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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NATHAN (CONT’D) And over the next few days. NATHAN I’ve already built one. Holy shit... Beat. Test is. NATHAN And what does a pass tell us? CALEB That the computer has artificial intelligence. CALEB (CONT’D) It’s where a human interacts with a computer.. . NATHAN That’s right. 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 . Beat. CALEB I know what the Turing NATHAN waits.immediately knowing what NATHAN has just implied. CALEB . you’re going to be the human component in a Turing Test. the test is passed.. NATHAN stands. Caleb. Are you telling me you’re building an AI? NATHAN shakes his head.. Yeah. . CALEB (CONT’D) .19. Because if that test is passed. You got it. you are dead center of the single greatest scientific event in the history of man.

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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