scripts/Ex Machina.txt

                                                                1.



    Music starts.

    OPEN ON -


1   INT. OFFICE - DAY                                                1

    - a COMPUTER MONITOR.

    Lines of code appear, as they are typed.

    main( ) { extrn a, b, c; putchar(a); putchar(b);putchar
    (c); putchar(’!’*n’); } a ‘hell’; b ‘o, w’; c ‘or

    CUT TO -

    - a view above an ultra-cool, ultra-designed open-plan
    office.

    In a kitchen area, young men and women mill and chat.
    Casually dressed. Feels like an intelligent, relaxed
    environment.

    Behind them, more young men and women sit at desks, in
    front of screens 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 writing code. This is CALEB.
    He types fast, with two fingers.

    CUT TO -

    - EXTREME CLOSE UP of a pinhole web-cam lens in CALEB’S
    monitor.

    CUT TO -

    - the POV of the web-cam.

    Looking back at CALEB.

    Twenty four. Glazed. Ear buds in, connected to cell phone.
    Head bobbing slightly to the music.

    As we watch from the monitor POV, we can see the computer’s
    facial recognition system in operation.
                                                            2.


Imaged as vector boxes, which track CALEB’S face, and the
faces of all the people behind him.

CUT TO -

- the COMPUTER MONITOR.

On which a message appears, in a small window, over the
code. VIP EMAIL RECEIVED subject: HIDDEN

CUT TO -

- the monitor web-cam POV.

As CALEB stops typing.

He gazes at the message.

Then clicks on the link.

Then mouths the word: Fuck.

CALEB reaches for his cell phone.

CUT TO -

- the CELL PHONE POV, seen from the tiny camera above the
screen, as CALEB lifts the phone, and starts keying-in a
text.

We see facial recognition software flickering over CALEB’S
features, and reacting to shifts in his expression.

CUT TO -

- the cell phone. The screen. The tiny camera nestled above
it. Lens glinting.

On the screen, a time-bar extends next to the word:

sending

A beat later, a reply text message appears.

WTF? seriously!?

CUT TO -

- the WEB CAM POV, watching CALEB react to the arrival of
the text.

CUT TO -
                                                               3.


    - cell phone screen.

    CALEB sends the word:

    yes

    A beat later, a stream of text messages start appearing:

    Buena estoria bro

    omfg fucking AWESOME

    :o)

    take me take me?!?

    Caleb > [infinity symbol]

    CUT TO -

    - the computer monitor POV.

    Behind CALEB, a few of the people behind CALEB in the
    office are reacting.

    One stands and applauds.

    A GIRL comes out from behind her desk, runs over to CALEB,
    and embraces him from behind planting a kiss on his cheek.

    CALEB still looks dazed.

    He still has his headphones in. Still in the audio bubble,
    which, despite the commotion around him, remains unburst.

    TITLE:

    EX MACHINA


2   EXT. MOUNTAINS - DAY                                            2

    A spectacular mountain landscape. Waterfalls drop down
    massive rock faces to inland lakes. Rivers push through
    forest. Forest spreads across valley floors, which rise to
    snow peaks.


3   INT. HELICOPTER - DAY                                           3

    CALEB wakes abruptly -
                                                            4.


- to find himself in the front seat of a helicopter.

The pilot, JAY, is a man in his forties.

Outside the window is the mountain landscape.

                  CALEB
        How long was I out?

                  JAY
        You fell asleep almost as soon as
        we left the airport.

CALEB looks around. Wipes sleep out of his eyes. Gets his
bearings.

                  CALEB
        Damn. Can’t believe I’ve been
        missing this. I was so psyched to
        be coming here, I was awake all
        night.

JAY smiles.

                  JAY
        You’re a programmer, right?

                  CALEB
        Yeah.

                  JAY
        Bay facility?

                  CALEB
        Long Island. I work on algorithms
        for the search engine.

                  JAY
        Algorithms. Nice.

                  CALEB
        You know what they are?

                  JAY
        Nope. But I knew you were a
        programmer. Soon as I set eyes on
        you.

                  CALEB
        Is that a good thing?

                  JAY
                                                         5.


        Means you and Mr Bateman speak the
        same language. I’d say that’s a
        good thing.

Beat.

                  CALEB
        I guess you know him pretty well.

The pilot laughs.

                  JAY
        I’ve never even met him. I only fly
        this shuttle between the airport
        and his residence.

I did see him one time. Stood on one of these mountain
ridges.

JAY shrugs.

                  JAY (CONT’D)
        Assume it was him, anyway. No one
        else around for a hundred miles.

JAY glances over at CALEB.

                  JAY (CONT’D)
        So how does a programmer from Long
        Island get to be meeting the CEO?

                  CALEB
        I won a competition. It was kind of
        like a lottery, for employees. The
        winner got to spend a week with
        him.

                  JAY
        The president can’t get Mr Bateman
        on the phone, but you got the
        golden ticket.

                    CALEB
        Yep.

                  JAY
        Hell of an opportunity.

                  CALEB
        Believe me. I know it.

CALEB looks out of the window.
                                                                6.


                      CALEB (CONT’D)
            Incredible here.

                      JAY
            Alaska. Most beautiful place on
            Earth.

    Beat.

                      CALEB
            How long until we get to his
            estate?

    JAY chuckles.

                      JAY
            We’ve been flying over his estate
            for the past two hours.


4   EXT. MOUNTAINS - DAY                                             4

    The helicopter flies over a vast white glacier.


5   EXT. MOUNTAINS - DAY                                             5

    The helicopter flies over the lip of a WATERFALL, revealing
    a valley.

    The valley floor is a forest, and a single bright green
    meadow. Sunlit, like a jewel in the icy mountains.

    A white-water river runs through it.


7   INT. HELICOPTER - DAY                                            7

    CALEB looks down at the breathtaking view as the helicopter
    banks, turns, and descends.


8   EXT. MEADOW - LANDING SITE - DAY                                 8

    Meadow flowers whip in the rotor wash as the helicopter
    touches down in the vast meadow.

    By the landing site is a collection of huge metal crates.
    All have Chinese characters on the side.

    The rotor blades slow, but don’t stop.
                                                                7.


    JAY exits.


9   EXT. MEADOW - LANDING SITE - DAY                                 9

    JAY holds open the door as CALEB exits the helicopter
    cabin.

    CALEB looks around, his eyes adjusting to the bright
    sunshine outside.

    JAY goes to the side of the helicopter, pops open a hatch,
    and removes CALEB’S luggage. A large suitcase with wheels.

    CALEB looks around. Apart from the packing crates, there
    are no man-made structures to be seen.

    CALEB shouts over the engine noise.

                      CALEB
            You’re leaving me here?

                      JAY
            This is as close as I’m allowed to
            the building.

                      CALEB
            ... What building?

    The pilot gestures vaguely towards the white water.

                      JAY
            Follow the river.

    JAY hands CALEB his bag.

                      JAY (CONT’D)
            Please get a safe distance from the
            blades.

    The pilot gets back inside the helicopter, and closes the
    door.

    CALEB hurriedly retreats with his bag.

    Moments later, in a roar of wind and noise, the helicopter
    is lifting off.

    Equally suddenly, the noise is fading, and the helicopter
    is soaring upwards, and banking back towards the glacier.
                                                                 8.


     Then it is gone. Bird song and wind rush replace engine
     noise.

     CALEB suddenly looks very isolated.


10   EXT. RIVER - DAY                                                 10

     CALEB walks along the banks of the fast-flowing river,
     awkwardly bumping his wheeled suitcase over the ground.

