Multitudes
by
Mitotic
April 2010
Logline: While trapped in a laboratory complex, tension
builds between two men who eerily resemble each other as
questions of identity and conspiracy emerge.
Federal law provides severe
civil and criminal penalties
for unauthorized reproduction,
distribution, or exhibition
of copyrighted materials.
INT. PANAYIOTIS ZAVOS INSTITUTE OF EMBRYOLOGY - EVENING
The revolving door spins frantically as, one by one, a crowd
of men and women leave the Institute at the end of their
workday, all displaying the same tired and wary expression
and all with the same brisk, purposeful walk. There’s an
eeriness about it, as if despite their surface differences,
somehow all the multitudes of workers are exactly the
same. Like clones. Perfect clones.
TITLE OVER: "Multitudes"
INT. LOBBY - NIGHT
A tired-looking man is sitting anxiously on a couch in the
Zavos Institute’s sleek lobby. He is staring intently at a
nearby zen garden filled with rocks raked in several long,
twisty lines, but his inaudible muttering suggests that his
mind is on something else.
The RECEPTIONIST taps him on the shoulder. The man jumps.
RECEPTIONIST
Jim? Jim Raël?
JIM
God, you scared me.
RECEPTIONIST
I’m sorry, sir. Mr. Jung is ready
for you now. Please follow me.
JIM
Yeah, sure.
JIM stands and follows the receptionist toward an elevator.
INT. JUNG’S OFFICE - NIGHT
DR. JUNG is at his desk reading. His office is a peculiar
mixture of the traditional -- bookshelves, certificates, a
nameplate embossed with his name in gold, Dr. Jem M.
Jung -- and the more modern and scientific, fitting for a
partner at such a high-profile research institute.
He shuts his book and looks up. Jim is sitting nervously on
the other side of the desk.
JUNG
Resume?
(CONT)
CONT: (2) 2.
JIM
What?
JUNG
Did you bring your resume?
JIM
Oh. Yeah, I’ve got it with me.
Jim digs through his pocket and pulls out a crumpled-up
sheet of paper. Jim flattens it out on the desk, runs a
hand over it to try to smooth it, and places it in Jung’s
outstretched hand.
Jung spends a second glancing at the messy scrap of paper,
and then tosses it in the garbage.
JUNG
Fine. When can you start?
JIM
What?
JUNG
It’s fine; your resume’s fine. So
when can you start?
JIM
That’s it? I’m hired?
JUNG
You’re hired.
JIM
You don’t want to know about my job
experience, or how far I am in
getting my master’s, or...
JUNG
Okay, I’ll bite. Exactly how close
are you to getting your master’s?
JIM
(mumbling)
A year. It’s for bio-physiology...
JUNG
Great, fine, good. Can you start
tomorrow? Because we really need
another lab assistant, and I’m sure
you need your lab experience or
whatever it is you came here
for. It’s a win-win
(MORE)
(CONT)
CONT: (3) 3.
JUNG (cont)
situation. God, I hate that
phrase.
JIM
A job.
JUNG
What?
JIM
I came here for a job.
JUNG
I figured as much. And I’m telling
you that you’re hired. Jim,
listen. I see a lot of myself in
you. Can you understand that?
JIM
I... I’m not really sure, I mean --
JUNG
Jim, I want you to start
tomorrow. So tell me. Can you do
that?
JIM
Yeah, I can start tomorrow.
JUNG
Excellent.
Dr. Jung stands and walks around the desk. Jim is confused
at first, but then awkwardly stands and extends his hand to
shake with Dr. Jung.
JUNG (cont)
I’m afraid I’ll have to
decline. Things in a laboratory
should always be kept... hygienic.
I’m sure you understand.
Jim retracts his hand.
JIM
Oh, uh, of course.
JUNG
Well, I must be going. Feel free
to stay. We keep no secrets
here. And Jim, before I leave, I
need to tell you
(MORE)
(CONT)
CONT: (4) 4.
JUNG (cont)something. Something
important. Listen up. Are you
listening?
JIM
Yeah, sure.
JUNG
Jim, I want you to think of this
company as your family. We all
work together here. One common
purpose. And you’re our newest
member. Welcome to the family,
Jim.
JIM
Thanks.
Jung gives the slightest hint of a smile and then walks
briskly out of his office. Jim tries to relax in his chair,
but he is still dazed from the odd nature of the interview.
Jim glances around the room at the various gadgets. A green
pod on the bookshelf catches his eye, and he walks over to
get a closer look. Curious, he reaches out a tentative hand
and touches the pod.
Nothing happens. Jim walks over to a window and looks down
into the lobby where he was waiting before. All the crowds
have already left, and the lobby is left completely empty,
except for Jung, who is making his way across the room and
toward the revolving doors. Jim watches as he leaves.
Turning back away from the window, Jim heads for the door.
INT. SECOND FLOOR CORRIDOR - CONT.
The corridor is quiet and empty. Several doors line the
walls, but all are shut. One door opens. Jim cautiously
steps out, glances down the hallway, and walks to one end.
He arrives at the elevator. He presses the call button and
waits for the elevator. It comes quickly. Jim steps in.
INT. ELEVATOR - CONT.
Jim presses the "L" button. It lights up, and the doors
shut. As the elevator begins to descend into the lobby, Jim
notices another button, marked with an the letter B. His
finger slowly moves toward it, tracing the button’s surface
(CONT)
CONT: (2) 5.
gently. The button begins to glow, and Jim instantly drops
his finger. The button dims again, and it’s back to normal.
The elevator opens into the empty lobby. Jim steps out.
INT. LOBBY - CONT.
Jim walks across the lobby to the revolving door, just as
Jung had. When he’s almost there, Jim glances back and
stops. He changes direction and heads for the zen garden.
Jim places his feet at the edge of the rocks. Like a guilty
criminal, he glances around, though there’s no one in the
building. Then, he cautiously steps into the garden. As he
walks toward the center of the garden, his feet tarnish the
perfectly racked lines of rocks.
Once he reaches the center, Jim kneels down. He picks up a
single rock and turns it around in his hands. It’s
perfectly smooth and round. He picks up another. It’s
identical in every way to the first.
MAN’S VOICE
Amazing isn’t it?
Jim jumps, far more startled than the receptionist had made
him earlier. He looks rapidly around the room. He spots
the source of the voice: a man leaning against the elevator
door.
MAN
The stones, I mean. They’re all
exactly the same. Perfect.
Jim has begun to recover from his shock.
JIM
What?
MAN
I said, the stones look strange,
don’t they? Similar?
JIM
Yeah. I guess they do.
The man chuckles and begins to slowly walk toward the zen
garden.
MAN
So what are you doing here?
(CONT)
CONT: (2) 6.
JIM
I had a job interview.
MAN
No, I mean, what are you doing, you
know, in the rocks? I take it you
didn’t see the sign?
The man nods to a sign on a nearby wall: Walking in the zen
garden is strictly prohibited.
JIM
Oh, sorry...
MAN
Don’t apologize. I don’t work
here. I won’t turn you in.
JIM
Well, thanks.
(beat)
Do you know where everyone went?
MAN
Home, probably. I can’t imagine
anyone wanting to stay here any
longer than they must.
Jim nods. There’s a short, awkward silence.
MAN (cont)
Are you going to kneel there all
night?
JIM
Oh, no. Thanks.
Jim gets up and walks out of the zen garden. The man is
already at the garden’s edge, and offers his hand to
Jim. Jim shakes it, happy to be accepted this time.
MAN
I’m Jimmy. Jimmy Vorilhorn.
JIM
Jimmy?
JIMMY
Yeah. Why?
JIM
No, nothing. I’m Jim Raël.
(CONT)
CONT: (3) 7.
JIMMY
Ah, I see. Jim and Jimmy. What a
coincidence.
JIMMY squints at Jim.
JIMMY (cont)
You know, we even look like we
could be brothers or something.
It’s true. Jimmy has the same basic facial features as Jim:
the same hair color, eye color, and build. Even so, they
look fairly distinct. Jim’s face is etched with the
products of sleeplessness, and his hair is somewhat
ragged. His tie is loose, and his shirt disheveled.
Jimmy, on the other hand, is clean-cut. He too is wearing a
shirt and tie, but they seem almost freshly pressed, and his
hair and face are well-groomed. A playful expression dances
about his face.
Both are devastatingly beautiful.
JIM
Somehow, I doubt that.
JIMMY
So how did your interview go?
JIM
Fine, I guess.
JIMMY
Well?
JIM
Well what?
JIMMY
Well, did you get the job?
JIM
Yeah...
