
To be born is to have a soul.

JOSHI
You telling me no?

K
(polite)
I wasnt aware I had a choice.

JOSHI
Attaboy.

Just before leaving the room...

JOSHI (contd)
Hey. Youre getting on fine without one.

K
Whats that Madam?

JOSHI
A soul.

INT. KS SPINNER. DAY.

ON AN AD SPIRE as an AD PLAYS... FOR THE JOI DIJI. A sexed-

up crass version winks at us. A MALE MODEL (DIJI BOI) also
available. The jingle and copy come with the WALLACE LOGO:

Whatever you want to see. Whatever you want to hear. Joi.

Ks SPINNER flies by.

INT. KS SPINNER. DAY.

ON K through the SPINNER WINDOW, which reflects the riot of

COLORFUL ADVERTISEMENTS. The city glisters below as KS
SPINNER soars toward...
 23.

The DARK abandoned structures of THE TYRELL CORPORATION

PYRAMIDS... now overshadowed by THREE GIGANTIC BLADE SHAPED
BUILDINGS: THE WALLACE TOWERS. Soaring clean lines in a
craggy, sooted city.

EXT. WALLACE TOWER.

Ks Spinner approaches the foot of the great TOWERS.

INT. LOBBY. WALLACE CORP. DAY.

A huge, wide open space made of sandstone and lit by

artificial sun beams. Doesnt look like the lobby of a
corporation, but the interior of a Nabataean Tomb.

A GREETER meets K and escorts him to --

INT. ENTRY. RECORDS LIBRARY. DAY.

A dead end corridor. GREETER goes away in the dark.

Leaving K standing before a too-chatty FILE CLERK. File

Clerks booth looks like a bunker.

K
Checking on an old serial number.

FILE CLERK
You have anything else? You have
confirmation DNA?

K
I have hair.

K sets the braid on a case. Clerk SCANS IT. A SERIAL NUMBER

APPEARS ON THE MONITOR.

ON HIS MONITOR: AUTOCAPTURING THE SERIAL NUMBER. This as --

FILE CLERK
An old one. Pre-Blackout, this is gonna
be tough. Not much from then and whats
there is thick milky.

ON THE MONITOR: The autocapture SENDS, and --

INT. LUVS OFFICE. THAT MOMENT.

A WOMANS HAND reaches for a small, delicate TEAPOT. Which

she tilts and pours into a small, delicate teacup. She sits
at a desk made of wood in a world without trees. REVEAL:

LUV. Polite, efficient. Perfect. Moral as a tornado and

about as safe. Beautiful, yes. The way a sword can be if
its safely behind glass.
 24.

Luv sits in a formal business meeting pose across ANOTHER

WOMAN who sips tea across from her. A HOLO PROJECTION of
someone off-world.

LUV
You can customize them as much as youd
like. As human as you want them to be.
But the Placers is strictly a drill site,
isnt it? Off-world mining rock wants a
strong back and an utter lack of self-
sufficiency, I wouldnt waste your money
on intelligence or attachment or appeal.
Unless youd like to add some pleasure
models to your order?

A LIGHT BLINKS in Luvs earpiece. Some information received.

A pause as she reacts to it. Sets down her cup.

LUV (contd)
Excuse me a moment.

She moves behind her desk. And sees the same AUTOCAPTURE on
her screen. Off Luv...

INT. RECORDS LIBRARY. THAT MOMENT.

Deep in the librarys belly, K walks with Clerk passing

hundreds of ROWS OF DRAWERS.

FILE CLERK
Everyone remembers where they were at the
Blackout. You?

K
Before my time.

FILE CLERK
Home with my folks, terrified -- ten days
of darkness, every machine stopped cold.
When the lights came back we were wiped
clean as any. Photos, files, every bit
of data -- gone. Bank records too,
didnt mind that, couldnt prove our loan
and had to give us the house outright...

Clerk locates and opens a drawer. Inside, neatly stacked,

are thousands of thin, translucent CARDS. Clerk fingers
through them, nostalgic while searching.

FILE CLERK (ON SCREEN) (contd)

Funny how only paper lasts. We had
everything on drives. My mom still cries
over the lost baby pictures.
 25.

K
Shame. You mustve been adorable.

Clerk misses the joke. Surprised to find something:

FILE CLERK
Here. Pretty fractured, not much on it.
One of the last gens pre-Prohibition.
Bs across the board, standard issue.
Made by Tyrell.

K
And?

FILE CLERK
No remarks. Unremarkable.

K
Unremarkable. Thats all you know.

FILE CLERK
(off the braid)
Brown hair.

A VOICE from OS interrupts --

LUV (O.S.)
There must be something else we can find
for him.

K turns to see: LUV.

Clerks sphincter tightens at her arrival. Backs away.

Luv comes toward K. Hands tucked. Suit sensible. Every

aspect immaculate. The flawless representative.

LUV (contd)
Another prodigal serial number returns.
A 30 year old open case finally closed is
a curiosity and relief. Thank you,
Officer. Im here for Mr. Wallace.
(hand out)
Im Luv.

K
He named you. You must be special.

He steals a once over, understanding. She gives an

unembarrassed nod of confession.

LUV
Im here for Mr. Wallace.
 26.

INT. NEXUS RELIQUARY HALL. MOMENTS LATER.

Luv leads K down stairs, lined with DISPLAY CASES. Each

containing an outmoded model REPLICANT. DEAD and suspended
in a clear preservative liquid. An historical record of
their kind. Luv scarcely registers them, spinning the
corporate thread --

LUV
The ancient models give the entire
endeavor a bad name.

She touches under her eye, where the pinprick is, winks.

LUV (contd)
What a gift, dont you think? From Mr.
Wallace to the world. The outer colonies
would never have flourished had he not
bought Tyrell, revivified the technology.
To say the least of what we do.

INT. SMALL BASEMENT CORRIDOR.

K and Luv walking in a small basement corridor. A chime

comes out of Ks pocket: his emanator.

LUV
I see you are also a customer. Are you
satisfied with our product?

K
Shes very realistic.

Luv leads him toward a HEAVY DOOR.

LUV
Here -- all the junk is in here. Lucky
for you Mr. Wallace is a data hoarder. A
shard in the right shape can be a gem.

She leans into a FACIAL RECOGNITION SCAN. It unlatches --

but stops before opening. STUCK. A nuisance.

LUV (contd)
No ones been down here in ages.

Without a break in stride she PRIES into the door seam with
her FINGERS to OPEN it. A show of tremendous force. Perhaps
deliberate. After you...

INT. MEMORY VAULT.

Subzero temperatures preserve the data stored within and

turns breath into smoke. Luv opens A WIDE, FLAT METAL
DRAWER, one of DOZENS.
 27.

FILLED WITH THOUSANDS OF GLASSY SPHERES. Like eyes milky

with cataracts. She pulls on gloves before handling them.

LUV
All our memory bearings from the time.
All fairly well damaged in the Blackout.

She locates and inspects one of them. Particularly cloudy.

LUV (contd)
But there are sometimes fragments.

She sets it into a PLAYER device. The bearing SPINS in the

player... FIRES UP.

A title on the record: VOIGHT-KAMPFF TEST NOVEMBER 2019

OFFICER RICK DECKARD / SUBJECT # N6RRP40619.

Up comes A EXTREME-CLOSE IMAGE OF...

AN EYE

LARGE. LOVELY. A rich green we so far havent seen in the

film. AN OLD VOIGHT-KAMPFF RECORDING. The eye BLINKS.

Over it comes a JUMBLE OF VOICES, falling in and out,

incomplete audio. YET ALL HAUNTINGLY FAMILIAR.

ON K. WATCHING, AS --
MANS VOICE (O.S.) WOMANS VOICE (O.S.)
Have a little boy--butterfly
collection plus the killing--
--Id take him to the doctor--
--Feel a wasp crawling on
your wrist-- --I should be enough for him--
this testing whether Im a
replicant or a lesbian--
--Just answer the question--

The IMAGE BREAKS OFF. REPEATS again in a LOOP. The eye

BLINKS, the voices come. A ghost fragment of an indelible
moment. Too brief. IT PLAYS OVER AND OVER AGAIN as --

LUV (contd)
It was unclear what she was, at least to
someone. This was a test. We were
difficult to spot then.

She looks to that stunning EYE.

LUV (contd)
Was there anything unusual about how you
found her? To warrant an official
investigation?
 28.

K
(a smile)
Like you say, old serial numbers.
Everyone sleeps better if we know where
they got to.

LUV
So long ago... does it matter?

K takes in the replaying RECORDING. An instinct about it.

K
She seems to like him.

LUV
Who?

K
The policeman. Deckard. Shes trying to
provoke him. Get a reaction.

LUV
(watching)
It is invigorating being asked personal
questions. Makes one feel -- desired.
(to him, a grin)
Do you enjoy your work, Officer?

Did she just ask him a personal question? A beat.

K
Please thank Mr. Wallace for your time.

LUV
Apologies to have paved a dead end road.
If theres anything at all else I can do.

She grins invitingly, and we --

CUT TO:

INT. HOME FOR THE ELDERLY. DAY ROOM. DAY.

K sits at a table, in front of a man, GAFF mid 70s. An old

woman is seated beside them, in a wheelchair. Gaff is
wearing kind of hospital whites with an official ID tag:
STAFF. He folds something in his hands.

GAFF
Deckard liked to work alone. So did I. We
worked together to keep it that way. That
was it.

K
Anything else can you tell me?
 29.

GAFF
He wasnt long for this world.

K
Hows so.

Gaff looks K in the eye.

GAFF
Something in the eyes.

K
Do you know how I can contact him?

Gaff chuckles.

GAFF
No. Hes retired.

K
What happened?

GAFF
He probably got what he wanted.

K
Whats that?

Gaff folded a delicate flower that he offers to the old lady.

GAFF
To be alone.

EXT. MARKET. NIGHT.

CLOSE ON: A VENDING MACHINE. An animated version of a soju

bottle rotates on a SCREEN next to a thousand other beverage
choices similarly rotating. A THUMB presses and...

The soju is dispensed below. A CUSTOMER takes it. REVEAL:

THE MARKET. Subdivided by STALLS and STATIONS and SHOPS, all

under BRIGHT LIGHTS. The ECLECTIC CROWD OF CUSTOMERS in a
crush to purchase food and drink. And entertainments.
Particularly outside...

EXT. BIBIS BAR. NIGHT.

An unabashed sex den. PATRONS enter to taste and experience

with no more shame than they would the vending machines.

IN THE DOORWAY -- A PATRON flirts with his crassly customized

JOI diji, both ignoring the DOXIES hustling to earn a living.
As some do, as evidenced by the SHADOWS OF COUPLES WRITHING
on the plexi front windows.
 30.

A WOMAN approaches the bar, commanding the doxies respect.

Their HANDLER. Still strong 60, looks like she did her doxie
time before turning management. Handler wears LARGE DARK
GLASSES over her eyes. She spots something of interest in --

EXT. MARKET. UNDER CANOPY.

K IS AT A HIGH TOP TABLE. Grabbing a beer and quick meal of

ramen with others doing the same. He studies PHOTOS from
Sappers farm.

Handler signals to a TRIO OF DOXIES, including an alluring,

hard core PUNK DOXIE. A nod in Ks direction.

The THREE DOXIES cross the market to approach K. Flank him

at his table, studying the PHOTOS: The FARM. The BONES.
Dead SAPPER MORTON.

DOXIE #2
Hello hello A-Boy... You alone ?

DOXIE #3 recognizes him. TELLS THE OTHERS, DISGUSTED.

DOXIE #3
(in FINNISH, UNTRANSLATED)
Leave him, he is a fucking Blade
Runner... Ive seen him. This guy is
dangerous. You coming?

MARIETTE
Its ok... Im good.

She and the second back off, put off. Punk Doxie (MARIETTE)
doesnt seem to mind. She gives her most inviting grin. But
Ks not interested.

MARIETTE (contd)
Buy a lady a cigarette?
(off his silence)
You dont even smile.

K
It only encourages. Im working.

MARIETTE
Youre drinking.

K
One helps the other. You heard your
friends. You know what I am.

MARIETTE
Yes. A guy eating noodles.
 31.

She sits next to him anyway. She eyes his PHOTOS, trying to
make conversation. She sees the IMAGE OF THE HUGE TREE on
the farm.

MARIETTE (contd)
Whats that?

K
A tree.

MARIETTE
(looks again, genuinely taken)
A tree? Ive never seen a tree. Its
pretty.

K
Its dead.

MARIETTE
Who keeps a dead tree?

K
Someone dead.
(K looks around)
Im surprised youre talking to me.

MARIETTE
(flirtatious)
Why? Youre not going to kill me are
you?

K
Depends. Whats your model number?

MARIETTE
Why dont you take a look under my eye
and find out...

A CHIME from the emanator in his pocket. He turns it off.

Mariette takes the hint.

MARIETTE (contd)
Whats the matter, dont like real girls?

K has a good comeback in the chamber, but lets her get the
last word for her benefit and to give her a good exit.

Alone again, K drinks. Looks again at the photo of THE TREE.

Considers it. Traces its dry, empty branches with a finger.

K
Who keeps a dead tree?...

CUT TO:
 32.

THE TREE ITSELF. We are --

EXT. SAPPERS FARMHOUSE. DAWN.

Evidence of the dig nearby.

EXT. FARMHOUSE. DAWN.

K moves inside the house, scanning. Sees the Chopins music

sheet on the floor, stained with blood.

K tries a few notes. One of the note has no sound, only a

felt hammer tapping wood.

He opens the top of the piano. SOMETHING IS HIDDEN INSIDE:

A TOBACCO TIN. HE OPENS IT. Inside is --

AN OLD PHOTO. OF A BEAUTIFUL YOUNG WOMAN. A BABY IN HER

ARMS. The great tree alive and IN BLOOM behind her.

K pockets the photo. Checks the tin. The photo was covering
something else.

K picks it up. Holds it to the light. Eyes gleaming:

A BABYS SOCK

EXT. FARMHOUSE. DAWN.

K stands in front of the farmhouse, by the tree. Sees a

SINGLE NEMATODE crawling along the cold dirt. Picks it up.
Watches it wriggle. He sets it down to continue its journey.
It only takes the one.

K sees something carved on one of the trees roots, hidden by

dirt and sand. REVEAL:

A DATE: CARVED ON THE ROOT. Like a grave marker. 6/10/21

ANGLE OVER THE TREE LOOKING DOWN AT K. Kneeling beside it.

ON K. Stricken by what he sees. He traces the date with his

finger. As if to prove its real -- stands suddenly.

K moves determinedly towards his Spinner, at which we REVEAL:

THE FARMHOUSE IS ON FIRE. BURNING TO THE GROUND.

CUT TO:

INT. STAIRS. WALLACE TOWER. DAY.

FOLLOW LUV
 33.

As she climbs a set of marble stairs, to reach...

INT. PRIVATE OFFICE. WALLACE TOWER. DAY.

Like a meditation garden. Or a temple. A dim room lit by

spears of artificial sunlight. A great fish-filled POND owns
the floor but for the square stone islands, a school of koi.

Luv steps over the stone path across the pond to the far end,
by an arrangement of decadent chairs. There is a nervous
clip to her voice.

LUV
You wanted to review the new model, Sir.
Before shipment. The remote telomerics
implemented, for home renewal.

A VOICE ECHOES in reply, coming from everywhere.

