Original subtitles

[ music playing ]

You know, bakeries are dangerous places.

Flour is flammable, you know that, right?

They've got these particles

that kind of float all over a room.

I mean, just one of them catches fire,

the whole place just kind of

goes up like a tinderbox.

I got it.

[ indistinct chatter ]

Ricky: The boredom is a killer, you know?

Aren't you bored?

Uh, yeah, at first,

but, uh... [ sighs ]

I had enough good times.

So you're content with being some fucking robot?

'Cause I'm not.

Can't do this much longer.

I guess what you've been doing up to this point

has been working out so well, huh?

See, even that.

You sound like a fucking robot.

99 out of 100 of you guys will say that same exact shit.

And the other guy would say "You're sitting here getting fat

while your disease is out back doing push-ups."

- [ laughs ] - Yo, it's not funny.

Okay.

I gotta go. You cover this?

- I got you next time? - Yeah, sure.

Hey, you call me if you need me.

Yeah.

[ car horn honking ]

[ music playing ]

Isabel: Hi, everybody. My name is Isabel.

I'm a recovering alcoholic.

All: Hi, Isabel.

And I've been in and out of these rooms for years.

Until I finally had the guts to tell my sponsor

what made me wanna get sober in the first place.

[ Isabel sighs ]

I killed someone.

I was driving home and I hit a guy.

And I was so loaded I didn't even slow down.

I drove home waiting for the police to show up at the door

and they never did.

My sponsor told me what I had to do.

I had to turn myself in

and make amends to his family.

And she told me this,

"His family may never forgive you,

and you will go to prison,

but you'll have some of us out here

and you'll have some of us in there.

'Cause out here with all the lies and the guilt,

you'll be less free than you'll be in there."

- [ indistinct chatter ] - [ music playing ]

John: We're years out,

but my guys think they have isolated a cluster of cells

that can be built into a filter.

Salt water goes in and fresh water comes out.

What about the resulting overpopulation?

Problems ascribed to overpopulation are...

political contrivances.

Misbehavior of power.

You know that.

You know, John, for one of the richest guys I know,

you sound an awful lot like a communist.

According to the internet,

you're one of the richest guys anybody knows,

but every time we talk about overpopulation,

you sound like an asshole.

Remind me again, what's the internet?

Oh, come on, Max, don't pretend like you're an old fart, all right?

I know you better than this.

Nick, do me a favor.

In the future, in say ten years from now,

you ever catch me bragging

that I had dinner with John Ives, shoot me.

You know, Max,

I'll do you a favor

and I'll shoot you myself.

Well, you impressed me at least.

Well, that's because you are a communist.

[ laughs ] Oh, very funny.

Max may look like a "Bond" villain,

but he's got a good heart and I think you made your point.

You ready to go home, Red?

Let's get outta here.

Now?

Yeah, Maria's gotta go to sleep.

Maria, put Ethan to bed long ago.

And right now she's falling asleep in front of the TV.

You're gonna dance with me.

I'm gonna...

- I'm gonna dance with you? - Mm-hmm.

[ music playing ]

[ crying ]

Selene.

[ music playing ]

There's a Mrs. Ives to see you.

Mrs. Ives.

She's in conference room three.

- Tell her I'll be there in ten minutes. - Okay.

You know, I--

I read about your son,

and I'm sorry for your loss.

Thank you.

It's been hard on John.

How have you been?

I miss him so much.

[ crying ]

I'd give...

I'd give anything to have him back.

But I know that's crazy, isn't it?

No.

I don't think that's crazy.

I know why you're here.

It is possible.

The answer is yes.

John: They cloned a sheep.

You're talking about a human being.

Selene: All he needs is Ethan's DNA.

We can finally move on, John.

This isn't moving on.

He can bring Ethan back.

[ sighs ]

The technology is there, John.

He can clone him.

No.

I can't.

You don't have to.

- I'm sorry. - I can't.

I can't.

[ music playing ]

[ gasping ]

[ music playing ]

Sit down.

Look at me.

Come to my room.

I'll let you touch.

[ urinating ]

[ moaning ]

[ screams ]

Fuck!

[ groaning ] You fuck!

Get the fuck-- [ groaning ]

[ groaning ]

[ groaning ]

[ panting ]

[ chuckles ]

[ laughing ]

[ John manically laughing ]

[ music playing ]

What happens when Nick starts to look like Ethan?

What are we going to tell people?

The same parents, kids are gonna look alike.

Nick uses his right hand.

So what?

Ethan used his left.