JIMMY
That’s not very enthusiastic.
JIM
No, no, I’m glad I got it. It’s
just... the interview was a little
weird.
(CONT)
CONT: (4) 8.
JIMMY
Who interviewed you?
JIM
Dr. Jung.
JIMMY
I don’t know him.
JIM
Really? I thought he ran this
place or something.
JIMMY
Could be. I don’t work here.
JIM
Ah. Sorry.
JIMMY
No need to
apologize. Seriously. Working
here is the last thing I’d want to
do.
JIM
That makes me feel great.
JIMMY
No, not that this is a bad place to
work -- well, maybe it is, I guess
I wouldn’t know -- but doing
research every day would just bore
me to death.
JIM
You don’t find it interesting? The
frontiers of a new science?
JIMMY
Well, when you put it that way...
(laughs)
No, not really. It’s not really my
thing.
JIM
So why are you here?
Jimmy pauses.
JIM (cont)
Sorry. I shouldn’t have
asked. It’s none of my business.
(CONT)
CONT: (5) 9.
JIMMY
No, no, you told me about your
interview; it’s my turn now. I’m
an architect. The institute hired
me to remodel some of this
building.
JIM
It doesn’t look like it needs
remodeling.
JIMMY
No, it doesn’t, does it? But
they’re paying me, so I’m not
exactly about to tell them
that. Besides, this isn’t where I
have to remodel.
JIM
Where, then?
Again, Jimmy falters, only for a moment, and then he’s back.
JIMMY
The basement. It’s pretty boring,
actually. So, do you --
Jim interrupts, and there’s an enthusiasm in his voice that
hasn’t been seen yet.
JIM
No, I think that’s fascinating!
JIMMY
Really?
JIM
Yeah, sure. I actually considered
going into architecture, but my
college didn’t have a program.
JIMMY
So you ended up in scientific
research instead?
JIM
Well, bio-physiological studies,
yes. But it’s cool to think that I
might have ended up in the same
place either way.
(CONT)
CONT: (6) 10.
JIMMY
Maybe you have.
JIM
That’s my point. Here I am, and
here you are. Meeting for the
first time. Shit, I just brought
us back to talking about me, didn’t
I? I promise you, I’m not like
that.
JIMMY
Like what?
JIM
Like one of those people that
always has to be talking about
themselves. An attention seeker.
JIMMY
Don’t worry. I’m sure you’re not.
JIM
So back to you then. What are they
paying you to do? Just redesign?
JIMMY
That’s not enough?
JIM
That’s not what I meant.
JIMMY
I’m just joking with you. Lighten
up! Anyway, mostly they just
needed me to make room for
something really big. None of
their labs down there were big
enough.
JIM
Something big? Like what, some
sort of a machine?
JIMMY
Who knows? I just do what I’m told
and get paid.
JIM
Really? Hmm.
(CONT)
CONT: (7) 11.
JIMMY
What? You don’t believe me?
JIM
No, I do.
JIMMY
(grinning)
You don’t, you liar! Why don’t you
believe me?
JIM
I don’t know... It’s just, you’ve
been so talkative, and --
JIMMY
You mean I’ve been nosy with you,
so you think I’d be nosy with my
employers?
JIM
Well... yeah.
JIMMY
To tell the truth, I’m not usually
like this either. I’m a pretty
quiet guy.
JIM
Strange night this is.
JIMMY
Indeed.
JIM
They could have used this
lobby. It’s huge.
JIMMY
What do you mean?
JIM
This lobby. They could fit almost
anything in here. It’s huge.
JIMMY
Yeah, it is, isn’t it? But not
very private. Everyone can see it
from their office.
JIM
I like that, though. It makes
everything seem connected. Like,
(MORE)
(CONT)
CONT: (8) 12.
JIM (cont)when I start working here tomorrow,
I’ll know no one. I’ll just be
some lowly lab assistant. But I’ll
have the same view from my office
as everyone else.
JIMMY
Deep. Not to burst your bubble,
Jim, but I don’t think lab
assistants get their own office.
JIM
Oh, yeah. I hadn’t though of that.
JIMMY
But I’m sure you won’t like this
lobby quite so much after passing
through it every single day.
JIM
There’s no back entrance?
JIMMY
No. Well, if there was, it must be
really well hidden.
JIM
Well, this does seems like the kind
of place that could be hiding
something.
JIMMY
Maybe. I wish I knew, but I told
you, I don’t work here.
JIM
Yeah, sorry.
JIMMY
Don’t be. So why do you ask?
JIM
Oh, you know. Just in case the
time comes when I need to escape as
quickly as possible.
A look crosses Jimmy’s face.
JIM (cont)
(absolutely serious)
I might not be able to handle a
full-time job, and if the stress
(MORE)
(CONT)
CONT: (9) 13.
JIM (cont)gets to me, I’ll need an escape
route.
Jimmy doesn’t say anything.
JIM (cont)
Maybe you can build one for me in
the basement.
Jim breaks out smiling. Jimmy catches on and laughs.
JIMMY
(joking)
Don’t joke about things like that.
JIM
What?
JIMMY
Things that would require me to do
more work.
JIM
We wouldn’t want that, of course.
JIMMY
Of course.
Another awkward silence, but longer.
JIM
I guess I should be going.
JIMMY
Hmm?
JIM
It’s getting late. I probably
should head home. It’s been great
meeting you, Jimmy.
JIMMY
But the doors are locked.
JIM
What?
JIMMY
I mean, the door. The door is
locked. They always lock the door
at night.
(CONT)
CONT: (10) 14.
JIM
But not from the inside, right?
JIMMY
No, both ways.
JIM
... Fuck.
Jim turns and runs straight for the revolving door. He
pushes. It doesn’t budge. He tries pushing the other
way. Nothing.
JIM (cont)
Dammit!
Jimmy, who hasn’t moved, calls out calmly to Jim.
JIMMY
It’s locked; I told you.
JIM
How the hell can someone lock a
fucking revolving door?
Jim kicks the door in frustration, then starts to
pace. Jimmy begins to walk over.
JIMMY
It’s computerized. Like everything
here.
JIM
I have to get home.
JIMMY
You’re telling me. I have a
two-month old daughter I should be
taking care of. Instead I left her
with her mom while I’m here working
on a work project.
JIM
But don’t you have a key or
something?
JIMMY
They don’t have keys here. They
don’t want someone stealing them
and sneaking in. They need to
protect all their juicy secrets
from their competitors.
(CONT)
CONT: (11) 15.
JIM
There have to be keys
somewhere. How can there be a door
with no keys?
Jim heads for the reception desk and looks frantically
through all the drawers.
JIMMY
I’m serious, there are no
keys. The door automatically locks
from seven in the evening to seven
in the morning. No exceptions.
Jim reaches the last drawer and slams it shut. Suddenly,
he’s back to his tired, wary self.
JIM
I guess we’re here all night.
JIMMY
Yep. Guess so.
JIM
What are we going to do?
JIMMY
I’m sure we can think of something.
JIM
What? The doors are locked, there
are no keys, the -- Hold up.
JIMMY
What?
Jim pulls out a cellphone from his pocket and dials.
JIM
Shit! No signal!
JIMMY
That’s just perfect.
JIM
What about your phone?
JIMMY
I don’t have one.
JIM
Well, surely there’s one around
here...
(CONT)
CONT: (12) 16.
Jim looks behind the reception desk again. He picks up the
phone.
JIMMY
Does it work?
JIM
No. Just a dial tone.
JIMMY
Figures.
JIM
Let’s go find another one.
JIMMY
No.
JIM
What?
JIMMY
I mean, if this phone doesn’t even
work, then they’re all probably the
same. It’s no use.
JIM
Why the hell would they disconnect
all the phones?
JIMMY
Same reason the door automatically
locks shut.
JIM
And what’s that?
JIMMY
Don’t ask me. I don’t know.
JIM
Well, it’s worth a try. If the
phones are all off, then fine, but
I need to get out of here.
JIMMY
It’s not going to work...
JIM
Do you have any other ideas? We’re
trapped. What else could we
possibly do?
(CONT)
CONT: (13) 17.
JIMMY
This isn’t just some boring office
building, Jim. It’s a
laboratory. We’re standing at the
very frontiers of science.
Jim waits for more.
JIMMY (cont)
So what else could we possibly
do? We could explore a
bit! They’re doing some amazing
experiments here, and they leave
them all out overnight. Trust me,
I’ve seen them before. The guys
here, they never clean up. Typical
science geeks. Anyway, the point
is, there’s plenty to see, and I
can give you the grand tour. So
are you coming?
JIM
Fine. But if we pass a phone...