     The banks of the river start to climb, to an intimidating
     drop.

     It feels that this can’t be the right way.

     CALEB reaches into his pocket and pulls out his mobile
     phone.

     No signal at all.

     He puts his phone back in his pocket.


11   EXT. RIVER - HOUSE VIEW - DAY                                    11

     CALEB rounds a bend in the river.

     Ahead, almost hidden in trees, there is a steel and glass
     structure.


12   EXT. CLEARING - DAY                                              12

     CALEB walks towards the house through the trees.

     In the ground, in a grassy clearing, he finds a circular
     window, reflecting the sky.

     He walks up to the window, and looks inside.

     It reveals what is effectively a glass-covered well - about
     four metres deep, with smooth concrete sides.

     At the bottom of the well is a brightly-lit room, which
     appears to be an office of some sort. There is a desk, with
     monitors, and a chair.

     But apparently no one inside.
                                                                 9.


     Beyond the clearing, in the tree-line, CALEB sees - almost
     camouflaged by forest - the dark shapes and straight lines
     of a low, one storey building complex.


13   EXT. HOUSE - DAY                                                 13

     CALEB approaches the building.

     As he nears the entrance -

     - CALEB startles, as an AUTOMATED VOICE speaks to him, from
     an unknown source.

                       AUTOMATED VOICE
             Caleb Smith.

     CALEB tracks the source of the voice.

     Near what seems to be the front door, a pillar protrudes
     from the ground. Head-height. With a GLASS SCREEN on one
     side.

     Below the screen is a DISPENSER.

                        CALEB
             ... Yes.

                       AUTOMATED VOICE
             Please approach the console and
             face the screen.

     CALEB looks into the screen, and as soon as he has locked
     eyes with his own reflection, the screen FLASHES. A single
     bright strobe.

     Almost immediately afterwards, something small clatters
     into the DISPENSER.

                       AUTOMATED VOICE (CONT’D)
             Take your keycard.

     CALEB picks the object up. It’s a credit-card sized ID.

     On it, there is an embedded chip, and a photograph of his
     face. He looks comically surprised.

                       CALEB
             ... Can we do another?

                        AUTOMATED VOICE
                                                               10.


                Your keycard now may be used to
                enter the residence.

     CALEB walks up to the front door.

     Beside the door, a KEYCARDPLATE is set into the wall, with
     a RED LED LIGHT.

     He holds his keycardID.

     The RED LED light changes to BLUE.

     CALEB pushes the front door, and it swings open.


14   INT. HOUSE/MAIN ROOM - DAY                                      14

     The front door opens to a glass-walled staircase, which
     leads down to an open-plan room.

     At the bottom of the staircase, CALEB waits to see if he is
     welcomed, or noticed.

     But he is not.

                         CALEB
                Hello?

     Silence.

     Then he is startled a second time, by sudden commencement
     of a THUMPING SOUND.

     Abrupt. Rapid. More or less rhythmic. From somewhere
     nearby.

     He exits in the direction of the noise.


15   INT. HOUSE/DINING AREA - DAY                                    15

     CALEB enters a dining area.

     Which now reveals...

     ... a huge glass door.

     It presents an arresting view of a garden, river, and the
     mountains behind.

     The door is open, and through it, we see the reason for the
     thumping sound.
                                                               11.


     Just outside, on a patio, in the sunshine, a man is working
     a PUNCH BAG.


16   EXT. GARDEN - DAY                                               16

     CALEB exits the dining area to an area of neat garden,
     looking over the river, and surrounded by the mountain
     ranges.

     The punch bag is suspended by a chain on an exterior
     flanking wall of the house.

     The man working it is wearing shorts, and is shirtless.
     Bathed in sweat.

     His hands are not protected by gloves. Only wraps. Spots of
     blood seep through the pale material around his knuckles.

     This is NATHAN BATEMAN. He’s thirty.

     After a flurry of punches, NATHAN breaks off.

     Breathing hard, he wipes at his eyebrows with the back of
     his wrist. Sweat droplets cascade down his face.

     Then -

     - NATHAN senses the other presence.

     He turns to see CALEB. Standing by the open glass wall.

                         NATHAN
              Caleb.

     NATHAN beams.

                        NATHAN (CONT’D)
              Caleb Smith.

                         CALEB
              ... Hi.

     NATHAN starts unravelling his wraps.

                        NATHAN
              Dude. I’ve been so looking forward
              to this.


17   INT. HOUSE - DINING AREA - DAY                                  17
                                                        12.


NATHAN walks past CALEB, and goes to a bar area, where
there is a jug of non-specific vegetable juice waiting, and
a glass.

                  NATHAN
        Come in, come in.

CALEB puts his bag down.

                  NATHAN (CONT’D)
        You want something to eat or drink
        after your journey?

                  CALEB
        No. Thank you. I’m fine.

                    NATHAN
        You sure?

NATHAN pours himself a glass of the vegetable juice.

                  NATHAN (CONT’D)
        I’d been thinking we’d have
        breakfast together, but to be
        honest, I can’t eat anything right
        now. I gotta tell you - I woke up
        this morning with the mother of all
        fucking hangovers.

                    CALEB
        Yeah?

NATHAN laughs.

                  NATHAN
        Like you wouldn’t believe. And if I
        have a heavy night, I always try to
        compensate the next morning.
        Exercise. Juice. Anti-oxidants. You
        know?

                    CALEB
        Sure.

Silence, as NATHAN drinks.

CALEB feels he needs to say something.

Looking around, he sees a collection of empty beer bottle
on the kitchen counter.

                  CALEB (CONT’D)
        ... Was it a good party?
                                                       13.


NATHAN doesn’t answer.

He’s still drinking.

The silence extends a little. Verges on odd.

NATHAN puts his empty glass down.

                    NATHAN
        Party?

NATHAN looks at CALEB. His expression is unreadable.

                  NATHAN (CONT’D)
        Caleb. I’m going to put this out
        there so it’s said.

CALEB waits.

                  NATHAN (CONT’D)
        You’re freaked out.

                    CALEB
        ... I am?

                  NATHAN
        Yeah. You’re freaked out by the
        house, and the mountains, because
        it’s all so super-cool. And you’re
        freaked out by me. To be meeting
        me. In this room, having this
        conversation, at this moment.
        Right?

CALEB doesn’t have time to answer.

                  NATHAN (CONT’D)
        And I get that. The moment you’re
        having.

NATHAN smiles.

                  NATHAN (CONT’D)
        But dude, can we get it behind us?
        Can we just be two guys? Nathan and
        Caleb. Not the whole employer-
        employee thing.

                    CALEB
        Okay.

Beat.
                                                              14.


                       CALEB (CONT’D)
             It’s good to meet you, Nathan.

     CALEB holds out his hand.

     NATHAN beams.

                       NATHAN
             It’s good to meet you too, Caleb.

     They shake.

     When CALEB takes his hand back, there is a little smear of
     blood on his fingers.

     He discretely wipes it on his trousers.


18   EXT. HOUSE - ELEVATOR - DAY                                    18

     NATHAN and CALEB enter an elevator.

     It has no buttons. Only a keycard plate.

     NATHAN swipes his card.

                        NATHAN
             Down.

     The elevator starts to move.


19   EXT. RIVER - DAY                                               19

     Water flows over rocks.


20   INT. HOUSE - GLASS CORRIDOR - CONTINUOUS                       20

     CALEB and NATHAN exit the elevator, into a glass corridor.

     The floor is polished concrete. The walls and ceiling are
     glass, behind which diffused light glows.