Hon...

he's a baby.

How can you tell?

Because I'm with him all day.

I know.

Maybe you should talk to someone.

No, I-- I can't talk to anybody about this.

I don't mean about this.

I mean... about how you're feeling.

Don't diminish what I'm feeling, John.

I'm not, okay?

I'm sorry.

Hey.

I just hate seeing you like this.

I was lost, Selene.

And you pulled me back.

You saved my life.

There's nothing in the world I wouldn't do for you.

Or Nick.

I love you.

I love Nick.

Selene: I was in the supermarket the other day

and there was this piece of fruit

that had fallen off the stand

and it was just there on the floor all by itself

and I started to cry.

I don't know, there was just something about it

that was incredibly sad.

What do you think it was that made you cry?

I don't know.

I mean, I guess I do know.

But I can't talk about it.

Okay.

How are things with John?

Things with John are good.

I got home from the market

and John was there and he was great.

I promise I will man the fort 24-7.

He really works hard to make me feel better.

He's happy.

He seems happy.

He acts happy.

The other day I looked through a box of Ethan's stuff.

I found his baby teeth and I took them to the park.

I don't even know why.

I guess I just wanted him close to me.

Jeannie: Hey, girl.

How've you been?

Let me ask you something.

Do you think Nick looks like Ethan?

Well, um... no.

I don't.

Selene: You know when you walk into a spider web

and you freak out and you're pulling it off of you,

but it's so thin and silky?

And you can't feel it anymore,

but you know it's all over your body.

I feel like that.

But there's no web.

No spider.

It's Nick.

[ crying ]

John!

What are you doing?

Oh, God.

John, his diaper is soaking wet.

I need to know what he's doing.

I need to know what he's doing when I'm not there.

[ music playing ]

Coates: Who are you talking about, John or Nick?

Selene: Everything is like something.

I said it's like a spider web.

But it's not.

It's...

John: Your body has changed since carrying Ethan.

Environmental conditions play a major factor

- in the development of the baby. - Oh, God, bullshit!

I just want to know if they're the same person.

They are.

How do you know?

Because Shepard tested the blood, the hair--

I don't believe him, John.

He's got his fingerprints.

You have Ethan's fingerprints?

I wanna see.

I gave Shepard everything from the crime scene.

I don't have them, he has them.

You know something's wrong.

You act happy and pretend that everything is normal,

but I've seen the way you look at Nick.

You spend every day and night in your office

because you don't wanna admit

what's really going on in our lives.

You know.

I know you know.

[ laughs ]

What do I know?

That Nick is not our son.

Then who is he?

[ music playing ]

Oh.

[ gasps ]

[ Selene gasps ]

[ gasps ]

After we made our agreement,

John gave me the sample.

But very quickly I knew it wasn't your son.

But he gave me a choice:

you can work with this sample,

you can clone this sample,

or you can walk away.

He assured me that he would produce the true donor

of the sample at a later date,

and he said that he would explain everything to you

and that you would be okay with it.

He promised me that.

I had to believe him.

I needed to believe him.

This work...

I felt it had to be done.

We were never gonna get Ethan.

At the very least, we could get the killer.

What is-- What is this?

This is Nick.

And this is a man that John fired.

This is John's uncle.

He was caught embezzling, stealing from the company.

He's comparing facial features

between Nick and all of these people.

John didn't lie to you

when he said the sample came from the crime scene.

But it wasn't Ethan's DNA.

It's the killer's DNA.

My son, the boy you put in my body,

will reveal who killed Ethan.

The face of my baby is the face

of the man who killed Ethan.

You pushed me into it.

Selene: My father's picture was in your files.

Do you think my father did this?

Am I married to a man

who thinks that my father could murder his own grandson?

Are you so weak

that you have to believe there was a reason?

There's never any reason, John.

Ethan's death was not something

that was natural or unnatural.

It was just something that happened.

But Nick...

what is he?

What you did was unnatural, John.

And he...

he is not natural.

[ music playing ]

[ music playing ]

[ engine starts ]

Mr. and Mrs. Ives.

My name is Dean Ruster.

I'm the man who murdered your son.

Nothing I can ever do can set things right.

I'm writing this letter in an attempt

to make amends to both of you

and to allow you some peace.

What I want you to know is that I've made the decision

to turn myself into the police and accept the punishment.

Part of the process of making amends is to ask for forgiveness

but what I've done is beyond forgiveness.

I could try and explain who I was

and where I was in my life back then,

but I know that there could never ever be any excuse

for what I've done.