JIMMY
...Then yes, we’ll see if there’s a
signal. Which there won’t be.
JIM
Okay. Which way first?
JIMMY
Hold on a second. There’s
something I want you to try here
first.
JIM
(slowly grins)
Yeah? And what’s that?
On the second story, there is a slight movement in the
window of Jung’s office overlooking the office. Neither Jim
or Jimmy notice it.
INT. JUNG’S OFFICE - NIGHT
Through the window, Jim and Jimmy can be seen, still
standing beside the reception desk. Jimmy runs into the zen
garden and starts picking up rocks. Jim laughs. Jimmy
tries to skip the rocks across the lobby. Jim runs over and
joins him.
(CONT)
CONT: (2) 18.
We slowly ZOOM OUT from the window and PAN to the green
pod. It’s glowing now.
Slowly, we head out of the office.
INT. SECOND FLOOR CORRIDOR - CONT.
We continue down the hallway and to the elevator. The
elevator door opens without prompting. We move in.
INT. LOBBY - DAY
Jim and Jimmy are still "skipping" rocks.
JIMMY
Nice one.
JIM
It helps that the rocks are so
round.
JIMMY
Doesn’t quite make up for the lack
of water, though --
The sound of elevator doors closing rings through the
lobby. Jim and Jimmy both immediately face the elevator
shaft. The doors are shut, and no one is there.
JIMMY (cont)
(cheery)
Well. Ready for that grand tour?
JIM
Jimmy? What was that noise?
JIMMY
Here, come on. It will be
fun. I’ll show you around.
Jimmy starts to walk toward the elevator, motioning for Jim
to follow. Jim doesn’t move.
JIMMY (cont)
Come on! I can show you the labs,
the experiments. Aren’t you
curious where you’ll be
working? What you’ll be doing?
(CONT)
CONT: (2) 19.
JIM
Let’s just stay here.
JIMMY
All night? What about the
phones? Or food? Have you even
eaten? There’s a cafeteria in the
back. Come on, let’s go see the
labs, and then we can steal
something for dinner.
JIM
Yeah, okay.
Jim follows Jimmy to the elevator, but instead of calling
the elevator, Jimmy turns off into a side corridor marked
Natural Embryology Wing.
JIM (cont)
Natural Embryology Wing? As
opposed to what? Supernatural?
JIMMY
Don’t ask me. I’m just an
architect.
JIM
Sorry. I must have forgotten.
INT. NATURAL WING LAB - NIGHT
The darkened lab is crowded with scientific equipment. In
the center of the room is a giant tank.
A door opens and lets his a small window of light. Jim and
Jimmy enter.
JIMMY
Here we are.
As the lights begin to flicker on, we see that the tank is
filled with cockroaches. Jim stares at it.
JIM
Charming.
JIMMY
Well, not the most interesting room
-- just a rectangle, anyway -- but
it serves its purpose, I suppose.
(CONT)
CONT: (2) 20.
JIM
I meant those bugs.
Jim walks closer, and Jimmy follows. The cockroaches are
alive, and crawling all over each other.
JIMMY
Oh, well, that too. They’re
cockroaches.
JIM
I’m going to be working with
cockroaches?
JIMMY
Not necessarily. I don’t know what
assignment the newbies get.
JIM
What can we possibly use them for?
JIMMY
I don’t know. Maybe you’ll study
the embryos in their eggs. That’s
what you’re here for,
right? Embryonic research?
JIM
To be honest, I have no idea.
JIMMY
You applied for a job, but you have
no idea what it’s for?
JIM
I needed money. And a break from
getting my master’s. When Dr. Jung
accepted me here, I wasn’t exactly
going to be picky.
Brief silence.
JIMMY
Well, make sure to buy some gloves
or something.
INT. POV - NIGHT
The elevator doors open and we continue our gradual journey
into the lobby. We then turn into the Natural Embryology
Wing. The lab door is open. Inside, Jim and Jimmy are
facing the cockroach tank with their backs to the door.
(CONT)
CONT: (2) 21.
MAN’S VOICE
Amazing, isn’t it?
We ZOOM OUT to reveal a man watching through the door.
Jim and Jimmy jump, even more startled than the last time.
MAN
The cockroaches, I
mean. Shit. I’m sorry; I scared
you. I didn’t mean to. I just
meant, the tank... it’s amazing how
many individual organisms can fit
into that one tiny space.
Though a few years older, the man shares the same physical
characteristics as Jim and Jimmy do. He too is
devastatingly beautiful. Even more so.
Jimmy is the first of the two to recover.
JIMMY
Yeah. I was just giving Jim here
the grand tour.
MAN
The grand tour, Jimmy?
JIMMY
Well...
JIM
Wait. You two know each other?
JIMMY
Yeah. This is James. He’s my
assistant.
JAMES glances at Jimmy.
JAMES
Yeah. Except I really do all of
this lazy bum’s work.
JIMMY
Come on, you know that’s not
true. There’s no reason to say
things like that. It just upsets
things.
JAMES
We wouldn’t want to do that.
(CONT)
CONT: (3) 22.
JIMMY
No. We wouldn’t at all.
JIM
Do you happen to have a key with
you, James?
JAMES
Key? There aren’t any keys to this
building.
JIMMY
I already told him.
JAMES
Well, clearly, he didn’t remember.
JIM
No, I did. I was just kind of
hoping you might. Since I didn’t
see you here before.
JAMES
This is a huge institute. I was
grabbing a bite in the cafeteria
kitchen.
JIMMY
That’s just where we were headed,
right Jim?
JIM
Yeah.
JAMES
Cool. I can show you where the
good stuff is.
JIMMY
I think I can handle
that. Besides, you’ve already
eaten. I wouldn’t want you to have
to sit and watch us eat.
JAMES
No, it’s no problem, really.
JIM
Great, thanks. Let’s go.
JAMES
I’d wash your hands first.
(CONT)
CONT: (4) 23.
JIMMY
Why is that?
JAMES
This laboratory is known for being
a little... dirty.
Jim looks down at his hands, and then walks over to a
sink. As water rushes out, Jimmy glares at James.
CUT TO:
INT. KITCHEN - NIGHT
A cabinet opens, revealing hordes of cans and
packages. James looks in.
JAMES
So what are you in the mood for?
JIM
What does this place have?
JAMES
Let’s see. Cookies. Dried
fruit. Nuts of various
varieties. Take your pick.
JIM
What about a phone?
JAMES
A phone? Not that I know of...
On the other side of the kitchen, Jimmy opens a fridge.
JIMMY
We can make pizza. They’ve got the
ingredients.
JIM
That sounds good.
JAMES
We really shouldn’t do that.
JIMMY
Why not?
JAMES
Well, we’re not supposed to be
here, are we?
(CONT)
CONT: (2) 24.
JIMMY
You’re the one that was just here.
JAMES
Yeah, but I ate fruits and nuts. I
didn’t mess with their oven and
silverware. What do you think will
happen will people come in tomorrow
morning and see dirty silverware in
the sink and a dirty oven?
JIMMY
What will happen when they see
their fruits and nuts missing?
JIM
Guys, it’s cool. This place isn’t
all the clean to begin with.
JIMMY
Great. Cheese or
vegetable? There’s no meat in
here.
JAMES
The meat’s in the meat fridge.
JIM
Good. I could go for some
pepperoni.
James points to a metal door.
JAMES
It’s over there. Let’s just clean
up when we’re done. We can’t let
anyone know we were here.
Jimmy is already gathering ingredients from the
refrigerator, and Jim heaves open the meat fridge door.
JIMMY
(sarcastic)
Not too clean. We wouldn’t want
anyone to suspect anything.
CUT TO:
LATER
The oven beeps. James pulls out a warm pepperoni
pizza. Jim stands nearby.
(CONT)
CONT: (3) 25.
JIM
I am so hungry right now.
JAMES
Here, let me find a pizza cutter.
James starts opening drawers.
JIMMY
I’ll just use this knife.
Jimmy is standing over Jim’s shoulder with a huge knife. As
he pushes Jim gently out of the way, Jim jumps.
JIM
What the hell!
JIMMY
God, be careful! I’ve got a knife.
JIM
So I see!
Jimmy starts to cut the pizza in slices. It starts to fall
apart. James hands him a pizza cutter.
JAMES
Sure you don’t want this?
Jimmy begrudgingly accepts it.
JIMMY
Yeah, okay.
JIM
Where are the plates?
Jimmy gestures.
JIMMY
Try the dishwasher.
As Jim is pulling out metal plates, Jimmy glances up at
James. They expressions shift quickly, as if they’re having
a silent conversation. Eventually, convinced that Jim is
far enough away, they start to whisper.
