Ex Machina


Music starts, halfway through a track.



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

He types

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

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

The tiny camera nestled above

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Then cocks her head slightly to the side.

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

A little.

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


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




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


Do you know what I mean by that?


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



I’m one.
One what?

Or one day?


A beat on CALEB.

One year?


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

I have no

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

Again, lets the non-sequitur sit.

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

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

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

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

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

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

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

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

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

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

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

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





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


AVA looks disappointed.

I thought you would tell me.

Don’t you know?

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

What object should I draw?

Whatever you want.

It’s your

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

Meets his gaze evenly.

That’s true, isn’t it?
... Yes.


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

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


So - you want me to talk about


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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