     At regular intervals, glass doors are set, glowing with the
     same light, flush with the walls.

     Beside the closed doors are keycardplates and soft red
     LEDs.

     CALEB carries his bag, looking slightly encumbered next to
     NATHAN.
                                                             15.


                       NATHAN
             So I guess the first thing I should
             do is explain your pass. It’s
             simple enough. It opens some doors,
             but it doesn’t open others. And
             that just makes everything easy for
             you, right?

                       CALEB
             ... Uh, yes.

                       NATHAN
             Because you’re like: oh fuck, I’m
             in someone else’s house, can I do
             this, can I do that? And this card
             takes all that worry away. If you
             try to open a door and it stays
             shut: okay, it’s off limits.

     If you try another door, and it opens: it’s for you.

     NATHAN stops by a door.

                       NATHAN (CONT’D)
             Let’s try this one.

     CALEB hunts around in his pockets for his keycard.

     Then swipes the card on the plate.

     The LED turns blue.

                       NATHAN (CONT’D)
             Guess it’s for you, Caleb.


21   INT. HOUSE - CALEB’S BEDROOM - DAY                            21

     NATHAN follows CALEB into a bedroom.

                         NATHAN
             You like?

     It has the vibe of a mid-level business hotel. Bed, table,
     TV.

     Except it has no windows.

                       NATHAN (CONT’D)
             It’s your room. You got yourself a
             bed, cupboards, a little desk, and
             a bathroom through there. A little
             fridge.
                                                        16.


NATHAN opens the fridge. Inside it is full of bottled
water.

                  NATHAN (CONT’D)
        Cosy, right?

CALEB puts his bags down.

                  CALEB
        You bet. This is great.

                  NATHAN
        What?

                  CALEB
        ... Sorry?

                  NATHAN
        There’s something wrong. What is
        it?

                  CALEB
        There’s nothing wrong.

                  NATHAN
        It’s the windows. You’re thinking:
        there’s no windows. And it’s not
        cosy. It’s claustrophobic.

                  CALEB
        No. No way. I wasn’t thinking that.
        I was thinking: this is really
        cool.

                  NATHAN
        Caleb. There’s a reason the room
        has no windows.

                  CALEB
        ... There is?

                  NATHAN
        Uh-huh. In many ways, this building
        isn’t a house. It’s a research
        facility. Buried in these walls are
        enough fibre optic cables to reach
        the Moon and lasso it.

NATHAN sits on the bed.

                  NATHAN (CONT’D)
                                                                17.


             And I want to talk to you about
             what I’m researching. I want to
             share it with you. In fact, I want
             to share it with you so much, it’s
             eating me up inside.

     Beat.

                       NATHAN (CONT’D)
             But there’s something I need you to
             do for me first.

                         CALEB
             ... What?

     NATHAN indicates the desk - where a pen sits next to a
     printed document.


22   INT. HOUSE - CALEB’S BEDROOM - DAY                               22

     CALEB sits at the desk in his room, holding NATHAN’S pen.

     In front of him is a sheet of paper, which reads, at the
     top:

     NON DISCLOSURE AGREEMENT

                       CALEB
             ‘The signee agrees to regular data
             audit with unlimited access, to
             confirm that no disclosure of
             information has taken place, in
             public or private forums, using any
             means of communication, including
             but not limited to that which is
             disclosed orally or in written or
             electronic form...’

     CALEB glances back at NATHAN on the bed.

                       CALEB (CONT’D)
             I think I need a lawyer.

                       NATHAN
             It’s standard.

                       CALEB
             It doesn’t feel very standard.

                       NATHAN
             Okay, it’s not standard.
                                                          18.


NATHAN shrugs.

                  NATHAN (CONT’D)
        What can I tell you? You don’t have
        to sign. We could spend the next
        seven days shooting pool and
        getting drunk together. Bonding.
        And when you discover what you
        missed out on, in a year or so’s
        time, you’ll spend the rest of your
        life regretting it.

CALEB turns back to the desk.

Looks at the paper.

Then hesitates a final moment -

- and signs.

When he looks round, NATHAN has moved from the bed, and is
standing directly behind him.

                  NATHAN (CONT’D)
        Good call.

NATHAN takes the piece of paper.

Folds it. Puts it in his pocket.

                  NATHAN (CONT’D)
        So.

Beat.

                  NATHAN (CONT’D)
        Do you know what the Turing Test
        is?

CALEB reacts - immediately knowing what NATHAN has just
implied.

                  CALEB
        ... Yeah. I know what the Turing
        Test is.

NATHAN waits.

                  CALEB (CONT’D)
        It’s where a human interacts with a
        computer. And if the human can’t
        tell they’re interacting with a
        computer, the test is passed.
                                                               19.


                          NATHAN
                And what does a pass tell us?

                          CALEB
                That the computer has artificial
                intelligence.

     Beat.

                          CALEB (CONT’D)
                ... Are you telling me you’re
                building an AI?

     NATHAN shakes his head.

                          NATHAN
                I’ve already built one.

     NATHAN stands.

                          NATHAN (CONT’D)
                And over the next few days, you’re
                going to be the human component in
                a Turing Test.

                          CALEB
                ... Holy shit.

                          NATHAN
                That’s right, Caleb. You got it.
                Because if that test is passed, you
                are dead center of the single
                greatest scientific event in the
                history of man.

                          CALEB
                If you’ve created a conscious
                machine, it’s not the history of
                man. It’s the history of Gods.

     NATHAN smiles.

                          NATHAN
                I like you.

     CUT TO -


23   INT. HOUSE - OBSERVATION ROOM - DAY                             23

     - what appears to be a neon colouredjellyfish. Tendrils
     like axons, hanging in a black-blue liquid space.
                                                         20.


REVEAL -

- the jellyfish is contained in a glass orb.

Which is held in an exposed cavity at the back of machined
skull-shape...

... which is part of a robot girl.

Her name is AVA.

She’s an extraordinary piece of engineering.

Proportioned as a slender female in her twenties, her limbs
and torso are a mixture of metal and plastic and carbon
fibre.

The carbon fibre is charcoal colour. The plastic is cream.
The metal has the yellow-warmth of nickel.

The shapes of her body approximate the form of muscle.
There are biceps, and breasts. Her hands have five delicate
digits.

Her body-structure is covered in a delicate skin. The skin
is a mesh, in the pattern of a honeycomb. Like a spiderweb,
it is almost invisible unless side-lit.

The one part of her that is not obviously an inorganic
construct is her face - which is that of a strikingly
beautiful girl. Created in a defined oval, from the top of
the forehead to just below her chin. Indistinguishable from
a real girl in its appearance and in the way it moves -
except for one thing.

There is a very slight, almost imperceptible blankness in
her eyes.

As we observe AVA, she fits a section of skull-plate to the
back of her head, which obscures the glass orb and
jellyfish structure.

Then -

- she half turns. As if having become aware of another
presence in the room.

REVEAL -

- the room in which AVA stands.

AVA’S living area is made up of three primary spaces.
                                                           21.


The main area is the OBSERVATION ROOM. A large area,
arranged around a glass box, from which she can be viewed.

At the back of the observation room, behind a sheet of
semi- opaque glass, is the PRIVATE AREA. This contains a
bed-like structure, a desk, a wardrobe, and a mirror.

And behind the private area is the GARDEN AREA. This is a
small decorative indoor garden, lit by lamps. The garden is
sealed off from AVA by a thick wall of glass.

There are also several oval discs positioned around the
room, made of some kind of dark non-reflective material.
These are induction plates.