NIANDER WALLACE (O.S.)

Do you come bearing gifts?

Luv pauses. Asked what she hoped would not be.

LUV
Not yet, Sir.

A little black drone like a BARRACUDA moves from the darkness

towards Luv.

NIANDER WALLACE (O.S.)

An Angel should never enter the hut
without a gift. Or news. Can you at
least pronounce a child is born?

Luv stops, says nothing. Hating to disappoint him.

A pause. Then the Barracuda moves past Luv. It joins...

A SMALL CLUSTER of BARRACUDAS that float toward Luv in the

LIT center of the room. They undulate in watery formation at
eye level like Medusa would ask of her snakes, to precede --

NIANDER WALLACE

Shadow shrouded. Commanding in his silences, which are few.

Older, yet at the height of powers that still increase as if
by magic. Only when he steps into the LIGHT do we see --

WALLACE IS BLIND. The probes act as his eyes.

NIANDER WALLACE (contd)

The new model. Let us see then.

CUT TO:
 34.

INT. CRECHE.

A dark room dominated by a cascading PLASTIC SHEET. The

sheeting rises, slowly, to unveil --

A NUDE FEMALE REPLICANT. Fully formed. Suspended in repose.

Covered in viscous liquid, like honey.

The Replicant collapses to the ground.

Something happens when she is exposed to the cold air: She

WAKES. AN INCEPT.

A first breath. Consciousness coming on anew. A first

flutter of the eyes. A slow realization of light. Of cold.

OF WALLACE STARING AT HER.

Wallaces hand touches her face. Turns it. Caresses it.

Seeing her with his fingers.

The Replicant Model bristles in mute terror of a world she

cannot understand. Shivering. Cold and fear commingled.

NIANDER WALLACE
The first thought tends to fear. To
preserve the clay. Fascinating. Before
we even know what we are, we fear to lose
it. Happy birthday.

INT. CRECHE. MOMENTS LATER.

Wallace now sits on a small Japanese stool, cleaning his

hands with a cloth.

The new Replicant sits in front of him, wrapped in a sheet.

NIANDER WALLACE
Now lets have a look at you.

Wallaces fingers feel for a TRAY of INSTRUMENTS. He clasps

A BLADE.

Luv holds back. Knows better than to help without asked as

he begins his examination.

NIANDER WALLACE (contd)

Bring the one for micronics, would you,
luv.

Ah, luv. A diminutive. Not a name at all, though taken

for one. Luv brings a small wooden box. INSIDE THE box are
several small DEVICES, the size of LEGO bricks: HALOS. Each
with electrodes on the inside. Luv selects one of them.
 35.

She comes with the HALO -- which attaches with a practiced

motion neatly into a FLASH SHOE on the back of Wallaces head
at the lambdoidal suture.

The electrodes fit into wetware receivers within and... the

device glows to match the new light in the Barracudas eyes,
enabled.

Luvs hands shake as she closes the box. Beyond respect, she
lives in perpetual awe of him.

A formation of BARRACUDAS come around Wallace... Then moves

toward the Replicant model predatorily.

CUT TO:

INT. CRECHE. MOMENTS LATER.

The Replicant model stands in front of Wallace, still siting

on his stool. He sees her with the flying probes, which
move over her, inspecting her like chattel. Up and down.
Her hands. Mouth.

NIANDER WALLACE
We make Angels. In service of
Civilization. There were bad angels
once... I make good angels now. Like
you, luv. God saw a bad batch and, rash
and cranky, scrapped the whole project.
We are not so short sighted. Just
because some fell...

A scalpel blade dances in his fingers.

NIANDER WALLACE (contd)

Now look. I brought back the Angels and
took us to nine new worlds.
(disdainful)
Nine. A child can count to nine on
fingers. We should own the stars.

LUV
Yes, Sir.

Wallace stands, walks toward the Model.

NIANDER WALLACE
We were meant to reach beyond the
firmament. We should read our books by
the light of a thousand different stars.
Every one a home. Till we lose count.
Thats the future of the species if
theres to be one. We simply need more
Angels to carry us aloft.
 36.

LUV
Sir.

He runs the SCALPELS dull edge under the Models CHIN to

raise it. Stills her when she again shivers.

NIANDER WALLACE
Every leap of civilization was built off
the back of a disposable workforce. We
lost our stomach for slaves. Unless...
engineered. And I can only make so many.

He runs the dull edge along the entire length of the Model.

NIANDER WALLACE (contd)

To make this I have to build from whole
cloth. Bit by bit and at great expense.
Shameful inefficiency, built into
Tyrells template. Tyrell.

He touches the Models abdomen at the navel.

NIANDER WALLACE (contd)

That barren pasture, empty and salted.
Right there. The dead space between the
stars. This the seat that we must change
for Heavn.

With a swift motion he CUTS the Model across the ABDOMEN.

She stands for an uneasy moment as he continues:

NIANDER WALLACE (contd)

I cannot breed them. I have tried, so
help me. Tyrells final puzzle in
adamantine chains and penal Fire.

He drops the scalpel.

NIANDER WALLACE (contd)

We need more Replicants than can ever be
assembled. Millions so we can be
trillions. More. Worlds beyond worlds,
diamond shores. We could storm Eden and
retake her...

THE MODEL COLLAPSES.

NIANDER WALLACE (contd)

His last trick. Procreation.
Perfected... then lost. There is a
child. Finally unearthed. Bring it to
me. Bring it to me. Bring it to me.

ON LUV: An eye waters at the thought of disappointing him.

 37.

LUV
Sir.

He reaches behind his head, removes the HALO. Preferring the

darkness.

NIANDER WALLACE
The best Angel of all. Arent you, luv?

ON LUV: Her jaw sets. She will not disappoint Mr. Wallace.
PRELAP: FOOTSTEPS, CLACKING, ECHOING down a hall --

INT. POLICE STATION. DAY.

Lines of grubby CRIMINALS await their turn at processing

booths. Crowded enough one pisses against a wall in his
handcuffs and none of the low-watt cops notice him -- or --

LUV

She crosses the chaotic hall unnoticed, determined. She will

not disappoint.

INT. CORONERS OFFICE. HALLWAY. DAY.

WITH COCO: Entering...

INT. MORGUE. DAY.

He finds LUV casually packing the BONES back into a satchel.

Confused by her calm.

COCO
Hi. Wait -- you cant take those.

She pauses, briefly annoyed. Then brings a wide, inviting

smile.

LUV
Of course not. Proper channels and
paperwork. Its all here. Hold this for
me?

She hands him a femur and, with her hand free --

Her fist JABS his back -- INSTANTLY PULVERIZING HIS C6 --

ON THE FLOOR. As Coco crumples. Twitches disturbingly.

ON LUV. Going back to taking what she needs as Coco dies

noisily at her feet. A bullet wouldve been slower. PRELAP:
A LONG ZIPPER, CLOSING UP --
 38.

INT. MORGUE. NIGHT.

-- OVER COCOS FACE. A BODY BAG. Enclosing him. A smudge

of blood on his still cheek the last thing we see.

ON Joshi. Watching it happen. Knows why its happening.

CUT TO:

INT. KS APARTMENT. NIGHT.

K stares at A PHOTO: The DATE carved in the tree. Something

about it haunts him. Just then --

A KNOCK at his door. Surprising. He doesnt get visitors.

He opens the door to find --

JOSHI. Unusual visit. Nothing friendly about it either.

She steps in, keeps her coat on. Hands in pockets.

JOSHI
Your lady friend about?

K
Madam.

Joshi looks around anyway, fear masquerading as caution. She

checks the hard line, THE CEILING TRACK PROJECTOR. Turns OFF
the power to it definitively.

JOSHI
Coco is dead. Bones are gone. Its out.
Already out. How longd that take?
Someones on your tail. A someone
willing to kill. Care to make any
wagers?

K
I could lay odds.

K says nothing more. Knows Joshi is pissed. Maybe scared.

JOSHI
I can feel the breath on my neck. They
are coming after this. Theyve got every
gun in the city if they want it. Ive
got you... So what do you have for me?
And dont say nothing.

A pause. Then K points to the table. The sock.

JOSHI (contd)
A sock. Where did you find it?
 39.

K
Sappers. There was a baby there. Long
enough to wear that.

They both look at the sock and feel the weight of that
discovery.

K (contd)
(recalling Sapper)
Never seen a miracle...

JOSHI
So what does he do with his miracle?
Anything else?

K
I burned everything else.

Joshi considers. Sees that PHOTO K lingered over. Of the

tree. The DATE CARVED in it.

JOSHI
What about this? 6/10/21. Whats that?
A birthday? A death day?

K
I dont know yet.

Joshi stares hard. K looks away. Beat.

JOSHI
Maybe its only me can see the sunrise
here. This breaks the world, K. You
ever seen scorched earth? Its glass.
Shreds your feet. Nothing grows.

Cocos murder, the future she sees -- it all frightens her.

A first hint of something soft under the ice.

She helps herself to a glug from Ks bottle.

She picks up the sock. Considers it.

JOSHI (contd)
Are feet ever so small?
(then)
I had a kid. Grown up now... Hates me.

DISSOLVE TO:

INT. KS APARTMENT. NIGHT.

Joshi is whatever comes past tipsy. Not a woman who opens up

or lets go often, she is doing so now. Her coat off.
Reclined on the couch. Unguarded. She needed this.
 40.

K is beside her, seated upright. He doesnt drink.

Deferential, as if this was her place not his.

JOSHI
Ive known a lot of your kind. All useful
but... with you I sometimes forget... We
didnt have any of you where I was a kid.

She empties her glass. Pours again. Ks eye doesnt leave

her pour -- we see she is using Ks single beloved book for a
coaster, spills a little. No idea its precious to him.

JOSHI (contd)
You dont remember anything before you
were under me, do you? You have any
memories from before?

K
I have memories. They give us some.
Implants. Theyre not real.

JOSHI
Tell me one. From when you were a kid.

K
I feel strange sharing a childhood story
considering I was never a child.

JOSHI
Would it help if I told you it was an
order.

She kicks him. Cmon. K sits back, a little embarrassed.

K
I had a toy, this wooden horse. An
inscription underneath. All I remember
is a group of boys, big kids, try and
take it away from me. So I run.
(stops himself)
This is dumb -- its all fake. I was
never a kid --

JOSHI
(likes this)
Go on. Little K with his tiny toy...
scared of mean boys taking it...

K closes his eyes, the images washing over him.

INSERT CUT: KS MEMORY: Watery. Indistinct. A CHILDS POV

OF A CAVERNOUS INDUSTRIAL STRUCTURE. A WORLD OF RUST. A
MAZE OF STAIRS. FOOTSTEPS CHASING AFTER.
 41.

K (V.O.)
I go looking for a hiding place. Theres
nowhere to go but this... dark furnace.
Its very dark. Im very scared... But
this horse is all I have so I go in
anyway.

A FURNACE RAGES WITH FIRE. He moves to THE DARK PLACES

BEHIND. The childs hand opens a secret space in the back.

THE LARGER BOYS FIND THE CHILD IN FRONT OF THE FLAMES.

K (V.O.)
They find me and beat me to tell them
where is it. But I dont.

INT. KS APARTMENT. RESUME SCENE.

BACK TO: K. His eyes open. The spell of memory broken.

K
Thats it.

JOSHI
Little K, fighting for whats his.
Thats a good one... No wonder with you
I sometimes forget. Look at me.
(then)
Were all just looking out for something
real.

Joshi looks at him. A little too long. Looks at the bottle.

JOSHI (contd)
What happens if I finish this?

K doesnt react.

K
Shouldnt I get back to work, Madam.

Joshi pulls away. Rises. Coat back on. The armor back up.

JOSHI
You do polite like some folks go
screaming. Check back in after DeNAbase.

And shes gone. And we --

CUT TO:

INT. DENABASE DATABANK. POLICE STATION. DAY.

The unpopulated recesses of the station. A mausoleum for

hard copy files. K negotiates an ancient security interface.
 42.

K
Access 37-88-60. Officer K D6-dash-3-dot-
7.

A reply from the machine in JAPANESE.

K (contd)
Request newbirth 18th chrom DeNAprints
children born 6/10/21. Looking for
anomalies.

The SECURITY SLATE IDS him. K D6-3.7. APPROVED USER. It

comes to life. The SLATE prompts: ENTER DAY

K (contd)
Put up the year.

The SLATE CHIMES a warning. PRE-BLACKOUT INFORMATION. NO

DATA FOUND.

K (contd)
You have the satcrystal backup.

ANOTHER CHIME.

K (contd)
Run it.

ANOTHER CHIME. ALL EXEGETIC DATA CORRUPTED. Annoyed --

K (contd)
Ok. Then run it raw. On a rondo.

The SLATE recedes. A FAN begins to WHIR as a VIEWING DEVICE

comes to life. Like an old moviola. Blinders on each side.
K situates himself in front of it -- CLICKS on the emanator --
and cranks the machine.

A DATAFLOW begins on its SCREEN. A CASCADE OF ONLY FOUR

LETTERS: A-C-T-G. RAW GENETIC CODE. WITH NO IDENTIFYING
CONTEXTUAL DATA TO LINK WITH SPECIFIC TRAITS. ONLY RAW CODE
OF DNA FINGERPRINTING.

The LETTERS flow like millions of snowflakes. Intense,

numbing, seizure inducing, incomprehensible.

The information flickers across Ks face. His concentration

holds. Taking it all in. Missing nothing.

DISSOLVE TO:

INT. DENABASE DATABANK. POLICE STATION. CONTINUOUS.

THREE PILLS
 43.

Set on a table. A DeNAbase TECH, a dim, simple TEEN, brought

them for K -- who rubs his headached eyes. Tech looks at the
oppressive avalanche of data. He speaks FARSI, SUBTITLED:

TECH
You can read all that?

K
Yeah. Just hurts.

TECH
18th chromosome has 78 million base
pairs, 80,000 kids put in the system
2021, thats...
(tries the math, gives up)
I can help if you tell me what youre
looking for.

K
A ghost.

K dry swallows the pills, head pounding.

K (contd)
Can I get a glass of water?

TECH
You dont need water.

K
Id like a glass of water, please.

TECH
Will be removed from your pay.

Tech reluctantly obliges, steps out. K is alone with the

ongoing dataflow, absorbing it. A beat then...

JOI APPEARS BEHIND HIM. K couldnt resist. She drapes a

hand over a shoulder, not to interrupt. Watching the
dataflow like a movie, enthralled. Amazing.

JOI
Mere data makes a man. A and C and T and
G. The alphabet of you. And them. Books
made of sentences made of words and all
from four symbols. Where I am only two.
1 and 0.

K
Youre twice as elegant.

JOI
You dont prefer your Madam.
 44.

K
You were listening?

JOI
Maybe.

She slides behind him, her hands rubbing his shoulders --

so we can HOLD ON K as --

JOI (contd)
You didnt like her enough to tell her
the truth... Six and ten and twenty-one?

K
(tempering his excitement)
Theres nothing to tell.

JOI
How many times have you told me that
story -- your memory. The date carved
beneath.

IN JOIS HAND IN FRONT OF K: JOI CONJURES THE TOY HORSE FROM

KS MEMORY. She shows the date carved under it: 6/10/21

JOI (contd)
Coincidence?

K COVERS HER HAND TO STOP HER. Looks around cautiously.