I know I'll never get a chance to speak to you in person,

so this is my only chance to speak to you directly.

I hope that knowing the truth about what happened to your son

and knowing that the man who did it will be punished

will bring some kind of peace.

God bless.

Nick!

Nick, now!

Man: God grant me the serenity

to accept the things I cannot change.

Courage to change the things I can

and wisdom to know the difference.

All: Keep coming back, it works if you work it.

[ indistinct chatter ]

Woman: [ over PA ] This is West 8th Street, New York Aquarium.

Transfer is available to the Q train.

You expecting a phone call or something?

Put the fucking phone away.

[ glass breaking ]

You're-- you're a cop.

No.

A lawyer?

Oh, God, no.

No, I'm a friend of Mrs. Ives.

Dean.

I know who you are.

And I-- I know what you've done.

The Ives have a son.

Nick. He's gonna be 12 years old.

And as crazy as it sounds...

[ music playing ]

How old are you, Dean?

35.

Have you ever had any major illnesses?

No.

Surgeries?

No.

Have you broken any bones?

Yes. Many.

Siblings?

Dean?

Are you okay?

Have some juice.

Are you good?

Yeah, I'm fine.

Are you troubled by feelings of guilt?

No.

Have you ever experienced a deep emotional connection

with another person?

No.

Yes.

Uh, not in the way you're asking.

The boy-- is-- is there something wrong with the boy?

The boy's fine.

So, these-- these questions--

Is this, um-- Is this a nature nurture thing?

It's not-- It's not one thing.

May I go on?

Yeah.

Do you feel the world exists solely for you?

Hmm.

I remember...

going to bed at night

and I knew that the world collapsed when I was asleep.

And then when I woke up,

it had reassembled itself.

What's going on here?

What do you mean?

This isn't--

This is not what I expected.

I was...

I thought I'd be crucified,

but instead I'm getting a blood test, orange juice.

There's a part of me that welcomes it.

The survival part,

but the-- the moral part...

I want to see him.

You seem like a reasonable guy, Dean,

but you're gonna have to wait.

Yeah.

[ music playing ]

[ engine revving ]

[ engine revving ]

[ music playing ]

Nick.

Nick.

Mom?

Hey.

Mom, what are you doing?

You're freaking me out, mom.

[ chuckles ]

I'm gonna go to bed now.

[ music playing ]

[ phone rings ]

[ ringing continues ]

[ glass breaking ]

[ ringing continues ]

Dean: This is Dean.

Leave a message.

[ phone beeps ]

This is Selene Ives.

I'd like to come and talk to you.

Give me a call back with your address.

None for you?

Oh, not now.

This is very good.

I've been trying to locate the...

the nanny's family.

I... I want to speak with them.

But... well, I can't find anything.

She didn't have any family.

No kids.

Her parents were both dead.

She divorced her husband and moved from Guatemala.

She had no one.

What was her name?

Maria.

We buried her.

I contacted some of her friends from Guatemala,

but no one came.

It was just us.

[ groans ]

What?

[ groans ]

Ah! Ow.

[ screams ]

[ screams, groans ]

[ groans ]

Selene: John wanted to hate Nick.

But he was so helpless and so small,

so we raised Nick as our own.

Dean: What's he like?

Nick?

Selene: Nick doesn't have that scar.

What's it from?

Blood brothers.

Are you still in touch with your blood brother?

No.

There was more blood there than brother.

Five years ago, I first decided to contact you,

and by the grace of God...

and whatever moral sense I still had,

I knew I had to confess.

To give you closure.

When I finally found you and John...

I couldn't.

I was a coward.

I felt so alone back then.

I was a different person.

No. It was me.

I did these things.

To you. To your husband.

To your nanny.

To your son.

Tell me.

I need to know.

That day...

I'd fallen asleep on a train.

And I woke in Coney Island.

It was so hot, I swam in the ocean.

Dried out in the sun.

Then I was back on the train.

And then I was somewhere else.

The streets were tree-lined, big houses.

She woke up and saw me standing there.

She asked what I wanted.

And-- and I hit her.

I don't know what I wanted.

I wasn't there 'cause I wanted anything.

But once I started, I couldn't stop.

And then I saw him.

He just stood there.

He closed the door behind him, but it wasn't locked.

Sorry.

Tell me.

I need to hear it.

He was crying, but calm.

It was as if he had accepted what was happening.

So I walked him down the hall

and he tried to bite me.

He didn't hurt me.

I threw him down and he hit his head

on the corner of the television stand.