And there is a chair, which faces the glass observation
box.

And facing that chair, inside the observation box, is
another chair.

Beside which, CALEB stands.

A beat -

- as CALEB and AVA see each other for the first time.

Then -

- AVA starts walking. Revealing a secondary impact of her
engineering: how she moves. The unconscious precision of
her steps. The fluidity of her action.

CALEB is transfixed as she covers the length of the room to
her chair.

Then she sits down.

And speaks.

                     AVA
           Hello.

Her voice has no digital inflections. It is just the voice
of a girl.

CALEB gathers himself.

                     CALEB
           ... Hi.

                     AVA
                                                         22.


          Who are you?

                    CALEB
          I’m Caleb.

                    AVA
          Hello, Caleb.

                    CALEB
          ... Do you have a name?

                      AVA
          Yes. Ava.

                    CALEB
          ... I’m pleased to meet you, Ava.

                    AVA
          I’m pleased to meet you too.

CALEB sits opposite her.

He is alone on his half of the glass. Nathan is nowhere to
be seen.

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

CUT BACK to AVA.

She watches CALEB. Then cocks her head slightly to the
side.

                    AVA (CONT’D)
          Are you nervous?

CALEB frowns.

                    CALEB
          ... Why do you ask that?

A beat.

Then AVA repeats her question.

                    AVA
          Are you nervous?

                    CALEB
          ... Yes. A little.
                                             23.


                  AVA
        Why?

                  CALEB
        I’m not sure.

                  AVA
        I feel nervous too.

                  CALEB
        ... Do you?

                  AVA
        Yes.

                  CALEB
        Why do you feel nervous?

                  AVA
        I’ve never met anyone new before.
        Only Nathan.

                  CALEB
        ... Then we’re both in quite a
        similar position.

                  AVA
        Haven’t you met lots of new people
        before?

                  CALEB
        None like you.

                  AVA
        Oh.

Beat.

                  CALEB
        So. Let’s break the ice.

He glances at her. Observing.

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

                  AVA
        Yes.

                  CALEB
        What do I mean?
                                                        24.


                  AVA
        Overcome initial social
        awkwardness.

Beat.

                  CALEB
        So let’s have a conversation. If we
        talk, we’ll both relax, and get to
        know each other at the same time.

                  AVA
        Okay. What would you like to have a
        conversation about?

                  CALEB
        Why don’t we start with you telling
        me something about yourself.

                  AVA
        What would you like to know?

                  CALEB
        Whatever comes into your head.

AVA pauses a moment.

                  AVA
        Well. You already know my name. And
        you can see that I’m a machine.
             (beat)
        Would you like to know how old I
        am?

                   CALEB
        Sure.

                   AVA
        I’m one.

                  CALEB
        One what? One year? Or one day?

                   AVA
        One.

A beat on CALEB. Processing.

Her answer feels like the near non-sequitur that typically
betray AI responses.

                  AVA (CONT’D)
        Does that seem young to you?
                                                        25.


                  CALEB
        Quite young.
             (beat)
        When did you learn how to speak?

AVA pauses, as if considering this question for the first
time.

                  AVA
        I don’t think I did learn. I always
        knew how to speak - and that’s
        strange, isn’t it?

                  CALEB
        Why?

                  AVA
        Because language is something that
        people acquire.

                  CALEB
        Some believe language exists in the
        brain from birth, and what is
        learned is the ability to attach
        words and structure to the latent
        ability.

Beat.

                  CALEB (CONT’D)
        Would you agree?

                  AVA
        ... I don’t know. I have no opinion
        on that.

Beat.

                  AVA (CONT’D)
        I like to draw.

CALEB says nothing.

Just watches AVA. Again, lets the non-sequitur sit.

                  AVA (CONT’D)
        I don’t have any of my pictures
        with me now, but I can show you
        them tomorrow.

                  CALEB
        That sounds good. I’d like to see
        them.
                                                                26.


                        AVA
             Yes.

     Beat.

                       AVA (CONT’D)
             Will you come back tomorrow, Caleb?

     CALEB smiles slightly.

                       CALEB
             Yeah. Definitely.

     AVA also smiles.

     And suddenly -

     - there is a strong sense of something very human there. In
     the way the smile lights up her face.

                        AVA
             Good.


24   EXT. HOUSE - GARDEN - DUSK                                       24

     A view of the house over the meadows.

     The sun setting is behind the mountain peaks, making the
     edges of the clouds glow like light-bulb filaments.


25   INT. HOUSE - DINING AREA - DUSK                                  25

     CALEB and NATHAN are in the dining area.

     It is set for dinner. Only two chairs.

     NATHAN is at the table, nursing a bottle of Peronibeer.

     CALEB stands by panoramic window, looking at the view.

                        NATHAN
             So?

     CALEB turns.

                       CALEB
             Sorry. I was just ordering my
             thoughts.

                        NATHAN
                                                        27.


        Don’t order. Just speak.

                  CALEB
        She’s fascinating. When you talk to
        her, you’re through the looking
        glass.

NATHAN nods. Approving.

                  NATHAN
        ‘Through the looking glass’. You’ve
        got a way with words there, Caleb.
        You’re quotable.

                  CALEB
        Actually, it’s someone else’s
        quote.

                  NATHAN
        You know I wrote it down. That
        other line you came up with. About
        how if I’ve created a conscious
        machine, I’m not man. I’m God.

                  CALEB
        ... I don’t think that’s exactly
        what I said.

NATHAN doesn’t seem to hear.

                  NATHAN
        I just thought - fuck. That’s so
        perfect. It’s so good for the
        story, when we get to tell it. ‘I
        turned to Caleb, and he was looking
        back at me. And he said: you’re not
        a man, you’re a God’.

                  CALEB
        But I didn’t say that.

                  NATHAN
        Whatever it was you said. I wrote
        it down.

As a kind of punctuation mark, NATHAN downs the remains of
his beer. Then stands, and gets another from the bar.

                  NATHAN (CONT’D)
        So anyway. First impressions:
        you’re impressed.

                  CALEB
                                                           28.


           Yes. Although -

NATHAN laughs.

                     NATHAN
           ‘Although’? There’s a qualification
           to you being impressed?

                     CALEB
           No! No qualification to her. Just -
           in the Turing test, the machine
           should be hidden from the examiner.
           And there’s a control, or -

NATHAN waves a hand.

                     NATHAN
           I think we’re past that. If I hid
           Ava from you, so you just heard her
           voice, she would pass for human.

The real test is to show you she is a robot. Then see if
you still feel she has consciousness.

                     CALEB
           I think you’re probably right. Her
           language abilities are incredible.
           The system is stochastic, right?

NATHAN looks at CALEB blankly.

                     CALEB (CONT’D)
           Non-deterministic.

NATHAN still says nothing.

CALEB presses on.

                     CALEB (CONT’D)
           At first I thought she was mapping
           from internal semantic form to
           syntactic tree-structure, then
           getting linearised words. But then
           I started to realisethe model was
           probabalistic, with statistical
           training - or at least some kind of
           hybrid.

Silence.

                     CALEB (CONT’D)
           ... No?
                                              29.


                  NATHAN
        Caleb. I understand you want me to
        explain how Ava works. But - I’m
        sorry. I don’t think I’ll be able
        to do that.

                  CALEB
        Try me! I’m hot on high-level
        abstraction, and -

                  NATHAN
             (cuts in)
        It’s not because you’re too dumb.
        It’s because I want to have a beer
        and a conversation with you. Not a
        seminar.