K
A dangerous coincidence.

JOI
(teasing, tempting)
I always knew you were special. Maybe
this is how.

Her hand strokes his cheek. A whisper in his ear.

Seductive. Close. Everything he wants to hear.

JOI (contd)
A child... of woman born. Pushed into
the world... Wanted... Loved...

K
If it were true, Id be hunted for the
rest of my life by someone just like me.

JOI
Its okay to dream a little, isnt it?

K
Not for us.
 45.

He quiets. Just then -- K sees something in the dataflow.

Sits up suddenly.

K (contd)
There. Hold.

The snowstorm of LETTERS FREEZES. K moves close. Sees

something remarkable in the chaos.

K (contd)
Put up 4847 and 2181. Side by side.

The datasets comply. All other information falls away as two

chains of DNA move side by side. Then OVERLAP so we can see:
THE LETTERS OF EACH OF THEM MATCH EXACTLY.

K (contd)
Theyre identical... Translate.

It READS and translates the THE DNA CHAINS. Sorting the

LETTERS into codon groups of THREE, which string into LONG
CHAINS (proteins), and then finally into WORDS.

ONE SET IS LABELED FEMALE 2181, DECEASED. THE OTHER: MALE

4847, NO ADDITIONAL DATA.

K (contd)
A boy and a girl. Its not possible.
Two people cant have identical DNA. One
of these isnt real. Its a copy...
Show all telemetry.

K manipulates the data. Looking for attendant files.

K (contd)
They were both processed at Morrillcole.
The Orphanage... The girl... She dies
there.

ON THE DNA SET: A SPECIFIC SECTION OF CODE HIGHLIGHTS.

K (contd)
Genetic abnormality, Galatians Syndrome.
The boy... He disappears.

ON K. PUTTING IT TOGETHER. OF COURSE.

K (contd)
The boy. They faked his print. If they
swapped him out, no one could trace him.
Where he came from... Where he went
there... What he really was... Hed be
a ghost in the system.
 46.

JOI
Wheres the Orphanage?

K considers. Looks back to her.

K
You wanna go for a ride?

Joi grins, brightens. Anywhere.

CUT TO:

EXT. SKIES ABOVE LOS ANGELES. DAY.

KS SPINNER emerges out of the FOG, flies south over the

RAINY outer ring of the city. Away from the mass to where
the city finally THINS. High enough to see a monumental and
cascading SEA WALL which dwarfs the Spinner.

INT. KS SPINNER.

Joi looks out at the rain-streaked view of the lights below.

The RAIN beats heavy against the roof and windows. K flies
them over the gigantic ruins of an AERIAL HIGHWAY
SUPERSTRUCTURE looming threateningly under the rains shadow.

The multi-tiered structures side BLAZES with the harsh

electric light of AN AD SPIRE.

A GIANT AD PLAYS, for a tacky erotic version of JOI:

Whatever you want. Joi.

Joi looks away. Ashamed of it.

K
Dont be.

She smiles her gratitude. They fly on...

FAR BELOW the city begins to thin. The buildings eventually

run out and give way... as we...

DISSOLVE TO:

EXT. SKIES. SAN DIEGO COASTLINE. DAY.

The COAST is bald. Trees long gone. A hint of OCEAN at the

edge of vision. Angry, low slung CLOUDS grumble with THUNDER
above. A STORM done holding its breath.

KS SPINNER FLIES... toward a strange RANGE OF ODDLY TEXTURED

HILLOCKS... FLATTENED at the tops like MESAS...
 47.

INT. KS SPINNER.

Joi looks out the window at the rain. REVEAL the MESAS
are... MOUNTAINS OF TRASH. Piled atop ruined buildings.

K AND JOIS POV, LOOKING DOWN AT:

EXT. TRASH MESA.

Our landfills expanded to become part of the geography.

Tacky and textured. Trodden vermiculated paths up and down
their sides. MASSIVE AERIAL TRACTORS deposit MORE trash over
calcified trash.

The moment they do DOZENS OF SCAVENGER BEDOUINS chitter over

the surface to collect it. An entire race living off refuse.

INT. KS SPINNER.

THE SPINNER RATTLES. LIGHTING from the storm.

K smiles to Joi to reassure her and takes the Spinner down...

INTO THE MESAS. They SOAR on. Beyond the wrecks of
buildings comes...

The wrecks of SHIPS... Ships and ship parts for miles...

K flies over the massive hulks. Firelight glows from inside

them suggesting PEOPLE LIVING WITHIN. SCAVENGERS chitter
over the surface.

Another RATTLE as -- GUNFIRE HITS THE SPINNER. STRAFING FIRE

COMING FROM THE MESA. K looks out to see --

EXT. TRASH MESA.

Someone below is SHOOTING at his Spinner, which flies too

high. Bullets POCK harmlessly against the glass.

INT. KS SPINNER.

K flies over a LARGE OVERTURNED FREIGHTER. On it --

EXT. FREIGHTER DECK.

THE SCAVENGER LEADER holds a makeshift LONG RANGE GUN.

Watching. He takes aim... tracking the Spinner, and --

INT. KS SPINNER.

BOOM! THE SPINNER LURCHES.

K looks back, sees -- A LONG METAL BOLT has punctured a rear

quarterpanel -- A SHOT FIRED FROM THE MESA -- where --
 48.

EXT. FREIGHTER DECK.

The SCAVENGER watches. Waiting.

INT. KS SPINNER.

K thinks nothing of it... not seeing... THE IMPALED BOLT

TRAILS A LONG MICRO-FILAMENT...

That sprouts a KITE. That RISES... UP... INTO THE CLOUDS...

Where A HUGE STATIC CHARGE BUILDS in a RUMBLE overhead...

LIGHTNING FIRES!

A MASSIVE ELECTRICAL DISCHARGE RUNS DOWN THE FILAMENT -- AND

STRIKES THE SPINNER!

EXT. TRASH MESA.

THE SPINNER STALLS. ENGINES FAILING.

INT. KS SPINNER. DAY.

POWER goes out inside, just as --

JOI FLICKERS AND DISAPPEARS.

K sees SMOKE coming off the engine, slaps an emergency system

to activate it, as --

THE SPINNERS NOSE DROPS. BEGINS TO SPIRAL DOWN!

K tries to control the crash. Steering with one hand,

working the controls furiously with the other.

The GROUND closing in -- K REACHES TO GRAB THE EMANATOR AS IT

SLIDES OVER THE PASSENGER SEAT -- he clutches it tight --

ROCKETS FIRE UNDER THE SPINNER TO DAMPEN THE IMPACT AS --

EXT. TRASH MESA.

THE SPINNER CRASHES INTO A VALLEY OF TRASH!

POV FROM A MESA: The rain stops. The Spinner smokes.

K IS INSIDE. Unconscious. Unmoving. Forehead BLOODY.

INT. KS SPINNER.

ON THE EMANATOR, fallen at Ks feet. Its LIGHT blinks ON.

JOI PROJECTS. Looks about her.

 49.

CLOSE ON JOI: SEEING K. NOT BREATHING. MAYBE DEAD.

JOIS CONFUSION TURNS TO WORRY. TO FEAR. JOI FLICKERS.

Scared, panicked. All she can do is repeat, with unnerving,
inhuman steadiness, her image cracking:

JOI
K... K... K... K... K... K...

Her voice and emotions rise even though K has not yet looked
to her to see it. So that in the moment it could be taken
for a spontaneous display.

EXT. TRASH MESA.

JOI PROJECTS OUTSIDE THE SPINNER. Still calling. Her hand

uselessly pounding at the window to wake him. To warn him.

JOI
K... K... K... K... K... K... K...
K... K... K... K... KK-kk...

JOIS FACE CONTORTS. The name caught in her mouth

disturbingly. HER PROJECTION FLICKERS. GOES STATIC. LIKE A
COMPUTER CRASHING. UNTIL JOI CUTS OUT ENTIRELY, REVEALING --

A DOZEN SCAVENGERS BEGIN CLOSING IN ON THE DOWNED SPINNER.

The Scavengers circle in TIGHTER. CLOSER. Talking together

in their strange LANGUAGE.

INT. KS SPINNER.

The Scavengers shadows close in on the Spinner. K still

unmoving.

The SCAVENGER LEADER orders the others -- who SLAM a device

onto the Spinner door. The device begins GRINDING THE DOOR
AWAY with a caterwaul SHRIEK.

The SHOCK of the sound wakes K. He slowly comes to -- ALIVE.

EXT. TRASH MESA.

K opens the door, surprising them by not being dead. He

stumbles, consciousness still seeping in.

The Scavengers back away. A moment as they stare at one

another. K takes in their wan, weathered faces. Hardship
and hunger legible in the dirt. The few that are armed have
only rusted antique guns.

Their LEADER raises an old CARBINE, barks orders at his MEN.

In response -- TWO SCAVENGERS JUMP K, a THIRD raises a GUN --

 50.

K INSTANTLY DROPS THE TWO AND SHOOTS THE THIRD. PLUS TWO
MORE.

K points his blaster from one Scavenger to the next. They

begin to back away -- until K sees --

FIFTY MORE SCAVENGERS CREST THE HILL OF TRASH. COMING TO

JOIN THE FIGHT.

K IS CORNERED. HE FIRES TWICE. TWO SCAVENGERS DROP.

But still they keep coming. K backs up toward his Spinner.

ON K. His next move uncertain, critical, when --

BOOOM!

ROCKETS FALL FROM THE SKY RIGHT INTO THE MASS OF SCAVENGERS.
A BRUTAL DRONE STRIKE, INSTANTLY OBLITERATING THEM.

K is thrown back into his Spinner.

A final ROCKET POUNDS the few surviving Scavengers before

they can scatter.

K looks up to the sky. Sees a distant blinking LIGHT, like a

satellite, hidden far away in the clouds, and --

INTERCUT WITH:

INT. LUVS OFFICE. WALLACE TOWER. THAT MOMENT.

THE SAME ACTION VIEWED ON A SCREEN. K LOOKING UP.

Luv monitors and controls the drones movement via an OPTICAL

CONTROL ASSAY which fit like glasses. This as her NAILS are
being painted in fabulous detail by an AESTHETICIAN with a
micropipette. Her voice calm and even.

LUV
200 feet to the east. Fire. Go north.
Fire. Stop. 20 degrees east. Stop.
Zoom. Closer.

LUVS POV: The assay ZOOMS IN ON K.

LUV (contd)
Come on. Get up. Do your fucking job.

SHE FIRES AGAIN.

EXT. TRASH MESA.

ANOTHER SHOT BLASTS by the Spinner to rain trash down on K.

 51.

K rises. Looks up to the sky. Knows he is being followed.

THE DRONES EYE FOCUSES IN ON K... THEN RETREATS UNSEEN.

K looks at his crashed Spinner. He hits a switch inside,

punches in. AN ALERT/DISTRESS PROMPT LIGHTS UP. The
Pilotfish ejects itself and raises vertically.

K
Watch the car.

K walks. Holding holds pace over the putrid, crumbling

terrain. He looks out toward the large TRASH HILL in the
distance. Capped by an enormous overturned

SATELLITE DISH.

EXT. THE DISH.

K approaches a ramshackle DOOR.

INT. CAVERNOUS HALL. DAY.

K enters A BURROW UNDER THE TRASH MOUNTAIN. Opening up

into...

INT. THE ORPHANAGE.

A WIDE OPEN ROOM. THE WALLS ALL MADE FROM MATERIALS RECYCLED
FROM TRASH. ARTFULLY RE-CRAFTED INTO NECESSITIES, FURNITURE.

DOZENS of pale, ratty ORPHANS sit on the floor. Eating their

meal out of bowls in fearful silence. Some have obvious
deformities. Others just ill or odd from a life in darkness.

Seeing K, the CHILDREN stop still. Eyes wide and astonished.

If theyve ever seen anyone like him it wasnt lately.

They circle K like he was a newfound species. Fascinated.

All wanting to poke at him... touch his clothes.

AN ORPHAN BOY TAKES KS HAND. Begins to lead him through.

They pass A GIRL curled up with a handcrafted DOLL, its

skin made of scales fashioned from flattened soda cans.

A SHRILL WHISTLE BLASTS from far off. The children all

return to their seats on the floor.

The Orphan Boy stiffens. Scared. Points ahead. For K to go

on alone. K nods his thanks, and enters...
 52.

INT. THE SORTING ROOM.

Capped by the overturned DISH, sections of which have been

cut to let in the light. Like an AMPHITHEATER. Thick
support beams built of reclaimed metals. All to house --

A FACTORY. THOUSANDS OF ORPHANS WORKING AWAY. Tiny hands

SIFTING THROUGH TONS OF TRASH brought from the mesas. Mining
it. The bigger kids feed the sorted materials into CARTS
down and away. His private industry.

At the center is the figure of a tall, grandiloquent gelding,

MISTER COTTON. Sole caretaker. A greasy CAPE over broad
shoulders and powerful arms. He SHOUTS at the children.

MISTER COTTON
Ill put you outside where its raining,
raining fire! Youre in here to work.
If youre not working I dont need you!

He stops, noticing K. Grows a salesmans reptile smile.

CUT TO:

INT. THE SORTING ROOM.

K follows Cotton through a dense section of WORKING, COUGHING

CHILDREN.

MISTER COTTON
No child in my care is ever cold, is ever
hungry -- clothes, blankets. Food, not
the tastiest but warm and enough. I
encourage play, keeps them occupied,
makes them nimble. But its work that
molds them into a child worth having.

A TRAY of bottles spills. Cotton suddenly blows A SHRILL

WHISTLE that hangs from a chain around his neck. The BOYS
FREEZE their work. Cotton stares them down. The Boys faces
lower in fear and shame. Begin to clean their mistake.

They move through an area dedicated to the sorting of METALS.

Taken from old technology. Sorted and melted down by MUCH
YOUNGER CHILDREN. Many of whom show the desquamated skin and
blackened teeth of metal poisoning.

MISTER COTTON (contd)

We find new life for everything
discarded. And every one. The nickel
goes to colonial ships. Closest any of
them will get to the grand life offworld.
Now -- what sort did you have in mind? I
have all kinds.
 53.

He blows two short BLASTS of his WHISTLE. Every child in the

arena instantly STOPS WORK, STANDS. FACES THEM. On display.

K sees the sea of hopeful faces. Shows his BADGE.

K
Im not buying.

Cotton wheels on K. Suddenly hackles up and hard boiled.

MISTER COTTON
No. This is my game and I play it fair.
Bigger have tried to shut me down, men at
that.

K gives a hard stare. Taking in all the KIDS.

K
A little boy came through here, 30 years
back. I need to see your records.
Legitimate placements, private sales.
Everything, in and out.

MISTER COTTON
I dont keep records that far back.

K
You dont.

MISTER COTTON
I cant help you.

Cotton gives a confident, supercilious shrug. In response...

K CRACKS Cotton in the FACE. SLAMS him to a wall, PULLS his

WHISTLE CHAIN tight. Choking him. In front of THE CHILDREN.

K
I think you can. I think someone like
you keeps a long memory. Minds what he
owes and makes sure he gets paid.
Someone like you keeps it all careful.
You can tell me what you know... or I put
a hole right here and take a look.

ON COTTON. A bead of BLOODY SWEAT finds his nose, jumps off.

EXT. TRASH MESA. MOMENTS LATER.

