Ex Machina

V.08

2.
Music starts, halfway through a track.
CUT TO 1

INT. OFFICE - DAY

1

- a COMPUTER MONITOR.
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
monitor.
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.
CUT TO - the COMPUTER MONITOR.

3.
On which a message appears, in a small window, over the code.
VIP EMAIL RECEIVED
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
text.
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:
sending
A beat later, a reply text message appears.
WTF?

seriously!?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

22.
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.
CUT BACK to AVA.
She watches CALEB.

Then cocks her head slightly to the side.

AVA (CONT’D)
Are you nervous?
CALEB frowns.
CALEB
... Why do you ask that?
A beat.
Then AVA repeats her question.
AVA
Are you nervous?
... Yes.
Why?

CALEB
A little.
AVA

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

AVA

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

23.

Oh.

AVA

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

Observing.

CALEB (CONT’D)
Do you know what I mean by that?
Yes.

AVA

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

CALEB

24.
AVA

I’m one.
One what?

Or one day?

AVA

One.
A beat on CALEB.

CALEB
One year?

Processing.

Her answer feels like the near non-sequitur that typically
betray AI responses.
AVA (CONT’D)
Does that seem young to you?
CALEB
Quite young.
(beat)
When did you learn how to speak?
AVA pauses, as if considering this question for the first
time.
AVA
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
acquire.
CALEB
Some believe language exists in the
brain from birth, and what is
learned is the ability to attach
words and structure to the latent
ability.
Beat.
CALEB (CONT’D)
Would you agree?
AVA
... I don’t know.
opinion on that.

I have no

Beat.
AVA (CONT’D)
I like to draw.
CALEB says nothing.
Just watches AVA.

Again, lets the non-sequitur sit.

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

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

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

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

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

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

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

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

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

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

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

36.
NATHAN laughs.
NATHAN
‘An AI and an I’. Beautiful. I’m
going to start following you around
with a fucking dictaphone.
NATHAN glances over at CALEB.
NATHAN (CONT’D)
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
answer.
NATHAN starts doing curls.
NATHAN (CONT’D)
Now the question is: how does she
feel about you?
A beat.

On CALEB.

CUT TO 32

INT. HOUSE/OBSERVATION ROOM - DAY

32

- CALEB and AVA facing each other through the glass of the
observation room.
AVA
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.
CALEB
... What’s it a drawing of?
AVA
Don’t you know?
No.

CALEB

AVA looks disappointed.
Oh.

AVA
I thought you would tell me.

CALEB
Don’t you know?

37.
AVA
I do drawings every day. But I
never know what they’re of.
CALEB
Are you not trying to sketch
something specific? Like an object
or a person.
She shakes her head as she takes the picture down.
CALEB (CONT’D)
Maybe you should try.
Okay.

AVA
What object should I draw?

CALEB
Whatever you want.
decision.

It’s your

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

Meets his gaze evenly.

AVA (CONT’D)
That’s true, isn’t it?
... Yes.

CALEB

AVA
You learn about me, and I learn
nothing about you.
(MORE)

38.
AVA (CONT'D)
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.
CALEB
... That’s a fair comment.
Yes.

AVA

CALEB
So - you want me to talk about
myself.
Yes.

AVA

CALEB
Where do you want me to start?
AVA
It’s your decision. I’m interested
to see what you’ll choose.
And now CALEB is aware that AVA has just - gently - used
sarcasm.
He looks at her, frowning slightly.
And in response, in a very human way, AVA arches an eyebrow.
CALEB laughs.
CALEB
Okay, Ava. Well - you know my
name. I’m twenty four. And I work
at Nathan’s company. You know what
his company is?
AVA
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.
CALEB
That’s right.
AVA
Where do you live, Caleb?
CALEB
Brookhaven, Long Island.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HOUSE/NATHAN’S STUDY . She touches it against the glass. AVA Because he tells lies too. Mirroring her movement. CALEB ..KYOKO’S naked form. CUT TO 60 INT. I cause a surge static discharge of a strike. 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. CALEB Lies about what? AVA Everything.71.. It overloads via induction the power equal to the lightning the system. You’re causing the cuts? AVA raises her right hand. If I reverse flow. as if their palms are making contact through the divider. AVA lifts her hand to reveal a disc on her left palm. Then CALEB raises his hand.DAY . AVA So we can see how we behave when we are unobserved. And also touches the glass. AVA I charge my batteries plates. so he can see how we behave when we think we’re unobserved. A beat. 60 .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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