JAMES
We have to.
JIMMY
What? Why?
(CONT)
CONT: (4) 26.
JAMES
He needs to --
JIM
Needs to what?
JIMMY
Nothing.
(beat)
Our boss. Back at the firm. We
have to check our blueprints with
him, and he needs to approve.
JIM
Ah. So are you working on the same
project, James?
JAMES
Sort of, I guess.
Jim hands James and Jimmy each a clean metal plate.
JIM
Oh my god. You two look like twins
or something.
JIMMY
What?
JIM
Seriously. You look exactly the
same.
JIMMY
I sure hope not. James is, like,
underweight.
(to James)
I keep telling you, you need to eat
more, build some muscle --
JIM
No, I’m serious. You two have the
same eyes, the same hair color, the
same body. For Christ’s sake, you
have the same face.
JIMMY
What? James, say something.
JIM
Look!
Jim holds up his plate, and all three of them are reflected
in the smooth shiny metal. Jim begins to get worked up.
(CONT)
CONT: (5) 27.
JIM (cont)
You see? This is insane.
JIMMY
I don’t see anything, Jim. You
need to calm down.
JIM
No, I don’t have to do
anything. Look at us three. We’re
practically identical.
JIMMY
We are not identical.
JAMES
Maybe not identical, but he’s
right, Jimmy. There’s something
up.
Once again, Jimmy glares at James.
JIMMY
James, don’t speak nonsense.
JIM
Okay, will someone please tell me
what the hell is going on?
JIMMY
Jim, I don’t know what James is
talking about. The two of us --
JIM
It’s not just you two, it’s all
three of us!
JIMMY
Alright, the three of us look
similar, so what? James and I grew
up together.
JIM
Oh, so you grew up together, is
that right? First coworkers, now
lifelong friends? Yeah, some
friends you two are. Glaring at
each other all the time, is that
right?
JAMES
Jim...
(CONT)
CONT: (6) 28.
JIM
Let me ask you something,
James? Where did you grow
up? Huh? Where did you two meet
up and decide to become perfect
replicas?
JAMES
Is this a test?
JIM
Just answer the damn question.
JAMES
We grew up in Charleston.
JIM
Guess what. That’s where I grew up
too. So what, is this all just
some strange coincidence? Is it
nonsense, Jimmy; is that what it
is? Am I going fucking crazy?!
JIMMY
Yes, Jim. I don’t know what else
to tell you.
JIM
Enjoy your goddamn pizza.
Jim leaves the kitchen.
JAMES
Great job.
JIMMY
You didn’t help any, James.
JAMES
Yeah, well, you know I’m not
comfortable with any of this.
JIMMY
Yeah, I know. You’re the
"different" one.
INT. FIRST FLOOR CORRIDOR - NIGHT
Jim is walking rapidly down the corridor, breathing
heavily. He glances behind him. No one is there. He
speeds up.
29.
INT. NATURAL WING LAB - NIGHT
Once again, the door opens and light shines into the
otherwise unlit room. James stands in the doorway, staring
in. We watch him for a few seconds. His resemblance to the
other two really is uncanny.
JIM’S VOICE
Did you want to apologize?
JAMES
No. But I need to tell you
something.
As before, Jim is staring at the cockroach tank with his
back to James. James walks in, leaving the door open, but
not turning on the lights.
JIM
Where’s Jimmy?
JAMES
I don’t know. Eating the pizza,
maybe.
JIM
You know, it’s funny. I didn’t see
you at the door, but I knew it
wasn’t Jimmy standing there. I
knew it was you.
JAMES
Maybe because last time someone was
standing there, it was me then too.
JIM
Maybe. Or maybe we’re not all as
similar as I thought.
Jim continues to stare at the cockroaches. James is behind
Jim at this point, and he reaches out a hand to touch Jim’s
shoulder. Jim doesn’t jump.
JAMES
We’re not. Jimmy, he’s not like
us. I’ve worked with him for
years. He annoys the hell out of
me. Did you know he’s a father
now?
JIM
Yeah, I think he mentioned it.
(CONT)
CONT: (2) 30.
JAMES
See, that’s not me at all. I’ve
never wanted to get married, or
raise a family, or any of that. It
disgusts me. I could never
sacrifice myself to that.
JIM
I could.
JAMES
Yeah. You see like you
could. Jim, if you don’t mind me
saying, you seem... I don’t
know. Lonely.
JIM
I hadn’t exactly planned to be
stuck here all night.
JAMES
But if you hadn’t, where would you
have gone?
JIM
Home.
JAMES
But why? What’s waiting for you
there?
Silence.
JAMES (cont)
Maybe you needed this. Maybe we
all did.
Jim turns around and looks at James.
JIM
I glad you’re here, James.
JAMES
So am I.
James grins, and Jim offers a little smile in response.
JIM
I’m hungry.
JAMES
I thought you might be.
James holds out a package of dried cranberries.
(CONT)
CONT: (3) 31.
JIM
Yum.
JAMES
Well, I wasn’t going to make
another pizza.
JIM
Too bad. It looked good.
JAMES
And these don’t?
JIM
They’re fine, I’m sure.
James opens the package and plops a few cranberries in his
mouth.
Jim reaches for the package, and James bends it toward
him. Jim pulls out a handful and also puts a few in his
mouth.
JIM (cont)
Fruity.
James puts the package on the ground between them. He leans
over and licks off the remaining cranberries from Jim’s open
hand.
JIM (cont)
Hey now, let’s not steal my food.
JAMES
Your food, is it?
JIM
Yes, my food.
JAMES
Well then, I’ve got to say: your
food is most definitely fruity.
JIM
I told you it was.
JAMES
That you did.
They continue to stare at each other.
(CONT)
CONT: (4) 32.
JIM
You’re like looking into a mirror.
JAMES
Maybe that’s all I am. A
reflection of you.
JIM
No. You’re more than that.
JAMES
How are you so sure?
JIM
I’m sure.
JAMES
Maybe you’re my reflection.
JIM
Maybe I am.
James suddenly crouches down. Jim mirrors him perfectly.
JAMES
Impressive.
JIM
Of course.
Jim moves in, and James mirrors him.
JIM (cont)
You had something to tell me?
JAMES
Did I?
JIM
You did.
JAMES
Hmm.
James lifts up a hand toward Jim. Jim does the same. Their
hands meet. They do the same with their other hand.
JIM
So are you going to tell me what it
is?
(CONT)
CONT: (5) 33.
JAMES
I will. Why don’t you ask me some
things first.
JIM
Okay. Um, why do you work with
Jimmy?
JAMES
It’s my job. Why did you apply
here?
JIM
I never said I did. And I never
said you could ask me questions,
either.
JAMES
True. But you did, didn’t you?
JIM
Yes.
JAMES
So?
JIM
I guess I just needed a job.
JAMES
We all do. We don’t have to like
it.
JIM
That’s depressing.
JAMES
I’m a depressing person.
JIM
I can tell.
James laughs and breaks his hands away, breaking the strange
hypnotic mirroring effect. He grabs another handful of
cranberries and pops them in his mouth.
JAMES
Come on. Ask me another question.
JIM
Alright. When did you move
here? From Charleston, I mean.
(CONT)
CONT: (6) 34.
JAMES
Eight years ago. Come on, too
easy.
JIM
Give me a break; I don’t know what
to ask.
JAMES
Why not the classics? You know,
"What’s you favorite color?" and
"What do you do in your free time?"
and what not.
JIM
Okay. What’s your favorite color?
JAMES
Irrelevant.
JIM
(laughs)
What?
JAMES
(shrugs)
I just don’t see how it matters to
anything.
JIM
Wow, you’re right. It was a
terrible question. Whoever
suggested it should be severely
punished.
JAMES
Ah, now you’re talking. What
exactly do you have in mind?
JIM
Well, I was thinking I could gather
up some people, go out to those
rocks in the lobby, tie up the
offender, and stone him to death.
JAMES
Ooh. Nice one. Here I was
thinking a shot to the head would
be sufficient.
JIM
Oh no, absolutely not. Asking a
bad question is a capital offense
(MORE)
(CONT)
CONT: (7) 35.
JIM (cont)in my book. It brings out the
worst in me.
JAMES
The worst in you?
JIM
Oh, you haven’t seen anything yet.
JAMES
Is that right?
JIM
You better believe it.
JAMES
Oh, I do, Jim. I do.
James breaks into laughter, once again spoiling the
effect. Jim smiles back, enjoying himself.
JIM
Come on! What was that?