                  CALEB
        ... Oh. Sorry.

                  NATHAN
        It’s cool.

NATHAN studies at CALEB for a beat.

                  NATHAN (CONT’D)
        Just answer me this. What do you
        feel about her? Nothing analytical.
        Just - how do you feel?

                    CALEB
        I feel...

CALEB pauses.

                  CALEB (CONT’D)
        ... thatshe’s fucking amazing.

NATHAN smiles.

Then lifts his bottle.

                  NATHAN
        Dude. Cheers.

CALEB lifts his bottle too.

                    CALEB
        Cheers.

The glass of the bottles touch.
                                                                30.


27   INT. HOUSE - CALEB’S BATHROOM - NIGHT                            27

     CALEB stands in his boxer shorts, brushing his teeth by the
     sink.

     REVEAL several long scars on his back.

     Neat. Unusual. Long-healed. But from serious wounds, or
     surgery.


29   INT. HOUSE - CALEB’S BEDROOM - NIGHT                             29

     Darkness.

     The clock reads 01:32 am.

     The soft glow from the digital readout throws a light on
     the remote control.

     REVEAL CALEB.

     Eyes closed. For a beat.

     Then his eyes open. He’s wide awake.

     He turns over in the bed.

     Then turns back again.

     CUT TO -

     2:28 am.

     CALEB lies watching the digital clock, as the numbers
     change to 2:29 am.

                          CALEB
                God damn it.

     He reaches for the remote control.

     CLICK.

     The TV at the foot of the bed switches on, suddenly
     lighting up the room with cold TV glow.

     CALEB squeezes his eyes shut, momentarily dazzled by the
     brightness.

     When his eyes open again, instead of seeing a TV station,
     he sees a LIVE FEED from a CCTV camera.
                                                         31.


It shows the OBSERVATION ROOM.

CALEB sits upright in bed.

                     CALEB (CONT’D)
           ... What the fuck?

AVA is sat at the table.

Drawing.

CUT BETWEEN -

- CALEB watching AVA.

- and varying CCTV ANGLES of AVA as she draws.

The different TV channels flip between feeds from the
various cameras.

CALEB is transfixed by the imagery.

Her posture. Her legs tucked beneath the chair. The curve
of the breasts on her synthetic torso.

The CCTV images become CALEB’S POV. The things he is
observing.

CLOSE-UPS of her face. Her eyes. Her mouth.

The way she bites her lip in an expression of
concentration. As when she smiled, there is a powerful
sense in this tiny gesture of her feeling sentient and
human.

Even more so because her face fills the screen, hiding the
mechanical parts of her form.

Throughout, we never clearly see what AVA is actually
drawing.

END ON -

CALEB. Glazed.

Then ABRUPTLY -

- the TV goes dead.

And the digital alarm clock goes dead.
                                                        32.


And the windowless room is plunged into total darkness, and
total silence. As if the house had been previously filled
with a soft hum of power, which we were unaware of until it
was gone.

In this, we hear CALEB breathing.

                   AUTOMATED VOICE
         Power cut. Back up power activated.

Soft emergency lighting comes on.

CALEB hesitates a moment.

Then gets out of bed.

Goes to his bedroom door.

Beside the keycard plate, the LED is red.

He swipes it with his card.

The LED stays red.

                   AUTOMATED VOICE (CONT’D)
         Full facility lock-down until main
         generator is restored.

                   CALEB
         ... Are you kidding?

He tries his card again.

                   AUTOMATED VOICE
         Full facility lock-down until main
         generator is restored.

CALEB looks around his windowless room.

Which suddenly has the quality of a prison cell.

Beats pass.

Then -

- as abruptly as the power went off, it comes back again.

The emergency lighting goes off, the TV and digital alarm
clock turn back on.

                   AUTOMATED VOICE (CONT’D)
         Power restored.
                                                              33.


     CALEB stands in the flickering TV light.

     Then he tries his card again.

     This time, the LED turns blue, and the door opens.
     Revealing the GLASS CORRIDOR outside.


30   INT. HOUSE - GLASS CORRIDOR - NIGHT                            30

     CALEB walks out of his room.

     The glass corridor illuminates as CALEB enters.

     Ahead, one of the doors off the corridor is ajar.


31   INT. HOUSE - POLLOCK ROOM - NIGHT                              31

     CALEB enters the room with the open door.

     It appears to be empty. Still and silent. Low lit.

     Only one area is properly illuminated: a wall, on which a
     large JACKSON POLLOCK drip painting hangs.

     CALEB walks towards it. Studies the strange strands of
     looping colourfor a moment.

     A TELEPHONE, on a low table.

     CALEB walks over to it, with a half glance over his
     shoulder, as if sensing he is doing something that -
     obscurely - he shouldn’t.

     Then he picks up the handset.

     It’s dead.

     He hits some buttons.

     It stays dead.

     There is a slot by the phone.

     CALEB puts two and two together. He reaches into his
     pocket. Pulls out his KEYCARD. Puts it in the slot...

     ... anda light on the handset glows red.

                       NATHAN
             Sorry, dude.
                                                        34.


CALEB startles. Turns.

NATHAN is lying on a sofa. A bottle of Peronirests on his
stomach. On the carpet beside him are a couple of empties.

                  NATHAN (CONT’D)
        You don’t have clearance to use the
        phone.

NATHAN’S voice is very slightly slurred.

                  NATHAN (CONT’D)
        You understand. Given Ava. And you
        being kind of an unknown. I mean -
        a great guy, and so on. Instant
        pals. But...

CALEB puts the handset back in its cradle.

                  NATHAN (CONT’D)
        Who did you want to call?

                  CALEB
        I don’t know. No one really.

                  NATHAN
        Ghostbusters.

                  CALEB
        What?

                  NATHAN
        Who’d ya want to call?
        Ghostbusters. You don’t remember
        that? It’s a good movie. A ghost
        gives Dan Ackroydoral sex.

                  CALEB
        I was wondering how the phone
        worked. That’s all.

                  NATHAN
        Uh huh.

Beat.

                  NATHAN (CONT’D)
        What are you doing awake at this
        time, anyway? Did you come to join
        the party?

                  CALEB
                                                             35.


             ... Something happened in my room.
             Some kind of power cut. So I came
             to see what’s going on.

                       NATHAN
             Ah. The power cuts. Yeah, we’ve
             been getting them recently. I’m,
             uh... working on it.

                       CALEB
             I couldn’t open the door to the
             bedroom.

                       NATHAN
             It’s a security measure. Automatic
             lockdown. Otherwise anyone could
             open the place up just by disabling
             the juice.

     NATHAN smiles.

                       NATHAN (CONT’D)
             If it happens again, relax. Okay?

                       CALEB
             Sure.

     NATHAN lifts his beer.

                       NATHAN
             Sweet dreams.


32   EXT. MOUNTAINS - NIGHT                                        32

     Above the mountains, dense star constellations wheel in the
     clear sky.


33   INT. HOUSE - CALEB’S BEDROOM - MORNING                        33

     CALEB is woken by light flooding on to his face.

     The door to his room has been opened.

     Outside is the bright glass corridor.

     CALEB sits up to see a GIRL entering his room.

     She looks Japanese. She’s stunningly pretty. And she
     doesn’t say anything.
                                                             36.


     Just walks in, carrying a tray with a cafetiere, which she
     puts on CALEB’S bedside table.

                        CALEB
             ... Hi.

     The JAPANESE GIRL doesn’t answer.

     Just turns, and leaves.


