Screenplay

ESSENCE

Screenplay by Daniel Orton

SCENE ONE

EXT. Outdoors (Daytime)

We slowly FADE from BLACK to reveal a cold autumn day. The leaves are blowing in the wind. After a few moments, sentences appear on the screen, one after another, informing the audience of the world.

‘Due to a recent scientific breakthrough, creating genetic copies of humans has become common practice. Clones are now on the verge of mass production. Bred to be more docile than a regular human, they are the perfect servants. Despite being biologically identical, clones share none of their original template’s memories or experiences.’

After all the text has FADED IN onto the screen, we hear a piercing gunshot. We then FADE to BLACK.

Credits begin to FADE IN and FADE OUT on the black screen.

CUT to:

INT. Bedroom (Daytime)

EXTREME CLOSE-UP on ‘Ben #38’, our hero. We see only his eyes, following something in front of him. We hear the DIEGETIC sound of what he is watching - it’s ‘Superman: The Movie’ on a tablet device. The character of Jonathan Kent is explaining to his son Clark that he believes he is ‘here for a reason’. After we hear this, we then hear the bedroom door open from across the room.

CUT to ‘Other Clone’ entering through the door. He says nothing to Ben #38 and continues to the other side of the room. He opens up the curtain, illuminating the dark room in the natural light. We then see him grab a chair stored in the corner of the room, unfold it, and place it down next to the bed where Ben #38 is sitting. In a LOW-ANGLED CLOSE-UP, he looks directly at Ben #38, whose eyes shift towards the Other Clone.

OTHER CLONE

Good luck.

He exits the room. At this point we hear ominous music begin to grow.

CUT to the door opening yet again. This time, ‘Original Ben’ enters, but we don’t see his face. He takes a seat at the chair that was laid out for him, his face still hidden.

CUT back to a CLOSE-UP of the door slowly closing.

When we finally see Original Ben, his face is half in light, half in shadow. This is a very LOW-ANGLED shot. Unlike his clones, Original Ben wears glasses.

ORIGINAL BEN

I just got off the phone with the E. C. E., and they told me that I didn’t have a good enough reason to decommission you… So I thought we could just have a nice, heartfelt chat about what happened yesterday, because--

CUT to an EXTREME CLOSE-UP of Ben #38, looking forlorn.

ORIGINAL BEN

(cont’d)

--you got a bit emotional, didn’t you?

BEN #38

I watched my best friend die…

As Ben #38 says this, we see a quick black and white flash of Ben #38, and his friend ‘Cam #42’ together.

ORIGINAL BEN

No, I’m gonna stop you right there. You don’t have friends! You’re not here to socialise, you’re here to work for me. That’s just how it is around here, you know that. Cameron just had to decommission your ‘friend’ because he wasn’t he performing as he should have been. You’re clones, you have a purpose to fulfill, and if you’re not fulfilling that purpose… then we don’t have any use for you.

CUT back to Ben #38; an EXTREME CLOSE-UP on his forearm. Written there is ‘BTXC-0038’ in black ink. We hear a voice-over echo over this.

CAM #42

(voice-over)

Is that your number?

CUT to:

SCENE TWO

EXT. Outdoors (Daytime)

MID-SHOT of Ben #38, rolling up his sleeve. It’s another cold autumn day, but where they looks peaceful, serene. ‘Three months ago’ appears on the screen.

BEN #38

Oh… yeah.

We get out first glimpse of Cam #42 now, with a CLOSE-UP.

CAM #42

Don’t you just have it tattooed on your back like the rest of us?

BEN #38

Well yeah, we all do, but…

CUT from a MID-SHOT to a CLOSE-UP of Ben #38.

BEN #38

(cont’d)

… he makes us write it on our arms, every morning.

When we CUT back to Cam #42, the camera is now HANDHELD to illustrate his outrage.

CAM #42

That’s messed up! They treat us like we’re nothing, like we’re animals… Y’know, I may be a clone of Cameron, but I’m not him!

CUT back to a MID-SHOT of Ben #38, who turns to face away from the camera.

CAM #42

(cont’d)

Something needs to change.