JAMES
Sorry, I’m sorry!
James suddenly breaks back into laughing fit. When it
finally starts to subside, James looks up, fighting back
more laughter.
JAMES (cont)
Sorry. Okay, I’m done.
JIM
You sure?
JAMES
Yes... No.
James can’t stop himself. The laughter returns.
JIM
Was it really that funny?
JAMES
No. I don’t know why I’m still
laughing.
JIM
Maybe it’s time for the next
question.
(CONT)
CONT: (8) 36.
JAMES
Bring it.
JIM
Jung.
JAMES
What about him?
JIM
So you know him?
JAMES
Well, yeah. He runs this place,
doesn’t he?
JIM
Yeah... Fine.
JAMES
Fine?
JIM
Yes.
JAMES
Well, I’m glad you approve.
JIM
So am I. Okay, next question.
JAMES
I’m tired.
JIM
You don’t look it.
JAMES
But I feel it. Everything’s
blurry.
JIM
Maybe you should rest.
JAMES
There aren’t any beds here.
JIM
There’s a couch in the lobby.
JAMES
I’m not sure I want everyone to see
me when the door unlocks tomorrow
(MORE)
(CONT)
CONT: (9) 37.
JAMES (cont)
morning and people come back to
work.
JIM
Shit, I have to work tomorrow. I
forgot.
JAMES
At least you’ll know you’re way
around here.
JIM
Not really. I’ve only seen a
little of this place.
JAMES
Oh? Wasn’t Jimmy giving you the
"grand tour" earlier?
JIM
We didn’t get very far before you
showed up.
JAMES
Well, sorry then.
JIM
Maybe we could finish the tour
later.
JAMES
Maybe.
JIM
There’s nothing better to do.
JAMES
I’m not so sure that’s true. What
else do you have left to see?
JIM
Well, the other wing.
JAMES
The other wing? You mean the
Synthetic Embryology Wing?
JIM
Well, I hadn’t known what it was
called...
(CONT)
CONT: (10) 38.
JAMES
You won’t need a tour of that. New
employees don’t work in that wing.
JIM
And why not?
JAMES
I don’t know. I don’t work here.
JIM
That’s what Jimmy said.
JAMES
He told you about that wing?
JIM
No. But I asked him other things
too. He said he didn’t know; he
doesn’t work here.
JAMES
You can’t trust Jimmy.
JIM
He seems nice.
JAMES
Maybe, but you can’t trust him.
JIM
He’s your boss.
JAMES
I know. I told you, just because
it’s my job to work for him, it
doesn’t mean I like it.
James starts to toss dried cranberries into the cockroach
tank.
JIM
What are you doing?
JAMES
Feeding them.
JIM
I doubt they eat dried cranberries.
JAMES
Well, if they don’t, they should.
(CONT)
CONT: (11) 39.
JIM
So much for not making a mess.
JAMES
Well, I figured since we left a
mess in the kitchen, there’s no
point anymore.
JIM
There’s always a point.
JAMES
Is there? I’ve never really
thought about it.
JIM
There is.
JAMES
Deep. That’s my job.
JIM
I think I can hold my own, thanks.
JAMES
I have no doubt you can.
A brief awkward silence.
JIM
Oh, and the basement.
James stops throwing the cranberries and looks at Jim.
JAMES
What?
JIM
I also haven’t seen the basement
yet.
JAMES
There’s nothing to see there.
JIM
I thought you were remodeling it.
JAMES
I am. We are, Jimmy and me.
JIM
Well, I want to see what you’re
doing.
(CONT)
CONT: (12) 40.
JAMES
We’re not doing anything yet. We
still have to make the plans and
gets them approved.
JIM
There has to be something down
there --
JAMES
No! I’m sorry, no. They, well,
they cleared everything out already
for the remodeling.
JIM
I thought you hadn’t even made the
plans yet.
JAMES
We haven’t. Don’t ask me, I don’t
know.
JIM
Fine, I won’t.
Another brief silence.
JAMES
Besides, the elevator scans your
fingerprint before it will take you
down there.
JIM
Well, if you and Jimmy are working
on the basement, surely it knows
your fingerprint?
JAMES
God, you have a question for
everything, don’t you?
JIM
I’m sorry. I’ll stop asking.
JAMES
No, I’m sorry. To answer your
question, no. It doesn’t work for
me. Otherwise I’d be down there
working right now.
JIM
Oh.
(CONT)
CONT: (13) 41.
JAMES
You want any more cranberries?
JIM
No thanks; I’m fine.
JAMES
True.
James throws the entire package into the tank. The
cockroaches swarm it.
JIM
That’s disgusting.
JAMES
Really? I think it’s pretty cool.
JIM
All those bugs, though. They all
look exactly the same.
JAMES
Yet they’re not. They’re all
different people.
JIM
People?
JAMES
Well, cockroaches.
JIM
You still haven’t told me what you
wanted to say.
JAMES
I know.
JIM
And?
JAMES
And I thought you said you would
stop asking.
JIM
That was before.
JAMES
Oh, and this is now?
(CONT)
CONT: (14) 42.
JIM
Exactly. This is now.
JAMES
Hmm. Okay. I’ll tell you.
James walks up to Jim, close, close, closer.
JIM
I’m waiting.
JAMES
You’ve waited a long time.
James leans into Jim’s ear and whispers.
JAMES (cont)
You’re right. I have a secret. So
does Jimmy.
Jim looks straight ahead, not looking at James.
JIM
Tell me.
James spins Jim around and stares into his eyes.
JAMES
God, you look just like me.
JIM
Is that it?
James leans in, and once again, Jim mirrors. But they go
farther this time, and farther, and then their noses are
rubbing, and then their arms are wrapped around each other,
and then their lips touch.
JAMES
No. That’s it.
JIM
This isn’t right.
JAMES
Shh.
JIM
You look just like me.
JAMES
I’m not you.
(CONT)
CONT: (15) 43.
JIM
No. But you might as well be. And
fuck, I want you.
JAMES
We all have the power to change.
JIM
I don’t change.
JAMES
Jim, I want you too.
JIM
This is too weird.
Jim pushes himself away, and this time, he’s the one to
break the hypnotic mirroring.
JAMES
Where are you going?
JIM
I don’t know.
JAMES
Back to Jimmy?
JIM
I said, I don’t fucking know!
JAMES
What’s wrong with passion?
JIM
What’s wrong is that we’re
practically the same damn person.
JAMES
And what’s wrong with a little
narcissism?
JIM
Everything. Me. You.
Jim runs out of the room.
JAMES
(shouts after Jim)
You can’t live like this! You
can’t deny your emotions! You
can’t deny yourself! It’ll all
just bottle up inside until...
until...
44.
INT. FIRST FLOOR CORRIDOR - NIGHT
Jim is walking rapidly down the corridor, breathing
heavily. As before, he glances behind him. As before, no
one is there. He speeds up.
INT. LOBBY - CONT.
As Jim reaches the Natural Embryology Wing sign, he
stops. After a brief moment in which he stares at it, Jim
flings himself at the sign. He grasps and slaps and pulls
and pushes, but it doesn’t move. The sign remains
untouched, mocking Jim from its place on the wall.
Jim gives one final kick, and then calmly moves back, not
taking his eyes of the sign. His expression is suddenly
blank.
MAN’S VOICE
Amazing, isn’t it?
Jim spins around, knowing exactly what to look for. He
finds the source of the voice almost immediately: a man
standing in the middle of the zen garden.
MAN
The sign, I mean. Amazing how --
Jim doesn’t give a damn about what the man has to say. His
anger returns in full force, and he sprints across the lobby
headed straight for the man. Jim arrives at the edge of the
zen garden and doesn’t stop; he charges into the man and
knocks him to the ground, grabbing the man’s neck and
pushing down.
The man has the same features as Jim. And Jimmy. And
James.
MAN (cont)
What the hell?
JIM
Tell me your fucking name!
MAN
Jamie! It’s Jamie! What are you
doing?!
Jim pushes down harder, and JAMIE begins to gasp for breath.
(CONT)
CONT: (2) 45.
JIM
What the fuck is going on here?!
JAMIE
You already know.
JIM
Tell me!
Somehow, James is behind Jim.
JAMES
We’re clones.
Before Jim can react, Jamie jumps up, escaping Jim’s grasp,
and runs straight for Jim. But Jamie runs right past Jim,
instead tackling James and pushing him to the ground.
James tries to resist, but Jamie slams his fist into James’
sack, and then his cheek, and then his mouth. Then Jamie
gets up again and runs off into the Synthetic Wing.
James is out cold. Blood runs down his nose and into his
mouth; his face is turned sharply to the side.