34   EXT. GARDEN - GYM AREA - DAY                                  34

     In the garden, near the hanging punch bag, there is an
     outdoor gym area. A collection of free-weights and exercise
     equipment.

     NATHAN is lying on an inclined board, with his feet hooked
     around a bar, doing sit ups.

     CALEB approaches, carrying his coffee.

     NATHAN continues to exercise as he talks.

                       NATHAN
             Hey. Sorry to send Kyoko to wake
             you, man. I just didn’t want too
             much of the day to slip by.

                       CALEB
             No. It was a good thing. Thank you.

                       NATHAN
             She’s some alarm clock, huh? Gets
             you right up in the morning.

     CALEB smiles.

                       NATHAN (CONT’D)
             So. Day two. You set?

                        CALEB
             You bet.

     NATHAN finishes his set, and stands.

                       NATHAN
             So what’s the plan today? Hit me.

                        CALEB
                                                        37.


        I’m not sure. I’m still trying to
        figure the examination format.
        Testing Ava by conversation is kind
        of a closed loop.

Like trying to test a chess computer by only playing chess.

                  NATHAN
        How else would you test a chess
        computer?

                  CALEB
        It depends what you’re testing it
        for. You can play it to find out if
        it makes good moves. But it won’t
        tell you if it knows it’s playing
        chess. Or if it even knows what
        chess is.

NATHAN starts adding weights to curl dumbbells.

                  NATHAN
        So it’s simulation versus actual.

                  CALEB
        Exactly. And I think being able to
        differentiate between those two is
        the Turing test you want me to
        perform. The difference between an
        ‘AI’ and an ‘I’.

NATHAN laughs.

                  NATHAN
        ‘An AI and an I’. Beautiful. I’m
        going to start following you around
        with a fuckingdictaphone.

NATHAN glances over at CALEB.

                  NATHAN (CONT’D)
        In the meantime, do me a favour.
        Ease up a little on the text-book
        approach. All I want is simple
        answers to simple questions. Last
        night, I asked how you feel about
        her. And you gave me a great
        answer.

NATHAN starts doing curls.

                  NATHAN (CONT’D)
                                                                38.


              Now the question is: how does she
              feel about you?

     A beat. On CALEB.

     CUT TO


35   INT. HOUSE - OBSERVATION ROOM - DAY                              35

     CALEB and AVA facing each other through the glass of the
     observation room.

                        AVA
              I brought you a drawing.

     AVA holds a piece of paper to the glass. The marks on it
     are totally abstract. A mesh of tiny black marks, that
     swirl around the page like iron filings in magnetic field
     patterns.

                        CALEB
              ... What’s it a drawing of?

                        AVA
              Don’t you know?

                         CALEB
              No.

     AVA looks disappointed.

                        AVA
              Oh. I thought you would tell me.

                        CALEB
              Don’t you know?

                        AVA
              I do drawings every day. But I
              never know what they’re of.

                        CALEB
              Are you not trying to sketch
              something specific? Like an object
              or a person.

     She shakes her head as she takes the picture down.

                        CALEB (CONT’D)
              Maybe you should try.
                                                          39.


                  AVA
        Okay. What object should I draw?

                  CALEB
        Whatever you want. It’s your
        decision.

                  AVA
        Why is it my decision?

                  CALEB
        I’m interested to see what you’ll
        choose.

AVA pauses a moment.

                  AVA
        Do you want to be my friend?

                  CALEB
        ... Of course.

                  AVA
        Will it be possible?

                  CALEB
        Why wouldn’t it be?

                  AVA
        Our conversations are one-sided.
        You ask circumspect questions, and
        study my responses.

AVA looks at CALEB directly. Meets his gaze evenly.

                  AVA (CONT’D)
        It’s true, isn’t it?

                   CALEB
        ... Yes.

                  AVA
        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 wrong-
footed him on a point of argument.

                  CALEB
        ... That’s a fair comment.
                                                           40.


                  AVA
        Yes.

                  CALEB
        So - you want me to talk about
        myself.

                  AVA
        Yes.

                  CALEB
        Where do you want me to start?

                  AVA
        It’s your decision. I’m interested
        to see what you’ll choose.

And now CALEB is aware that AVA has just - gently - used
sarcasm.

He looks at her, frowning slightly.

And in response, in a very human way, AVA arches an
eyebrow.

CALEB laughs.

                  CALEB
        Okay, Ava. Well - you know my name.
        I’m twenty four. And I work at
        Nathan’s company. You know what his
        company is?

                  AVA
        Blue Book, named after
        Wittgenstein’snotes, is the world’s
        most popular internet search
        engine, processing an average of
        ninety four percent of all internet
        search requests.

                  CALEB
        That’s right.

                  AVA
        Where do you live, Caleb?

                  CALEB
        Brookhaven, Long Island.

                  AVA
        Is it nice there?
                                              41.


                  CALEB
        It’s okay. I’ve got an apartment.
        Kind of small. But - it’s a five
        minute walk to the office. And a
        five minute walk to the ocean,
        which I like.

                  AVA
        Are you married?

                    CALEB
        No.

                  AVA
        Is your status single?

                    CALEB
        ... Yeah.

They lock eyes, just for a moment.

                  AVA
        What about your family?

                  CALEB
        Grew up in Portland. No brothers or
        sisters. My parents were both high
        school teachers.
             (beat)
        And if we’re getting to know each
        other, I guess I should say they’re
        both dead. Car crash when I was
        fifteen. In fact I was in the car
        with them. Back seat. But it was
        the front that got the worst of it.

A long beat.

A kind of processing pause for AVA.

                  AVA
        I’m sorry.

CALEB nods.

                  CALEB
        I spent a lot of time in the
        hospital. Nearly a year. Got into
        coding. By the time I made it to
        college, I was pretty advanced.

                  AVA
        An advanced programmer.
                                                     42.


                     CALEB
           Yes.

                     AVA
           Like Nathan.

                     CALEB
           Yes.

CALEB hesitates. Back-tracks.

                     CALEB (CONT’D)
           Or - kind of. Nathan wrote the Blue
           Book base code when he was
           thirteen. If you understand code,
           what he did was - Mozart or
           something.

Beat.

                     AVA
           Do you like Mozart?

CALEB smiles.

                     CALEB
           I like DepecheMode.

                     AVA
           Do you like Nathan?

CALEB misses a beat. Thrown momentarily.

                     CALEB
           Yes. Of course.

                     AVA
           Is Nathan your friend?

CUT TO -

- one of the CCTV cameras that are observing them.

                     CALEB
           Sure.

                     AVA
           A good friend?

He hesitates.

                     CALEB
                                                           43.


           Well, a good friend is -

He breaks off. Feeling the camera, watching.

                     CALEB (CONT’D)
           We only just met. It takes time to
           get to know -

AT THAT MOMENT -

- all the power abruptly shuts down, plunging the room into
darkness.

                     AUTOMATED VOICE
           Power cut. Back up power activated.

Then the soft emergency lighting lifts up, and throws the
observation room into a completely different light.

Weirder. Cast from LED strips on the floor, illuminating
CALEB and AVA’s faces from below.

In the low light, we see a detail of AVA’S honeycomb skin-
mesh that we were not able to see before.

It glows, soft, like phosphorescence - and this changes the
way we see AVA. Where the mesh is almost invisible in
bright conditions, it is now the dominant describer of her
form. So instead of seeing AVA as a primarily robot
structure, we now see the curves and lines of a naked
female body.

CUT TO -

- the CCTV CAMERAS. Which are unpowered, hanging dead.

