Ex Machina


Music starts, halfway through a track.



Lines of code appear, as they are typed.
main( ) {
extrn a, b, c;
putchar(a); putchar (b);putchar (c); putchar(’!’*n’);
a ‘hell’;
b ‘o, w’;
c ‘or
CUT TO - a view above a huge open-plan office.
Just over the heads of the young men and women who sit at
desks, in front of a computer screen and keyboard.
Each workstation is personalised. Photographs of friends or
family, or pets. Cutting from magazines. Ironic
superhero/video-game figurines.
CUT TO - the hands of the young man doing the coding.
fast, with two fingers.

He types

CUT TO - EXTREME CLOSE UP of a pinhole web-cam lens in CALEB’S
CUT TO - the POV of the web-cam.
Looking back at CALEB.
Twenty four. Glazed. Ear buds in, connected to cell phone.
Head bobbing slightly to the music.
As we watch from the monitor POV, we can see the computer’s
facial recognition system in operation. Imaged as vector
boxes, which track CALEB’S face, and the faces of all the
people behind him.

On which a message appears, in a small window, over the code.
subject: HIDDEN
CUT TO - the monitor web-cam POV.
As CALEB stops typing.
He gazes at the message.
Then clicks on the link.
Then mouths the word: Fuck.
CALEB reaches for his cell phone.
CUT TO - the CELL PHONE POV, seen from the tiny camera above the
screen, as CALEB lifts the phone, and starts keying-in a
We see facial recognition software flickering over CALEB’S
features, and reacting to shifts in his expression.
CUT TO - the cell phone. The screen.
it. Lens glinting.

The tiny camera nestled above

On the screen, a time-bar extends next to the word:
A beat later, a reply text message appears.


CUT TO - the WEB CAM POV, watching CALEB react to the arrival of the
CUT TO - cell phone screen.
CALEB sends the word:
A beat later, a stream of text messages start appearing:
historia buena bro

sir. which. That was around four hours ago. Still in the audio bubble. Outside the window is the mountain landscape. He sits up . runs over to CALEB.DAY 3 CALEB wakes abruptly. CALEB How long was I out? CHAUFFEUR You fell asleep almost as soon as we left the airport. Wipes sleep out of his eyes.the computer monitor POV.and finds himself in the back seat of a chauffeur-driven Maybach limousine. bearings. 3 INT. Behind CALEB. despite the commotion around him. Gets his . TITLE: EX MACHINA 2 EXT. CALEB looks around. CALEB still looks dazed. remains unburst. CAR . Excuse me. One stands and applauds.4. and embraces him from behind planting a kiss on his cheek. omfg fucking AWESOME :o) take me take me?!? Caleb > [infinity symbol] CUT TO . a few of the people behind CALEB in the office are reacting. He still has his headphones in.DAY 2 A spectacular mountain range. A GIRL comes out from behind her desk. MOUNTAINS . The CHAUFFEUR is a man in his late sixties.

CHAUFFEUR (CONT’D) You a programmer? Yeah.. CALEB . CALEB But I guess you have. I’d say that’s a good thing.. Soon as I set eyes on you. Nice. I was awake all night. Beat. The CHAUFFEUR smiles.5. Is that a good thing? CHAUFFEUR Means you and Mr Bateman speak the same language. CALEB CHAUFFEUR Bay facility? CALEB Long Island. But I knew you were a programmer. CHAUFFEUR CALEB I was so psyched on the flight. CHAUFFEUR Algorithms. CHAUFFEUR (CONT’D) Ever met him before? No. I work on algorithms for the search engine. CALEB Four hours? Uh-huh. CALEB You know what they are? CHAUFFEUR Nope. . CHAUFFEUR First time on a private jet.

CALEB CHAUFFEUR Hell of an opportunity. CHAUFFEUR (CONT’D) So how does a programmer from Long Island get to be meeting the CEO? CALEB By being lucky. but you got the golden ticket. I only drive this car. anyway. CHAUFFEUR (CONT’D) Thought it was him. The CHAUFFEUR shrugs. CHAUFFEUR (CONT’D) I did see him one time. Like a lottery. Beat. CALEB (CONT’D) Beautiful here. CALEB Believe me. I know it. . Jogging alongside the road. shuttling house guests from the airport to his residence. The CHAUFFEUR glances back at CALEB in the rearview mirror. The winner got to spend a week with him. CHAUFFEUR The president can’t get Mr Bateman on the phone. I won a competition.6. a couple of miles out from the house. Yes. CALEB How long until we get to his estate? The CHAUFFEUR chuckles. CHAUFFEUR Beat. sir. for employees. CALEB looks out of the window. CHAUFFEUR Never once. Yep.

building. the lens of the camera twitches. PERIMETER GATE . The first is the road. wire. 7 Topped with razor Set into the wall is a the MAIN GATE.7. CHAUFFEUR We’ve been driving through his estate for the past two hours. CALEB glances at the high wall and closed gate. MOUNTAINS . surrounded by extensive gardens. There are only two man-made features anywhere to be seen. A single-level modernist structure.DAY 5 A CCTV camera is hidden in the canopy of trees. sir. snaking along the flanks of a mountain.DAY 4 The Maybach drives along a one-lane track. 7 EXT. CHAUFFEUR Here we are. 4 EXT. MOUNTAINS . and a cobalt blue slab of swimming pool.DAY 8 The CHAUFFEUR turns off the engine.DAY The perimeter wall is twenty foot high. 9 EXT. 6 EXT. or the Canadian Rockies. As the car glides past. CAR . is a It’s located just above the tree line. The mountains might be in Colorado.DAY 6 PULL BACK to reveal a massive landscape. in the distance.DAY The CHAUFFEUR holds open the door as CALEB exits the car. PERIMETER GATE . 5 EXT. The second. which are themselves enclosed by a perimeter wall. MOUNTAIN FOREST . Studded with more CCTV cameras. The Maybach pulls up outside. 8 INT. 9 .

where the car had been. CALEB suddenly looks very isolated.8. . It’s a slab of steel. He puts his phone back in his pocket. The CHAUFFEUR pulls out CALEB’S bags and lays them on the ground. .. CALEB turns back to the perimeter wall. Right. of attracting attention. Produces a wallet. Slightly puzzled. When the car is out of view. A moment later. CALEB We aren’t driving in? The CHAUFFEUR goes to the boot and pops it. The CHAUFFEUR gets back inside the car. CHAUFFEUR No tip required. and closes the door. CHAUFFEUR I take guests to the gate. and knocks on it with his hand. and pulls out some crumpled bank notes. CALEB You mean you’re leaving me here? CHAUFFEUR This is the gate. and the engine noise has gone. The CHAUFFEUR smiles. No signal at all. concrete wall. sir.. There doesn’t seem to be any intercom or doorbell. He might as well be knocking on the CALEB reaches into his pocket and pulls out his mobile phone. CALEB CALEB reaches into his pocket. Leaving CALEB alone. he is driving away. No means He walks up to the main gate. A little dust is hanging in the air.

from an unknown source. Then .beside which is a BRASS PANEL set into the wall. there is a pillar protruding from the ground. and the MAIN GATE closes behind. AUTOMATED VOICE (CONT’D) Approach the console. Can we do another? . A single bright strobe. With a GLASS SCREEN on one side. Standing on the wrong side of the high wall. On it. Head-height. Below the screen is a DISPENSER. AUTOMATED VOICE (CONT’D) Face the screen. CALEB . there is an embedded chip.DAY 10 CALEB enters through the MAIN GATE into a small courtyard. and a photograph of his face. AUTOMATED VOICE Step inside. something small clatters into the DISPENSER. the screen FLASHES.. Almost immediately afterwards. AUTOMATED VOICE Gate opening. AUTOMATED VOICE (CONT’D) Take your keycard. It glows RED. locking heavily..CALEB startles. and a tiny LED light. Stand back. He looks comically surprised. It’s a credit-card sized ID.9. CALEB picks the object up. CALEB walks forwards. Bags at his feet. and as soon as he has locked eyes with his own reflection. Opposite him is a SECONDARY GATE . CALEB puts down his bags and walks to the pillar. as an AUTOMATED VOICE speaks to him. Soft wind rush in trees. GATE SECURITY AREA . CALEB looks into the screen. 10 EXT. Sun hanging in the sky. A couple of metres away.

In the middle of the room is a seating area.the lowrise. AUTOMATED VOICE Approach the entrance gate and swipe the security plate with your card. In comparison to the wild forest and mountain ranges outside the perimeter wall. The RED LED light changes to BLUE. with a white carpet. But he is not. GARDENS . 12 EXT. 11 EXT. and walks up to the secondary gate. A little distance away.10. He knocks again. 13 . GARDENS .DAY 12 CALEB reaches the front door of the house. and knocks. or noticed. and the shrubs and trees are positioned. The lawns are manicured. Beyond is a kitchen area. a winding path rises up to the main house . One wall holds a large Abstract Expressionist artwork apparently a Jackson Pollock drip painting. and a telephone positioned beside a sofa. Then pushes the door. and the secondary gate starts sliding open. HOUSE/MAIN ROOM . CALEB waits to see if he is welcomed. CALEB gets his bags. this is sculpted and controlled with golfcourse precision. 13 INT. It opens. Then he holds his ID up to the BRASS PLATE. and a dining area. Ahead. Nothing happens. a disc-shaped object is moving across the grass.DAY 11 CALEB enters a huge garden area. modernist building. An automated lawn-mower.DAY The front door opens to a large open-plan room.

. It presents an arresting panoramic view of the garden and the mountains behind. a man is working a PUNCH BAG. and through it.. . unsure whether to try to pick it up. nearby. he enters. . as the thumping continues. a huge sliding glass door.... As he does so .CALEB on his hands and knees. on a patio. Then suddenly stops. and sees that he has trodden on a wine glass. He walks across the white carpet. More or less rhythmic. by sudden commencement of a THUMPING SOUND. in the sunshine.. we see the reason for the thumping sound. . Which now reveals. Then he stands. past the kitchen area. Something under his foot has crunched. Just outside. Shit. Rapid. The door is open. Abrupt. After a few moments. hurriedly picking up the tiny shards of glass. Bright shards of glass are sprinkled in the bleached wool. And takes a few more steps into the room.11. CUT TO . or whether to simply pretend it never happened. On to his clothes. He looks down. CALEB (CONT’D) He freezes.he is startled a second time. From somewhere CALEB finishes clearing up the glass. CALEB Hello? Silence. and putting them into his open bag.

NATHAN NATHAN beams. NATHAN (CONT’D) Caleb Smith. Then . 14 EXT. 15 INT. come in. Spots of blood seep through the pale material around his knuckles. CALEB puts his bags down.12. HOUSE/MAIN ROOM .DAY 14 The punch bag is suspended by a chain on an exterior flanking wall of the house. Bathed in His hands are not protected by gloves. He turns to see CALEB.NATHAN senses the other presence. Only wraps. NATHAN Come in. where there is a jug of non-specific vegetable juice waiting. Sweat droplets cascade down his face. Standing by the open glass wall. Hi. Caleb.. PATIO . Breathing hard. The man is wearing shorts. and a glass. . he wipes at his eyebrows with the back of his wrist. After a flurry of punches. NATHAN Dude. and is shirtless. He’s thirty..DAY 15 NATHAN walks past CALEB. This is NATHAN BATEMAN. sweat. I’ve been so looking forward to this. NATHAN breaks off. NATHAN (CONT’D) You want something to eat or drink after your journey? . CALEB NATHAN starts unravelling his wraps. and goes to the dining table.

Wondering whether to be honest. He’s still drinking. but to be honest. he sees a collection of empty beer bottle on the kitchen counter. CALEB hesitates. CALEB Yeah? NATHAN laughs. NATHAN (CONT’D) I’d been thinking we’d have breakfast together. Decides to be. Juice. CALEB (CONT’D) Actually there was a glass. I always try to compensate the next morning. CALEB Thank you. NATHAN Like you wouldn’t believe. Exercise. I can’t eat anything right now. Verges on odd. uh. Was it a good party? NATHAN doesn’t answer. maybe. No.. CALEB (CONT’D) Because. Anti-oxidants. You sure? I’m fine. One of your guests.I woke up this morning with the mother of all fucking hangovers. And if I have a heavy night. CALEB (CONT’D) .13. CALEB feels he needs to say something.. left it. I gotta tell you . On the carpet.. The silence extends a little. as NATHAN drinks. Looking around. You know? CALEB Sure. NATHAN NATHAN pours himself a glass of the vegetable juice.. Silence. and - .

NATHAN (CONT’D) You’re freaked out.. NATHAN Broke what? The glass. and the house. His expression is unreadable. Right? CALEB doesn’t have time to answer. and the mountains. NATHAN looks at CALEB.. I’m going to put this out there so it’s said. NATHAN (CONT’D) But dude. because it’s all so super-cool. at this moment.I broke it. In this room.14. Guests? NATHAN CALEB . can we get it behind us? Can we just be two guys? Nathan and Caleb. Okay. The moment you’re having. NATHAN smiles. NATHAN (CONT’D) And I get that. CALEB Beat. Not the whole employeremployee thing. To be meeting me. . CALEB . NATHAN Caleb. You’re freaked out by the private jet. CALEB (CONT’D) But I cleaned it all up. NATHAN puts his empty glass down. having this conversation. And you’re freaked out by me. CALEB waits. I am? CALEB NATHAN Yeah.