And Jim is still standing there, dazed in the middle of the
zen garden.
JIM
Fuck.
Then Jim is back into action. He sprints to the Synthetic
Wing, on the other side of the elevator as the Natural Wing.
JIM (cont)
Jamie!
There’s an open door. Jim runs in.
INT. SYNTHETIC WING LABS - CONT.
Darkness. Jim flips a switch, and the lights come on
instantly. They do not flicker, but instead instantly
reveal the size and contents of the room.
This lab is far larger than the Natural Wing Lab. No one is
in it, but experiments are spread all over. On one table, a
series of dead frogs lie, each growing progressively larger,
but each otherwise identical. From the ceiling, several
identical monkey corpses hang. On one wall, trays and trays
of petri dishes are stacked. In the center of the room, a
gigantic machine hums, its lights faintly blinking.
(CONT)
CONT: (2) 46.
Everything is sleek. This is where the true experiments are
conducted.
But Jim’s doesn’t bother taking this in. His mind is
focused on one thing only.
JIM
Jamie!
But Jamie isn’t here. No one is.
Jim runs to the other side of the room and opens a
door. Jim finds himself in another lab of the same
size. Similar experiments are scattered among the room. An
identical machine hums in the center.
JIM (cont)
Jamie!
Jim kicks over a table of half-dissected sheep. It falls
into a wall of petri dishes, which collapse and spread
across the floor with a downpour of cracking sounds.
His eye catches a small, red phone in the distance. Jim
runs to it and pulls it to his ear.
AUTOMATED PHONE SYSTEM
Emergency communication system
activated. Please enter your
authorization code.
Jim slams the phone into the receiver. A thundering ALARM
pierces the room.
JIM
Jamie!!!
Jim’s scream is quickly overpowered by the alarm and a
WHOOSH sound. The whoosh begins quiet, but quickly becomes
the principle noise in a wall of sound.
SMASH CUT TO:
INT. MEAT FRIDGE - NIGHT
The sounds instantly vanish.
Jim is leaned up against a pile of packaged meat, shivering
in the cold air and clutching his chest gently. He is
staring at the door, preoccupied with whatever is on the
other side.
(CONT)
CONT: (2) 47.
And from the other side, there are faint voices
speaking. Jim quickly scoots against the door and puts his
ear against the cold metal. Suddenly the voices come into
focus.
MAN’S VOICE
Is he dead?
(beat)
Jesus, Jamie, why did you have to
kill him?
JAMIE’S VOICE
He told Jim.
MAN’S VOICE
James did? Why?
JAMIE’S VOICE
I don’t know, Jimmy.
JIMMY’S VOICE
Wait. What exactly did James say?
JAMIE’S VOICE
"We’re clones."
JIMMY’S VOICE
Fuck! What are we going to do?
Jim slowly lifts himself up to look through the window on
the top of the meat fridge door. Jamie and Jimmy are
arguing in the kitchen.
JAMIE
I don’t know.
JIMMY
Did Jim believe it?
JAMIE
It’s true.
JIMMY
But did Jim believe it?
JAMIE
I don’t know.
JIMMY
What do you mean, you don’t know?
(CONT)
CONT: (3) 48.
JAMIE
When I ran out, he was just
standing there.
Jimmy glances in the general direction of the meat
fridge. Jim ducks for a second, then peeks back through the
window.
JAMIE (cont)
Jimmy, you know what we need to do.
JIMMY
I know, I know, it’s just... shit,
okay? I didn’t expect this. Why
did you come here anyway?
JAMIE
Well, why did you?
JIMMY
Fair enough.
JAMIE
I can do it if you can’t.
JIMMY
No. I can do it.
JAMIE
Are you sure?
JIMMY
No, Jamie, I’m not fucking sure,
alright? Jesus! This wasn’t
supposed to happen.
JAMIE
Are any more coming?
JIMMY
Any more of us?
JAMIE
Yeah.
JIMMY
God, I hope not. I can’t deal with
any more of this.
JAMIE
Jimmy, we need someone who can deal
with this.
(CONT)
CONT: (4) 49.
JIMMY
I know, I know! Just... give me a
second, okay?
JAMIE
It needs to be done.
Silence for a brief moment. Then Jimmy looks directly at
the meat fridge window. Jim ducks.
JIM
Fuck.
JIMMY’S VOICE
Fine. There can only be one of
us. But Jamie, let me do it. Let
me kill Jim.
JAMIE’S VOICE
Be my guest. Just get it done.
Jim scrambles to his feet and crouches in the corner beside
the door. He covers his mouth with his hand.
JIMMY’S VOICE
I think I heard a noise. In there.
The door opens with a loud creak. Jamie walks in. He looks
left, right, and sees Jim just as Jim slams his fist into
Jamie’s sack. Jamie falls to the ground screaming in pain
as Jim runs out.
JAMIE
He’s here!
JIM
(muttering)
That’s for before.
INT. KITCHEN - CONT.
Jim runs into the kitchen. Jimmy is running straight for
him, so Jim turns and runs in the opposite direction. He
heaves open a door and charges through. Jimmy is close
behind.
50.
INT. FIRST FLOOR CORRIDOR - CONT.
Jim sprints down the corridor and past the Natural Wing Lab.
Jimmy chases him from behind. Jamie comes after, still
limping slightly.
INT. LOBBY - CONT.
Jim sprints across the lobby and into the Synthetic Wing
Lab. Jimmy still is right behind, and Jamie pulling up the
rear. Jimmy yells out to Jamie.
JIMMY
Jamie, follow him! I’ll go around.
Jimmy hits the call button for the elevator. Jamie runs
into the Synthetic Wing Lab, but at this point, several
seconds have passed since Jim ran in.
INT. SYNTHETIC WING LABS - CONT.
The lights are out. There is absolute darkness except for
the faint glow from the machine in the center of the first
lab, and the window of light from the lobby doorway.
Jamie runs in and immediately halts. He grapples for the
light switch. The lights flip on...
...And Jim is nowhere to be found. The roles are switched.
JAMIE
Jim?
No response.
JAMIE (cont)
Alright, you got me, Jim. You can
come out now.
Jamie slowly, cautiously moves into the lab.
A loud crack rings out through the room. Jamie jumps,
looking frantically for the source of the sound: a monkey
corpse’s string has snapped. The corpse drops to the floor
in front of Jamie with a loud bang.
JAMIE (cont)
There’s no back exit you can escape
through. But I’m sure you already
know that, don’t you?
(CONT)
CONT: (2) 51.
No response.
JAMIE (cont)
Jim, we can talk! Just come out
and I’ll tell you everything.
Again, no response. Jamie paces the room. He walks through
the far door and into the next lab. Broken petri dishes and
half-dissected sheep are sprawled about the floor.
JAMIE (cont)
James was telling the truth. We’re
clones. I’m sorry we didn’t tell
you. We couldn’t. You see what
your response would have been. It
wasn’t what the Institute would
have wanted. So we had to lie.
There’s a faint bump from the other side of the machine in
the center. Jamie grins slightly and slowly moves toward
it, continuing to talk.
JAMIE (cont)
But I’m telling you now. We’re
clones. All of us. Even you,
Jim. You’re one of us.
At this, Jim jumps out from behind the machine holding a
sharp piece of broken petri dish. Before Jamie can react,
Jim stabs the broken glass into Jamie’s heart. Jamie
punches Jim on the side of his cheek, and Jim falters. But
blood is spurting out of Jamie’s heart at a rapid
pace. There’s not much time left.
JAMIE (cont)
You’re one of us, Jim!
Jim recovers and drives himself against Jamie’s body,
absorbing the full blow of another punch. But then Jamie’s
on the ground, and Jim is above, and Jim squeezes Jamie’s
throat and strangles him. Jamie throws a few more weak
punches, but it’s no use. Jamie has breathed his last
breath.
JIM
I am not like you. You have no
idea who I am.
And Jamie dies.
Jim, bleeding slightly, runs out of the far door and finds
himself in another elevator.
52.
INT. BACK ELEVATOR - CONT.
There are only two buttons: L and B. Jim’s finger traces
the B button, and as before, it lights up. This time, Jim
doesn’t drop his finger.
The doors shut. Jim waits as the elevator descends into the
basement.
INT. BASEMENT - CONT.
The elevator dings as it reaches the basement level. The
doors open and Jim walks out. He walks briskly past another
empty reception desk. Above the desk is a sign labeled
Multitudes Project. Jim doesn’t give it a second
glance. He seems to know exactly where he’s going.