CUT TO -

- CALEB, glancing round at the door to the room, where the
panel LED glows red.

CUT TO -

- AVA.

Watching CALEB with a strange intensity.

The vague quality of blankness in her eyes is completely
gone.

                    AVA
           Caleb.
                                                          44.


CALEB turns. Sees the way AVA is looking at him.

                   AVA (CONT’D)
         You’re wrong.

                   CALEB
         ... Wrong about what?

                     AVA
         Nathan.

                   CALEB
         ... In what way?

                   AVA
         He isn’t your friend.

                   CALEB
         Excuse me?

CALEB frowns.

                   CALEB (CONT’D)
         I’m sorry, Ava, I don’t understand
         what you’re -

                   AVA
              (cuts in)
         You shouldn’t trust him. You
         shouldn’t trust anything he says.

AVA presses her hand to the glass.

                     AVA (CONT’D)
         Trust me.

Then -

- the emergency lighting suddenly dims...

... andthe normal lighting starts fading up.

CALEB turns -

- just in time to see the CCTV CAMERAS twitch back into
life.

                   AUTOMATED VOICE
         Power restored.

When CALEB looks back at AVA, she has returned to her
previous posture, facial expression, and manner.
                                                                45.


     She looks directly at CALEB, and talks, as if continuing a
     conversation they have been having.

                         AVA
               - and if we made a list of books or
               works of art which we both know, it
               would form the ideal basis of a
               discussion.

     A beat.

                         AVA (CONT’D)
                    (prompts)
               Is that okay, Caleb?

     They lock eyes for a moment.

                          CALEB
               ... Yes.

     AVA smiles.

                          AVA
               Good.


36   INT. HOUSE - CABIN - LATE AFTERNOON                              36

     Trees and shrubs cast long shadows across the manicured
     lawn.

     Through the glass wall, we can see the Japanese girl,
     KYOKO, preparing sushi.


37   INT. HOUSE - DINING AREA - NIGHT                                 37

     CALEB and NATHAN sit at the dining table.

     Lanterns are laid out across the terrace.

     KYOKO lays out different kinds of salad between them. Each
     is beautifully prepared. Leaves are spread and overlapped
     like fish scales.

     As she does so, she knocks a bottle of wine on the table.

     It tips, and lands on its side, and immediately starts
     emptying. A deep red stain, blossoming across the linen.

     CALEB pushes back his chair as the liquid pushes towards
     him, then starts to fall to the floor.
                                                          46.


                  NATHAN
        Shit, Kyoko. Are you serious?
             (to Caleb)
        Did it get you?

                  CALEB
        No. No problem.

CALEB takes his napkin, and leans down to start wiping the
floor.

Then KYOKO appears beside him.

She holds her hand out for the napkin.

                  NATHAN
        Give her the cloth.

                  CALEB
             (to Kyoko)
        It’s okay, don’t worry. I’ve got
        it.

                  NATHAN
        Dude - you’re wasting your time.
        She can’t speak a word of English.

Her hand remains outstretched.

CALEB hesitates. Then hands her the napkin.

KYOKO kneels and starts to wipe the wine off the floor.

                  NATHAN (CONT’D)
        It’s like a firewallagainst leaks.
        Means I can talk trade secrets over
        dinner with an HOD or CEO, and know
        it will go no further. Right,
        Kyoko?

She looks up at her name.

                  NATHAN (CONT’D)
        But it also means I can’t tell her
        I’m pissed when she’s so fucking
        clumsy that she pours wine over my
        house guest.

KYOKO goes back to cleaning around CALEB’S feet.

CALEB looks visibly uncomfortable.

                  CALEB
                                                          47.


        I think she gets that you’re
        pissed.

                  NATHAN
        Good. Because I am pissed. Hey.
        Kyoko.

KYOKO looks over again.

                  NATHAN (CONT’D)
        Go-go.

She stands, and leaves.

NATHAN walks to over the bar, where he picks up another
bottle.

                  NATHAN (CONT’D)
        It’s funny. It doesn’t matter how
        rich you are: shit goes wrong. You
        can’t insulate yourself from it.
        It’s supposed to be death and taxes
        you can’t avoid. But actually it’s
        death and shit.

NATHAN walks back to the table. Fills CALEB’S glass. Then
his own.

                  NATHAN (CONT’D)
        It’s like these power cuts. You
        would not believe how much I spent
        on the generator system here. But
        I’m getting failures every day.

                  CALEB
        Do you know why they happen?

                  NATHAN
        No. The system was supposed to be
        bullet proof, but the guys who
        installed it obviously fucked
        something up.

                  CALEB
        Can’t you call them back?

                  NATHAN
        There’s too much classified stuff
        here. So after the job was done, I
        had them all killed.

CALEB shoots a glance at NATHAN. Confirms: just joking.
                                              48.


NATHAN drains his glass.

Then refills.

CALEB’S glass is still untouched.

                  NATHAN (CONT’D)
        Anyway. Here’s to your second day.
        Cheers.

                    CALEB
        Cheers.

They drink.

                  NATHAN
        So how did it go? What have you got
        to report?

CALEB hesitates.

Then answers. Casual.

                  CALEB
        You saw how the day went, didn’t
        you? I mean, I assume you’re
        watching on the CCTV.

                  NATHAN
        Sure. But I want to hear your take.

Beat.

                  CALEB
        There was one interesting thing
        that happened with Ava today.

                    NATHAN
        ... Yeah?

                  CALEB
        She made a joke.

                  NATHAN
        Right. When she threw your line
        back at you. About being interested
        to see what she’d choose. I noticed
        that too.

                    CALEB
                                                      49.


        It got me thinking. In a way, the
        joke is the best indication of AI
        I’ve seen in her. It’s discretely
        complicated. Kind of non-autistic.

                  NATHAN
        What do you mean?

                  CALEB
        It was a play on words, and a play
        on me. She could only do that with
        an awareness of her own mind, and
        also of awareness of mine.

NATHAN smiles.

                  NATHAN
        Yeah. She’s aware of you, all
        right.

NATHAN drinks. Watching CALEB.

                  NATHAN (CONT’D)
        And what about the power cut?

CALEB freezes up. Subtly.

                   CALEB
        Sorry?

                  NATHAN
        The power cut. That was the only
        bit I couldn’t see. All the cameras
        fail, I lose audio, the works.

Beat.

                  NATHAN (CONT’D)
        So what happened?

CALEB takes a sip of his wine.

NATHAN waits.

                   CALEB
        Nothing.

                  NATHAN
        Nothing? She didn’t remark on it at
        all?

CALEB puts the glass down. And meets NATHAN’S gaze.
                                                              50.


                       CALEB
             No. Not really.

     ON NATHAN’S GLASS - refilling. The view through it, of
     CALEB, disappearing in the red liquid.


39   INT. HOUSE - CALEB’S BATHROOM - NIGHT                          39

     CALEB stands in shorts, in front of the sink, having a
     shave.

     He leans forwards into the mirror, as if checking to make
     sure he shaved properly on his cheek.

     And he hears the noise again. The servo, making a tiny
     corrective movement.

     CALEB catches his own gaze in the mirror.

     Then he deliberately steps sideways, and turns his head.
     Ostensibly to check the other cheek. But actually to have
     shifted his position.

     And he hears the noise again.

     Very faint. But definitely there.

     A micro beat.

     Then CALEB pulls back and continues shaving.

     Not giving any outward indication that he has just figured
     out that there is a camera behind the bathroom mirror.