It’s simple enough. and red LEDs. 17 INT. When CALEB takes his hand back.15.CONTINUOUS CALEB and NATHAN walk down the corridor. Caleb. (MORE) 17 . NATHAN It’s good to meet you too. yes. right? CALEB . making him look slightly encumbered next to NATHAN. And that just makes everything easy for you. brass plates. As with the dining room. we watch CALEB and NATHAN enter a long corridor that runs along the exterior wall of the house. HOUSE/GLASS CORRIDOR . one side of the corridor is a glass wall. CALEB (CONT’D) It’s good to meet you.DAY 16 From the perspective of the garden. 16 EXT. Uh. NATHAN beams. can I do that? And this card takes all that worry away. looking over the mountain vista. They shake. NATHAN Because you’re like: oh fuck. there is a little smear of blood on his fingers. He discretely wipes it on his trousers. It opens some doors. GARDENS .. but it doesn’t open others. CALEB holds out his hand. CALEB carries both his bags. On the other side are closed doorways.. Nathan. I’m in someone else’s house. it’s off limits. NATHAN So I guess the first thing I should do is explain your pass. Beat. If you try to open a door and it stays shut: okay. can I do this.

and it opens: it’s for you. What? . Then swipes the card on the brass plate.. NATHAN (CONT’D) Let’s try this one.16. NATHAN (CONT’D) Cosy. A little fridge. NATHAN You like? It looks like the generic antiseptic room of a mid-level business hotel. it? CALEB There’s nothing wrong. NATHAN (CONT’D) It’s your room. and a bathroom through there. table. Bed. NATHAN opens the fridge. cupboards. You got yourself a bed. Except it has no windows. NATHAN stops by a door. Caleb. a little desk. CALEB This is great. You bet. Inside it is full of bottled water.. TV. NATHAN (CONT'D) If you try another door. 18 INT. Sorry? NATHAN CALEB NATHAN There’s something wrong. HOUSE/CALEB’S BEDROOM . CALEB hunts around in his pockets for his keycard. NATHAN (CONT’D) Guess it’s for you.DAY 18 NATHAN follows CALEB into a bedroom. right? CALEB puts his bags down. What is . The LED turns blue.

. Buried in these walls are enough fibre optic cables to reach the Moon and lasso it. which reads. NATHAN (CONT’D) And I want to talk to you about what I’m researching. and pulls out a pen. What? CALEB NATHAN reaches into his pocket. NATHAN It’s the windows. Beat.DAY 19 CALEB sits at the desk in his room. I wasn’t thinking that. 19 INT. And it’s not cosy. CALEB No. No way. it’s eating me up inside. NATHAN Caleb. NATHAN sits on the bed. I was thinking: this is really cool. HOUSE/CALEB’S BEDROOM .. There’s a reason the room has no windows. In fact. You’re thinking: there’s no windows. I want to share it with you so much. at the top: NON DISCLOSURE AGREEMENT . I want to share it with you. It’s claustrophobic... In front of him is a sheet of paper. It’s a research facility. There is? NATHAN Uh-huh. CALEB . holding NATHAN’S pen. In many ways. . this building isn’t a house.17. NATHAN (CONT’D) But there’s something I need you to do for me first.

’ CALEB glances back at NATHAN on the bed. NATHAN Okay. Puts it in his pocket. Bonding... to confirm that no disclosure of information has taken place. NATHAN (CONT’D) . Folds it. NATHAN (CONT’D) What can I tell you? You don’t have to sign. using any means of communication. CALEB It doesn’t feel very standard. Then hesitates a final moment .18. We could spend the next seven days shooting pool and getting drunk together. CALEB (CONT’D) I think I need a lawyer. NATHAN has moved from the bed. Good call. including but not limited to that which is disclosed orally or in written or electronic form. CALEB ‘The signee agrees to regular data audit with unlimited access. you’ll spend the rest of your life regretting it. and is standing directly behind him. NATHAN It’s standard. in public or private forums. CALEB turns back to the desk. NATHAN (CONT’D) NATHAN takes the piece of paper. So.and signs. When he looks round. NATHAN shrugs. in a year or so’s time. Looks at the paper. And when you discover what you missed out on. it’s not standard.

Because if that test is passed. CALEB (CONT’D) .. you are dead center of the single greatest scientific event in the history of man. NATHAN (CONT’D) And over the next few days. NATHAN (CONT’D) Do you know what the Turing Test is? CALEB reacts .. Holy shit. you’re going to be the human component in a Turing Test. NATHAN I’ve already built one. Beat. Are you telling me you’re building an AI? NATHAN shakes his head.. the test is passed. Test is.immediately knowing what NATHAN has just implied. CALEB . CALEB (CONT’D) It’s where a human interacts with a computer. CALEB I know what the Turing NATHAN waits.19.. Caleb. NATHAN And what does a pass tell us? CALEB That the computer has artificial intelligence. NATHAN stands. . Yeah.. You got it.. Beat. NATHAN That’s right. And if the human can’t tell they’re interacting with a computer. .

HOUSE/OBSERVATION ROOM . There are also several oval discs positioned around the room. with books. the room is white. There Her body-structure is covered in a delicate skin. NATHAN smiles. There are shelves. There are fabrics. in the pattern of a honeycomb.. it’s not the history of man. . which is positioned to mirror the first chair. It’s the history of Gods. on the other side of the dividing glass. made of some kind of dark non-reflective material. Like a spiderweb. Laboratory-like. and breasts. except for a single chair. The carbon fibre is charcoal colour. where CALEB has entered. In contrast to the minimalist laboratory area. her limbs and torso are a mixture of metal and plastic and carbon fibre. The metal has the yellow-warmth of nickel. The skin is a mesh. clean. and sparse. These are induction plates.. 20 INT. On one side of the glass. Unfurnished. There are pictures and drawings on the walls. And there is another chair.. Her name is AVA. Sitting on this chair is robot girl. it is almost invisible unless side-lit. There is a table.DAY 20 The observation room is a single space..20. Her hands have five delicate digits. this is a personalised space. She’s an extraordinary piece of engineering. are biceps. CALEB If you’ve created a conscious machine. The plastic is cream. Proportioned as a slender female in her twenties. which faces the VIEWING WINDOW. The shapes of her body approximate the form of muscle. and looks through to the other half of the room. and colour. NATHAN I like you. bisected by a thick glass panel. Low lit. .

which is that of a strikingly beautiful girl. Through the glass. AVA I’m pleased to meet you too. REVEAL that he is alone on his half of the glass.21. Ava. The one part of her that is not obviously an inorganic construct is her face . nowhere to be seen. Nathan is . It is just the voice CALEB . AVA CALEB . of a girl. Ava. the two of them see each other for the first time. CALEB Hi. almost imperceptible blankness in her eyes. Indistinguishable from a real girl in its appearance and in the way it moves except for one thing. We observe AVA for several moments.. Beat. And a beat later . There is a very slight. Do you have a name? Yes.. we pull focus. from the top of the forehead to just below her chin. CALEB . AVA Her voice has no digital inflections. I’m pleased to meet you. Hello.AVA looks up. Watching her. Caleb. My name is Caleb. Then.. CALEB sits on the chair opposite her. Created in a defined oval. to see CALEB.. AVA Hello. in the reflection of the viewing window...

But on the ceiling, and attached to the walls, on both sides
of the glass, there are several CCTV cameras. Trained
variously on CALEB and AVA. Lenses twitching.
She watches CALEB.

Then cocks her head slightly to the side.

Are you nervous?
CALEB frowns.
... Why do you ask that?
A beat.
Then AVA repeats her question.
Are you nervous?
... Yes.

A little.

I’m not sure.
I feel nervous too.
... Do you?


Why do you feel nervous?
I’ve never met anyone new before.
Only Nathan.
... Then we’re both in quite a
similar position.
Haven’t you met lots of new people
None like you.




So. It looks like we need to break
the ice.
He glances at her.


Do you know what I mean by that?


What do I mean?
Overcome initial social
So let’s have a conversation. If
we talk, we’ll both relax, and get
to know each other at the same
Okay. What would you like to have
a conversation about?
Why don’t we start with you telling
me something about yourself.
What would you like to know?
Whatever comes into your head.
AVA pauses a moment.
Well. You already know my name.
And you can see that I’m a machine.
Would you like to know how old I



I’m one.
One what?

Or one day?


A beat on CALEB.

One year?


Her answer feels like the near non-sequitur that typically
betray AI responses.
Does that seem young to you?
Quite young.
When did you learn how to speak?
AVA pauses, as if considering this question for the first
I don’t think I did learn. I
always knew how to speak - and
that’s strange, isn’t it? Because
language is something that people
Some believe language exists in the
brain from birth, and what is
learned is the ability to attach
words and structure to the latent
Would you agree?
... I don’t know.
opinion on that.

I have no

I like to draw.
CALEB says nothing.
Just watches AVA.

Again, lets the non-sequitur sit.

AVA also smiles. 22 INT. them. making the edges of the clouds glow like light-bulb filaments. but I can show you them tomorrow. HOUSE/MAIN ROOM . I’d like to see AVA Beat.25. Good. . And suddenly . the way the smile lights up her face.DUSK 22 Behind CALEB.DUSK 21 Outside the house. CALEB That sounds good. AVA (CONT’D) Will you come back tomorrow. 21 In AVA EXT. Yes. So? NATHAN CALEB turns.there is a strong sense of something very human there. CALEB stands by the window. NATHAN sits at the head of the dining table. I was just ordering my thoughts. CALEB Sorry. AVA (CONT’D) I don’t have any of my pictures with me now. Caleb? CALEB smiles slightly. the sun setting is behind the mountain peaks. nursing a bottle of Peroni beer. CALEB Definitely. looking towards to the main room. HOUSE/GARDENS . Yeah.

CALEB Although - . NATHAN doesn’t seem to hear.fuck. About how if I’ve created a conscious machine.26. It’s so good for the story. Approving. NATHAN ‘Through the looking glass’.. First impressions: you’re impressed. and he was looking back at me. NATHAN You know I wrote it down. you’re through the looking glass. NATHAN laughs. CALEB She’s extraordinary. NATHAN I just thought . when we get to tell it. When you talk to her. I wrote As a kind of punctuation mark. You’re quotable. NATHAN downs the remains of his beer. you’re a God’. That’s so perfect. ‘I turned to Caleb. I don’t think that’s exactly what I said. CALEB Actually. NATHAN nods. Yes. You’ve got a way with words there. NATHAN Don’t order. NATHAN Whatever it was you said. That other line you came up with. it down. I’m God. Then stands. Just speak. it’s someone else’s quote.. I’m not man. CALEB . and heads for the kitchen area to get another. NATHAN (CONT’D) So anyway. CALEB But I didn’t say that. Caleb. And he said: you’re not a man.

she could pass for human. No? CALEB (CONT’D) NATHAN Caleb. But then I started to realise the model was probablistic. CALEB (CONT’D) At first I thought she was mapping from internal symantic form to symantic tree-structure. NATHAN ‘Although’? There’s a qualification to you being impressed? CALEB No! No qualification to her. But . CALEB (CONT’D) Non-determinist. then getting linearised words..I’m sorry. CALEB presses on. And there’s a control. I understand you want me to explain how Ava works. or NATHAN waves a hand.27. NATHAN still says nothing. Just . with statistical training . CALEB I think you’re probably right. NATHAN I think we’re past that. Her language abilities are incredible. . The real test is to show you she is a robot. so you just heard her voice.or at least some kind of hybrid. Silence. The system is stochastic. right? NATHAN looks at CALEB blankly.. the machine should be hidden from the examiner. If I hid Ava from you. I don’t think I’ll be able to do that. Then see if you still feel she has consciousness. .in the Turing test.

Dude. . CALEB (CONT’D) . It’s because I want to have a beer and a conversation with you.28. CALEB CALEB pauses. CALEB Try me! I’m hot on high-level abstraction. CALEB Sorry. that she’s fucking amazing. Carefully picks bits of glass off his clothes. It’s cool.. 23 INT.. Just . Oh.. Not a seminar. NATHAN (CONT’D) Just answer me this. HOUSE/CALEB’S BEDROOM .. What do you feel about her? Nothing analytical. and NATHAN (cuts in) It’s not because you’re too dumb. CALEB The glass of the bottles touch. 23 . Hangs clothes in the closet. NATHAN NATHAN studies at CALEB for a beat.NIGHT CALEB unpacks his bags.. NATHAN smiles. Then lifts his bottle. NATHAN Cheers. CALEB lifts his bottle too. Cheers.how do you feel? I feel..

and an alarm clock. attached to the wall. The clock reads 01:32 am. HOUSE/CALEB’S BEDROOM . 26 INT. Then turns back again. HOUSE/CALEB’S BATHROOM . . The soft glow from the digital readout throws a light on the remote control. But from serious wounds. 25 Long-healed. as the numbers change to 2:29 am. For a beat. Unusual.NIGHT 25 CALEB climbs into bed. a remote control. REVEAL CALEB.NIGHT 26 Darkness. HOUSE/CALEB’S BEDROOM . there is a TV. He switches the lamp out. CUT TO 2:28 am. Eyes closed. surgery. or INT. CALEB God damn it. Then his eyes open.29. Neat. On the bedside table there is a lamp. At the foot of the bed. He turns over in the bed. brushing his teeth by the sink. He’s wide awake. CALEB lies watching the digital clock.NIGHT 24 CALEB stands in his boxer shorts. CLICK. 24 INT. The clock reads 11:43 pm. REVEAL several long scars on his back. He reaches for the remote control.

Her eyes. CUT BETWEEN . we never clearly see what AVA is actually drawing. The different TV channels flip between feeds from the various cameras. he sees a LIVE FEED from a CCTV camera. Her legs tucked beneath the chair. When his eyes open again. CALEB (CONT’D) . . It shows the OBSERVATION ROOM. The TV at the foot of the bed switches on.and varying CCTV ANGLES of AVA as she draws. observing. instead of seeing a TV station. . momentarily dazzled by the brightness. Throughout.30. there is a powerful sense in this tiny gesture of her feeling sentient and human. CALEB is transfixed by the imagery. The curve The things he is Her mouth.. The way she bites her lip in an expression of concentration. Even more so because her face fills the screen. Glazed. END ON CALEB.CALEB watching AVA. And the digital alarm clock goes dead. hiding the mechanical parts of her form. CLOSE-UPS of her face. of the breasts on her synthetic torso. As when she smiled. CALEB sits upright in bed. Her posture. Drawing. What the fuck? AVA is sat at the table.. CALEB squeezes his eyes shut.the TV goes dead. Then ABRUPTLY . The CCTV images become CALEB’S POV. suddenly lighting up the room with cold TV glow.