Jim turns a corner into a large room filled with shelves and
shelves of glowing orbs, lined up and identical in every way
to the orb in Jung’s office, but red instead of
green. Except for two orbs seated on the top shelf. They
are still glowing green.
And in the middle of the room stands Jimmy.
JIM
I thought I might find you here.
JIMMY
Hello, Jim.
JIM
Jamie’s dead.
JIMMY
I figured.
JIM
So here we are.
JIMMY
Here we are.
Jim slowly walks closer to Jimmy. Jimmy doesn’t move. Both
stare at each other.
JIM
Some evening, huh?
JIMMY
Yeah.
(CONT)
CONT: (2) 53.
JIM
I wonder how it will end.
JIMMY
I think we both know.
JIM
Down to two.
JIMMY
But there can only be one.
Jim is just feet away from Jimmy.
JIM
I’m sorry, Jimmy.
JIMMY
No. I’m sorry.
Jimmy pulls out a gun.
JIM
Whoa!
JIMMY
You’re the one.
Jimmy points the gun at his head and pulls the trigger. He
drops to the floor.
Silence. From the top shelf, one of the green orbs glows
red. Only one orb remains green. Jim’s orb.
Jim cautiously approaches Jimmy’s body. He reaches
tentatively for the gun still wrapped in Jimmy’s hand. He
slips it out of Jimmy’s fingers and points it at Jimmy.
JIM
Thank you, Jimmy.
Squinting, he shoots the heart. Blood seeps into Jimmy’s
freshly pressed clothing. It’s certain; it’s over.
Then Jim grabs Jimmy by the ankles and pulls his body in
front of the back elevator. He presses the call button, and
when the doors swing open with a ding, Jim pushes the body
inside.
JIM (cont)
Going up.
(CONT)
CONT: (3) 54.
Jim returns to the orb room. The red orbs are no longer
glowing, but their color has not changed. The green orb
continues to glow.
Jim heads to the other side of the room and presses a
different call button for a different elevator. The doors
swing open with an identical ding.
INT. ELEVATOR - CONT.
Jim steps on. This elevator has the full range of buttons
available. He presses L. The elevator lurches
upward. Seconds later, the doors open and Jim is once again
looking into the Institute’s lobby. Jim steps off.
INT. LOBBY - CONT.
It’s still night, and the lobby is still devoid of people
(including James’ body). Jim walks slowly and wearily to
the couch. Once there, he collapses on the cushions and
shuts his eyes.
The lobby lights shut off.
INT. BASEMENT - NIGHT
The basement lights shut off.
The green orb is the only thing faintly visible in the
background. Then it too dims and stops glowing.
Darkness. Silence.
CUT TO:
INT. LOBBY - MORNING
POV:
A general hum of a crowded location begins to fade in,
filling the silence.
WOMAN’S VOICE
Jim? Jim Raël?
Our eyes open and light streams back into the screen. We
are staring at the ceiling of the lobby.
The receptionist’s head enters frame, staring down at us.
(CONT)
CONT: (2) 55.
JIM’S VOICE
God, you scared me.
RECEPTIONIST
What are you doing here, Jim?
FROM ABOVE:
Workers stream briskly through the revolving door, beginning
their workday. The receptionist is leaned over Jim, who is
lying on the couch.
FROM LOBBY LEVEL:
JIM
I think I was locked
here. Overnight.
RECEPTIONIST
(unsurprised)
Well. I’m sorry. But it’s morning
now. The door is unlocked.
Jim slowly stands up.
JIM
Thanks.
Jim walks against the crowd to the revolving door. He waits
patiently for a break in the line of people coming in. Then
he enters the door and pushes.
The door moves. Jim is on his way out.
Except Jim doesn’t exit the other side. Much to the
annoyance of the workers trying to enter the building, Jim
stays in the revolving door and comes back into the
lobby. He follows the crowd’s quick movement across the
lobby.
The crowd breaks into two when it reaches the lobby. Some
workers turn into the Natural Wing. Some turn into the
Synthetic Wing. But Jim presses the call button on the
elevator.
Ding.
56.
INT. ELEVATOR - CONT.
The elevator is already filled with people. Jim squeezes
inside.
JIM
Could you press floor two for
me? Thanks.
The elevator doors shut. Moments later they reopen. Jim is
the only one to exit.
INT. SECOND FLOOR CORRIDOR - CONT.
Jim walks briskly to down the hall of shut doors. He comes
to one labeled Dr. Jem M. Jung. He doesn’t knock. He just
opens the door and walks in.
INT. JUNG’S OFFICE - CONT.
Dr. Jung is at his desk. His orb is glowing green. He
calmly puts down his book and smiles up at Jim.
JUNG
Good morning, Jim. How was your
night?
JIM
Excellent, thank you. Yours?
JUNG
Fine.
JIM
I’m awfully glad it was fine, Jem.
JUNG
Well... thank you. Can I help you?
JIM
I have something rather important
to say.
JUNG
Get on with it.
JIM
Naw, it can wait. Thanks for your
time, Jem. I understand just how
valuable it must be to you. So
I’ll just be going then. I
(MORE)
(CONT)
CONT: (2) 57.
JIM (cont)sincerely hope you have the best of
mornings.
Jim starts to walk out the room. He’s halfway out the door
when Jung asks:
JUNG
You don’t really think I’m going to
let you just walk out that door, do
you?
JIM
You don’t really think I would just
leave you be, do you?
JUNG
I would have been offended if you
had. Jim, as my newest employee,
I’m going to have to ask you to
please --
Jim suddenly turns around and gets in Jung’s face.
JIM
Listen, Jem, I know what’s going on
here.
JUNG
Is that right?
JIM
Yes. The Multitudes Project. The
orbs. The clones. It’s a fun
little operation you have going on
here, isn’t it?
JUNG
It seems you had an eventful time
last night.
JIM
I’m going to tell the press,
Jem. This place is going to be
shut down. What you’re doing here,
it isn’t right.
JUNG
Oh, Jim. Don’t make me regret
hiring you.
(CONT)
CONT: (3) 58.
JIM
Are you that fucking clueless,
Jem? Do you really not see?
JUNG
I’m not stupid, Jim.
JIM
Really? Because I think you’re
missing something here. Do you see
it now?
Jung can’t help but give a quick glance around his office.
JUNG
What are you on about?
JIM
Are you telling me that you don’t
know everything? That you don’t
have it all figured out? Oh, Jem,
that’s so unlike you. So
wonderfully, perfectly unlike you.
JUNG
Jim, listen to me. I --
JIM
No, listen to me, Jem. I don’t
want to hurt you, I don’t. The two
of us... we’re the same, you know
that. But there can only be
one. And you’re the last in my
way.
Jim pulls Jimmy’s gun and points it at Jung.
JUNG
Who are you?
JIM
You still don’t know? I’m your
first.
JUNG
James?
JIM
And the winner is...
A GUNSHOT rings out as Jung’s head falls lifeless on his
book. From behind him, his orb matches the color of the
blood oozing from his head.
(CONT)
CONT: (4) 59.
JIM (cont)
Daddy.
An ALARM sounds. And once again, it is accompanied by the
WHOOSH: first quiet, then building to a wall of sound.
Jim smiles. But it’s not Jim.
SMASH CUT TO:
INT. SYNTHETIC WING LABS - LAST NIGHT
The alarm continues to sound, as we return to the previous
night. Jim is searching desperately for Jamie.
JIM
Jamie!!!
Jim slowly paces the untidy lab, ignoring the alarm. He
heads to the back elevator, looking at it curiously. He
presses the call button. The doors swing open. Jimmy’s
body is not yet inside.
Jim steps in and lifts his finger. As the doors shut, a
tear falls down Jim’s cheek.
INT. BASEMENT - NIGHT
The doors open and Jim steps off. He drifts slowly to the
empty reception desk and looks at the sign.
JIM
Jamie? Are you here?
Jim slowly walks around the corner and is awestruck by the
rows and rows of orbs. All glowing red except for four
green orbs on the top shelf. Jim. Jimmy. Jamie.
And James. James isn’t dead in the lobby. The front
elevator doors open and James steps out, still bleeding.
JIM (cont)
James?
JAMES
Hey, Jim.
JIM
Shit, James, are you okay?
(CONT)
CONT: (2) 60.
JAMES
Yeah. Jamie hit me pretty hard,
but I’ll survive.
JIM
I thought you were dead. I would
have helped you.
JAMES
No need. Did you get Jamie?
JIM
I can’t find him.
JAMES
All for the best, I suppose. Jesus
Christ, have you been crying?
JIM
This is too much for me.
JAMES
What? That I’m alive?