He tried to crawl away, but his--

he couldn't get his arms and legs to work the way that he wanted.

And then he stopped moving.

And then he stopped breathing.

I looked around the house. I was there, so I figured I should steal something.

But...

there was nothing for me.

I couldn't remember everything that had happened, but...

I felt it.

I'm turning myself in.

I shoulda done it long ago.

John: Hey, it's getting late.

I haven't heard from you all night.

Give me a ring, okay?

All right, it's bedtime, bud.

Nick.

Yeah?

How long's it take before you finish that thing?

However long it takes.

All right, get to bed.

One second.

Nick, now. Go.

- [ man on TV speaking indistinctly ] - [ door opens, closes ]

[ mutes TV ]

- Hey. - Selene: Hey.

How's Jeannie?

She's fine. She's good.

It's late. I left you a couple messages.

I left my phone in the car.

I'm gonna take a shower.

Hey.

Come here.

[ Selene groans ] John, I'm so tired.

Come here.

I miss you.

I love you.

[ whispers ] I love you.

I'm gonna go take a shower.

[ music playing ]

[ woman speaking indistinctly ]

Woman: ...what might happen in our lives,

we'll be able to move closer to the idea

we've been trying to prove.

[ woman continues indistinctly ]

...conscious contact with God,

with His grace, wisdom, and love.

And always remember that meditation is in reality...

[ thunder rumbling ]

[ music playing ]

Adult Nick: Father, it's been a long time,

and I miss you.

I wonder how you are, where you are,

if I'll ever see you again.

I bought land in the mountains.

Acres and acres of empty canvas.

[ rain pattering ]

But I've been staring so long into the forest...

I feel like the forest has started to stare back into me.

[ hums ]

[ humming ]

[ groans, grunts ]

[ glass breaks ]

[ wood chopping ]

Man: Hey!

Hey!

Hey!

Hey!

[ knocks ] Hey.

[ knocks ] Hey, asshole!

Hey!

[ bugs buzzing ]

Hey.

[ chuckles ]

Holy shit, man.

Hey.

Did you think that I was just gonna give up?

What the hell's going on here?

[ chuckles ]

There's a hole in my floor.

Einhorn won't fix it.

[ quietly ] Why are you telling me?

Well, you own the land.

And my house.

Talk to Einhorn.

You're deaf.

Pleasure.

[ knock on door ]

[ rain pattering ]

You put these up?

Yes.

Why?

Boredom.

I guess I wanted to make it more difficult to walk around a familiar space.

Where's the hole?

[ groans ]

These columns go all the way through the floor to the ground?

You tried to put a column there.

That's why Einhorn wouldn't fix it.

I'll see what I can do.

Thanks for stopping by.

Adult Nick: Father, you live inside me.

The past lives inside me.

My body existed before I was born.

It walked through a timeline I wasn't part of.

The past is imprinted in my DNA.

[ music playing ]

This body killed a woman and a child.

I was raised by a man who murdered his wife

and then killed himself.

I'm an abomination.

[ gasps ]

[ gasping, panting ]

[ music playing ]

A riverfront property runs along the front of all these cabins.

It's just a little clearing.

Now, all of 'em. And this, this is a road.

This is the end of the property up here.

And there's a real nice building site way up here.

- Mm. - And it overlooks the whole valley.

- And then there's-- - Hey, boys.

Wow.

You build this place yourself?

With the trees that were standing here.

I'll take a look.

Do you want to look at a bigger chunk of property here?

Yeah.

Through here.

And then there's another chunk up here on this map here.

But you could be something else.

Like, it's some gorgeous pieces of property here.

Jesus Murphy. You have a lot of books.

Mm.

Why don't you give me one?

Uh...

What's this?

When Benjamin was writing, about 100 years ago,

there was a massive jump in the speed and accuracy

of mass reproduction.

He believed this changed the context

in which all art could be understood.

How?

The authenticity of a work of reproduction.

If the copy is the same as the original,

it's just as authentic.

But an exact copy is different in one very important respect.

Time.

One was created after the other.

So what?

If anything, that makes the copy more interesting.

How do you figure?

Well, it has all the same qualities as the original, but it's...

something different.

But you just said they're indistinguishable.

- Yes, but-- - So, why do you now say--

Wait, wait. Wait.

[ laughs ]

If an object could possess some sort of historical quality,

does the bullet that killed Abraham Lincoln

have some sort of mystical quality?

Something that the thousands of other identical bullets

that weren't used don't have?