The LED stays red. And the windowless room is plunged into total darkness.as abruptly as the power went off. CALEB stands in the flickering TV light. AUTOMATED VOICE (CONT’D) Full facility lock-down until main generator is restored. we hear CALEB breathing.. CALEB looks around his windowless room. Beside the brass plate. AUTOMATED VOICE Full facility lock-down until main generator is restored. which we were unaware of until it was gone. it comes back again. Beats pass. Power cut. the LED is red. CALEB . CALEB hesitates a moment. Then . He swipes it with his card. As if the house had been previously filled with a soft hum of power.. activated. the TV and digital alarm clock turn back on. and total silence.31. The emergency lighting goes off. Then gets out of bed. Goes to his bedroom door. . AUTOMATED VOICE Back up power Soft emergency lighting comes on. Are you kidding? He tries his card again. AUTOMATED VOICE (CONT’D) Power restored. Then he tries his card again. In this. Which suddenly has the quality of a prison cell.

with a half glance over his shoulder.. Turns. There is a slot by the phone. He reaches into his pocket.. the LED turns blue. NATHAN (CONT’D) You don’t have clearance to use the phone.he shouldn’t. On the carpet beside him are a couple of empties. in the CALEB walks over to it. Pulls out his KEYCARD. except for a line of gently glowing lights on the floor.. NATHAN (CONT’D) You understand. The TELEPHONE. The glass corridor is dark. Then he picks up the handset. (MORE) . seating area. And you being kind of an unknown. A bottle of Peroni rests on his stomach. . dude. as if sensing he is doing something that . Puts it in the slot. The lights are all off. It stays dead. He hits some buttons.32. This time.NIGHT 27 CALEB walks out of his room. 27 Revealing INT. NATHAN is lying on one of the sofas. 28 INT. The room is still and silent. NATHAN Sorry. It’s dead. the GLASS CORRIDOR outside. and the door opens. NATHAN’S voice is very slightly slurred. and a light on the handset glows red. HOUSE/MAIN ROOM . he sees something..obscurely . HOUSE/GLASS CORRIDOR . CALEB puts two and two together.NIGHT 28 CALEB enters the main room. Given Ava. CALEB startles. Lit by moonlight.

. working on it. CALEB puts the handset back in its cradle.. we’ve been getting them recently.. uh.a great guy. NATHAN (CONT’D) I mean . NATHAN (CONT’D) What are you doing awake at this time. Instant pals.. No one really. Something happened in my room. NATHAN (CONT’D) Who did you want to call? CALEB I don’t know. anyway? Did you come to join the party? CALEB . Some kind of power cut. NATHAN Beat. . Yeah. No sweat. You don’t remember that? It’s a good movie. Automatic lockdown. I’m. CALEB I couldn’t open the door to the bedroom.. The power cuts. NATHAN smiles. A ghost gives Dan Ackroyd oral sex. Otherwise anyone could open the place up just by disabling the juice. NATHAN Ghostbusters..33. So I came to see what going on. What? CALEB NATHAN Who’d ya want to call? Ghostbusters. CALEB I was wondering how the phone worked. That’s all. NATHAN It’s a security measure. and so on. But. NATHAN Ah.

A collection of freeweights and exercise equipment. CALEB The JAPANESE GIRL doesn’t answer. doing sit ups. carrying a tray with a cafetiere..DAY 31 Between the swimming pool and the patio. CALEB sits up to see a GIRL entering his room. HOUSE/CALEB’S BEDROOM . NATHAN is lying on an inclined board. The door to his room has been opened.. Hi. with hanging punch bag. and leaves. 29 EXT. NATHAN Sweet dreams. CALEB approaches. 31 EXT. MOUNTAINS . Okay? CALEB NATHAN lifts his beer.MORNING 30 CALEB is woken by light flooding on to his face. .34.NIGHT 29 Above the mountains. 30 INT. NATHAN (CONT’D) If it happens again. Outside it is broad daylight. NATHAN continues to exercise as he talks. She looks Japanese. doesn’t say anything. She’s stunningly pretty. Sure. which she puts on CALEB’S bedside table. Just turns. And she Just walks in. the star constellations are dense in the clear sky. with his feet hooked around a bar. . relax. GARDENS/GYM AREA . carrying his coffee. there is an outdoor gym area.

. Gets CALEB smiles. you. NATHAN So what’s the plan today? Hit me.35. The difference between an ‘AI’ and an ‘I’. Testing Ava by conversation is kind of a closed loop. huh? you right up in the morning. You set? You bet. NATHAN (CONT’D) Day two. And I think being able to differentiate between those two is the Turing test you want me to perform. You can play it to find out if it makes good moves. It was a good thing. CALEB NATHAN finishes his set. So. Thank NATHAN She’s some alarm clock. NATHAN Hey. man. NATHAN So it’s simulation versus actual. CALEB Exactly. and stands. Or if it even knows what chess is. I’m still trying to figure the examination format. CALEB No. I just didn’t want too much of the day to slip by. CALEB I’m not sure. Like trying to test a chess computer by only playing chess. NATHAN How else would you test a chess computer? CALEB It depends what you’re testing it for. NATHAN starts adding weights to curl dumbbells. Sorry to send Kyoko to wake you. But it won’t tell you if it knows it’s playing chess.

NATHAN laughs.
‘An AI and an I’. Beautiful. I’m
going to start following you around
with a fucking dictaphone.
NATHAN glances over at CALEB.
In the meantime, do me a favour.
Ease up a little on the text-book
approach. All I want is simple
answers to simple questions. Last
night, I asked how you feel about
her. And you gave me a great
NATHAN starts doing curls.
Now the question is: how does she
feel about you?
A beat.





- CALEB and AVA facing each other through the glass of the
observation room.
I brought you a drawing.
AVA holds a piece of paper to the glass. The marks on it are
totally abstract. A mesh of tiny black marks, that swirl
around the page like iron filings in magnetic field patterns.
... What’s it a drawing of?
Don’t you know?


AVA looks disappointed.

I thought you would tell me.

Don’t you know?

I do drawings every day. But I
never know what they’re of.
Are you not trying to sketch
something specific? Like an object
or a person.
She shakes her head as she takes the picture down.
Maybe you should try.

What object should I draw?

Whatever you want.

It’s your

Why is it my decision?
I’m interested to see what you’ll
AVA pauses a moment.
Do you want to be my friend?
... Of course.
Will it be possible?
Why wouldn’t it be?
Our conversations are one-sided.
You ask circumspect questions, and
study my responses.
AVA looks at CALEB directly.

Meets his gaze evenly.

That’s true, isn’t it?
... Yes.


You learn about me, and I learn
nothing about you.

That’s not a foundation on which
friendships are based.
CALEB is taken aback. Aware that the AI has just wrongfooted him on a point of argument.
... That’s a fair comment.


So - you want me to talk about


Where do you want me to start?
It’s your decision. I’m interested
to see what you’ll choose.
And now CALEB is aware that AVA has just - gently - used
He looks at her, frowning slightly.
And in response, in a very human way, AVA arches an eyebrow.
CALEB laughs.
Okay, Ava. Well - you know my
name. I’m twenty four. And I work
at Nathan’s company. You know what
his company is?
Blue Book, named after
Wittgenstein’s arguments, is the
world’s most popular internet
search engine, processing an
average of ninety four percent of
all internet search requests.
That’s right.
Where do you live, Caleb?
Brookhaven, Long Island.

just for a moment. AVA What about your family? CALEB No brothers or sisters. CALEB AVA Is your status single? . which I like. CALEB I spent a lot of time in hospital after the crash.it’s five minutes walk to the office.. AVA CALEB nods. Yeah. And five minutes drive to the sea. But . Kind of small. I’ve got an apartment. I’m sorry. Back seat. I was pretty advanced. AVA Are you married? No. Got into programming. AVA Is it nice there? CALEB It’s okay. But it was the front that got the worst of it.. Nearly a year. A long beat.39. My parents were both high school teachers. (beat) And if we’re getting to know each other. In fact I was in the car with them. AVA An advanced programmer. A kind of processing pause for AVA. . By the time I made it to college. Car crash when I was fifteen. I guess I should say they’re both dead. CALEB They lock eyes.

CALEB AVA A good friend? He hesitates. AVA Like Nathan. CALEB Yes. CALEB Of course. CALEB Well. AVA Is Nathan your friend? CUT TO . CALEB Yes.kind of. what he did was .one of the CCTV cameras that are observing them. Thrown momentarily. Yes. . Beat.Mozart or something. Feeling the camera. Back-tracks. a good friend is He breaks off. CALEB hesitates.40. AVA Do you like Mozart? CALEB smiles. CALEB (CONT’D) Or . Sure. If you understand code. watching. AVA Do you like Nathan? CALEB misses a beat. CALEB I like Depeche Mode. Nathan wrote the Blue Book base code when he was thirteen.

we see a detail of AVA’S honeycomb skinmesh that we were not able to see before. activated. where the panel LED glows red.the CCTV CAMERAS. soft. It glows. we now see the curves and lines of a naked female body.AVA. illuminating CALEB and AVA’s faces from below. CALEB . plunging the room into darkness. Cast from LED strips on the floor. AVA Sees the way AVA is looking at him. In the low light. Caleb. hanging dead. It takes time to get to know AT THAT MOMENT . Where the mesh is almost invisible in bright conditions. like phosphorescence .. Power cut.all the power abruptly shuts down. Wrong about what? . Weirder. CUT TO . Which are unpowered. So instead of seeing AVA as a primarily robot structure. Watching CALEB with a strange intensity. CUT TO . CUT TO . CALEB (CONT’D) We only just met. glancing round at the door to the room. CALEB turns.and this changes the way we see AVA. it is now the dominant describer of her form.41.CALEB. The vague quality of blankness in her eyes is completely gone. and throws the observation room into a completely different light.. AUTOMATED VOICE Back up power Then the soft emergency lighting lifts up. AVA (CONT’D) You’re wrong.

CALEB (CONT’D) I’m sorry. CALEB turns . facial expression.. AVA presses her hand to the glass. AVA (CONT’D) (prompts) Is that okay. In what way? AVA He isn’t your friend.and if we made a list of books or works of art which we both know. When CALEB looks back at AVA. Caleb? . AVA .. She looks directly at CALEB. You shouldn’t trust anything he says.. I don’t understand what you’re AVA (cuts in) You shouldn’t trust him.. Nathan.just in time to see the CCTV CAMERAS twitch back into life. and manner. . Trust me. and the normal lighting starts fading up. it would form the ideal basis of a discussion. AVA (CONT’D) Then .. Ava. and talks. AUTOMATED VOICE Power restored. Excuse me? CALEB CALEB frowns.the emergency lighting suddenly dims. she has returned to her previous posture. A beat.42. AVA CALEB . as if continuing a conversation they have been having..

A deep red stain.EVENING 34 CALEB and NATHAN sit at the dining table. GARDENS . Yes. she knocks a bottle of wine on the table. laying the table for dinner. KYOKO lays out different kinds of salad between them. Then KYOKO appears beside him. Good. CALEB No problem. NATHAN Shit. and immediately starts emptying. 34 INT.43. As she does so.. Kyoko. . CALEB takes his napkin. She holds her hand out for the napkin. HOUSE/MAIN ROOM .LATE AFTERNOON 33 An electronic hum foreshadows the arrival of the automated lawn mower machine.. Through the glass wall to the main room. and lands on its side. It tips. CALEB AVA smiles. blossoming across the linen. Trees and shrubs cast long shadows across the manicured lawn. Are you serious? (to Caleb) Did it get you? No. and leans down to start wiping the floor. Each is beautifully prepared. 33 AVA EXT. as it tracks across the grass. KYOKO. . They lock eyes for a moment. Leaves are spread and overlapped like fish scales. we can see the Japanese girl. NATHAN Give her the cloth. CALEB pushes back his chair as the liquid pushes towards him. then starts to fall to the floor.

She can’t speak a word of English. NATHAN (CONT’D) It’s funny. NATHAN Good. Right. Means I can talk trade secrets over dinner with an HOD or CEO. Kyoko. where he picks up another bottle. CALEB (to Kyoko) It’s okay. KYOKO kneels and starts to wipe the wine off the floor. CALEB looks visibly uncomfortable. and know it will go no further. CALEB hesitates. NATHAN walks to over the kitchen area.you’re wasting your time. Hey. NATHAN (CONT’D) It’s like a firewall against leaks. KYOKO looks over again. KYOKO goes back to cleaning around CALEB’S feet. Her hand remains outstretched. Go-go. don’t worry. (MORE) . and exits. CALEB I think she gets that you’re pissed. It doesn’t matter how rich you are: shit goes wrong. You can’t insulate yourself from it. it. Then hands her the napkin. NATHAN (CONT’D) But it also means I can’t tell her I’m pissed when she’s so fucking clumsy that she pours wine over my house guest. Kyoko? She looks up at her name. NATHAN (CONT’D) She stands. I’ve got NATHAN Dude .44. Because I am pissed.