K pushes Cotton across a path cut through the wide expanse of

trash from the overturned dish toward an COLOSSAL TANKER.
 54.

INT. ABANDONED TANKER. THE ORPHANAGE.

INSIDE A METAL GUNSHIP. A CAVERNOUS INDUSTRIAL STRUCTURE. A

WORLD OF RUST. A MAZE OF STAIRS.

K keeps a firm, probably painful grip on Cottons shoulder as

they walk through. They reach a split in the path. Cotton
moves on down a set of stairs.

K pauses a moment. Looking around him. A strange and

fleeting feeling of familiarity about his surroundings. A
MOMENT OUT OF THE MEMORY HE DESCRIBED EARLIER.

MISTER COTTON
You coming?

A pause. Then K follows, toward --

INT. COTTONS PRIVATE QUARTERS. TANKER. MOMENTS LATER.

Private quarters to house Cotton and his lavish tastes.

Cotton searches A WALL OF LEDGERS...

Finds the one hes looking for, pulls it down. We see page
after page of meticulously kept balance sheets. Cratchit
level care and penmanship. As Cotton flips pages...

K scans the room. Notes Cottons personal luxuries. More

treasures of secondary use. A rotisserie humidor. A
handcrafted gilt bed.

Cotton locates A DATE in a dusty volume. Flips to it...

Only to find TORN PAGES. Surprised, he flips back and forth.

MISTER COTTON
Its gone. The entire year, it should be
here! It-- wasnt me -- it wasnt me --

He offers K the book, quailing. Pathetic supplication.

K sees the missing sheaves. He hears the door SLAM -- Cotton

slipping out. Worming away.

K leaves him to his retreat. Examines the torn pages.

Someone got in here a long time ago. Covering tracks.

Ks eyes find an item in the junk: A HORSE HEAD ASH TRAY

Stuffed with stubs and ash. He turns it. Stares at it.

Something about it tugs at Ks memory, as...
 55.

INT. ABANDONED TANKER. THE ORPHANAGE.

K makes his way out. Following the shadowy maze. He turns

towards the light of an OPENING to outside -- when he stops
at the place that caught his eye before.

K changes directions. Walks downstairs.

He pauses, looks down over a railing, as --

INT. ANOTHER PASSAGEWAY. THE ORPHANAGE.

Something about it. An odd familiarity.

He moves down the passage. Into the dark. Takes a turn...

INT. BOILER ROOM. THE ORPHANAGE.

K inside. Huge to a child. Small to him now.

He finds A ROW OF FURNACES. Old, cold, rusted.

He stops before one of them. And freezes. JUST AS HE DID

WHEN A CHILD IN HIS MEMORY. STANDING IN THE SAME SPACE.

He moves to the secret place behind it. Frightened to look.

Then steps closer. Moving around behind it, finding...

THE SMALL HINGED GRATE. The hiding place. Not just figment.

He works up the nerve. The ancient grate opens with a CREAK.

He reaches in. His heart skips as he finds --

AN OLD DUSTY RAG. K UNWRAPS THE RAG... INSIDE IS...

A SMALL HAND-CARVED TOY. A WOODEN HORSE. FORELEG RAISED.

SPRAY OF MANE. JUST AS HE DESCRIBED IT. IT IS REAL.

K forgets to breathe. Turns it over.

RAISES IT TO HIS EYES... SO HE CAN SEE... CARVED UNDERNEATH

THE PRECIOUS TOY... IS THAT SAME DATE:

6/10/21

CUT TO:

INT. KS APARTMENT. NIGHT.

K and Joi are both sitting, looking at the little wooden

horse, in awe. Ks mind reels with possibility. Joi looks
restrained. A sadness in her eyes. There is something
different about her.
 56.

JOI
I always told you. Youre special. Born
not made. Hidden with care. A real boy
now.

K sees her unusual melancholy, despite the discovery.

K
Whats wrong?

She FLICKERS like before. Turns away, embarrassed.

JOI
Im sorry. I saw you. Dead. The
thought of you. Gone. Hurt me.

She faces him. Eyes full of love. Utterly convincing.

JOI (contd)
Youre special, Jo. I always knew it.

K
Jo?

She breaks a smile.

JOI
Youre too important for K. A real boy
needs a real name. Your mother would
have named you. Jo.

She kisses him... repeating the name over and over...

JOI (contd)
Jo... Jo... Jo...

K likes it, gives in to it. Thinking it through.

K
How can I tell if a memorys an implant
or not?

JOI
(considers, then)
Who makes the memories?

Her digital toy horse rides... and rears... animated in her

hand... And we --

CUT TO:
 57.

EXT. LAB BUILDING. DAY.

The sometimes frightening skyline looks beautiful through the

mist that softens the crosshatched array of SPINNER lights.
Even traffic can be lovely from the right vantage.

Ks Spinner DRIVES to a stop in front of... a building of

striking architecture. Money can still buy lovely.

INT. HALLWAY. LAB BUILDING.

K walks down the clean, sterile corridor. So different from

the world outside. Money can still buy clean too. A view of
the OCEAN and SEPULVEDA SEA WALL beyond.

He finds the right door -- suddenly, incongruously, in --

EXT. RAINFOREST/MEMORY LAB.

The view from a tree in Costa Rica. A thick canopy overhead.

Lush and green in an endless variety of rare vegetation.
Gently swaying in a fictional breeze. The first wash of
saturated color weve seen.

CLOSE ON: A SINGLE LEAF. LUSH, RICH GREEN. SPECKLED WITH

DROPS FROM A RECENT RAIN.

CLOSE ON: A BEETLE. CRAWLING UP THE LEAF. SUNLIGHT CATCHES

ON ITS ROUNDED SHELL AND REFLECTS PRISMATICALLY. UNTIL --

THE BEETLE IS All OF A SUDDEN CHANGED OUT FOR AN ENTIRELY

DIFFERENT INSECT. THEN CHANGED AGAIN. AGAIN. AS IF BEING
SELECTED FROM A MENU OF OPTIONS. SETTLING FINALLY ON --

A SCARAB. ITS EYES BEGIN TO CHANGE SHAPE. Forming and

reforming. Evolution changing its mind.

A WOMANS SILHOUETTE emerges through the dense forest air.

DOCTOR ANA STELLINE

Younger than youd expect given all this is hers, 30s. But
so very obviously so very bright you never question why. A
stratospheric IQ with eyes that do not hide it.
Conspicuously lovely for a human not offworld.

She sits on the balls of her barefoot feet in the center of

the forest simulation. Like some god painting dreams with a
wand onto moving canvas. Spinning and MOLDING and moving the
images with a palmed INSTRUMENT. As much electronic as
musical. Somewhere between performance art and programming.
 58.

INT. MEMORY LAB. CONTINUOUS.

A gentle VISITOR ALARM CHIMES and BLINKS, catching Anas

attention which was until now fixed hypnotically on the
delicate minutia of her creation. Her eyes flick to the
DOOR, which suddenly appears. And opens. On K.

K looks on the HUGE DOME in which she works.

K
Doctor Ana Stelline?

She sees K and pauses in her work. The room SHIFTS. The
forest disappears to reveal an artists studio showing its
colors as a LAB, with equipment sliding into place.

ANA
A visitor.

K
Is that all right?

ANA
Just unusual.

K shows his badge. Ana gives it a look, intrigued.

ANA (contd)
Even more unusual. Nice to meet you --
(reading)
Officer KD6-3.7

K steps to meet her extended hand but -- BUMPS into GLASS. A

thick WINDOW that divides the room, enclosing her.

Ana laughs. A joke. She TAPS the GLASS, a puckish streak.

Ana is easy to like.

ANA (contd)
Sorry. Compromised immune system, a life
of freedom so long as its behind glass.

K
I was wondering.

ANA
Why Im not offworld? My parents had our
passes in pocket, then I took sick. It
was a new life or me, they picked me.
Made my cage and filled it with
everything they could to keep me happy --
except company of course, and I was used
to crowds. What can I help you with?

Caught. But not minding it. K tries direct.

 59.

K
Just questions. You might be able to
help me with a case.

Ana considers, amused by the idea.

ANA
That is the most interesting thing Ive
been offered to help with in ages. Do
you mind if I work while you talk? I
promise I hear every word.

The lights dim. She sits in the middle of her lab and
creates a birthday cake, focuses on the candles. She puts
the cake on a TABLE, decorates it. Streamers and treats. A
birthday party. All as --

ANA (contd)
I loved birthday parties.

She adjusts the ICING on the cake. Then brings in SMILING

FACES OF CHILDREN. Taking special care to craft the micro-
expressions on each face... joy... wonder... anticipation...

She takes the edges of the IMAGE out of focus, adding Holga
like blurs and imperfections.

K
You make memories, that go into
Replicants. They say you make the best.

ANA
Then theyre kind.

K
You work for Wallace.

ANA
Subcontract. Im one of his suppliers.
He offered to buy me out, I take my
freedom where I can find it.

K
What makes your memories so... authentic?

ANA

I was locked in an aseptic cloister at

eight. If I wanted to see the world I
had to imagine it. I got very good at
imagining. Wallace needs my talent to
maintain a stable product. Provide
context for unavoidable affect. I think
its only kind.
(with sympathy)
(MORE)
 60.

ANA (cont'd)
Replicants live such hard lives, made to
do what wed rather not. I cant help
your future, but I can give you good
memories to think back on and smile. A
birthday party.

She lights the candles one by one... then brings in a POV

HAND to reach out to the cake... fingers thick with stolen
FROSTING... which is brought towards us in POV to taste... a
tiny, complete, evocative birthday memory vignette.

She steps back to consider it. Pleased with her work.

K
Nice.

ANA
Its better than nice. It feel
authentic. If you have authentic
memories, youll have real human
responses wouldnt you agree?

Ana and the kids blow out the candles together and the room
goes completely dark.

K
Are all the memories constructed or do
you ever use ones that are real?

ANA
Its illegal to use real memories. But
theres bit of every artist in their
work.

K
How can you tell the difference? Can you
tell if a memory really happened?

Lights turn on as Ana walks towards K. At this Ana faces

him. Her favorite subject merits her full attention.

ANA
Untangling memory and history. They all
think its about more detail, dutiful
exactitude, hyberbolic photorealism --
thats not how the memory works. We
recall with our feelings... and our
feelings are awful students. The mind is
an impressionist. Anything real should
be a mess. I can show you.

She offers K a CHAIR built perfectly into the wall by the

glass. Fitted with a chin ledge so a LIGHT can SCAN deep
into the eyes, like an optometrists slit lamp. A Stelline
Scan. After its designer.
 61.

ANA (contd)
Sit.

K
Does it hurt?

ANA
Only if you fight it. So maybe dont
fight it.

K takes a seat. Ana sits into A MATCHING DEVICE kitty corner

on her side of the divide. She looks into the scanner.

K puts his face into the rest. A light SHINES bright into
his eyes.

ANA (contd)
Now think about the memory you want me to
see. Not even that hard. Just picture
it. Let it play.

She works her console. Peers into a MATCHING LIGHT. Seeing

INSIDE... through the optic nerve, into the visual cortex...
the Scanner translating neural impulse until... A ghost of
an IMAGE takes loose shape... She GRABS it.

A CONNECTION ESTABLISHES WITH A SHOCK. AS WE SEE --

A MEMORY, LIGHTLY DIGITIZED: K swimming in the rough ocean

as a teen. Nearly drowning. Fear. Salt.

THE CONNECTION ABRUPTLY BREAKS. K rubs his eyes.

ANA (contd)
A fake. An ugly fake at that.

K
You can tell that quick.

ANA
Stolen straight off the art book shelf.
Detail without mood. Colors are too
perfect, the moral too clear -- keep
away from water. Did it work?

K shakes his head.

ANA (contd)
Lazy work.

K
(beat)
Can we try another?

She gestures -- Sure. Offers him the machine.

 62.

K rests his head on the scanner. She dials in. AGAIN --

THE SHOCK OF CONNECTION AS WE ARE JOLTED BACK INTO:

KS CHILDHOOD POV MEMORY: CHILDREN HITTING US, CRUEL...

WE RUN AWAY FROM THE CHILDREN... COMING TO... THE METAL

DOOR... THE BOILER ROOM... THE HIDING PLACE...

ANA

Is moved. Watching this unfold on her SCANNER as...

THE HORSE IS INTERRED IN ITS HIDING PLACE... SEALED AWAY...

THEN OUTSIDE LARGER KIDS SPRING ON K, MENACING... THEY

SURROUND HIM... BEAT HIM... SHOUTING WHERE IS IT?... AND...

Ana stops the imaging. Affected by what she is seeing.

She looks up to K. Seeing him differently because of it. A

new sympathy. For a moment, she seems unsure how to answer.

K looks to her, expectant. Everything riding on her answer.

ANA
No one invented that. It was a real
moment. Remembered.

K
Youre -- certain?

She stares. A pause. She NODS.

ANA
Someone lived this. This happened.

K
(and then)
I know its real.

CLOSE ON K. He has the answer he wanted. A heart skip of

excitement, hidden as best he can. Not very.

EXT. STREET. DAY.

K steps out of Anas building. The wind has picked up,

whipping around him. SNOW begins to fall.

K looks up at the angry churning sky. Around him OTHERS

hustle and hurry to get out of the weather.

K stands still. Takes a moment for himself, perhaps for the

first time, simply to feel. Everything is possible. When --
 63.

COP (O.S., THROUGH SPEAKER)

Officer K D6-3.7. Joshi calling.

A POLICE SPINNER HOVERS BEHIND K. Was waiting for him.

COP (THROUGH SPEAKER) (contd)

Lets go, skinner. Or I shoot.

CLOSE ON K. A twitch and --

CUT TO:

INT. INTERVIEW ROOM. DAY.

K in the cold, clinical room. On the stool but unable to

keep still, a capped volcano, as --

INTERVIEWER (O.S.)
Cells.

K
Cells.

INTERVIEWER (O.S.)
Have you ever been in an institution?
Cells.

K
Cells.

INTERVIEWER (O.S.)
When youre not performing your duties do
they keep you in a little box? Cells.

K
Cells.

INTERVIEWER (O.S.)
Interlinked.

K
Interlinked.

INTERVIEWER (O.S.)
Whats it like to hold the hand of
someone you love. Interlinked.

A pause.

K
Interlinked.

INTERVIEWER (O.S.)
Within cells interlinked.
 64.

K
Within cells interlinked.

INTERVIEWER (O.S.)
Dreadfully.

K
Dreadfully.

INTERVIEWER (O.S.)
Whats it like to be filled with dread?
Dreadfully.

K
Dreadfully.

INTERVIEWER (O.S.)
Do you like being separated from other
people? Distinct.

K
Distinct.

INTERVIEWER (O.S.)
Dreadfully distinct.

K
Dreadfully distinct.

INTERVIEWER (O.S.)
Dark.

K
Dark.

INT. JOSHIS OFFICE. POLICE STATION. INTERCUT.

ON JOSHI. Watching Ks FEED carefully, knowingly. She can

sense a change in him, as --

INT. INTERVIEW ROOM.

INTERVIEWER (O.S.)
Within cells interlinked.

K
Within cells interlinked.

INTERVIEWER (O.S.)
Within one stem.

K
Within one stem.
 65.

INTERVIEWER (O.S.)
And dreadfully distinct.

K
And dreadfully distinct.

INTERVIEWER (O.S.)
Against the dark.