Isn't intentionality more important than appearance?

No, the people interpret it the way they choose.

A guy living in a cave.

He sees "The Last Supper" for the first time.

Now, he might just see a bunch of people sitting at a dinner table.

But the ideas and the symbols are still there.

No, they're shape and color.

But it's the people that give the thing meaning.

[ chuckles ]

What?

It's just funny coming from a guy

that's been living out here for, like, a thousand years.

Let me as you something.

If you could make an exact reproduction of yourself,

would you?

Sure.

What would you do with it?

I'd fuck it.

[ chuckles ] No, wait.

I'd fuck it, I'd cook it,

I'd kill it, and eat it.

[ laughs ]

Are you lonely?

- Hmm? - Are you lonely?

You get used to it.

I gotta go.

No.

What?

Yeah, go ahead.

I'll come by your place tomorrow.

Adult Nick: Father, I remember the day at the carousel.

John brought me there because when I was younger,

that was our favorite place.

I remember stirrings of nostalgia so bad my stomach ached.

I remember in that moment, wanting to go back

to when I was even younger,

back to waking up in the back seat of the car

when John would carry me into the house.

I try to hold onto memories, but they fade.

- Hmm. - Ahem.

I'd forgotten what it feels like

to know another person is in the next room.

[ pounding ]

[ rain pattering ]

[ thunder rumbling ]

No music.

[ thunder rumbling ]

[ thunder rumbling ]

[ woman speaking indistinctly ]

Man's voice: Nick?

I know you. I remember you.

Well, I guess you would.

Of course, I've only met you before as a child.

Here, that is.

Where you're from, I--

- Where I'm from? - Yeah.

Where you're from.

What year is it?

- What? - Humor me.

Uh, it's 2033.

2033.

Maybe.

Maybe not.

What if it's 300 years past that?

What if you're not number two, Nick?

But version 10 or version 20?

Your friend,

he looks familiar, doesn't he?

You think he's an original?

Original what?

If you're number 20, eh,

what if he's number 18?

And you two have been doing this same dance,

with minor variations, for a very long time?

[ chuckles ]

[ man clicks tongue ]

John's voice: I took Nick out of school early today.

Wanted to take him somewhere special.

When I asked him, he told me he wanted to go to the carousel in Brooklyn.

Remember when we used to take him there?

Those are memories I'll cherish forever.

I wonder if the carousel is also Dean's favorite place.

I wonder how deep the similarities run between them.

I guess you know the answer to that.

[ knock on door ]

- Selene: Is he here? - Dean: No.

[ sobs ]

John's voice: I love you very much.

- And I love Nick very much. - [ phone chimes ]

John? John!

Nick.

I love you, all right?

- Wanna go out there? - Sure.

- Coming? - Yeah.

Yeah, I'll swim out there in a bit.

[ grunts ]

[ grunts ]

[ gunshot echoes ]

Adult Nick: Father, why did you take me in and raise me as your own?

Was it penance?

What did it feel like to raise...

yourself?

How did the letter you wrote to John and Selene end up at my door?

Who put it there?

Did he?

Is he a copy of John?

I don't understand.

Do you think you were crazy when you killed his boy?

Was it you who killed him, or was it a copy?

Am I a copy of you or a copy of a copy of a copy?

Maybe I killed the boy.

[ Nick groans ] I feel like I'm going crazy.

I need to know.

I need to find proof of...of what?

Did you put the--

did you put that letter under my door?

Did you put that letter under my door?

Did you-- no, no!

No! No! No!

I'm sorry. I'm-- I'm sorry, no!

[ screaming ] Oh, no, don't do it!

I'm sorry, don't make me leave.

Don't-- no! No!

Don't make me-- don't-- no.

I'm sorry. I'm sorry.

- Get out of my house. - Please.

- Get out of my house. - Please. I'm sorry.

I'm so lonely. I'm so lonely.

[ sobs ] I can't see you.

I can't see you.

Get out.

Okay. [ panting ]

I'm sorry. I'm sorry.

[ music playing ]

[ breathing deeply ]

[ moaning ]

[ screaming ]

[ screaming continues, fades ]

Adult Nick: Father.

You once told me that everything is already in the past.

And you loved a line from that old movie.

"The present is real, but you're not in it now.

You're not in it now. You're not in it now.

By the time the light bounces off something

and into your eyes it's already in the past."

Everything we see is past.

Everything has already past.

But you're not in it now.

You're not in it now.

You're not in it now.

You're not in it now. [ echoes ]

[ music playing ]