BEN #38

Careful, that kind of talk will get you killed.

Cam #42 also turns away from the camera to look into the distance with his friend.

CAM #42

It can’t be much worse than this.

In a WIDE-SHOT, we see both characters looking off into the distance. Ben #38 puts his hand on Cam #42’s shoulder reassuringly.

BEN #38

Well, if it comes to that…

CUT to:

INT. Bedroom (Evening)

CLOSE-UP of Ben #38 sitting next to a lava lamp, the only thing illuminating the room that is otherwise dark. The lamp is in the foreground, while Ben #38 is in the background. There is a DEPTH OF FIELD on the shot; Ben is blurred while the lamp is clear. ‘Today’ appears on the screen, before FADING OUT again. After a few moments, the frame becomes entirely blurred and we FADE to BLACK.

FADE from BLACK to:

SCENE THREE

INT. Bedroom (Daytime)

EXTREME CLOSE-UP on the lava lamp. There is more light in the room now. CUT to a WIDE-SHOT of Ben #38 sitting on the end of the bed. We see from the right of the frame that another clone, ‘Ben #5’ enters through the door. The shot is entirely blurred.

CUT to a CLOSE-UP of Ben #38. The blur is still present. We hear the echoing voice of Ben #5.

BEN #5

Thirty-eight.

The blur FADES AWAY before Ben #38 replies mockingly.

BEN #38

Number five.

BEN #5

You’re still here.

BEN #38

(flippantly)

Surprisingly!

BEN #5

And even after everything that’s happened, you still get the bedroom.

BEN #38

It is still my turn.

BEN #5

Well, our master must be in a generous mood.

BEN #38

(sarcastically)

I hope you’re not trying to suggest that our master isn’t generous all of the time.

We change to a CLOSE-UP of Ben #5, who looks serious.

BEN #5

A sense of humour is a dangerous thing to have around here… it’s like none of you pay attention to what goes on.

He makes his exit. CUT back to Ben #38; we ZOOM IN on his face slightly.

CUT to:

SCENE FOUR

INT. Bedroom (Daytime)

CLOSE-UP of a Superman-themed backpack. This is a P. O. V. shot from Ben #38’s perspective. He reaches down to pick up the bag.

CUT to a CLOSE-UP of Ben #38; he’s looking at it happily. We suddenly hear the words of ‘Pa Kent’ (from Superman: The Movie) echoing in Ben #38’s head. He is saying, ‘you are here for a reason’. This resonates with Ben #38.

CUT to CLOSE-UP of Ben #38 dropping the backpack; with a new determination, he strides towards the door. But he stops, and turns. He walks towards the wardrobe.

CUT to BLACK - we are inside the wardrobe; the door slides open and Ben #38 searches for some new clothes, before landing on an outfit he approves of. He smiles.

SCENE FIVE

EXT. Outside (Evening)

CUT to a P.O.V. shot from Ben #38. He is running, escaping. He reaches an old wooden gate with a simple lock. He unlocks the gate and it about to leave, before we hear Original Ben calling from behind.

ORIGINAL BEN

Thirty-eight! I am so… disappointed.

Ben #38 quickly spins on his heels, and we CUT to Original Ben in a LONG SHOT. He is a black silhouette, lit only from behind. The camera slowly SWEEPS low in front of him; he is imposing, a large threat. He begins walking to Ben #38.

ORIGINAL BEN

I thought we understood each other… I really did. I can’t believe you’d run from me. To betray me… well, I can’t think of anything worse. You and me - we’re the same.

We CUT back to Ben #38, who looks defiant now.

BEN #38

(angrily)

I’m nothing like you!

CUT now to a P.O.V., this time from Original Ben’s perspective. He draws a knife.

ORIGINAL BEN

Yeah… I suppose you’re right.

Ben #38 just hangs his head in defeat.

CUT to:

INT. Kitchen (Evening)

Original Ben enters; from his P.O.V., we see him slam the door, place down the bloody knife, and begin washing his hands at the sink.

In a MID-SHOT, he lifts his head to look out the window. After a few moments, a very faint, sinister smile emerges.

CUT to black.

THE END.