JIM
No. Listen, James. I need to
know. I need to be sure.
JAMES
It’s true, Jim.
JIM
Wait. Let me ask. I need to ask
this. James. Are you -- all of
you -- really my clones?
JAMES
We’re clones.
JIM
Oh my God.
JAMES
But not your clones.
No response. James begins to walk toward Jim.
JAMES (cont)
I can tell you’re interested in
this, Jim, and really, why
shouldn’t you be? This affects you
more than anyone, doesn’t
it? Well, maybe not more than me,
(MORE)
(CONT)
CONT: (3) 61.
JAMES (cont)and maybe not more than Dr. Jem M.
Jung -- you know him, don’t
you? Founder of the Multitudes
Project? This little room we’re
standing in now? Specifically
tailored for the most advance
embryonic research?
Well, when it came time to do the
"big experiment," naturally, he was
the first to volunteer. Two of his
gametes were put into a uterine orb
to develop. Nine months later, he
had a cute little baby. Of course,
he named that baby after himself.
So naturally, he fell in love with
the baby. Who wouldn’t? A perfect
replica of oneself. Like looking
into a mirror. I think you said
that, didn’t you? You understand.
At this point, James has reached Jim, but James is
continuing to move forward, forcing Jim to move back. They
continue in this manner all the way to the empty reception
desk for the next few minutes.
JAMES (cont)
But it couldn’t last. Because
that’s all that cute little baby
was. A reflection. So a few years
later, Dr. Jem M. Jung had some
more orbs built, and nine months
later, poof! Three more
babies! In case you haven’t
figured in out, Jim, you’re one of
them.
Triple the babies. Seems like they
should last at least triple the
time, right? Wrong. The Doctor
got bored of them -- all three --
even faster than he had gotten
bored of his first. His
precious. And, poof! Nine more
babies. Poof! 27 after
that. Poof! 81 more.
Now, I don’t know how good you are
at math, Jim. But if you’re even a
fraction as good as your "father,"
then you’d know that adds up to 121
(MORE)
(CONT)
CONT: (4) 62.
JAMES (cont)little clone babies. 121. Eleven
squared. How perfect.
Of course, not all the clones were
babies. Oh, on the contrary! By
the time the 121rst baby emerged
from his safe little orb out into
this tumultuous little world, that
first baby? Remember him? Well,
that baby was ten years old. And
remember how much the Doctor loved
him? Remember? Of course
not. Well neither did the
Doctor. He had enough children to
love. He didn’t need his first
try, his fucking sloppy copy.
So he hired that ten-year-old. He
brought his eldest son into his
profession, to get some use out of
his investment. A little child,
working in embryology, you
ask? Not quite. Because
embryology wasn’t the Doctor’s
occupation. Not anymore. Oh,
no. You see, the Doctor began to
have a bit of a mid-life
crisis. Just a teensy
one. Perfectly common. Nothing to
worry about. Except this crisis
was different.
The Doctor, you see, was
overwhelmed with his clones. Quite
naturally, actually. I don’t know
why a genius like him didn’t
predict it sooner. Anyway, the
Doctor had to come up with a
solution, and fast. So he did.
Midway through his life, he became
an adoption agent. Only in secret,
of course. People don’t generally
smile upon sending away your
children. But what else was there
to do?
So one by one (because, of course,
he couldn’t let two clones grow up
in the same household -- too
suspicious), his clones were sent
to desperate parents around the
(MORE)
(CONT)
CONT: (5) 63.
JAMES (cont)country. I hear he had to send the
older kids off to some adoption
center in Charleston. Adopting an
eight-year-old just isn’t quite as
special as adopting a one-year-old,
is it? You lose some of
the...exclusivity. You can’t
forget that that thing just doesn’t
belong to you. And neither can the
thing.
But somehow, the children grew up
to be adults. And the older ones
always had some sort of
subconscious knowledge of where
they came from. Something to draw
them back home. It’s an instinct
we all have, really. And when they
returned, they all centered around
this very place. The Panayiotis
Zavos Institute of Embryology. And
no matter what their credentials,
Dr. Jem M. Jung hired them. Hired
them all. Hired them to remodel,
to manage, to assist. And
eventually, they all learned the
truth. It was inevitable, wasn’t
it?
And now, here you are. The last to
arrive. Let me be the first to
welcome you into a society of
121. A society of one.
But wait. I think we forgot about
something. Do you know what we
forgot, Jim? I’ll tell you: the
first boy. The first
clone. Remember him? Do you? Do
you?!
James slaps Jim.
JIM
Yes, yes, I do!
JAMES
Well, that boy grew up too. And he
came back too. Only he never
applied for a job, did he? No, his
memories weren’t subconscious like
the others’. His memories were
(MORE)
(CONT)
CONT: (6) 64.
JAMES (cont)
very, very strong. And let me tell
you, Jim, they were anything but
pleasant.
And let me tell you something else,
Jim. Something important. Listen
up. Are you listening? Jim, this
boy learned something when he came
back. You know what he learned?
Was it trust? No. Hope? Couldn’t
be. No, this boy learned the most
essential lesson of them all. The
one lesson out of all the
multitudes that actually matters:
In the end, there can only be one
of us, Jim. And I’m going to be
the one.
The two brothers are now behind the empty reception
desk. Suddenly, Jim’s fist flings forward, aimed for James’
chest. James steps back and grabs Jim’s fist.
JAMES
Disappointing. I had thought
better of --
Jim interrupts James with a sharp kick to James’
sack. James reels back, then slowly recovers, hiding his
anger with forced laughter. Jim gets in some sort of
fighting stance.
JAMES (cont)
Now, that was decent. How did it
feel, Jim? Your first real
punch. I take it you’ve never done
that before. Am I right? Heh. Of
course I am. You’re not a
killer. Funny how that worked
out. If I didn’t know better, I
wouldn’t have thought we were the
same man.
James crouches down, mirroring Jim’s pathetic fighting
stance. James throws some mocking punches in the air and
laughs.
JAMES (cont)
But it feels good, doesn’t it,
Jim? To hurt someone? It’s
empowering.
(CONT)
CONT: (7) 65.
The tears are back on Jim’s cheeks as he runs forward and
punches James in the side, hard. James falls to his
knees. Jim kicks him in the chest, and James skids back
across the floor.
James slowly gets back up, clutching his chest.
JAMES (cont)
Getting better, aren’t you, you
little fucker? Think you’re better
than me? Better than your poor
little ten-year-old brother? Trust
me, I’m used to that.
He steps forward.
JAMES (cont)
It made me strong.
Another step forward.
JAMES (cont)
It made me tough.
Another.
JAMES (cont)
It made me a killer.
The alarm, which has been barely audible in the background
for quite awhile, now shuts off completely. The sudden,
absolute silence is filled with tension.
JAMES
I’ll admit it, Jim. This was
fun. But I really must be
going. I have a strange feeling
that the meat fridge is the place
to be right now. So let’s see if
we can do this without setting off
that alarm again, shall we? What
do you say, Jim? Are you up for
it?
Jim glares directly at James, tense and angry. His
confidence grows with his fury, builds up inside him; he
struggles to constrain himself.
JAMES
Remember what I told you, Jim? Our
passions have a way of breaking
free. You can try to deny them,
but they’ll all just bottle up
(MORE)
(CONT)
CONT: (8) 66.
JAMES (cont)until... Well, until they
break. And then that’s the end for
you, Jim. That’s it. It’s over.
Jim drops his fists and slowly shuts his eyes. His
expression morphs, becoming perfectly tranquil, perfectly
accepting. A tiny hint of smile floats across his
face. It’s clear: it’s over.
JAMES (cont)
Thank you, Jim.
James lurches forward, hands out, eyes glinting.
SMASH CUT TO:
Jim is dead on the floor, naked, scratch marks decorating
his neck. A small trickle of blood drips from Jim’s nose.
James is standing beside a pile of clothes. He is already
wearing Jim’s trousers, and he’s buttoning Jim’s
shirt. When he finishes, he starts to tie Jim’s tie around
his neck. His resemblance to Jim is perfect.
WHOOSH builds to a wall of sound.
EXT. PANAYIOTIS ZAVOS INSTITUTE OF EMBRYOLOGY - NEXT MORNING
James is taking off his tie as he walks briskly away from
the Institute and towards us. He throws the tie in a nearby
garbage can, and loosens his top buttons. He nods at a
family as they pass.
And he continues to walk away from the Institute and toward
us. Close, close, closer, and then he passes us, and then
he’s gone.
The Institute stands alone. Quiet. Calm. Still.
FADE TO GREEN.
CUT TO RED.