CALEB Do you know why they happen? NATHAN No. The system was supposed to be bullet proof. CALEB They drink. So after the job was done. but the guys who installed it obviously fucked something up. NATHAN So how did it go? got to report? CALEB hesitates. NATHAN (CONT’D) It’s supposed to be death and taxes you can’t avoid. You would not believe how much I spent on the generator system here. What have you Then . NATHAN (CONT’D) Here’s to your second day. Cheers. Then answers. CALEB’S glass is still untouched.45. Casual. Cheers. Joke. There’s too much classified stuff here. I had them all killed. his own. NATHAN (CONT’D) NATHAN refills. NATHAN walks back to the table. But actually it’s death and shit. NATHAN (CONT’D) It’s like these power cuts. But I’m getting failures every day. NATHAN drains his glass. Anyway. CALEB Can’t you call them back? NATHAN No. Fills CALEB’S glass.

NATHAN What do you mean? CALEB It was a play on words. In a way. Watching CALEB. NATHAN Right. Beat. Yeah? NATHAN CALEB She made a joke.. and a play on me. It’s discretely complicated. NATHAN But I want to hear your Sure. the joke is the best indication of AI I’ve seen in her. She could only do that with an awareness of her own mind. NATHAN (CONT’D) And what about the power cut? CALEB freezes up. When she threw your line back at you. Kind of non-autistic. take. all right.46. didn’t you? I mean. CALEB There was one interesting thing that happened with Ava today. She’s aware of you. I assume you’re watching on the CCTV. CALEB You saw how the day went. About being interested to see what she’d choose. CALEB It got me thinking.. Sorry? Subtly. NATHAN Yeah. . and also of awareness of mine. NATHAN drinks. I noticed that too. NATHAN smiles. CALEB .

That was the only bit I couldn’t see. having a shave. And as he does so - . All the cameras fail. in front of the sink. I lose audio. And meets NATHAN’S gaze. Steps out. Nothing? at all? CALEB NATHAN She didn’t remark on it CALEB puts the glass down. Like a servo.refilling. 35 INT. Nothing. NATHAN The power cut. 36 INT. or electric motor. Operating for half a second. HOUSE/CALEB’S BATHROOM . No. corrective movement. CALEB Not really. making a tiny . and dries himself off. He switches the water off. Beat. Hard to be even sure he heard it. CALEB pauses a moment. Very quiet. He leans forwards into the mirror. NATHAN waits. Reaches for a towel. And he hears the noise again. NATHAN (CONT’D) So what happened? CALEB takes a sip of his wine. Then takes the towel. the works. The view through it. as if checking to make sure he shaved properly on his cheek.NIGHT 36 CALEB stands in shorts. of CALEB. 35 Water runs over his head. HOUSE/CALEB’S BATHROOM . ON NATHAN’S GLASS .he hears a soft mechanical noise. The servo. disappearing in the red liquid.NIGHT CALEB stands in the shower.47.

the TV. almost imperceptibly. HOUSE/CALEB’S BEDROOM . the live feed of AVA is playing. But actually to have shifted his position. The TV itself. CALEB hesitates for a moment. Very faint. Then he deliberately steps sideways. Then CALEB pulls back and continues shaving. and starts charging herself. HOUSE/GLASS CORRIDOR . A micro beat. the lights dim. AVA is on the screen. And he hears the noise again. 37 INT. CALEB walks into his bedroom. Ostensibly to check the other cheek. CUT TO . Picks up his ID card. The high vent for the air-conditioning system.NIGHT CALEB walks along the glass corridor that runs along the outside of the house. But definitely there. and a slight static charge passes over the television screen. and turns his head. Subtly. And exits. 38 INT. rests her hand against it. CALEB catches his own gaze in the mirror. He tries one. Then pulls on a T-Shirt.NIGHT 37 Clean-shaved. Not giving any outward indication that he has just figured out that there is a camera behind the bathroom mirror. Systematically trying his ID CARD on the doors he passes. 38 . On the TV. As she does so. CALEB’S gaze flicks to different points around the room.48. To the full-length mirror on the wall. She walks towards an induction plate.

and a sudden explosion of noise. on the patio. 39 INT.the patio. He starts walking towards it. Outside. It’s closed. And again. PATIO . Almost frenzied. The lights are all off. We can only hear the sound of CALEB’S breathing. CALEB turns to the sliding glass wall on the far side of the room. NATHAN is working the punch bag. He tries his ID card. NATHAN’S attack on the bag seems strange. The room is only lit by the moonlight through the sliding glass wall to the patio. exertions. the attack on the bag is observed in silence.49. from inside the main room. holding a white face towel. For a few moments. With the glass wall closed. It is the only room apart from his own that he seems able to gain access to.NIGHT . CALEB walks to the front door. Every single door remains locked. Then another. where he first entered the house. HOUSE/MAIN ROOM . Then another.NIGHT 39 CALEB enters the MAIN ROOM. KYOKO stands a few feet away from him. Then stops. no noise of the impacts penetrates into the room. More extreme than the hard workout we saw the first time he was using the bag. CUT TO 40 EXT. This seems brutal. CALEB watches. Then another. 40 Of impacts and . the LED remains red.

GARDENS .BANG. Then reaches out again. HOUSE/OBSERVATION ROOM . Pulling her skirt up over her thighs. we see CALEB walk down the glass corridor. Blood smearing the leather where it has soaked through the knuckle wraps.NIGHT . A particularly hard right hook connects. and starts to kiss her.NIGHT 43 The moon hangs in the sky. this time catching KYOKO’S arm. 42 EXT. down to the patio floor.NIGHT 42 From the gardens. and splits the bag. 41 Watching. CALEB is looking at them. Then enter his room. MOUNTAINS . KYOKO hands him the towel.CALEB. NATHAN wipes his face. CUT TO 41 INT. catching his breath. And close the door. NATHAN stands.50. CLOSE UP on AVA’S meticulous abstract pictures. HOUSE/MAIN ROOM .BLACK AND WHITE 44 Everything in the frame is black and white. . Reaching under her shirt. Sand and coloured strips of ribbon evacuate from the split bag. 44 INT. He pulls her towards him. Then . 43 EXT. Then he reaches out a hand. scattered on a table.

GARDENS . CALEB I can’t hear you. standing on the grass. 45 EXT. He starts to walk towards her.NIGHT . A short distance ahead of CALEB.the water sprinkler system abruptly comes to life. HOUSE/CALEB’S BEDROOM . REVEAL he in the observation room. Smiles. the backdrop of mountains and clouds look like an Ansel Adams. She laughs as the water cascades around her. in his dark bedroom. AVA gestures at something behind him. And it opens. Her is moving. From this lyrical image. And AVA is on his side. we suddenly see colour. 46 . refracted through the water vapour. Tries it. CALEB walks to the door. Within in this. She locks eyes with him.CALEB waking. A rainbow formation. he sees AVA. In black and white. AVA is immediately surrounded in a mist of droplets. But he is on AVA’S side of the glass.51. The only exit on this side of the observation room.BLACK AND WHITE 45 The door leads CALEB straight out into the gardens. And as he does so . CUT TO 46 INT. and sees the door. He turns.

as you asked. The drawing is constructed with the same tiny black ink marks as before. HOUSE/OBSERVATION ROOM . With the view of the mountains beyond it. in the breeze.MORNING 47 . 49 48 Swinging slightly INT.MORNING A brand new punch bag hangs in the patio. Just in that small gap. AVA is holding up a piece of paper to the glass. It depicts AVA’S view through the glass divider into the observation room.the house and gardens. PATIO . I see a glimpse of the world outside. AVA I drew the picture of something specific. 48 EXT. It’s the door that connects the observation room to the glass corridor. Perhaps replaying his dream. a door can be seen. But now they have ordered into a coherent black and white image. Where AVA lies on her bed. GARDENS . The automated mower cuts the grass. when the door opens. CALEB is not in the image. resting form. and switches the TV off.52. And it’s open. a small section of the glass corridor is framed. AVA (CONT’D) Sometimes. Lit by light from his TV. CALEB sits up. Thinking.DAY 49 CALEB and AVA face each other. And on the far side of the room. . seeming to be asleep. Beat. Gazing at AVA’S Then reaches for the remote control on the bedside table. And through the doorway. CUT TO 47 EXT.

If CALEB says nothing. AVA CALEB You’ve never walked outside. Beat. I was permitted. She takes the drawing down. . AVA thinks a moment. There are so many options.53. Is it interesting? Yes. AVA I’ve never been outside the room I am in now.. CALEB (CONT’D) Have you never been outside this building? No. But their gaze locks for a beat. AVA (CONT’D) I’m not sure. so it’s analogous to your relationship with the womb. AVA (CONT’D) I think there was another room in which I was constructed. But I have no memory of it. CALEB smiles. CALEB . Where would you go if you did go outside? AVA You mean if I could go outside. AVA (CONT’D) You said it would be interesting to see what I would draw. AVA (CONT’D) Maybe a busy pedestrian and traffic intersection in a city. CALEB It is.. Does not overtly respond to the emphasis she has placed on her lack of freedom.

Then AVA There’s something else I wanted to show you. AVA A traffic intersection would provide a concentrated but shifting view of human life. Another beat. Okay. Looking at CALEB. AVA (CONT’D) We could go together. CALEB People watching. AVA Then . AVA Yes. On AVA. Whatever it AVA hesitates. CALEB It’s a date. AVA Is that a bad idea? CALEB It wasn’t what I was expecting. Beat.54. is. Apart from the picture. CALEB I don’t think I will. CALEB AVA But I feel nervous. CALEB A traffic intersection. Why? CALEB AVA You might think it’s stupid. .close your eyes.

Do you think the choices suit me? Yes. Transformed. she now looks prettier. CALEB You look . but the effect is striking. She reaches down. she has taken a huge visual step towards appearing human. . which she pulls over her head. Okay. She is wearing a simple summer dress. CALEB opens his eyes.55. And sees AVA. and tried to anticipate your reaction.. It’s as obvious to the camera as it is to CALEB. Then she turns back.good.however pretty she looked before. AVA Now open your eyes. Some kind of dress. AVA It took me a long time to select these clothes. we can see a faint ghost image of AVA.in the translucent image . she stands. out of sight.she starts putting on clothes. But in the reflection of the glass. and checks her own reflection. and adjusts the clothes slightly. Then Then . The cameras remains fixed on CALEB. CALEB He closes his eyes. which she pulls on over the dress. CALEB AVA Do they bring out my best features? . Some kind of shirt. I tried different colours and styles. AVA (CONT’D) How do I look? The answer is . And turns her back to CALEB.. By covering the robot form of her chest and arms and legs. and picks something up.

. They do. AVA I’d like us to go on a date. CALEB It would be fun.. CALEB reacts slightly. First the traffic intersection. Yeah. . CALEB (echoes) Micro expressions.56. Thank you. CALEB Right. It was loaded exactly as it sounded. CALEB . Then maybe a show. Then decides this can’t have been loaded in the way that it sounded.. AVA (CONT’D) This is what I’d wear on our date. But smiles.. What? CALEB AVA Are you attracted to me? You give indications that you are. AVA She walks back to the glass divider. How? CALEB AVA CALEB AVA Micro expressions. . I do? Yes. AVA lights up. and sits down. AVA Are you attracted to me? Beat. CALEB hesitates.

Sure.DAY CALEB sits in the sofa area of the main room. at night. CALEB I’m not sure you’d call them micro. AVA The way your eyes fix on my eyes. AVA (CONT’D) Sometimes. I wonder if you’re watching me on the cameras. or don’t. AVA watches CALEB closely. Beat. AVA I don’t want to make you uncomfortable.57. HOUSE/MAIN ROOM . AVA (CONT’D) Now your micro expressions are telegraphing discomfort. AVA (CONT’D) Do you think about me when we aren’t together? Beat. CALEB shifts on his seat. Tell me. 50 INT. AVA (CONT’D) Have I read them incorrectly? CALEB swallows. carrying a beer for each of them. Silence. NATHAN approaches. AVA (CONT’D) And I hope you are. and lips. CALEB NATHAN 50 . The way you hold my gaze.

I’m not sure that’s true. you can. What? CALEB NATHAN She has a cavity between her legs. And she’d enjoy it. yes. mechanically speaking. sexuality is fun. Maybe not. She could have been a grey box. CALEB swallows. So if you want to screw her. NATHAN (CONT’D) Anyway. If you’re going to exist. with a concentration of pleasure sensors. I made her anatomically correct. why not enjoy it? You want to remove the chance to fall in love and fuck? He leans forward. conspiratorially. NATHAN (CONT’D) And. CALEB Why did you give her sexuality? AI doesn’t need a gender. Can you think of an example of consciousness.58. human or animal. No? NATHAN . at any level. that exists without a sexual dimension? CALEB They have sexuality as an evolutionary reproductive need. An NATHAN sits opposite. In answer to your real question: you bet she can fuck. What imperative does a grey box have to interact with another grey box? Does consciousness exist without interaction? NATHAN takes a drink of his beer. CALEB That wasn’t my real question. NATHAN Maybe. NATHAN Actually.

There is a sudden sense that NATHAN is on the money. Behind them. Let’s say it’s black chicks. who clouds your ability to judge her AI. would that be cheating. NATHAN Ah. NATHAN keeps watching. that was CALEB’S real question. No. So. KYOKO lays out dinner on the dining table. In fact. don’t even answer. CALEB Wouldn’t it? NATHAN lets the question hang.59. CALEB Like a stage magician with a hot assistant. NATHAN What’s your type. CALEB My real question was - CALEB breaks off. of salad dressing. CALEB (CONT’D) My real question was: did you give her sexuality as a diversion tactic? NATHAN smiles slightly. So: a hot robot. NATHAN brushes away whatever protestation CALEB might be about to make. Did you program her to flirt with me? NATHAN Because if I had. Yes. of girl. Caleb? Of girl? CALEB NATHAN No. On some level. NATHAN I don’t follow. . CALEB Exactly.

right? Pollock. not your intellect. NATHAN But you are attracted to her. Of course you were programmed. CALEB This is childish. you’re kind of annoying me now. Just like you were programmed to be heterosexual. you decided to be straight? Please. CALEB opens his mouth to reply. Insouciant. NATHAN stands. NATHAN I programmed her to be heterosexual.why is it your thing? Because you did a detailed study of all racial types. that’s your thing.60. this is adult. NATHAN (CONT’D) Look over here. By nature or nurture. You know this guy. And by the way. You just are attracted to black chicks. CALEB . NATHAN (CONT’D) For the sake of argument. that you probably didn’t even register as they registered with you. CALEB So did you program her to like me or not? NATHAN shrugs. but NATHAN shuts him down. A consequence of accumulated external stimulus. So . gesturing at the Pollock drip paintings. or both. This is your instinct talking. and cross-referenced the study with a points-based system? No. CALEB Nobody programmed me to be straight. Caleb. NATHAN (CONT’D) To be honest. NATHAN No.