K
Against the dark.

INTERVIEWER (O.S.)
A tall white fountain played.

A pause. K looks at camera.

K
A tall white fountain played.

A pause.

INTERVIEWER (O.S.)
Youre not even close to baseline.

INT. JOSHIS OFFICE. POLICE STATION. MOMENTS LATER.

K is seated, looking off. A new energy to him. The

entitlement that comes from knowing. Joshi enters, pissed.

JOSHI
The hell is with you?

K eyes her. Holds silent.

JOSHI (contd)
I put you on a case, I impressed on you
the importance of that case. Then we
pick you up fucking around outside some
upgrade center.

Silence.

JOSHI (contd)
Scan said you didnt look like you inside
-- miles off your baseline. You know
what this means... You should have been
retired right there on your feet.

A beat. Finally --

K
I found the kid.

Ks in control of this conversation now.

 66.

K (contd)
He was set it up as a standard Replicant,
put on a service job. Hidden in plain
sight. Plainest. They wrote over any
memory, added fake ones, so -- even he
didnt know what he was. Someone cared
enough to give him a life.

JOSHI
And?

A beat. A forever beat.

K
Its done.

JOSHI
What does that mean its done?

K
What you asked. Its done. No trace
left. Just like you wanted.

Joshi sits back. A weight lifted.

JOSHI
You just stopped a bomb going off.
You did good. It cant have been easy.
Youre allowed to be hit by this one.

K
Thank you.

JOSHI
Hell, Im 55. My twenties are in their
thirties. Plenty of cases broke me, too
many and not half as bad. We all owe you
one, know it or not...

Joshi looks outside. Endless Los Angeles.

JOSHI (contd)
I can help you get you out of this
station alive. You have 48 hours to come
back on track. Your next baseline is out
of my hands.

K nods.

K
Thank you, Madam.

CUT TO:
 67.

EXT. KS APARTMENT. NIGHT.

Ks Spinner drives up and stops short. K gets out quickly.

Rushing. Paranoid. He looks over his shoulder.

A female silhouette seems to follow him. He walks faster.

INT. KS APARTMENT. NIGHT.

K enters, intensed, wild-eyed from the possibilities.

Joi waits for him, against the windows, already projected.

K
You were right. You were right bout
everything.

But Joi has other plans at the moment. Moved. She walks
slowly toward him.

JOI
Shhhh, I know. I have something special
for you. You deserve more than me. I
cant even touch you.

K
I feel you plenty.

K runs his hand over the outline of her face. CLOSE: The
ruffle of her static makes the tiny hairs on his hand quiver.

JOI
Silly trick. Haptic static. Youre
special, like I always knew. I want to
be real for you.

K
Youre more real to me than any of them.

She pulls away. Her voice changing. To something real, sad.

JOI
You love me so you only see whats good
in me. You see my faults as freckles.

K
You dont have any freckles.

She twiddles her nose. And now she has freckles.

K (contd)
I like em.

The freckles remain. At which -- A BUZZ AT THE DOOR. Joi

smiles. Nods -- Answer it. K opens the door to find --
 68.

MARIETTE. The DOXIE from the bar. Shined up. A fresh coat
of everything on her. She grins at K. Cat, canary.

MARIETTE
Thought you werent interested. Worky
man.

She enters, takes off her coat. Making herself at home. K

looks to Joi.

JOI
You liked her, I could tell. Its okay.
Shes real... I want to be real for you.

K
You are real for me.

MARIETTE
You have a special lady here.

Mariette kisses K. Steps back. Ready.

Joi steps up to Mariette. Slow. Close. Her face of light

to her face of flesh. Joi touches Mariettes face.

K looks to Joi -- What are you doing?

Joi steps forward... stepping into Mariette. Overlaying her

projection ATOP the doxie. So that Mariette is only a shadow
image, encompassed by Jois projection... Joi now a thin
layer of light like skin atop Mariettes real body.

Mariette lifts her hand to take in the effect, which is still

imperfect.

MARIETTE (contd)
Look at you.

JOI
Quiet now. I have to sync.

Joi BRIGHTENS as the sync completes. Mariettes moves are

now her own. At least for a moment Joi has substance, form.
She moves her body in a delicate sway. A turn. Loving the
effect. Her gift.

She slowly steps up to K. Jois face so close to his.

CLOSE ON: THE MUSIC PLAYER. Summer Winds.

K isnt sure how to take this. So Joi raises a hand. K

raises his to meet hers. Recalling their palms pressed
earlier... only now they can truly touch...
 69.

He runs a finger over the outline of her face. Skin of smoke

and light over a warm, willing body.

Joi KISSES him. With real lips. A combination of her static

wisps and true flesh. A perverse threesome. A loving
twosome. K gives in to the moment.

-- JOI PUTS KS HAND TO HER WAIST AS BEFORE AND...

-- THEY PERFORM ONE DANCE MOVEMENT TOGETHER... AS THEY

COULDNT DANCE BEFORE... FEELING HER WEIGHT AGAINST HIM..

-- JOI AND MARIETTE MOVE AS ONE... SEPARATING ONLY, BRIEFLY

AS K EXTENDS HIS ARM TO TWIRL HER AND JOI GETS LOST IN THE
MOVE...

-- K PULLS HER BACK TO HIM. THEY KISS...

-- ON K... SMILING... IN LOVE...

-- ON MARIETTE... UNDER THE SKIN OF LIGHT... SHE FEELS HIS

LIPS ON HERS... SEES THE LOOK ON HIS FACE... AND IS MOVED
BY A DEPTH OF LOVE SHE NEVER TASTED BEFORE... DIDNT KNOW
WAS REAL...

-- JOI STANDS AWAY FROM HIM. HER HOST BODY, BARELY VISIBLE
BENEATH HER AS SHE REACHES A HAND BEHIND HER TO UNFASTEN HER
DRESS... WHICH FALLS TO THE FLOOR...

-- K AND JOI LOOK INTO EACH OTHERS EYES... JOI STEPS

TOWARDS K AND --

EXT. SKIES ABOVE LOS ANGELES. NIGHT.

Looking down a canyon between buildings where...

AN AD SPIRE turns day to night with its brilliant light...

AN AD FOR:

JOI. SMILING RIGHT AT US... knowing... willing...

INT. KS APARTMENT. MORNING.

A rare ribbon of TRUE SUNLIGHT through the one small window

bisects K and Mariette entwined on the bed.

K is awake, eyes open. He observes Mariette, a touch of

embarrassment in the light at the intimacy shared in the
dark.

He rises to the shower. We hear the water spray.

ON MARIETTE. Her eyes snap open. Also awake. She slowly

gets out of bed and dresses.
 70.

As she dresses, she scans the room. Sees the suitcase again.
Touches Ks PHOTOS on the coffee table. Then --

She discreetly tags an almost imperceptible device in one of

Ks jackets pockets.

With that she begins to move toward the door, when she sees --

THE WOODEN HORSE. Her eyes widen. She moves to it. Picks
it up reverentially. Moved by it.

MARIETTE
From a tree...

Then sees --

JOI. Simply standing there. Watching her. Eerie stillness.

JOI
Im done with you. You can go.

Mariette sets the horse back. Puts on her coat. Stares

right back. Refusing to see Joi as more. Mocking. Back on
her hard mode.

MARIETTE
Quiet now. Ive been inside you. Not
so much there as you think.

And shes out the door.

As we CLOSE IN ON JOI... a flinch... a feeling?...

But Ks attention is on the WOODEN HORSE. Mariettes words

lingering. He feels it in his fingers.

K
From a tree...

Joi catches on to his idea. Brightening with the insight.

Confirming his thought.

JOI
Your story isnt over yet.
(off the horse)
Theres still a page left. Written with
love.

K smiles. Picks up the horse: This is the trail to follow.

Joi disappears --
 71.

INT. KS APARTMENT.

-- Reappears from the central console. As K readies to move,

holding the horse --

K
Theyll be coming soon. Youre coming
with me.

JOI
No.

K halts. Joi just refused him. A first.

JOI (contd)
Not like this. If they come here looking
for you theyll have access to all my
memories. You have to delete me from the
console.

K doesnt understand.

JOI (contd)
My present. Put me there.

The emanator.

JOI (contd)
None of the rest can touch me. I can be
me with you. Only. Always.

K
I cant. Its just a weak processor.

JOI
A body.

K
If anything happened to it, thats it...
youd be gone.

Joi finally smiles.

JOI
Yes. Like a real girl.

K faces her.

JOI (cont'd)
Please. I want this. I cant do it
myself.

A pause. K keys into the central console. WORDS FLOAT in

the air: UPDATE EDITION: JOI.
 72.

Joi nods to K. He presses the console and --

JOI CUTS OUT. A WHIR. JOIS VOICE comes from the EMANATOR.

JOI (V.O.)
Break the antenna.

K SNAPS open the casing on the emanator. BREAKS OFF a piece

inside. The antenna.

JOI (V.O.)
Take me off the console.
(he hesitates)
Do it.

THE WALLACE LOGO FLOATS in the air. DELETE THIS CUSTOMER

EXPERIENCE? is written underneath.

K selects. YES.

A WARNING CHIMES: ALL PREVIOUSLY SAVED PROGRESS AND USER

FILES WILL BE LOST. The word LOST BLINKS.

K looks to the emanators eye.

A SINGLE WORD BRIGHTENS ON THE CONSOLE: DELETE

CUT TO:

INT. LUVS OFFICE. THAT MOMENT.

A MAP OF THE WEST COAST. Key points lit up.

One particular point of interest in LOS ANGELES immediately

GOES DARK.

ON LUV. Taking note. Rising. Displeased.

CUT TO:

INT. HALL. REFURB APARTMENT COMPLEX. DAY.

In the middle of the bazaar of their complex FIND --

K and Joi. Squatted beside DOC BADGER, the lone resident K

greeted to on his way home, in a stall crowded with jury-
rigged lab equipment. An elaborate SCOPE. A hand-painted
sign in SOMALI offers DOCTOR BADGERS OFF-WORLD SCREENING.

Badger takes the wooden horse. Fits it into his SCANNER.

He LAUGHS at what he sees. IN SOMALI ONLY:

 73.

DOC BADGER
(IN SOMALI)
Real wood. You are rich, my friend. You
could buy a real horse with this. You
want a real horse?

K
I dont want a real horse.

DOC BADGER
I can get you one. Like Wallace shit.
Amazing!

K
Can you tell where its from?

DOC BADGER
Smells like dirt. Old dirt. But the
structure is changed. Old dirt, new
change...

K
Radiation. From a reactor?

Doc Badger shakes his head no.

DOC BADGER
No. More volatile.

The SCREEN offers a radiation fingerprint: Isotopic details.

Age estimate. The facts registers with K.

K
Matches a dirty bomb.

They look at each other.

DOC BADGER
There is only one place that dirty.
Radioactivity that strong.

K
But no ones lives there...

DOC BADGER
(smiling)
You ask me where it came from, now I tell
you. So, what else do you want, my
friend? A horse? A sheep? Off-world
papers! Whatever you want, Doc Badger
can get!

CUT TO:
 74.

INT. KS SPINNER / PILOTFISH POV

A FLYING POV THROUGH THICK, LAMBENT RED DUST. FOCUSING ON:

A BROKEN STREET LAMP.

K (O.S.)
Pull back 200 meters. Hold.

THE POV FOLLOWS his instruction. WIDENS TO REVEAL:

A VAST PARKING LOT. EVEN LARGER CASINOS IN THE DISTANCE.

Erotic statues out of an ancient temple of old. A PYRAMID.

POV WIDENS OUT FURTHER:

THE VEGAS SKYLINE. Recognizable but, like an old stripper,

only a shell of debauchery. The hulked MEGASTRUCTURES are
all still there. Dark. Empty. Years of neglect.

In their day they were fever dreams of debauchery. Decades

of sandstorms have scoured away the luster and color. Weeds
grow tall in the cracked streets. A thick DUST coat over it
all makes equals of everything. It hasnt rained in forever.

One CRUMBLED EGYPTIAN-THEMED HOTEL shows evidence of A BOMB

BLAST. Outsized STATUES in ruins around it. THE PILOTFISH
POV registers the radiation levels at SAFE.

It picks up on a RED DUST DEVIL, STREAKED WITH BLACK.

K (O.S.) (contd)
Move in right, 15 degrees. More. More.

POV SOARS OVER THE EERILY STILL RUINS TO FOLLOW THE WHIRLING
DUST. Homing in on the CLOUD OF DARK MOVEMENT WITHIN.

K (O.S.) (contd)
Stop. Back 20 meters. Go to 5. 6. 7.

EXT. LAS VEGAS STREET. CITY OUTSKIRTS. AFTERNOON.

K reacts. He has been flying the Spinners PILOTFISH like a

drone. Watching its POV on the Spinners screen.

K
Heat analysis.

K sees something in the image that strikes him. A dark

cloud. Joi watches too.

K (contd)
Life.

JOI
What is it?
 75.

Ks look isnt reassuring.

K
Well find out.

ON K. Decision made. He gets out of his vehicle, parked on

the side of a hill. Down below, few miles away, we see the
ruins of a city, lying under a cloud of red dust.

He begins to walk.

An old warning panel beaten by the wind: WARNING. RADIATION

LEVELS INHOSPITABLE can be seen nearby.

LOOKING OVER THE SPINNER... We see K recede into the

distance. Moving toward the city.

EXT. STATUARY COURTYARD. AFTERNOON.

People once gathered here to take photos and frolic. All

under the eyes of the god-sized STATUES towering above.
Erotically posed and positioned. Gods making gods. Now in
semi-ruins, beheaded and disarmed.

K is a human speck at their feet. Dwarfed. Stepping over

cracked and uneven concrete.

A plume of red dust beats against K.

The wind finally passes. But when it does Ks eyes LOCK on

something overhead that astounds him so much more than the
grand ghost city. Something small.

A BEE

Flitting about. It waggles a crooked path to land...

ON HIS ARM

K is speechless. He has never seen the like. He is careful

not to move lest he scare it off.

The bee takes off anyway. Flies a deliberate line through

the grand statues legs. K follows after it, as... The BEE
joins another. MORE BEES STILL. Until the loose cluster
rejoins...

A SWARM OF THOUSANDS. THIS was the dark cloud he saw from

afar. They move as one. Their HUMS together a ROAR.
Circling in waves around an ARTIFICIAL FEEDING SYSTEM.

K steps below the vertical FEEDER. Powered by a solar panel

that has recently been SLEEVE-SWIPED clean of dust.

K TURNS. HEARING SOMETHING MELDED WITH THE WIND. MUSIC.

 76.

He strains to listen. The faintest sound of... A PIANO.

He raises his eyes toward the source of the sound. If it is

real at all it seems to come from...

A CLASSIC OLD STYLE CASINO HOTEL

Faded, deep cracks in its foundation, the occasional window

blown out. But still an architectural wonder.

EXT. CASINO HOTEL.

K crosses the lake-sized FOUNTAIN, long dry and cracked...

INT. CASINO LOBBY. AFTERNOON.

K enters great glass double doors, reinforced with steel.

Sand piled at the seams. K takes a single step, and stops
short at --

Seemingly nothing. Then we make out what his eyes perceived:

A set of thin, carefully hidden TRIPWIRES across the floor.

He carefully steps over.

He continues in. The lobby is long abandoned. A chandelier

long since crashed to the lobby floor.