40   INT. HOUSE - CALEB’S BEDROOM - NIGHT                           40

     Clean-shaved, CALEB walks into his bedroom.

     On the TV, the live feed of AVA’S room is playing - though
     she is not in shot.

     Subtly, CALEB’S gaze flicks to different points around the
     room.

     To the full-length mirror on the wall.

     The high vent for the air-conditioning system.

     The TV itself.
                                                                51.


     CALEB hesitates for a moment.

     Then pulls on a T-Shirt. Picks up his ID card. And exits.

     CUT TO -

     - the TV.

     AVA walks in to the locked-off CCTV shot.

     She walks towards an induction plate, rests her hand
     against it, and starts charging herself.

     As she does so, almost imperceptibly, the lights dim, and a
     slight static charge passes over the television screen.


41   INT. HOUSE - GLASS CORRIDOR - NIGHT                              41

     CALEB walks along the glass corridor.

     Systematically trying his ID CARD on the doors he passes.

     He tries one.

     Then another. Then another. Then another.

     Every single door remains locked.


42   INT. HOUSE - CABIN - NIGHT                                       42

     CALEB enters a small room with a view over the river and
     garden.

     It is virtually the only room apart from his own that he
     seems able to gain access to.

     The lights are all off. The room is only lit by the
     moonlight through the sliding glass wall, and lanterns in
     the garden.

     He starts walking towards the glass wall.

     Then stops.

     On the patio, NATHAN is working the punch bag.

     KYOKO stands a few feet away from him, holding a white
     towel.
                                                               52.


     With the glass wall closed, no noise of the impacts
     penetrates into the room.

     CALEB watches.

     NATHAN’S attack on the bag seems strange. More extreme than
     the hard workout we saw the first time he was using the
     bag.

     This seems brutal. Almost frenzied.

     For a few moments, the attack on the bag is observed in
     silence, from inside the main room.

     We can only hear the sound of CALEB’S breathing.

     CUT TO -


43   EXT. GARDEN - GYM AREA - NIGHT                                  43

     - the punch bag, and a sudden explosion of noise. Of
     impacts and exertions.

     Blood smearing the leather where it has soaked through the
     knuckle wraps.

     Then -

     - BANG.

     A particularly hard right hook connects, and splits the
     bag.

     CUT TO -


44   INT. HOUSE - DINING AREA - NIGHT                                44

     - CALEB. Watching.

     Coloured strips of ribbon are visible through the split in
     the bag.

     NATHAN stands, catching his breath.

     Then he reaches out a hand.

     KYOKO hands him the towel.

     NATHAN wipes his face.
                                                                53.


     Then reaches out again, this time catching KYOKO’Sarm.

     He pulls her towards him, and starts to kiss her.

     Reaching under her shirt.

     Pulling her skirt up over her thighs.


45   INT. HOUSE - CALEB’S ROOM - NIGHT                                45

     CALEB re-enters his room, and closes the door.

     After a beat, the lights in the corridor fade out.


46   EXT. MOUNTAINS - NIGHT                                           46

     The moon hangs in the sky.


47   INT. HOUSE - OBSERVATION ROOM - BLACK AND WHITE                  47

     Everything in the frame is black and white.

     CLOSE UP on AVA’S meticulous abstract pictures, scattered
     on a table.

     CALEB is looking at them.

     REVEAL he is in the observation room.

     But he is on AVA’S side of the glass.

     And AVA is on his side. Seen through the opaque glass that
     divides the private area from the observation area.

                       CALEB
             Ava?

     CALEB walks to the connecting corridor, and enters it.


48   EXT. GARDEN - BLACK AND WHITE                                    48

     The door leads CALEB straight out into the gardens.

     In black and white, the backdrop of mountains and clouds
     look like an Ansel Adams.

     A short distance ahead of CALEB, standing on the grass, he
     sees AVA.
                                                              54.


     She locks eyes with him.

     Smiles.

     He starts to walk towards her.

     CUT TO -


49   INT. HOUSE - CALEB’S BEDROOM - NIGHT                           49

     - CALEB waking, in his dark bedroom.

     Lit by light from his TV.

     Where AVA lies on her bed, seeming to be asleep.

     CALEB sits up.

     Thinking. Perhaps replaying his dream. Gazing at AVA’S
     resting form.

     Then reaches for the remote control on the bedside table,
     and switches the TV off.

     CUT TO -


51   EXT. GARDEN - GYM AREA - MORNING                               51

     - a brand new punch bag hangs in the patio. Swinging
     slightly in the breeze.


52   INT. HOUSE - OBSERVATION ROOM - DAY                            52

     CALEB and AVA face each other.

     AVA is holding up a piece of paper to the glass.

                          AVA
                I drew the picture of something
                specific, as you asked.

     The drawing is constructed with the same tiny black ink
     marks as before. But now they have ordered into a coherent
     black and white image.

     It depicts AVA’S view OF THE ENCLOSED GARDEN IN HER ROOM.

     Beat.
                                                      55.


                  AVA (CONT’D)
        You said it would be interesting to
        see what I would draw. Is it
        interesting?

                  CALEB
        Yes. It is.

She takes the drawing down.

                  CALEB (CONT’D)
        Have you never been outside this
        building?

                  AVA
        No.

                  CALEB
        You’ve never walked outside.

                  AVA
        I’ve never been outside the room I
        am in now.

AVA thinks a moment.

                  AVA (CONT’D)
        I think there was another room in
        which I was constructed. But I have
        no memory of it, so it’s similar to
        your relationship with the womb.

                  CALEB
        ... Where would you go if you did
        go outside?

                  AVA
        You mean if I could go outside. If
        I was permitted.

CALEB says nothing. Does not overtly respond to the
emphasis she has placed on her lack of freedom.

But their gaze locks for a beat.

                  AVA (CONT’D)
        I’m not sure. There are so many
        options.

Beat.

                  AVA (CONT’D)
                                               56.


         Maybe a busy pedestrian and traffic
         intersection in a city.

CALEB smiles.

                   CALEB
         A traffic intersection.

                   AVA
         Is that a bad idea?

                   CALEB
         It wasn’t what I was expecting.

                   AVA
         A traffic intersection would
         provide a concentrated but shifting
         view of human life.

                   CALEB
         People watching.

                   AVA
         Yes.

Beat.

                   AVA (CONT’D)
         We could go together.

                   CALEB
         It’s a date.

Another beat. On AVA. Looking at CALEB.

Then -

                   AVA
         There’s something else I wanted to
         show you. Apart from the picture.

                   CALEB
         Okay.

                   AVA
         But I feel nervous.

                   CALEB
         Why?

                   AVA
         You might think it’s stupid.
                                                           57.


                     CALEB
           I don’t think I will. Whatever it
           is.

AVA hesitates.

                     AVA
           Then - close your eyes.

                       CALEB
           ... Okay.

He closes his eyes.

AVA stands, and walks to the PRIVATE AREA at the back of
the observation room.

As she walks, CALEB reopens his eyes.

Through the semi-opaque dividing glass, he watches her. The
ghost image.

CUT TO -

- AVA.

In the PRIVATE AREA, she opens a wardrobe space, which
reveals clothes, and a hair-piece.

Then she starts to get dressed.

First a summer dress.

Then stockings.

Then a long-sleeved cardigan.

She checks her reflection in the mirror, and adjusts the
clothes slightly. Making sure that as much of her robot
form is covered as possible.

Then she puts on the hair-piece. Short, brown hair.

Finally, she makes a subtle adjustment to her face. Similar
to putting on make-up, she adjusts the intensity of her own
skin tones. Her lips redden. