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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

36.
NATHAN laughs.
NATHAN
‘An AI and an I’. Beautiful. I’m
going to start following you around
with a fucking dictaphone.
NATHAN glances over at CALEB.
NATHAN (CONT’D)
In the meantime, do me a favour.
Ease up a little on the text-book
approach. All I want is simple
answers to simple questions. Last
night, I asked how you feel about
her. And you gave me a great
answer.
NATHAN starts doing curls.
NATHAN (CONT’D)
Now the question is: how does she
feel about you?
A beat.

On CALEB.

CUT TO 32

INT. HOUSE/OBSERVATION ROOM - DAY

32

- CALEB and AVA facing each other through the glass of the
observation room.
AVA
I brought you a drawing.
AVA holds a piece of paper to the glass. The marks on it are
totally abstract. A mesh of tiny black marks, that swirl
around the page like iron filings in magnetic field patterns.
CALEB
... What’s it a drawing of?
AVA
Don’t you know?
No.

CALEB

AVA looks disappointed.
Oh.

AVA
I thought you would tell me.

CALEB
Don’t you know?

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

AVA
What object should I draw?

CALEB
Whatever you want.
decision.

It’s your

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

Meets his gaze evenly.

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

CALEB

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

38.
AVA (CONT'D)
That’s not a foundation on which
friendships are based.
CALEB is taken aback. Aware that the AI has just wrongfooted him on a point of argument.
CALEB
... That’s a fair comment.
Yes.

AVA

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

AVA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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