multitudes [screenplay]

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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.

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TRANSCRIPT

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.