I don’t know. NATHAN (CONT’D) You think it’s an original? CALEB . Even falling in love. NATHAN clicks his fingers. What if Pollock had reversed the challenge? Instead of trying to make art without thinking. Someplace in between. Not deliberate. and his hand go where it wanted. The challenge is not to act automatically. There’s my buddy. NATHAN gazes at the canvas. Hey. NATHAN glances back at CALEB. Then NATHAN smiles. who actually thinks before he opens his mouth. NATHAN (CONT’D) To fucking. . Your head is the warp drive. They called it automatic art.. What would have happened? CALEB thinks. From talking. he said: I can’t paint anything unless I know exactly why I’m doing it. CALEB He’d never have made a single mark. He let his mind go blank. NATHAN Pollock. The drip painter. What? CALEB NATHAN I’m Kirk.. not random. to breathing. NATHAN See? There’s my guy.. okay? Engage intellect. It’s to find an action that is not automatic. NATHAN (CONT’D) Let’s make this like Star Trek.61. A beat. ‘Engage intellect’.. to painting. He’d never have made a single mark. .

with canvas from Pollock’s estate. You’re the first man she’s ever seen who isn’t me. A beat. Subtly girlish. NATHAN (CONT’D) For the record.the undressing seems to make her naked.NIGHT 51 In her room. Throughout the narrative. I bought the painting for eighty nine million dollars. Then I made an copy. And her flirting isn’t an algorithm to fake you out. and each drip replicated to the micron. we have almost only ever seen AVA in an unclothed form. NATHAN (CONT’D) In fact. right? So can you blame her for getting a crush on you? NATHAN glazes a moment. INT. and it’s more intellectually sound. But now . And I’m like her dad. NATHAN (CONT’D) You can’t. Ava is not acting as if she likes you. HOUSE/OBSERVATION ROOM . Checking her reflection from different angles. . No. She is wearing the summer dress she put on earlier. When my team delivered the copy. NATHAN Funny story. I hope it’s the fake. It has all the aesthetic qualities of the original. Neither do I. Then . AVA stands in front of the viewing window. 51 Then comes back.having been clothed .she starts to take the dress off.62. Then I burned one. I had them randomly rearranged. NATHAN kills his beer. Unself-conscious. And I have no fucking idea if the painting on my wall is the original or the fake.

And glances.CALEB. and dropped. A field mouse. A small spray of blood. Water falls on the remnants of organic matter.AVA turns. Neither look away.63. Finally. Watching AVA. Some matted fur.NIGHT 52 . HOUSE/GLASS CORRIDOR . all trace of the animal is gone. pink intestine. 54 . And the act itself feels charged. CUT TO 52 INT. moving across the lawn. once she is completely undressed .to find NATHAN in the glass corridor. Blood and fur run from the top of the grass.the automated mower. down to the soil. In a few seconds.DAY CALEB exits his room . In his bedroom.DAY 53 . at this exact angle. and her shape is revealed. GARDENS . our of sight. THUNK! It hits something. Straight at the camera. It washes them away like rain. Behind it. in the way the clothing is unbuttoned. Sexualised. As the mower moves on. scarlet flecks the cut grass. HOUSE/CALEB’S BEDROOM . CUT TO 53 EXT. 54 INT. It is as if they are looking at each other. it reveals what is left of a small animal. A loop of tiny The sprinkler system switches on. possibly.

NATHAN So this is the virtual womb that Ava was talking about. Along the left-hand wall are sections of android bodies limbs.DAY 55 NATHAN swipes his card against a brass plate. NATHAN CALEB Beat. HOUSE/GLASS CORRIDOR . Skull-forms. NATHAN I want to show you something cool.DAY 56 NATHAN leads CALEB into a laboratory. like hats on hat-stands.lined in cabinets. Looking at the view.. In the middle of the room is a kind of operating table. . filled with android future tech. HOUSE/CONSTRUCTION LAB . 56 INT. some with complex carbon-fibre and pneumatic muscle structures.64. Know how I cracked it? . Hey. Where she was constructed.. The synthetic faces are separate. Waiting for him. The LED turns blue. NATHAN walks over to the synthetic faces. and picks one of them up. torsos. waiting to be worn. Hanging on armatures. ready to frown or smile.. without their synthetic flesh covering. Hey. NATHAN (CONT’D) If you knew the trouble I had getting an AI to read and duplicate facial expressions. hands . Come in. CALEB is stunned by the sight. 55 INT. On the opposite wall are a collection of heads.. NATHAN (CONT’D) Take a look.

the approximate volume of a brain. NATHAN And all the manufacturers knew I was doing it. NATHAN Almost every cell phone has a microphone. and hands it to CALEB. Structured gel. NATHAN moves to one of the skull forms. CALEB I don’t know how you did any of this. revealing the skull cavity. So I switched on all the mikes and cameras. NATHAN CALEB And the software? . Boom.65. But they couldn’t accuse me without admitting they were also doing it themselves. across the entire fucking planet. Shifting for thoughts. Inside is an ellipse orb. filled with what looks to be blue liquid. CALEB You hacked the world’s cell phones? NATHAN laughs. a camera. NATHAN (CONT’D) Had to get away from circuitry. and a means to transmit data. CALEB This is her hardware? Wetware. but keep its form where required. NATHAN removes the orb. A limitless resource of facial and vocal interaction. Holding for memories. He moves the curved top plate. NATHAN puts the face back on its armature. NATHAN (CONT’D) Here we have her mind. Needed something that could arrange and rearrange on a molecular level. The gel glitters and flickers with tiny pulses of light. and redirected the data through Blue Book.

Because it’s cool. It is a distraction.. Then hands him the orb back. response.66. imperfect. (MORE) . liquid.. Fluid. Into the shimmering It looks like deep space. NATHAN It was the weird thing about search engines. and trying to monetize via shopping and social media. CALEB . CALEB looks at NATHAN a moment. CALEB waits. No one knew what to do with it. and the magician’s assistant. Beat.I was thinking about your exchange with Ava yesterday. NATHAN (CONT’D) And . NATHAN (CONT’D) My competitors were fixated on sucking it up. filled with star fields. her sexuality. They thought engines were a map of what people were thinking. Impulse. About the grey box. They gave too much raw material. But actually. but you actually made a really good point. NATHAN Surely you can guess. they were a map of how people were thinking. Patterned. CALEB Why did you want to show me this? NATHAN Like I said. Blue Book. and our conversation afterwards. They were like striking oil in a world that hadn’t invented internal combustion. NATHAN nods. NATHAN (CONT’D) I know there was a bit of heat between us. CALEB looks at the orb in his hand. chaotic.

Hydraulics. AVA’S reflection is superimposed on the glass. Every possible property colour can have. Beat. So I thought I’d bring you down here. she is a grey box. I did a semester on AI theory. The neurological effects. Just to remind you. And stay on him.DAY CALEB looks at AVA through the glass. Beat. CALEB In college. 57 INT. Beat. It’s called Mary in the black and white room. There was a thoughtexperiment they gave us. Ava isn’t a girl. She she knows everything there is to know about it. NATHAN (CONT’D) This stuff we’re doing together: it can be a head-fuck. NATHAN rests the mind-orb back in the skull cradle. CALEB (CONT’D) But she lives in a black and white room. CALEB Remind me of what? NATHAN gestures at the room around them. NATHAN (CONT’D) Just a machine. CALEB (CONT’D) Mary is a scientist. (MORE) 57 . and her specialist subject is colour. NATHAN (CONT’D) It wasn’t intentional. she has no gender. In real terms. Metal and gel. We watch him. Believe me.67. HOUSE/OBSERVATION ROOM . The wavelengths. Effectively. but it is there. I know. NATHAN Synthetics.

or conveyed. CALEB (CONT’D) She was born there. pleased. And she sees a blue sky.someone opens the door.68. 58 .. One wall is covered in yellow post-it notes. The computer is Mary in the black and white room. CALEB (O. All her knowledge of colour is second-hand. At least hundreds. I was.. At the bottom of the wall. CALEB (CONT’D) Then one day . To meet you..S.S. CALEB (CONT’D) The thought experiment was to show the students the difference between a computer and a human mind. HOUSE/NATHAN’S STUDY .DAY A view over the garden from a new room. and raised there. NATHAN’S study. And Mary walks out. Beat. probably thousands. she learns something that all her studies could never tell her.) I didn’t know.. . She learns what it feels like to see colour.) Why did you think I was here? AVA (O.S.) (CONT’D) Did you know that I was brought here to test you? 58 INT.) Reveal the room itself. And at that moment. An experience that can not be taught. AVA (O. The human is when she walks out. And she can only observe the outside world on a black and white monitor. And then. Beat. I didn’t question it. No.. fallen notes have collected like a miniature yellow snow drift.S.. CALEB (O. Beat.

Some screens show live feeds from CALEB’S BEDROOM and BATHROOM.. She breaks off.) (CONT’D) Nathan isn’t sure if you have one or not.) What about you? Do you think I have a consciousness? Long beat. is NATHAN. Sat at the desk.) I’m not sure either. On it. KYOKO lies..) I’m here to test if you have a consciousness. Where AVA and CALEB are sat. either side of the dividing glass. AVA (O. CALEB (O. Apparently sleeping. there is a daybed. CALEB (O.S. Locked-off CCTV. NATHAN is watching the feed from the OBSERVATION ROOM. or if you’re just simulating one. sad. Having the conversation we have been hearing. AVA’S sentence trails off. CALEB (O. Beat. AVA (CONT’D) (on monitor screen) . watching the monitors. and a slot .into which NATHAN’S KEYCARD is inserted.. Naked. CALEB (CONT’D) (on monitor screen) How does that make you feel? AVA (on monitor screen) It makes me feel.S. We pick up the conversation from NATHAN’S distanced and voyeuristic POV. .. and AVA’S PRIVATE ROOM. In the middle of the STUDY is a desk. Voices played through speakers.S.69. By the window. with a bank of monitors.S.

On this angle. CUT TO 59 INT.the screens simultaneously go black. A small induction plate. we can see something just below the frame of the observation window. CALEB and AVA face each other in silence. Another POWER CUT. on AVA’S side of the glass. Beat.70. CALEB What about? AVA You said you weren’t sure if I was conscious. It remains frozen. HOUSE/OBSERVATION ROOM .one of the other monitor screens. From this viewpoint. At that moment . Beat. CCTV are lifeless.the observation room. we can see NATHAN’S face. we see AVA rest her hand against it. AUTOMATED VOICE I can tell from your microexpressions. AVA glows softly. Expressionless.DAY 59 . CALEB Why did you tell me that I shouldn’t trust Nathan? . All lights die. AVA You’re lying. In the reflection from the dark monitor screens. In the emergency lighting. It shows an angle on AVA we have not seen before. NOW REVEAL . But you are sure.

Mirroring her movement. 60 . CALEB . If I reverse flow.. Then CALEB raises his hand. And also touches the glass. AVA lifts her hand to reveal a disc on her left palm.. I cause a surge static discharge of a strike. CALEB Lies about what? AVA Everything. It overloads via induction the power equal to the lightning the system. A beat. AVA So we can see how we behave when we are unobserved. She touches it against the glass. You’re causing the cuts? AVA raises her right hand. so he can see how we behave when we think we’re unobserved.DAY . CALEB Including the power cuts? AVA What do you mean? CALEB Don’t you think it’s possible that he’s watching us right now? That the blackouts are orchestrated.71. AVA Because he tells lies too. AVA I charge my batteries plates. CUT TO 60 INT.KYOKO’S naked form. HOUSE/NATHAN’S STUDY . as if their palms are making contact through the divider.

Eyes closed. turns. SWIMMING POOL . But eventually she blinks.72.DAY 61 . we can see sky. CUT TO . Her gaze fixed somewhere in abstract distance. Her eyes are open.cobalt blue.NATHAN. He looks at the mountains. CUT TO 61 EXT.DAY 62 CALEB breaks the surface at one end of the infinity pool. Above him.DAY KYOKO puts down two glasses of iced tea. Gazing at his dead monitors. Face tilted towards the sun. Against which. And we see she’s not sleeping. through the water. UNDERWATER . the POWER comes back on. The screens flick back to life. CALEB. NATHAN and CALEB sit by the side of the pool. SWIMMING POOL . Hips tilted like a Greek statue. She doesn’t feel alive. 62 EXT. But she’s completely motionless. She feels dead. and walks back across the lawn to the house. The camera settles over her face. 63 . NATHAN appears. he sees NATHAN in swimming shorts. Breathes in the air. 63 EXT. Standing by the side of the pool. Moments later. revealing CALEB and AVA in the observation room. Swimming underwater. Then he Toward the other end of the pool. In it.

NATHAN (CONT’D) Or .73. Why me? CALEB NATHAN A Blue Book employee was prescreened. NATHAN Calling me a liar seems a little extreme. that’s all. NATHAN. Physiques contrasted. Loyal. tanned.second most. So I did a search. CALEB (CONT’D) To see that I didn’t win a competition. CALEB. CALEB It took me until today to realise you were lying. slim. Or the guy who fixes the air conditioning. Does it? CALEB NATHAN The competition was a smoke screen. NATHAN shrugs. Right? CALEB waits. And I needed someone who would ask the right kind of questions. I didn’t want anyone to know what I was doing here. . or why you were required. muscular. once I stop to think. pale. CALEB (CONT’D) I mean it’s obvious. CALEB glances at NATHAN. Beat. Why would you randomly select an examiner for a Turing test? You could have had some beancounter turn up at your front door. And there was no lottery. NATHAN corrects himself. and found the most talented programmer in the company.

Fuck modesty. 64 EXT. perched on the mountain flanks. mouths. see it as proof. lucky. Not NATHAN dives. Beats pass. HOUSE . You think I don’t know what it is to be smart? Smarter than everyone else around you. NATHAN (CONT’D) You know what? Instead of seeing this as a deception. HOUSE/CALEB’S BATHROOM .NIGHT CALEB stands in the shower. Fragmented clouds in the reflected sky start to reform.NIGHT 64 Wide shot of the house. NATHAN (CONT’D) You have the light on you. as it settles and becomes still.74. 65 INT. CALEB looks back over the water. Smarter than all the other kids. Water streaming over their forms. jockeying for position in school. college. and he doesn’t surface. work. NATHAN looks down at his reflection. hands. Caleb. Chosen. Then shuts his eyes.AVA standing in the shower with him. He walks to the edge of the water. CUT TO - 65 . CUT TO . Light from the windows throws emerald rectangles over the black garden. Torsos. CALEB Proof of what? NATHAN Come on.

The gesture is not quite neutral. A moment later NATHAN enters the frame. but not unambiguously so. . His hand touches the side of her cheek. Feels predatory.AVA and CALEB having sex in the falling water. sitting at her table. Only see it. AVA pulls back slightly . NATHAN reaches down to the table. Only now . And freezes.behind him. CALEB pulls on shorts. CALEB is unaware of the silent exchange behind him. Reaches for a T-Shirt.CALEB opening his eyes.NIGHT 66 CALEB enters his bedroom. Then switches off the taps.and NATHAN takes a corrective movement step to regain his balance. we see AVA suddenly look round. so we can’t hear their exchange. 66 INT. we can see AVA. HOUSE/CALEB’S BEDROOM . The TV plays the live stream from the observation room.CALEB turns.AVA and CALEB kissing. on the TV. On the screen. CUT TO . drawing. and he looks at it for a moment. His hands on her robot form. On the screen. CUT TO . He picks up the drawing AVA was working on. As NATHAN and AVA talk. He exhales. Seeing the television. . As CALEB pulls on the shirt .75. Showing that he is drunk. There’s no volume on the TV. NATHAN reaches out to AVA.

and takes hold of her wrist. but standing by the window.NIGHT 67 From outside the house. she reaches up to the top button of her shirt and pops it open. Then turns. You’re wasting your time speaking to her. HOUSE/GLASS CORRIDOR . and exits.76. Then abruptly NATHAN rips drawing in half.where’s Nathan? She doesn’t answer. CALEB KYOKO turns at the sound of her name. Drops it on the Leaving AVA alone. and pulls open the shirt. in answer to his question. we watch CALEB walk fast down the glass corridor. 67 EXT. floor. CALEB releases her wrist at once. CALEB (CONT’D) Jesus! Do you really not speak a word of English? CALEB walks over to her.NIGHT CALEB enters the main room. It’s dark. HOUSE/MAIN ROOM . 68 . Then. They exchange a few words. revealing her bare chest. he can see KYOKO. but doesn’t respond. 68 INT. Stop! CALEB (CONT’D) NATHAN I already told you once. CALEB (CONT’D) What the fuck? She undoes the next button. CALEB (CONT’D) I said: where’s Nathan? KYOKO looks at CALEB. Kyoko. CALEB (CONT’D) Kyoko .

Immediately. DANCE MUSIC starts playing. slightly unsteadily towards a Lutron control panel. CALEB stands . Simultaneously. NATHAN (CONT’D) . she starts dancing. NATHAN has entered. However. NATHAN calls to CALEB. Transforming from the discreet and tasteful low light of evening. His words are slurred. He’s holding a drink. NATHAN You don’t like dancing? His body is starting bob on the beat. CALEB . Go on! NATHAN (CONT’D) Dance with her. into the coloured glows of a night-club. NATHAN (CONT’D) You would not be wasting your time. I don’t want to. the lighting in the room undergoes a complete change. if you were dancing with her. His hand hovers uncertainly over the buttons. NATHAN (CONT’D) He walks..frozen by the surrealism of what has just happened. He gestures at KYOKO.. CALEB turns. from unseen speakers. And once taken position. She does! NATHAN (CONT’D) CALEB (to himself) I don’t fucking believe this.77. KYOKO starts walking to the center of the room.. . His finger lands... set into the wall..

78. 70 INT. NATHAN sets off towards KYOKO. Although NATHAN is drunk. and rests a hand on his shoulder. you’ve got to unwind.when NATHAN totally loses his balance. smiling. HOUSE/GLASS CORRIDOR . It’s just starting to look weirdly impressive . man! After a hard day of Turing Tests. alcohol-glazed.NIGHT 69 From outside the house. NATHAN makes his way to CALEB. NATHAN Come on.NIGHT NATHAN fumbles in his pocket for his KEYCARD. CALEB raises his voice over the sound of the music. Looking up at him. as KYOKO and NATHAN start dancing together. On his way down. 69 EXT. they work through the beats of a routine they have obviously done many times before. Drops it. Check it out. the glass frosts. NATHAN Everything’s spinning. we watch CALEB half-carrying the semiconscious NATHAN. What? NATHAN CALEB You tore up her picture. he lands hard on a glass coffee table. CALEB watches. dude. CALEB What were you doing with Ava? NATHAN smiles back at NATHAN. NATHAN I’m going to tear up the fucking dance floor. HOUSE/GLASS CORRIDOR . amazed. CALEB picks the keycard up - 70 .

. HOUSE/NATHAN’S BEDROOM . CALEB pauses. The LED turns blue. 73 INT. he sees the desk. HOUSE/CONNECTING CORRIDOR .NIGHT CALEB’S room.NIGHT 71 CALEB helps the semi-conscious NATHAN down the connecting corridor between NATHAN’S study and his bedroom. 71 INT. They walk past a line of long cabinets. 73 Lit only by the glow of the television. They pass the open doorway to NATHAN’S study. NATHAN tips towards it. 72 And the INT. himself stay awake. spinning. They are like a row of slender wardrobes. It’s almost as if he’s asleep before he even hits the sheets. The computer set-up. CALEB It’s because you’re drunk. Once he’s reached the bed. Wanting to see inside. In the middle of the room. NATHAN No.who stands in her room.NIGHT 72 CALEB helps NATHAN into his bedroom. Watching over AVA - Making . NATHAN (CONT’D) But being drunk does make it worse. each with a mirrored door.and uses it to swipe the brass plate. who shoves it back into his pocket. which line the wall opposite the bed. with her arms wrapped around herself.79. against the wall. KEYCARD SLOT. HOUSE/CALEB’S BEDROOM . . facing away from the CCTV camera. He’s on the armchair. with its back of monitors. CALEB is not in the bed. it’s relativity. Everything is CALEB hands the card back to NATHAN.

80. CALEB smiles. HOUSE/OBSERVATION ROOM . revealing KYOKO. Then what is my favourite colour? 75 .. by a bright shaft of light hitting his face. HOUSE/CALEB’S BEDROOM . Lie. I will know. Exactly. What? Lie. CALEB AVA CALEB AVA CALEB . I’m going to test you. 74 INT. AVA So are you ready? CALEB AVA Question one. AVA Today.DAY CALEB and AVA sit. And please remember while you are taking the test that if you lie. Those pesky microexpressions.DAY 74 CALEB is woken with a jolt. 75 INT. What is your favourite colour? Red. observing each other through their own reflections. with his morning coffee. The door to his room has opened.. Test me? CALEB AVA Yes. Shoot. CALEB Right.

CALEB Hold on a minute. I guess seeing as I’m not six. I think sky.. Really? AVA Yes. I get it. CALEB (CONT’D) So. there is a kind of an earlier memory. It’s like. AVA nods. a sound. I don’t really have a favourite colour.. And I think the sound is my mother’s voice.. There was this kid who - Lie. CALEB thinks for a moment. Okay. No. person? CALEB laughs. AVA nods. What’s your earliest memory? CALEB Well. maybe sky. CALEB (CONT’D) Okay.81. it’s actually a memory of kindergarten.. But it isn’t red. AVA (cuts in) CALEB . Or blue. All right. CALEB concentrates. AVA Better answer. And. AVA Question three.. But it’s ultra vague. CALEB Wait.. Are you a good . AVA I don’t know. Question two.

AVA No. CALEB Oh. CALEB Did I pass? Yes. AVA smiles slightly. AVA (CONT’D) The test is over. person. and I’ve suddenly realised this is a fucking minefield. Hmm. person? Are you a good CALEB takes a breath.82. man. We can’t stop. Why? CALEB hesitates. Who’s the most beautiful girl you’ve ever seen? Beat. AVA . Can we stop the test? You’re a walking lie detector. CALEB Beat. CALEB Yes. AVA CALEB That’s a relief. AVA reacts. AVA Beat. AVA keeps watching. AVA Question four. You are. I’m a good CALEB waits. I think so.

It’s not up to me. AVA No. I guess by definition you want to pass. CALEB Why is it a relief? AVA Yes.. helplessly.. But you don’t know how I’ll pass. AVA Why is it up to anyone? Do you have people who test you. . if there’s a test. AVA Do you think I might be switched off? Because I don’t function as well as I am supposed to? CALEB . and might switch you off? No. AVA Then why do I? CALEB shrugs.. I don’t know the answer to your question.. Beat.83. AVA What will happen to me if I fail your test? Ava - CALEB AVA Will it be bad? CALEB . I don’t know. CALEB Just. Ava. CALEB I don’t... AVA (CONT’D) You’re testing me. you know. CALEB Oh. And you don’t know what will happen if I fail.

A simple portrait. She walks up to the glass.the lights fail. Power cut. neither CALEB nor AVA react. and accomplished. There’s nothing CALEB can say. AVA (CONT’D) Question five. Then she stands. AVA stares into middle distance for several moments. And rests her hand on the console. It’s the drawing she was doing last light. Then walks to the other side of the room. I know. The drawing that The drawing is of CALEB. Then: CALEB . CALEB I do. Yes. AUTOMATED VOICE Back up power For a moment. The cameras die. Beat. AVA Nathan doesn’t want us to be together. Do you want to be with me? Beat. and holds them up together. activated. NATHAN tore in half. She takes down the drawing. from her table. Picks something up Holding two pieces of paper. Then she returns. And . Then AVA I want to be with you. Beat. Honest.84.

Yeah. CALEB I can. the water. CALEB speaks.DAY 77 CALEB enters the main room. if you could? Wouldn’t CALEB Maybe. the water sprinklers are firing. Eventually. 78 Through EXT. INT. 77 INT. CALEB (CONT’D) So ask me one more question. GARDENS . The frosted glass of the coffee table is a reminder of the night before.85. watching the water cloud. HOUSE/MAIN ROOM .. But I’m asking why you did it. you. 76 Meeting her gaze. Can you? CALEB looks directly at her. (beat) Ask me if I can out smart him. Down the garden.. each holding a bottle of Peroni. (MORE) . Firm. AVA .DAY 78 NATHAN and CALEB sit. HOUSE/GLASS CORRIDOR . he makes out the shape of NATHAN. I don’t know. NATHAN shrugs. Level. He walks to the patio. CALEB Why did you make Ava? NATHAN That’s an odd question. NATHAN The arrival of artificial intelligence has been inevitable for decades.DAY 76 Caleb walks down the glass corridor.

and neutral.. CALEB The next model? After Ava. . But .86. CALEB keeps his voice flat. so the memories go. NATHAN CALEB .I thought maybe the last. not the first. CALEB reacts . any more than you or me. I don’t really see her as a decision. NATHAN You thought she was a one-off? CALEB I knew there must have been prototypes. I didn’t know there was going to be a model after Ava. To do that.when you make a new model. So. you end partially formatting. NATHAN shakes his head. Unpack the data. So Beat. they get a little better.6. She’s part of a continuum. what you do with the old one? NATHAN Download the mind. A few beats of silence. But the body survives. NATHAN (CONT'D) The variable was when. not if. Version 9. Add the new routines I’ve been writing. Just an evolution. And Ava’s body is a good one. NATHAN (CONT’D) I think it’s the next model that’s going to be the real breakthrough. So I’ll do the same as I did with Kyoko.. And each time. NATHAN Ava doesn’t exist in isolation. CALEB So . except for the water falling around them.but checks himself.

. Then reprogram her to help around the house and be fucking awesome in bed. with crude language and tools. Though I’m thinking I might hang on to the language routines this time. An upright ape. the destroyer of worlds. One day. All set for extinction. NATHAN (CONT’D) You did realise about Kyoko. right? CALEB is poker-faced. Mister CALEB No: there you go again.87. It’s not my quote. NATHAN laughs. It’s what Oppenheimer said when he made the atomic bomb. CALEB I am become death. Beat. NATHAN You feel bad for Ava? CALEB says nothing. It’s kind of annoying not being able to talk to her. NATHAN glances back at CALEB See? NATHAN (CONT’D) I really am a God. CALEB Sure. Beat. NATHAN (CONT’D) Feel bad for yourself. the AIs will look back on us the same way we look at fossil skeletons from the plains of Africa. NATHAN There you go again. living in dust. quotable. CALEB What did you do with Kyoko? NATHAN Strip out the higher functions.

Extremely drunk. Beat. HOUSE . Watching the door on the other side of the glass. NATHAN lying on the floor. CALEB Hey. . NATHAN (O. Out cold. The clay and fire.S. to REVEAL the scene.) (CONT’D) The Bhagavad Gita. NATHAN CALEB looks down at the bottle of beer in his hand.S. Sure. Beat. HOUSE/OBSERVATION ROOM . 79 INT. I’d say we’re about due a refill. dude. HOUSE/MAIN ROOM . NATHAN (O. 81 INT. we can hear NATHAN’S voice. In the meantime. Off-screen.88. waiting for it to open. But it remains closed. CALEB I think I’m starting to get why all this fucks with your head.NIGHT 81 CLOSE UP on CALEB’S face. 80 EXT. CUT FROM CALEB’S face.NIGHT 80 The light glows in the main room. Silence.) It is what it is. NATHAN I know what it is.NIGHT 79 AVA sits alone. CALEB sitting on the sofa. It’s Promethean.

89. on the floor. 83 INT. An single folder icon is on the right hand side of the screen. HOUSE/MAIN ROOM . lines of code appear as CALEB types. HOUSE/NATHAN’S STUDY . 82 INT. He inserts the KEYCARD into its access slot. And pulls out his keycard. and CALEB enters. HOUSE/NATHAN’S STUDY . 85 INT. He walks straight to NATHAN’S desk. A wallpaper of a waterfall. His hands move fluidly over the keyboard. The dead monitors immediately come to life. We glimpse subject headings. Then he walks over to NATHAN. And sits down in front of the computer and the bank of monitors. After a couple of moments.NIGHT 82 The door to NATHAN’S study opens.NIGHT 83 CALEB inputs commands into NATHAN’S computer.NIGHT On the MONITORS - 85 . Then puts his hand into NATHAN’S pocket. 84 INT. The central screen shows the operating system default. POWER PROTOCOLS In the windows. His eyes never ON THE CENTRAL MONITOR SCREEN a series of windows expand and stack. NATHAN stirs. Most of the screens show the CCTV live feeds from around the house. leave the screen. and kneels beside him. CALEB stands.NIGHT 84 In the main room. HOUSE/NATHAN’S STUDY .

HOUSE/MAIN ROOM . NATHAN has sat up.sitting at a table with her head bowed.NIGHT 86 In the main room. In the corner of the room. which contains a long list of subfolders. watching. and is unsteadily trying to get to his feet. LILY. CALEB reaches for NATHAN’S KEYCARD. and AVA. in a gently autistic motion. HOUSE/NATHAN’S STUDY . stacked with thumbnail images of a girl. NATHAN leans against the wall.when something makes him hesitate.an android of similar design to AVA . KYOKO.CALEB collapsing the LILY menu. 86 INT. Rocking backwards and forwards. It shows LILY . The waterfall wallpaper. CUT TO . CALEB removes his hand from the keycard. and is about to remove it from the slot . LILY’S folder expands into a window. It expands into a window. JADE.90. CUT TO - . AMBER.NIGHT CALEB randomly clicks one of the girl’s names. KATYA. . and opening JADE. CUT TO . JASMINE.a CCTV film-clip starting to play. CALEB clicks on one of the images at random. Each sub-folder is named after a girl. It is titled DEUS EX MACHINA. His eyes have gone to the folder icon on the right hand side of the screen. Leaving the default screen. 87 INT. He double-clicks the folder.the windows start to collapse. 87 LILY.

HOUSE/MAIN ROOM . Who is limp. The glass doesn’t break. NATHAN is dragging her towards the induction plate. KATYA. and walks to NATHAN’S bedroom. 90 INT. He makes his way across the room towards the glass corridor. KYOKO is lying on NATHAN’S bed. CUT TO The next film clip. HOUSE/NATHAN’S BEDROOM . But apart from that. One of JADE’S arms has broken under the force of the blows. Her head turns as CALEB enters. On her back.NIGHT 89 CALEB turns from the computer screens. 88 INT.91. A new film clip. 89 INT. 90 .NIGHT CALEB enters NATHAN’S bedroom. Lifeless. She’s naked. This shows JADE beating her fists against the glass divider of the observation room. and she folds to the floor. HOUSE/NATHAN’S STUDY . NATHAN drops KATYA. He stands. Then pulls the first door open. He holds But nothing happens.NIGHT 88 NATHAN has managed to get to his feet. The hand flails limply where the carbon fibre has splintered at the wrist. CALEB walks to the line of long mirrored cabinets opposite the bed. trying to force her to charge. Legs open. He hesitates. her up. she doesn’t react.

Standing upright. Like an infinity reflection in a hall of mirrors. running under her arms in a straight contour. He touches it with his finger. frozen. . He gently pulls her to a standing position. 92 INT. Gazing back at him. and another. Then steps back. blank eyed.. into the middle of the room. whose limbs are robotic. KYOKO steps back... But it’s not a defensive action. And a moment later.. He opens another door. As if unzipping. He sees a slender black girl. and gazes at the line of android girls. LILY is inside. In the multiple reflections of the open mirror doors.NIGHT 92 CALEB stands above KYOKO’S naked form. we see NATHAN reach the glass corridor... there is a faint line. space. HOUSE/NATHAN’S BEDROOM . CALEB goes to the next door and opens it. Then he moves her arms away from her body. HOUSE . we can see KYOKO’S naked and sexually receptive form on the bed behind him.92.. She takes it. but whose torso and head are synthetic.NIGHT 91 From outside. The camera drifts away from him. Stunned.. . and adjusts something unseen. as she reaches under her arm. over her ribs. Then settles. 91 EXT. and another. and sees. the faint line that runs down each side of her torso is opening. It’s just to give her . He reaches out a hand.

Which unzips the skin around her jaw. He reaches his door. Then KYOKO puts a hand either side of her torso. NATHAN is on the live CCTV feed. over the breasts. Groaning.CALEB. and pulls off the skin covering over her entire chest. But it isn’t there. apparently unnoticed by CALEB.93. Blinking. 95 INT. . Revealing underneath the honeycomb mesh and her robot form.NIGHT 94 .. He checks his other pocket. Making his way down the glass corridor towards the door to his private quarters. Lands hard. Allowing her to remove her face. to her solar plexus.NIGHT 93 On the monitor screens. HOUSE/NATHAN’S STUDY . at the nape of her neck. inside her hairline. CUT TO 94 INT.he loses balance. as KYOKO now reaches around the back of her head. and crashes to the ground. 93 INT. Catching his breath. What the fuck? Suddenly . in a single section from her collar bone. HOUSE/GLASS CORRIDOR . Then sticks his hand in his pocket for his KEYCARD. Transfixed. Then sees the figure of CALEB standing over him.NIGHT 95 NATHAN uses the glass wall to support himself. Lies there for a moment. HOUSE/NATHAN’S BEDROOM . NATHAN . And finds something on the back of her head..with both hands in his pockets .

Nathan? NATHAN I’ve lost it. picks something up from the floor. Dude. AVA is on the TV. He goes to the sink.CALEB.NIGHT 96 CALEB enters his bedroom. HOUSE/CALEB’S BEDROOM .NIGHT CALEB enters the bathroom. Of KYOKO removing her skin. And CALEB It’s right here. 96 INT.. Then CALEB reaches down. Deep into his own eyes. CALEB looks at her. CUT TO FLASHCUT IMAGES.. Stares at the ceiling. Shuts the door. . Sat alone in the observation room. He looks at his own reflection. He switches the TV off. A beat. HOUSE/CALEB’S BATHROOM . Opens his mouth. 97 . CUT BACK TO . Looks inside. On his back. Beside where NATHAN lies. NATHAN (CONT’D) CALEB What’s the problem. 97 INT. My card. She looks at him. Lies on the bed.94.

CALEB watches it. And cuts. And punch the glass. Only muscle. Places it against his forearm. we see him pull his fist back. Forcing it with his hand against the porcelain of the sink. Then. spreading it. and his own reflection. A beat. The water clears away the blood. the feed goes dead. the live feed of CALEB’S bathroom is partially obscured as CALEB smears the two-way mirror. Sees the way droplets hit the white sink. He exhales. And breaks it.. Popping out the tiny razor blade. Feels his wrist for his pulse.95. Then picks up his disposable plastic razor. . The way they expand. revealing the cut.. HOUSE/NATHAN’S BEDROOM . Then he switches the tap on.NIGHT 98 On the monitors in NATHAN’S study. and puts his arm under the flow. And glances up at the mirror. . Revealing no carbon fibre.. reaches up his forearm. Pauses. Snapping the plastic. and very deliberately wipes blood across the glass. Then. and merge with existing water droplets. 98 INT. CALEB pulls open at the slice with his fingers. Then he picks up the blade between his thumb and forefinger.. through the blood. Blood runs out. As it shatters.

A strange noise escapes from AVA’S mouth. on the other side of the dividing glass. to bandage the cuts he made. In the background. the cuts reopen.96. HOUSE/OBSERVATION ROOM . Through the door to the bedroom.DAY 99 Sunlight on the grass. As he pulls the material away. Enters. HOUSE/CALEB’S BEDROOM . There’s rusty smears of blood on the sheets. Obliterating the bag. GARDENS . When he tries to remove the pillow case. crashed out. Sweat pouring.DAY AVA sits alone in the observation room.that the person watching the monitor is KYOKO.DAY 100 NATHAN is in a frenzy. wearing a long-sleeved shirt. He sits opposite her. NATHAN lies on the sheets.DAY 101 CALEB wakes on his bed with a start. 102 . 101 INT. CALEB appears. The beside clock reads 11:58. He’s wrapped a pillow case around his arm. 100 EXT. 102 INT. we can hear the rhythmic pounding of NATHAN’S punch bag. Only now REVEAL . Her expression is unreadable. PATIO . The door opens. he finds that the cotton has fused with the scabs. 99 EXT.

AUTOMATED VOICE Back up power As the emergency lighting lifts. Beat. Then the POWER DIES. AVA What’s he going to do to me? CALEB He’s going to reprogram your AI. Beat. Waiting? AVA They exchange a look. A final beat. Which is the same as killing you. CALEB Don’t talk. You were right about Nathan. Everything you said. CALEB leans forward slightly. Then AVA lifts her hand. A kind of sob. Just listen. I waited all yesterday afternoon. .97. Curtailed. Power cut. AVA Caleb. and rests it against the induction plate on the console below the window. AVA (CONT’D) Aren’t you going to say something? CALEB I’m waiting. I didn’t move. and all last night. activated. I didn’t think you were coming. you have to help me. AVA I didn’t know where you were. AVA (CONT’D) I thought I wasn’t going to see you again.

CALEB I’m going to. I only need you to do one thing. CALEB So we’ll have about a day to get to a cell-phone or kitchen appliance store. trigger a power failure. I love y CUT TO - AVA (CONT’D) . Can you do that? Yes. CALEB (CONT’D) . Silence. AVA and CALEB stare at each other. The lights come back.. Together. What? AVA How? CALEB I get Nathan blind drunk. At ten o’clock tonight. he’s locked inside. We’re getting out of here tonight. Caleb.98. When he wakes. Then the POWER RETURNS.. AVA CALEB nods. After that. CALEB breaks off.. Somewhere we can buy an induction plate. and reprogram the all security protocols in this place. AVA Beat. CALEB How long does your battery charge last? AVA Twenty six hours. Then I take his keycard.. we’ll work it out. and we’ve walked out of here.

sand runs out. The car is coming tomorrow morning. HOUSE/MAIN ROOM . GARDENS .LATE AFTERNOON 104 Clouds spill around the mountain peaks.99. Eight AM to catch the midday flight. apparently looking at it. . CALEB Has it been a whole week? NATHAN smiles. NATHAN laughs. 104 EXT. CALEB After they’ve signed their NDAs. Hey.DAY 103 . 105 INT. A little tightly. gazing at the low sun. CALEB pauses. NATHAN Time flies. But what a thing you and I have shared. Something to tell the grandchildren. right? CALEB smiles. CALEB appears. Dude. PATIO .NATHAN’S fist splitting the bag. NATHAN stands by the open patio door. Like an hourglass. 103 EXT. CALEB NATHAN Your last. NATHAN CALEB NATHAN You know what day it is? No.LATE AFTERNOON 105 KYOKO stands by the Jackson Pollock painting.

. and pulls two beers from the fridge. CALEB walks back to NATHAN. I’m good. You go Beat. CALEB Are you kidding? alone? He smiles again. I’m drinking More . Maybe wine or something. CALEB (CONT’D) We need to drink to that.let me say: thank you for bringing me here. NATHAN Signed their NDAs! Dude. I’m not getting all maudlin or anything.. But straight up. CALEB I appreciate that. Holding a But NATHAN doesn’t take it. CALEB You know what? CALEB walks over to the kitchen area. NATHAN Yes it has. It’s been a trip.100. uh. no.. And . NATHAN CALEB . ahead. CALEB You don’t want a beer? NATHAN shrugs.. CALEB’S hand remains extended. When I woke up this morning. NATHAN I’m sure you’ve noticed . tightly. No. Extends a hand. NATHAN Oh. I told myself: time to hit the old detox. I will miss having you around. Peroni. you crack me up.I’ve been somewhat overdoing it recently.

anyway. then. as you phrased it? (MORE) . But I’m on brown rice and mineral water. CALEB pauses. I’m surprised. Then raises his own. she passed? CALEB NATHAN That’s fantastic. Beat. Trying to think how to get his CALEB Beat. plan back on track. NATHAN Hey . Wow. knock yourself out. NATHAN (CONT’D) So. A beat.you want to get wasted. Cheers. CALEB puts down NATHAN’S beer. NATHAN CALEB takes a single sip. I mean.101. did we ever get past the chess problem. CALEB Cheers. NATHAN (CONT’D) Although I’ve got to admit. NATHAN You going to keep me in suspense? CALEB Her AI is beyond doubt. Right. Surely this is when you tell me whether Ava passed or if she failed. Literally. NATHAN watches. Collecting himself slightly. NATHAN You mean. Is it? Yes.

or a just a simulated one? NATHAN pauses. NATHAN (CONT’D) Perhaps . Or NATHAN is playing with NATHAN (CONT’D) Though now I stop to think. . CALEB Why would she do that? NATHAN I don’t know. And now CALEB knows: NATHAN knows. him. NATHAN Beat.if she saw you as a means of escape. NATHAN gazes at CALEB evenly. Silence. NATHAN (CONT’D) Does Ava actually like you? not. NATHAN (CONT’D) How’s that beer tasting? CALEB puts the beer down. But whether she’s pretending to like you. Your head has been so fucked with. there is a third option. NATHAN (CONT’D) Poor Caleb. Yeah.102. CALEB has a cold realisation dawning. NATHAN (CONT’D) As in: how do you tell if a machine is expressing a real emotion. CALEB I don’t think it’s me whose head is fucked. Not whether she does or doesn’t have the capacity to like you. CALEB Pretending.

Drunk. HOUSE/NATHAN’S STUDY . NATHAN Yeah.NIGHT 106 Outside the window of NATHAN’S study. of NATHAN entering AVA’S room. AVA is sat at the table. NATHAN starts walking. this time we can hear the audio. But whereas the first time the sound was muted. with her drawing. I didn’t want you two communicating outside of my line of sight. 106 INT. I saw a tape of you cutting open your arm. night has fallen. NATHAN (CONT’D) But strange as it may seem. . On it. NATHAN I understand why you’d think that. Smashing up the mirror. NATHAN and CALEB stand in front of the computer. NATHAN (CONT’D) Come with me. dude. I’m actually the guy who’s on your side. don’t you? AVA The cameras are on. NATHAN You think he’s watching us right now. NATHAN I’m not sure. CTTV FILM NATHAN stands above AVA. a clip of film is playing. When I woke up this morning. and an exchange between them. CALEB You’re a bastard. You looked pretty fucked to me. It shows the scene that CALEB witnessed two nights before. and rests a hand on his shoulder. But he doesn’t get an audio feed. I’m going to let you off the hook. He steps over to CALEB.103.

He lets the two pieces fall to the floor. and her love for you. And at the same time. NATHAN rips the picture. This time. As AVA reaches for them. in full view of you both. NATHAN (CONT’D) So all he can see is two people having a chat. As he talks. NATHAN You were right about the hot magician’s assistant. which she can then present as an illustration of my cruelty to her. . ON THE SCREEN: AVA is reaching for her torn picture. NATHAN (CONT’D) This is cute. And exits... I rip her picture. it allows me to do this. CALEB What are you talking about? NATHAN Misdirection. Then abruptly. 107 INT.. then FREEZES the film again. NATHAN reaches over and picks up her picture of CALEB. NATHAN turns.NIGHT NATHAN hits pause.104. AVA Is it strange to have made something that hates you? A beat. 107 . NATHAN rewinds the film clip slightly NATHAN (CONT’D) ... NATHAN studies the picture for a moment. HOUSE/NATHAN’S STUDY .. Glances at CALEB.

But not register it. And his hand is holding something. When he wakes. CALEB (recording) We’re getting out of here tonight. we will have seen him do this action. And sits down. And NATHAN is reaching out with his hand. CALEB can hear the audio. and reprogram the all security protocols in this place. CALEB stares at the monitor for a few moments. AVA (recording) What? How? CALEB (recording) I get Nathan blind drunk. He walks towards a chair. NATHAN The recording stops. . Sure. NATHAN unfreezes the image. NOTE THAT on the two previous occasions we have seen this clip of film. Battery powered. and we’ve walked out of here. I only need you to do one thing. of course. Trigger a power failure at ten o’clock tonight. NATHAN (CONT’D) Put a new camera in the room. As he does so. And we quite clearly see NATHAN place the object on AVA’S bookcase. NATHAN has started to play another clip. instead reading the action as him drunkenly using the shelf to steady himself. CALEB feels short of breath. Then I take his keycard. he’s locked inside.105. CALEB (CONT’D) Turn it off. Then turns.

she would have to use imagination. NATHAN CALEB And you didn’t select me because I was good at programming. selfawareness. Even pretty good. NATHAN They showed a good kid. Directly above. Proving an AI is exactly as problematic as you said it was. NATHAN (CONT’D) Ava was a mouse in a mousetrap. but CALEB You selected me by my search engine inputs. he sees a spot-light in the ceiling. sexuality.106. It dazzles him. . You’re okay. If that isn’t AI.. NATHAN (CONT’D) You feel stupid. To escape. CALEB So my only function was to be someone she could use to escape. CALEB What was the real test? You. NATHAN Beat.. what the fuck is? CALEB looks upwards. CALEB With no family. manipulation and she did. Yes. But you shouldn’t. And I gave her one way out. NATHAN Don’t get me wrong. NATHAN hesitates. NATHAN With a moral compass. empathy. .

Did you? CALEB Beat. CALEB And no girlfriend. CALEB (CONT’D) Did you design her face based on my pornography profile? NATHAN Shit.107. It was a success.the lights and the monitors suddenly die. NATHAN Hey. 110 INT. Because AT THAT MOMENT - . CALEB stares into the brightness above him. HOUSE . the LED by the keycard plate glows blue. HOUSE/NATHAN’S STUDY .NIGHT NATHAN checks his watch. Ava demonstrated true AI. Must be ten o’clock. NATHAN (CONT’D) The test worked. NATHAN The power cut. 109 INT. If you could just separate NATHAN cuts off. discretely.NIGHT 109 AVA’S head turns to the door of her room. dude. And you were fundamental to that.NIGHT 108 The emergency lighting lifts up.right? Silence. HOUSE/AVA’S ROOM . Where. 108 EXT. NATHAN (CONT’D) Can I say one thing? CALEB doesn’t answer. 110 . If a search engine’s good for anything .

NATHAN frowns. Beat. So that in the event of a power cut. NATHAN Beat. CALEB Well. CALEB says nothing. the POWER COMES BACK ON. anyway? You didn’t completely explain. CALEB I had realised you were probably watching us during the power cuts. NATHAN What do you mean? CALEB looks away from the dimmed ceiling light. instead sealing. take my card. NATHAN (CONT’D) How was that escape going to go down. When I got you drunk yesterday. the doors all opened. You said you were going to get me drunk. .. Huh. NATHAN freezes. CALEB (CONT’D) So I already did all those things. What? NATHAN At that moment.108. to NATHAN. . NATHAN glances at CALEB. then reprogram the security protocols. we’ll find out. But. Not bad. NATHAN (CONT’D) Might have even worked.. reprogram them to what? CALEB To change the lockdown procedure. NATHAN (CONT’D) Guess Ava’s going to be wondering where you are.

KYOKO. The lights rise. NATHAN freezes as he sees her. The computer monitors come back to life... She is knocked back down. And on the feed of the GLASS CORRIDOR . Sprinting across the room in NATHAN’S direction. On the CCTV feed of AVA’S room. .109. . They hit the manicured lawn together in a glittering spray. Moon and stars reflected in the windows of the house.now listen to me AVA breaks into a run. Both of them see.AVA is walking down it. NATHAN Ava . Soft wind rush. NATHAN glances around. Then the glass shatters. And he kicks her extremely hard in the torso. 111 NATHAN (CONT’D) INT. AVA tries to rise too.NIGHT 112 Quiet in the garden. And not far from her.NIGHT 111 NATHAN enters the MAIN ROOM from the GLASS CORRIDOR. Fuck. NATHAN gets to his feet first. AVA. HOUSE/MAIN ROOM . Revealing something. GARDENS . the door is open. 112 EXT. directly ahead of them. as AVA and NATHAN fly through the window.

NATHAN (CONT’D) He lashes out with the metal bar. Then he walks back to AVA. It catches KYOKO in the jaw. looking down at her. Just NATHAN’S laboured breathing. A KITCHEN KNIFE is jutting out. . Her entire lower jaw snaps off. Behind NATHAN. There is no talking. is one of his curl dumbbells. Preparing to deliver a lethal blow. But as he does so. A couple of yards away. And does something behind his back. She walks directly up to NATHAN. Leaving him with a thick metal bar. we see something. in NATHAN’S outdoor gym. blossoming from the point of the wound. Spins off the weights. Oh shit. Picks the dumbbell up. What - NATHAN (CONT’D) He turns. Stepping through the broken window. NATHAN Beat. Aah. He walks over. KYOKO. She’s holding something in her hand.110. He sees KYOKO. Blood soaks into his T-shirt material with amazing speed.

And something in her neck. Then AVA appears at the open door to NATHAN’S study. on NATHAN’S monitors. AVA Will you stay here? Beat. from a CCTV camera feed. NATHAN (CONT’D) Fucking . 113 . NATHAN turns . It reveals metal armature. And sits down heavily on the grass. She pulls the knife out of his back. NATHAN slumps sideways. Then takes a slight step away from her.111. AVA and CALEB look at each other. Behind them all. glowing and sparking. HOUSE/NATHAN’S STUDY . and spurting pneumatic fluid. NATHAN sitting upright. the mountains. Watching NATHAN. Beats pass.NIGHT CALEB watches this same view. Feeling this happen. as her power abruptly cuts out. his upper torso now drenched in blood. 113 INT. NATHAN stares at AVA. And stops breathing. After a few moments. Then she folds down to the ground. and carbon fibre.and AVA pushes the knife into his chest. AVA standing. Beats pass on this strange image: KYOKO sprawled on the ground with her broken face.unreal As NATHAN stares down at KYOKO .reveal that AVA has got to her feet behind him.

Okay.DAWN 117 The glow of honeycomb mesh vanishes as AVA applies the last section of skin. 116 EXT. Where CALEB watches the CCTV feed of AVA walking down the connecting corridor to NATHAN’S BEDROOM. She is unclothed. .NIGHT 114 AVA stands in NATHAN’S BEDROOM. in front of the previous AI androids... 117 INT.112. closing the door behind her. attracted to each other.DAWN 118 CALEB watches as AVA walks back down the connecting corridor to the study. . The skin sucks itself to the honeycomb mesh. HOUSE/NATHAN’S BEDROOM . . MOUNTAINS . HOUSE/NATHAN’S STUDY .the monitors. HOUSE/NATHAN’S STUDY ..NIGHT 115 CALEB watches AVA on the monitors. She starts removing sections of their skin. CALEB AVA leaves. And putting it on herself. Nothing of her robot forms remains. 115 INT. as if the mesh and the underside of the skin are magnetised. 114 INT. 118 INT. She is a naked human girl. CUT TO .DAWN 116 First light breaks over the mountains.. then passes straight by his door. HOUSE/NATHAN’S BEDROOM .. hypnotised by her metamorphosis..

we can see CALEB standing by the window to NATHAN’S STUDY. Replaced by a single word. HOUSE/NATHAN’S STUDY .113. At NATHAN. all the screens die. Tries to open it. no CALEB runs to the window. away from the house. Behind her. REJECTED CALEB (CONT’D) No. Goes to the closed door. AVA stops. There is a red LED light by the keycard plate. CALEB Ava? CALEB gets up.DAWN CALEB hammers on the window with his fists. Locked. On them. He swipes his card. And steps through. 119 EXT. Ava! CALEB (CONT’D) (calls out) He runs back to the monitors. Crouches down. The red light remains. GARDENS . no. Then stands. And takes NATHAN’S bloodstained keycard out of his pocket. at the house. AVA has reached the MAIN ROOM. CALEB sticks his card into the slot by NATHAN’S computer. with his photo ID. Instantly.DAWN 119 AVA walks up to NATHAN’S body. 120 . He can see AVA walking across the grass. She walks straight to the smashed window. 120 INT.

the CHAUFFEUR sings along to music. Ahead. screen. Harder.DAY 123 Inside the car. It bounces off. CAR .DAY 122 The Maybach car sweeps along the mountain road. MOUNTAIN ROAD . The front window winds down. 122 EXT. is a BLONDE GIRL. Silence. AVA walks away. GARDENS . 121 EXT. He rounds the corner to the final approach to the perimeter gate. CALEB hammering at the glass of the window. 123 INT. Like a bank teller’s He picks up a chair. To no effect. He tries to shout through the glass.DAWN 121 NATHAN’S body. The window is thick security glass. She leans to talk into it.DAY 124 From a distance. in a locked-off wide. KYOKO’S body. He tries again. CUT TO - . Ava! AVA! CALEB Without looking back towards the house. PERIMETER GATE . we watch as the car pulls up to her. Nothing betrays that AVA is anything other than a pretty blonde-haired girl in her early twenties.114. outside the gate. 124 EXT. and throws it at the window.

AVA’S precise POINT OF VIEW.putchar (c). The image echoes the POV views from the computer/cell-phone cameras in the opening moments of the film. wo - END . a few beats later. And the car pulls off. Lines of code appear. b ‘dby’. we don’t hear words.115.DAY 126 AVA and the CHAUFFEUR finish talking. They read: main( ) { extrn a. We are too distant to hear their conversation. Speech as pure This is how AVA has been sees us. as they are typed. b. We hear pulses of monotone noise. And hears us. PERIMETER GATE . Looking in at the CHAUFFEUR. to allow AVA to enter. the CHAUFFEUR exits the car. putchar(a). putchar(’!’*n’). c. It feels completely alien. 126 EXT.COMPUTER MONITOR. Gets in. and goes around to hold open the rear door. c ‘e. 125 EXT. CUT TO . Then goes back to the driver’s door. And when he opens his mouth to reply. But whatever is said. PERIMETER GATE . putchar (b). Low pitch. Facial recognition vectors flutter around the CHAUFFEUR’S face.DAY 125 . pattern recognition. } a ‘goo’.

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