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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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