K WALKS THROUGH. Dust motes swirl in the stale air.

K passes a MANNEQUIN dressed as a bellman.

He SPINS, hearing MOVEMENT. Seeing no one. And then... HE

HEARS A PIANO. THREE NOTES PLAYED somewhere deep inside.

INT. CORRIDOR.

He moves into the dark. Following another NOTES ECHO.

INT. CASINO FLOOR.

A huge gambling hall. A bar. Behind which is AN ELABORATE

PYRAMID SCULPTURE made of EMPTY ALCOHOL BOTTLES. Someone has
been here. Lived and drank here.

K passes old poker tables. CARDS fanned out on a blackjack

table. Dust on the felt. He picks up a card.

He walks on. Toward the sound. MOVES UP A SET OF STAIRS.

INT. CIRCULAR BAR.

A balcony on the third floor MEZZANINE. STACKS of priceless

paintings against the bar. There K finds --
 77.

A PIANO

The keys open. K taps a KEY. The note rings through the
airy space. Makes the current of floating dust vibrate. At
which K notices --

TWO EYES staring at him in the dark --

A MANGY DOG

It is, at a glance, the ugliest dog on earth. Flea bitten

and ragged. But a real, live dog. It cocks its head at K.

ON K. Utterly awed by this animal. Homely as it is, it is

miraculous to him. He moves slowly toward it. Hand out.
Hoping to touch it. So lost in the discovery, he is
completely surprised by -- THE CLICK OF A GUN --

MANS VOICE (O.S.)

You mightnt happen to have a piece of
cheese about you now, boy?

DECKARDS ICONIC BLASTER

Comes out of the SHADOWS half into the LIGHT. Preceding

RICK DECKARD

Strong, tireless. Seasoned by time and, like teak or copper,

far more handsome for the patina. But also something...
cracky about him. Thoughts obscure, running together.
Enough to keep us guessing if hes gone touched left alone
out here too long... Or maybe just a calculated way to keep
an intruder guessing...

K stares down the blaster. Takes a gamble.

K
Treasure Island?

DECKARD
He reads. Thats good. Me too. Not
much else to do around here at night
anymore. Manys the night Ive dreamed
of cheese -- toasted, mostly.

Deckard leads K forward, blaster is fixed on him, keeping a

safe distance, as --

DECKARD (contd)
What are you doing here?

K
I heard the piano.
 78.

Deckards eyes focus, sharp now with the insult of a lie.

DECKARD
Dont lie. Its rude.
(then)
Youre a cop.

K
Im not trying to bring you in...

DECKARD
Oh yeah. Then what?

K
I -- have questions.

DECKARD
Is that all?

K
Thats it.

DECKARD
Ok. What questions?

At which -- BLAM! DECKARD FIRES! UNEXPECTED. DIRTY.

K FALLS BACKWARD OVER THE BALCONY --

LOST OVER THE EDGE --

A CRASH.

Deckard Looks over the balcony. No sign.

INT. CIRCULAR STAIRCASE.

DECKARD

Walks down the stairs after him slowly. Confident. The dog
obediently follows.

INT. LOBBY.

K is gone. Survived the jump. Leaving only blood. Deckard

calmly tracks Ks movements in the dust.

DECKARD
Wait here.

The dog abides. Waits. As Deckard hunts.

 79.

INT. WIDE CORRIDOR.

K stops, leans against a wall for support -- sees Deckard in

the distance --

K turns. Not seeing the TRIPWIRE strung across the ground --

The wire catches -- CLICK! -- he MOVES just ahead of --

BOOM! THE FIRST OF FOUR EXPLOSIONS IN SEQUENCE.

BOOM! BOOM! BOOM!

INT. THEATRE ENTRANCE AREA.

Deckard scans through the plume of DUST. Sees...

A DOOR CLOSE.

BY AN OLD LOUNGE. A tattered SIGN for the last SHOW that

played there, curiously called THE HOMAGE.

INT. THEATRE ENTRANCE AREA.

ON DECKARD. He THROWS A SWITCH in an electrical panel.

Power HUMS through ancient wire.

INT. THE HOMAGE LOUNGE AND THEATER.

Great acts once played here, back when there was leisure.

Is hiding. Forcing his breath shallow and quiet.

LIGHTS SNAP ON. WHIRLING, FUNHOUSE FLASHING. Making it hard

to see. MUSIC starts. Loud, thrumming.

ON THE DARK STAGE... A HOLOGRAM ILLUMINES THE CENTER.

ELVIS. Brought back to life. Performing Suspicious Minds

again on the Vegas stage.

A glitchy but inspired holographic resurrection. We look

through Elvis BODY wrought in LIGHT to see --

K crosses an open aisle. Staring through. Disoriented. He

looks at Elvis walking further downstage --

K hides behind a sofa, looks to the door. No sign of

Deckard. When --

A SHOT FIRES -- EXPLODING THE SEAT BEHIND K -- nearly taking

his head off. K ducks down to see --
 80.

DECKARD

Stalking him through the MAZE OF BOOTHS AND TABLES AND STAGE
LIGHTING. Gun lose and comfortable in his hand, as --

ONSTAGE

Elvis begins a MEDLEY. His hologram begins to falter. The

garish show begins to SKIP and FLICKER like a worn VHS --
until the system unravels -- and Elvis is joined by MORE
HOLOGRAPHIC LAS VEGAS ICONS: CHORUS GIRLS and MAGICIANS
TIGERS. LIBERACE. MARILYN MONROE. REDD FOXX. ACROBATS.
All resurrected in LIGHT. A nostalgia act in chaos.

K loses his bearings in the confusion. As the show spins

into a tumult. Everything its got. Classic icons and icons
to be fill the space. CIRCUS ELEPHANTS spring to life.
LASER LIGHTS blind and flash.

Deckards eye is keen. The movements of his blaster exact.

He looks behind a table. Nothing.

Around a bar. Nothing.

He steps through the FLICKERING ELVIS to see --

KS BLOOD ON THE FLOOR.

WITH K. Crawling. He stops as a MAGICIANS TIGER

approaches.

DECKARD

Sees the tiger cross. Heads toward it, gun raised when --
THE LIGHTS CUT OUT -- then instantly FLASHING BRIGHT AGAIN --
HOLOGRAMS momentarily BLINDING Deckard --

K LEAPS THROUGH THE HOLOGRAMS. Knocks Deckard down.

KNOCKS his blaster away. Letting his strength out. Deckard

swings. K takes one hit. Catches the second. THROWS
Deckard back. Deckard has the meanness of experience but
none of Ks speed.

K
I dont want to hurt you.

DECKARD
Okay.

Deckard PUNCHES K -- BAM -- and again... Again... K letting

him. Taking the punches and deliberately not hitting back.

Deckard keeps coming at him -- heaving -- K steeling himself

for more, when -- Deckard hesitates.
 81.

Holds up a hand. Wait a second. K pauses. We notice the

MUSIC just changed. Returned from the chaos of buggy
software back to something beautiful.

DECKARD (contd)
I like this song.

ONSTAGE Elvis sings a solo. Cant Help Falling In Love.

Deckard does something odd in response: He lowers his hands.

A bizarre pause in the fight as Deckard stops to listen to

Elvis chorus... Some things are meant to be...

Something about it alters his fragile mood. Suddenly no

longer in the mood for pain.

DECKARD (contd)
We can keep at it. Or we can get a
drink.

A beat. K has no idea what to make of Deckard. He picks up

the dropped blaster.

K
Id take a drink.

DECKARD
Good answer.

And he steps out. Off K... following after... the dog

behind them... and Elvis still singing, we --

CUT TO:

INT. KS APARTMENT COMPLEX STAIRS. NIGHT.

Luv goes up the stairs, searching.

INT. KS APARTMENT. NIGHT.

CLOSE ON: THE DOOR. TEARING OPEN. BRUTE FORCE.

LUV

Enters. Shuts the now broken door behind her. Scans the
small space quickly. Ascertaining it all at a glance.

Her eye lands on... Sappers glasses. Then --

KS BOOK. She studies its cover.

Then finds THE BOX the emanator came it. It makes her smile,
as if she knows everything about him. The smile drops at
finding -- THE BROKEN ANTENNA beside it.
 82.

EXT. SKIES ABOVE LOS ANGELES. NIGHT.

LUVS SPINNER cuts through the eternal sky traffic toward --

INT. POLICE STATION. NIGHT.

LUV cuts through the crush of grime and crime into --

INT. JOSHIS OFFICE. POLICE STATION. NIGHT.

Joshi at her desk, the lights dim giving visual precedence to

THE CITY MAP she has UPSCREEN: Real time feed of current
police activity. The lights go abruptly BRIGHT.

An unfamiliar woman has just stepped into Joshis office with

presumed intimacy, turned the lights on. LUV.

LUV
Too dark in here.

Joshi sits back in her chair. Her silence a challenge to

this stranger.

LUV (contd)
Your pet. I liked him. Hes a good boy.
Where is he?

Luv steps closer. Joshi nods knowingly. Saw this coming.

She shuts her SCREEN down.

JOSHI
So youre whos looking.

Luv gives a polite bow. And just like that, all cards are on
the table.

JOSHI (contd)
No idea. Hes off duty, reward for a job
well done. Check around.

LUV
I checked. Anywhere a good boy might go.

Joshi pours a short one and takes it ahead of whats coming.

As usual she sees too many steps ahead and knows her mind
about where it goes. And then --

JOSHI
Youre too late. Its gone. He
destroyed it. Everything about it.
Except a box of bones you already took.
Which Ill wager wasnt enough. Here you
are.
 83.

Luvs perfect face twists. Lightning quick, Luv snatches

Joshi at the hand holding the glass. Crushes it.

LUV
You tiny thing. In the face of the
fabulous new your only thought is to kill
it. For fear of great change. You
cant hold the tide with a broom.

JOSHI
(defiant, ready)
Except that I did.

Luv squeezes her dead hand even tighter. Cruelly.

LUV
Where is he?

Joshi is in blinding pain. Channels it into silence.

LUV (contd)
Youre so sure. Because he told you.
Because we never lie? Im going to tell
Mister Wallace you tried to shoot me
first. Thats why I had to kill you.

JOSHI
You do what you got.

LUV
Madam.

Luv doesnt dwell. Simply STABS A BLADE into Joshis chest --

straight through the breast bone. Rupturing her heart.
Blood might bouquet out the back with the force of it.

Joshi slides to the floor. Gone before she hits.

Luv steps over her. Slides in front of her computer. Waves.

The console doesnt respond. She SIGHS. Reaches down...

Lifts Joshis head up at an awkward angle. Positions it in

front of the console. A light SCANS Joshis face.

The interface recognizes Joshi. OPENS. Luv DROPS Joshi.

LUV (contd)
Location Officer K D6-3.7.

Luv stares at the default MAP of all active police vehicles.

Clusters throughout the city. The expected jurisdiction. No
traces of Ks vehicle. She search for general aerial
activity over Los Angeles... Nothing strikes her
attention... She widens out... over California and Nevada...
then sees:
 84.

ONE SPINNER way off the map. Luv traces it with a finger.
Sees its location... A FORBIDDEN AREA WITH RADIATIONS
WARNINGS... And we --

CUT TO:

INT. BAR. PENTHOUSE FLOOR SUITE. DUSK.

20,000 square feet of luxury. DECKARDs home. More priceless

paintings, sculptures strewn about carelessly. Deckard and K
walk toward the bar.

K
Nice place you got.

DECKARD
Its okay. See that? Know how much
thats worth?

He points to one of many priceless paintings hanging.

Picassos Boy Leading a Horse.

DECKARD (contd)
Nothing. Whole town was something, one
time. Forget your troubles, see a show.
Gamble a little, win some money, lose
some money. They even make money look
like candy. One little dirty bomb spoils
everything. Do you like whiskey? I have
a million bottles of whiskey.

He pours some from his glass onto the floor. The mangy dog
pads over and laps it up at his feet.

K
Is it real?

DECKARD
I dont know. Ask him.

Deckard sits down with his drink. K sitting opposite him.

He waits, lets Deckard take the lead.

DECKARD (contd)
Got a name.

K
Officer KD6-

DECKARD
Thats not a name. Thats a serial
number.
 85.

K
(then)
Ok. Jo.

DECKARD
What do you want, Jo?

K
I want to ask you some questions.

DECKARD
Like what?

Silence.

K
What was her name?

DECKARD
Who?

K
The mother of your child. What was she
like? Did you live here together?

DECKARD
Too many questions. I had your job once.
Was good at it. Point and shoot. Paint
by number.

K
It was simpler then.

DECKARD
Why make it complicated?

K
Why dont you answer the question?

DECKARD
What question?

K
Didnt figure you as one for bullshit --
whats her name?

DECKARD
Rachael. Her name was Rachael.

K
What happened to the kid? Did you take
it to the orphanage?
 86.

DECKARD
I was long gone by then. Theres always
someone come looking. Theyd never stop.
Anything I knewd just light a path.

K
You didnt even meet your own kid. Why?

DECKARD
Because that was the plan. I showed them
how to scramble the records, cover their
tracks. Everyone had a part. Mine was
to leave. Then came the Blackout and
paved over everything. I couldnt have
found the child if I tried.

K
Did you want to?

DECKARD
Not really.

K
Why not?

DECKARD
Because I didnt want our child found,
taken apart, dissected.
(then)
Sometimes to love someone youve got to
be a stranger.

Deckard storms off.

K alone raises his glass.

K
To strangers.

FADE TO BLACK.

INT. PENTHOUSE FLOOR SUITE. DAWN.

K turns on a HOLO JUKEBOX. Sinatra sings in miniature.

K looks at the sunrise, a wide panoramic view of the desert.

The sky is CLEAR of dust and -- for the first time in his
life -- K sees a horizon.

He sees Rachaels photograph beside him, on a small table.

Carved wooden sculptures beside it. Carved by the same hand
as his horse.
 87.

EXT. LAS VEGAS STRIP. DAWN.

THE SUN just begins to peak from behind a PYRAMID HOTEL,

illuminating the grand MEGASTRUCTURE VISTA. And cresting
over the diagonal line of the pyramid... we just begin to
make out...

LUVS SPINNER. FLANKED BY FIVE DARK SPINNERS.

They come down the strip. Over the old traffic lights. Then
disperse, like wolves encircling a prey.

A PILOTFISH DEPLOYS.

It floats gently. Quiet as a computer fan. It moves down

the boulevard. Seeking. Then...

It locks in on something. Begins a straight line for...

THE CASINO

INT. LUVS SPINNER. DAWN.

As Luv closes in, A PROMPT comes UPSCREEN.

ON IT: THE PILOTFISHS VIEW of Deckards penthouse. Two

bodies within. TARGET LOCKED. DETONATE?

LUV
No. Hold.

UPSCREEN: CERTAIN?

LUV (contd)
Certain.

UPSCREEN: CERTAIN?

LUV (contd)
Quite.

She banks the Spinner around the hotel, as --

EXT. TERRACE. PENTHOUSE FLOOR SUITE. DAWN.

K looks at sunrise, lying on a patio chair, freezing. A wide

panoramic view of the desert. The sky is CLEAR of dust and --
for the first time in his life -- K sees a horizon. Inside
we see...

INT. PENTHOUSE FLOOR SUITE. DAWN.

Joi wandering alone in the penthouse by large HYDROPONIC

GROWERS. Taking it all in. Wooden sculptures amongst books.
Joi looks at them.
 88.

The dog appears from one of the doors. Pants at K. K smiles

at it.

The dog WHINES. Suddenly agitated. Suddenly turning at --

A PIERCING ALARM. K rises, turns off the emanator. Joi is

gone, as --

Deckard appears. Checks his security system. Scans the open

sky with BINOCULARS. Sees NOTHING.

DECKARD
Whod you bring?

K
No one.

DECKARD
They know youre here.

K
I came alone. No ones following.

Deckard spots a metallic GLIMMER floating level with them.

DECKARD
Theres always someone come.

Then K sees something in the distance... a movement between

two buildings... He hears engines approaching.

K turns toward Deckard... Who is gone.

INT. STAIRWELL. MOMENTS LATER.

Deckard runs downstairs.

INT. CORRIDOR. FLOOR BELOW.

Deckard runs on. Followed by the dog.

K appears at the end of the corridor, running after Deckard.

Quickly catching up. Sees Deckard slip through A DOOR.

INT. PENTHOUSE SUITE. FLOOR BELOW.

Deckard locks the door behind him and his dog, quickly
activates the power in an EMPTY penthouse. An ENGINE begins
to whir and cough and come alive. By an OPEN BAY WINDOW,
covered with plastic. AN ANCIENT SPINNER.

Deckard moves for the Spinner, as --

K EXPLODES through the wall -- coming for him, as --

 89.

INT. LUVS SPINNER.

ON LUV. Waiting. Tracking Deckards movement within.

Before he can reach his Spinner --

LUV
Now.

EXT. PENTHOUSE. CASINO HOTEL.

THE HOVERING MISSILE ENGAGES. IT ZEROES IN ON THE OPEN

WINDOW AND --

INT. PENTHOUSE SUITE. FLOOR BELOW.

K throws himself in front of Deckard as --

BOOM! DECKARDS SPINNER EXPLODES!

The world BLURS. K is ROCKED by the blast --

K SMASHES into the wall.

K manages to sit up. Wind and soot in his face as --

ONE OF THE DARK SPINNERS LANDS INSIDE THE PENTHOUSE.

DARK FIGURES get out and DRAG UNCONSCIOUS DECKARD toward the
Spinner. K tries to move for Deckard -- but his abdomen has
been PUNCTURED by debris.

Deckard fights his captors brutally, but they are too many.

Fighting pain, K staggers to his feet.

Is GRABBED from behind.

K BREAKS the hand that clasped him and DROPS its owner.
Disarms with MAN lugging Deckard and SHOOTS HIM AND ONE MORE.

The team doesnt last long against K unleashed. Until --

A FOOT KICKS K -- BONES FRAGMENTING IN HIS CHEST. ANOTHER

KICK. K SLAMS INTO THE GROUND WITH BRUTAL FORCE.

LUV

Steps toward K. Calm, amused, a successful acquisition

assumed.

LUV
Bad dog.

K feels his wounds. Expends all his remaining, dwindling

strength to stagger toward Deckard.
 90.

Luv stops to watch Ks slow progress. Curious. KICKS him

again with her strange strength. K LANDS HARD. Bone snaps.

THE EMANATOR GOES FLYING.

K is on his back -- breath short -- then CUT OFF as LUV

STOMPS HIS CHEST. His insides rupture.

Luv steps close. Ready to end him when --

JOI (O.S.)
STOP!

JOI HAS PROJECTED

Enough of a distraction that Luv for the moment leaves K.

Steps over ahead of K to... The emanator.

Luv sees K reach and crawl for it. Trying to reach it before
she does.

Luv locks eyes with Joi. Raises a foot.

K shakes his head. Dont.

Luv thrills at the chance to administer such a unique pain.

LUV
I do hope youre satisfied with our
product.

K and Joi meet eyes. Breath held. She knows whats coming.
Spends her last moment looking at K, loving him.

Joi reaches a hand toward his. Just enough time to say it.

JOI
I love y--

And Luv CRUSHES the emanator with her boot.

Joi dissipates. Is gone forever.

ON K. Destroyed. Whatever she was, digital fantasy or

evolved personality, he loved her as true.

LUV
Bad.

LUV KICKS HIS FACE.

The world goes BLACK.

ON KS EYE. Flickering OPEN.

 91.

An EXPLOSION of DUST as a Spinner takes off. With Deckard.

KS EYE REFLECTS LUVS SPINNER... AS IT RISES OUT THE

WINDOW... AND FLIES AWAY. GONE.

ON K. On the ground. Near Deckards dropped blaster. A

wind blows. Deckards Dog watches the Spinners leave. It
sits at Ks feet. Licks his hand.

K only stares at the crushed emanator. His eye closes.

FADE TO BLACK.

INT. PENTHOUSE SUITE. NIGHT. TIME PASSING.

Night comes. The wind blows sharp flecks of dust. Death

creeping in. Nearly there.

A thin SOUND in the distance. FOOTSTEPS. Feet pass

Deckards blaster covered in ash. A beat.

THEN K IS DRAGGED BACKWARDS ACROSS THE FLOOR.

FADE TO BLACK.

CLOSE ON: A HORSES FACE. LIPS PARTED, NOSTRILS FLARED IN

PERMANENT ANGUISH.

CUT TO:

EXT. DESERT. NIGHT.

CLOSE ON: FIRELIGHT. SMOKE. A CRACKLE AND SPARK.

KS EYES FLUTTER OPEN. FEVERED AND AFRAID. HE SEES A

CAMPFIRE BURNING...

SENSES A HUMAN PRESENCE BESIDE HIM. HIS EYES CLOSE AGAIN...

FADE TO BLACK.

FADE IN AGAIN AS:

EXT. DESERT. NIGHT.

The campfire has died down. K SHIVERS with fever. His eyes
open to see -- A GROUP sitting beside the fire... Amongst
them --

MARIETTE

Genuine concern on her face. She pets the Dogs head

admiringly.
 92.

MARIETTE
I sewed you some. If you need to die,
this is a good place for it.

K looks like he wants to. He looks into the FIRE.

Consciousness slips away again as he watches the EMBERS float

skyward in a fairys flight. Streaks of light...

The embers soar into the NIGHT SKY... Merging with the
STARS... which now begin to MOVE...

LIKE COMET TRAILS... STREAKING THE SKY...

MATCH CUT TO:

KS POV OF: STREAMS OF COLORFUL LIGHTS SOARING BY.

ABOVE... BELOW... LIKE THOUSANDS OF HEADLIGHTS COMING AT

HIM ON A HIGHWAY... A FEVER DREAM OF FLIGHT THROUGH THE
STARS... OR OVER A CITY... WHICH TAKES SHAPE BELOW US...
SPINNERS FLYING THROUGH THE RIOT OF COLOR AND LIGHT...

CUT TO:

INT. PRIVATE OFFICE. WALLACE TOWER. NIGHT.

CLOSE ON: DECKARD. He wakes.

Find himself in Wallaces private space. Neither bound nor

shackled. He was sleeping on a luxurious armchair. A
cocktail cart seems to have been left out just for him,
liquor and glass waiting.

On a coffee table in front of him, a round object the size of

a large grapefruit wrapped in a ragged piece of clothing.

A SUDDEN SPLASH BEHIND HIM --

From the POOL. A FISH leaps, falls back in with a splash. A

Barracuda flies over the water, following the fish. A
strange sight.

NIANDER WALLACE (O.S.)

Always jumping that one, never a thought
what to do if he made land. All the
courage in the world cannot alter fact.

Three Barracudas slowly comes out of the shadow, followed

by... Niander Wallace.

NIANDER WALLACE (contd)

I have wanted to meet you for so long.

The Barracuda revolves around Deckard, taking him in.

 93.

Wallace sits right beside Deckard. Then pulls off the halo
on the back of his head. Wallace takes Deckards hand in
his. Presses it. Strange intimacy.

NIANDER WALLACE (contd)

You are a window to me, Mister Deckard.
Where youve been. All you are.

Wallace takes the wrapped object, puts it on his lap and

unwraps it, slowly.

NIANDER WALLACE (contd)

I learn something new from everyone. Do
you want to know what I learned from you?
It is possible to be very clever without
even being smart.

Wallace reveals the object, A HUMAN SKULL. RACHAELS SKULL.

NIANDER WALLACE (contd)

I had the lock. I found the key. Yet
the pins do not align. The door remains
locked. The answer to every problem just
within. I need the specimen to reach it,
Mister Deckard. The child. I need the
child.

Seeing the skull, Deckards eyes burn into him. Full of

hate.

NIANDER WALLACE (contd)

Lock and key... You and she... My
Archangel. To teach them all to fly.

Luv appears in the darkness. She was listening all along. A

dark angel. Wallace touches the skull.

NIANDER WALLACE (contd)

And God remembered Rachael. And heeded
her. And opened her womb.

A HOLO PLAYS: OF THE FIRST MEETING BETWEEN DECKARD AND

RACHAEL. THE VOIGHT-KAMPFF. ONLY THIS TIME IT IS NOT JUST
RACHAELS EYE IN CLOSE UP, BUT A SECOND CAMERA CAPTURE OF THE
ENTIRE EVENT. BOTH DECKARD AND RACHAEL IN FULL.

The decades old encounter plays before them as --

NIANDER WALLACE (contd)

Is it the same, now, as then? The moment
you met her. All these years you looked
back on that day, drunk on the memory of
its perfection... how shiny her lips...
how instant your connection.
(MORE)
 94.

NIANDER WALLACE (contd)

Did it never occur to you that was why
you were summoned in the first place?
Designed to do nothing short of fall for
her right then and there. All to make
that single perfect... specimen.

THE HOLO PLAYBACK OF DECKARD AND RACHAEL FREEZES, DISSIPATES.

Deckard seethes. Fights the insidious logic. To his last

breath, which may be soon, he wont accept the possibility or
its implications.

NIANDER WALLACE (contd)

That is, if you were designed. Love...
or mathematical precision... Yes?...
No?... You are a window to me.

The question lingers. What everyone wants to know. Except

one man.

DECKARD
I know whats real.

Wallace laughs.

NIANDER WALLACE
Very clever to keep yourself empty of
information. And all it cost you was
everything. But. You can still help me.
I can see -- deliberate spaces in your
mind, engrammic lacunae, faces blocked.
You had help in the hiding. Where did
they go? You know something. Help me...
and good things can come to you.

DECKARD
You dont have children, do you?

NIANDER WALLACE
I have millions.

Deckard shakes his head. Laughs.

NIANDER WALLACE (contd)

You think Ive nothing to offer but pain.
Only you love pain. Pain reminds you the
joy you felt was real. Good. Yes. More
joy then.

Wallace gestures to Luv. Who comes around behind Deckard.

At which Deckard hears... HEELS on the floor. Footsteps

coming.
 95.

NIANDER WALLACE (contd)

Do not be afraid.

A WOMAN steps across the path over the water. The woman
steps into the light. Deckard sees...

RACHAEL

Precisely as when he met her. As she was in the holo. Down

to the lashes. Flesh and blood. Young again. Remade.
Authentic. Inauthentic.

ON DECKARD. Breath gone. Wallace presents his offer.

NIANDER WALLACE (contd)

An Angel. Made again. For you.

Deckard fights the urge, cant help but look. A perfect

recreation of all he ever wanted is right in front of him.
In the flesh. Instantly filled with longing. With disgust.

Rachael steps close to Deckard. Lifts his chin. So they are

face to face. We are transported back decades in seconds.

RACHAEL
Did you miss me?

Deckard says nothing.

RACHAEL (contd)
Dont you love me?

The mirage utterly real and convincing. Deckard strains

against pain of loss. Strains not to lose himself in a
memory of lost joy... We fear he is tempted, when --

He tears his face from her hand. Rejecting the simulacrum.

DECKARD
Her eyes were green.

And he walks away from her, standing now at the edge of the
darkness.

ON WALLACE. Cold. Nods to Luv. Luv understands.

ON DECKARD. Behind him, Luv raises her gun and shoots

Rachael straight in the head. Deckard startles. Rachael
falls brutally on the floor. The gunshot echoes forever.

ON Deckard. He stares at Wallace, a murder.

ON WALLACE.
 96.

NIANDER WALLACE
Offworld I have everything I need to make
you talk. You dont know what pain is
yet. You will learn.

Luv grins -- dark work she will enjoy, and --

CUT TO:

INT. ABANDONED BASEMENT. NIGHT.

ON K. HE STARTLES AWAKE. HIS EYES SCAN AROUND IN FEAR. GO

WIDE WITH SUDDEN RECOGNITION OF INTENSE PAIN.

He is in a dark, high ceilinged space. Eerily devoid of the

bustle weve seen in other abandoned spaces. Just the quiet
drip of efflorescent laden water weeping through concrete.

He is sweating. Shaking with the fever of deep set

infection. His broken body manages to respond as he forces
it to rise.

He looks to his CLENCHED FIST. Opens it. He clasps a broken

shard of the emanator. All thats left of Joi. Shining
plastic reflecting firelight. He hears WHISPERS, MOVEMENT --

A SET OF REFLECTIVE EYES PEER AT K IN THE DARK. MARIETTE.

THE 2 DOXIES FROM THE BAR AND DECKARDS MANGY DOG STILL
BESIDE HER.

Mariette looks to K with new feeling. Trusting. Wanting him

to trust her. She stands aside, to REVEAL --

MARIETTES HANDLER FROM THE BAR

She walks toward K. She wears the same DARK GLASSES even
here. In the dark.

This is FREYSA.

She speaks with the calm heavenbound confidence of the eerily

devout. The unique patois of a colony we will never visit.

FREYSA
You must want I look up and to the left.

She lifts up her dark glasses to REVEAL HER RIGHT EYE SOCKET
IS EMPTY.

FREYSA (contd)
Runners heeling me a long time for this.
Make a fine bit of bonus, would my eye,
would it werent a long long gone.
 97.

Only now can we recognize her as the SAME WOMAN who was in
the old PHOTO of a woman holding a child by the TREE.

K
I know you.

MARIETTE
This is Freysa. She fought with Sapper
on Calantha.

K cocks his head at her, seeing the pieces fit. Water drips
somewhere near.

K
You were there. At Sappers farm. You
helped them hide the child.

Freysa beams, beatific and moved. Looks down at her arms.

FREYSA
Ohhhh, I was there. I saw a miracle
delivered. Held a pinchy perfect face
crying up at me, mad as thunder.

She takes the PHOTO. Looks at it. She and the child. She
circles K as she tells it. Telling it like legend.

FREYSA (contd)
I knew, it all changes now. The first
drop of rain. Something to die for...

K understands hes talking to the only living witness to his

own birth. Wants to know -- everything.

K
Where you with her? Rachael. When the
baby came.

FREYSA
(nods)
I saw baby come. I held Mama as she die.
She die good. She die feeling it. Daddy
already flew gone before he could see,
leaving a puzzle behind. We each hide a
piece so no one mind ever know enough to
make the map. Daddy least of all. Why
Sapper let you kill him, keep his piece.
(off K, enthralled)
Deckard wanted it keep quiet. I fail him
on that. Told anyone with ears to hear.
Of a baby come from one of us. Some
listen too.

More FOOTSTEPS come toward them.

 98.

FREYSA (contd)
That baby meant we was more than
creations. We was creation. More than
just slaves. If a baby can come from one
of us... we are our own masters.

MARIETTE
More human than humans.

K
What about Deckard? Theyll kill him.

FREYSA
He dont matter.

Freysa takes Ks gun. DECKARDS BLASTER. She presses the

barrel to her own chest. Presses his hand over the trigger.

FREYSA (contd)
Deckard, Sapper... me, you... our lives
nothing next to a storm coming.

As if set free by her acknowledgement, the shadows suddenly

SPARKLE with glinting REFLECTIVE RETINAE. DOZENS OF EYES.

FREYSA (contd)
Some listen too. Here we are. An army
now.

In the shadows are more Replicants... hiding... allied. Her

silent, slithering army. A collection of those awakened to a
dream. We can sense their dissatisfaction like we can their
number. Both vast. The shadow of the coming, violent storm.

FREYSA (contd)
Go on. I not so afraid to die. Done
right, dying the most human thing we do.

K lowers the blaster.

K
I found Deckard. I led Wallace to him.

FREYSA
Dont pay no mind on that. He always
wanted to die for his own. Never had the
luck. Officer did him a favor.

K cant live with that.

FREYSA (contd)
Deckard only want his baby stay safe.
And she will. I wish I could find her...
I show her unto the world. And she lead
an army!
 99.

Her eyes sparkle with the future she sees.

But K is focused only on one word. He feels it like a bullet.

K
She?

Freysa nods, confused by his confusion on the point.

FREYSA
Course. Rachael have a daughter. A baby
girl.

An infinite beat. Time shatters. Gravity upends.

K shakes his head. No.

FREYSA (contd)
With my own eye. I see her come, I dress
her in blue when time she go.

K
No. A girl died. It was a boy you hid.

Freysa shakes her head knowingly.

FREYSA
Just a piece a puzzle.

A wave of nausea rocks K. The crushing realization slowly

taking root... eating away at his new soul...

He was wrong about who he is.

ON K. At the moment he sees it. The connection forming.

INSERT CUT: ANA. STARING, CONFUSED, MOVED BY WHAT SHE SEES

IN KS MEMORY. A MOMENT OF RECOGNITION.

ANA
No one invented that. It was a real
moment. Someone lived this.

INSERT CUT: THE DENABASE SCREEN. THE TWO COPIES. THE GHOST
AND THE REAL.

DECKARD (V.O.)
I showed them how to scramble the
records, cover their tracks.

INSERT CUT: THE CHILD WITH THE HORSE IN FRONT OF THE FIERY
FURNACE. CHIN SET, DETERMINED.

INSERT CUT: ON ANA. LOOKING AT K.

 100.

ANA
There is a bit of every artist in their
work...

BACK ON K. RIVEN. THE TRUTH REVEALED. THE CASE SOLVED AT

HIS OWN EXPENSE. IT WAS NEVER HIM AT ALL.

Something inside K breaks. Freysa can see his pain. And

understands.

FREYSA
You imagine it was you? Ohhhh... You
did, you did. We all wish it was us.
Thats why we believe.

ON K -- SHAKING -- SHATTERED -- WE MOVE --

TO WHITE.

EXT. PEDESTRIAN RAMP. NIGHT.

CLOSE ON K. BLINDING LIGHT BOUNCES OFF HIM.

He stands in the FLOODLIGHTS, looking up at something

PAINFULLY BRIGHT high and huge in front of him. He is in a
fog. Soultired. No longer connected to physical pain.

REVEAL: ON THE NEXT BUILDING, 30 STORIES HIGH, A 120 FOOT

VERSION OF JOI LOOKS DOWN AT THE CITY. AN ADVERTISEMENT.
LOUNGING RECUMBENT, ELBOW BENT TO PROP HER HEAD.

K is dwarfed by the enormity of her. A man standing before

the sun. He stares up at her like she was a holy site.

JOI sees him down below, begins to vamp and twirl. An

interactive ad. Immediately selling. Everything about her a
vulgar exaggeration. Her voice heard above the city din:

JOI
Hello, Handsome. What a day, hmmm?

K looks up to her, eyes full of longing and need. Sees only

the dead leaf echo of his Joi. Charmless and generic.

K searches her face for an answer. Can only see THROUGH it.

JOI (contd)
You look lonely. I can fix that.

She gives a crass laugh. K stares and stares. Desperate to

find any spark of the woman he loves... praying some part of
her is still in the network, still extant...
 101.

JOI (contd)
Aww...
(leaning down)
You look like a good Joe.

The NAME goes through K like an arrow. Joe? Jo? His mind
fills with doubt and hope and doubt again. Was it all part
of her program? Was she ever real?

No answers from Joi. Only a knowing wink and her mannequin

smile as she looks back out on the city. Selling herself to
the world.

CLOSE ON K. His eyes close. As if saying goodbye. To her.

To everything he learned from her to dream and hope for.

His eyes open on the sky as lightning kindles. A storm. A

decision made.

He fingers DECKARDS BLASTER. And we --

CUT TO:

EXT. WALLACE TOWER. NIGHT.

A WALLACE CORP TRANSPORT VAN LIFTS OFF from the platform.

TWO DARK, SLEEK SPINNERS lift off after and follow after.

A moment, then... KS SPINNERS LIGHTS COME ON. Waiting in

the wings, barely noticeable. It follows after --

EXT. SKIES ABOVE LOS ANGELES. NIGHT.

THE TRANSPORT VAN flies through the FOG and WET SNOW.
Flanked by THE TWO DARK SPINNERS.

The caravan veers off the main traffic artery. Running along
the COASTLINE. BELOW IS...

THE SEPULVEDA SEA WALL

Where the risen ocean meets city. Stretching for MILES.

DENSE FOG spills over like a waterfall.

EXT. ABOVE THE SEA WALL.

The caravan cuts through the thick FOG. Keeps low to the
rough, stormy surface. Sprayed by angry waves.

INT. TRANSPORT VAN.

Condensation streaks the glass. Luv scans the skies around

them. Eyes missing nothing. Satisfied, she fixes her
unblinking eyes on --
 102.

DECKARD. Handcuffed in place.

DECKARD
Where are we going?

LUV
Home.

Deckards gaze drifts up... to watch the rain and snow stream
across the glass... a moments peace found there before the
pain promised to follow, when --

A LIGHT SHIMMERS through he fog. Barely visible.

Then -- visible. A PILOTFISH. COMING FOR THEM FAST --

FLASHING PAST AND VEERING AT THE LAST MOMENT, MISSING THEM --

THEN SLAMMING INTO THE SPINNER ESCORT. IT EXPLODES

INSTANTLY! DEBRIS SPARKING AGAINST THE TRANSPORT.

GUN SHOTS WEB THE WINDSHIELD AND KILL THE PILOT.

He slumps, dead. The CO-PILOT grabs the controls.

Luv stands, searches the sky, as --

THE SECOND SPINNER ESCORT TAKES FIRE! Its engine ruptures

and it SPIRALS. AN EXPLOSION QUICKLY EXTINGUISHED BY A FLOOD
OF OCEAN SPILLING OVER AND ENGULFING IT.

Deckard looks out. Sees --

KS SPINNER BULLET PAST. Disappearing into the mist.

Luv quickly assesses the damage. Orders the Co-Pilot:

LUV (contd)
Take us back.

Co-Pilot BANKS the Transport. When out of nowhere --

WHAM! Ks Spinner SMASHES into them, from underneath.

Disappears in the fog again.

The Transports engine fails -- losing altitude -- SMOKE

BILLOWS off as it descends. LUV RAGES.

Co-Pilot fights the controls to level them off -- but cannot

stop their descent. At which they see --

THE SEA WALL

It looms large as they drop toward it.

 103.

Deckard watches their descent from his seat as --

THEY CRASH AT THE BASE OF THE SEA WALL! A WALL OF OCEAN

WATER rushes over the glass roof.

EXT. SEPULVEDA SEA WALL.

ON THE TRANSPORT

Perched unsteadily at the sea walls sloped base. A violent

WAVE BASHES over it.

INT. TRANSPORT VAN.

LUV
Get us up.

Co-Pilot works the controls. With effort the Transport

engines come alive, threatening to LIFT, when --

WAVES COME SMASHING DOWN OVER THE VEHICLE.

Luv opens the door, drawing her weapon.

BLAM! A BULLET PUNCTURES THE WINDSHIELD. CO-PILOTS HEAD

SNAPS BACK, THEN SLUMPS.

DECKARD

Looks up. Light suddenly streams on his face.

ON K

Backlit and FIRING as he comes. Heedless of his exposure.

Luv holds her position until -- SHE FIRES AT K --

K FIRES -- HITS LUV -- WHO FLIES BACK WITH THE IMPACT.

ON K

Coming for Deckard. Even as Deckard watches the BLOOD

blossom on Ks chest. They meet eyes, when --

LUV CHARGES K LIKE A TRAIN. TACKLES HIM. They tumble like

lovers. Luv destroys whats left of Ks shoulder, when --

A CRUSHING WAVE POUNDS THE TRANSPORT AGAINST THE SEA WALL.

WATER FILLS THE VEHICLE.

K AND LUV

Crush together against the shattered roof to spill out onto --

 104.

EXT. SEPULVEDA SEA WALL.

K and Luv struggle to their feet, battered by savage waves --

the same waves that carry the Transport further out into the
water with each impact.

Luv focuses her rage to a single point: K. She throws

herself atop him. A wild, crazed thing, sent from the pit.

Ks fist connects with, digs into the soft flesh of her

throat with a pulsing, drawn out CRAAAAAAACK.

Luv only grins -- as if proud he found the strength. Then --

A KICK to destroy his ribs sends him backwards, as --

INT. TRANSPORT VAN.

The Transport LURCHES. Water floods in.

Deckard struggles to free his still cuffed hand --

A colossal wave CRASHES over the Transport, tipping it --

EXT. SEPULVEDA SEA WALL.

K and Luv pause to see the Transport carried out to sea --

and begin to SINK. Luv wastes no more time.

HER KNIFE SINGS

K dodges it -- blocks it -- grabs it by the blade -- not

seeing --

HER SECOND KNIFE

The blade slips out of Ks gut before he felt it go in.

K falls to his knees.

LUV
Im the best one.

Luv DIVES into the water, toward the Transport and Deckard.

INT. TRANSPORT VAN.

Deckard is up to his neck, held down by the shackle.

INT. UNDERWATER.

Deckard submerges to try to pull himself free. He fights

like hell -- but cant do it --
 105.

INT. TRANSPORT VAN.

LUV PULLS Deckard back up. Faces him in the small pocket of
air remaining. Luv grins like the devil on his birthday.

LUV
Offworld is waiting.

Without a sound... K rises in the water behind Luv.

GRABS HER BY THE THROAT.

LIFTS HER TO THE SHATTERED ROOF.

THROWS HER INTO THE WATER. HAND CRUSHING HER WINDPIPE AND
HOLDING UNDERWATER.

LUV FIGHTS HIM WITH EVERYTHING SHE HAS. TEETH BARED, BLOODY.

BUT K JUST TAKES THE PAIN. DOES NOT LET GO.

INT. UNDERWATER.

ON LUV. She lashes out, wild, feral spasms. Her mouth

working. Unable to find the words to properly hate. One
pupil goes wide. The eye rolls back in its socket, giving a
clear view of the pinprick of color underneath.

AND SHE GOES STILL.

ON LUV. An air bubble of resignation escapes her lips.

INT. TRANSPORT VAN.

THE CREAK OF METAL ABOUT TO GIVE WAY. THE WATER LEVEL RISES.

DECKARD IS ENTIRELY UNDERWATER. LUNGS AFLAME.

K swims to him. Breaks his retrains.

K and Deckard dive out of the sinking tomb.

IN THE OCEAN.

K and Deckard swim. Wave and current conspire to drown them.

A WAVE BATTERS K. WE LOSE SIGHT OF HIM IN THE WATER.

DECKARD
Jo!

Deckard reaches back. CLASPS KS HAND. Helping him back.

THE SURFACE EXPLODES. K GASPS for breath. ANOTHER WAVE

CRASHES them onto the base of THE SEA WALL.
 106.

EXT. SEA WALL BASE.

Deckard grabs hold of K before he is swept out into the sea.

They find their footing, their breath. Deckard nods to K.

Hes all right. They look out to see...

THE TRANSPORT VAN SINKS BENEATH THE SURFACE. GONE.

K and Deckard together, further up the sea wall. Freezing.

But alive. Under the blood orange sky of a new day coming.
They sit. Find their breath.

DECKARD
You shouldve let me die.

K
You did. You drowned in the ocean.
Youre free. Free to meet your daughter.

Tough as he is -- Deckard is overcome with emotion for the

first time in decades. Just hearing the word. Brings
himself to say it.

DECKARD
Daughter...?

Everything he longed for. In a word. In time he breathes.

CUT TO:

EXT. SKIES ABOVE LOS ANGELES. DAWN.

The grand CITYSCAPE. Under a blanket of snow. Clean as a

fresh start.

EXT. SNOWY FIELD. DAWN.

K and Deckard trudge through the snowfall. The Spinner

behind them. K limps to their destination. Looks up to...

EXT. LAB BUILDING. DAWN.

Ks hand slips into his pocket. Takes out...

THE WOODEN HORSE. He holds it out to Deckard.

Deckard sees it. Takes it. Cant believe it still exists.

Something made for a child he never met all those years ago.

K
All the best memories... are hers...

Deckard stares at him from a place beyond gratitude.

 107.

DECKARD
Why? What am I to you?

K looks at Deckard. Wanting him to be so many things.

K
Go meet her.

Deckards eyes fill of thanks beyond words. He turns away.

Crosses the snowy field. To the building. TO ANA.

ON K. Watching him go. He lets his hand drop from his wound.
A DROP of BLOOD touches the snow.

KS POV: Deckard grows smaller in the distance.

ON K. Fallen in the snow.

A pool of blood spreads and stains the white snow around him,
as we...

MOVE CLOSE ON KS FACE. His eyes catch something near him

only he sees. A warm FALSE VOICE comes, calming:

JOI (V.O.)
Would you read to me.

Just as she said when we first met her. K smiles at this

ghost of memory. Of course. A thready whisper of his
baseline. Their old favorite.

K (V.O.)
And blood-black nothingness began to...
spin... a system of cells interlinked...

INT. HALLWAY. LAB BUILDING.

Deckard walks toward the door. Halts before entering.

K (V.O.)
...Within... cells interlinked within
cells interlinked... within one stem...

EXT. SKIES ABOVE LOS ANGELES. DAWN.

The fog recedes, a brief glimpse of true sky before the wool
sweater clouds return.

K (V.O.)
...And dreadfully distinct... against the
dark...
 108.

EXT. SNOWY FIELD. DAWN.

ON K. Slipping. Barely audible.

K
...A tall white fountain played...

He looks up at the snowy sky.

And dies.

INT. MEMORY LAB.

Deckard crosses through the door. Looks in. Looks up.

Sees Ana in her lab, staring at snow flakes falling from

above. A perfect digital reproduction of what falls outside
falls here onto her hands. She is completely taken with it.

Deckard steps up to the glass that divides the room.

Watching her watch the snow fall.

ANA
Just a moment. Beautiful, isnt it.

Ana turns from the digital snow, fading out.

Takes in the strange stranger at her door.

His kind, wounded eyes staring at her.

Meets them with an innocent smile.

Deckard reaches out.

Hand pressed against the glass.

END.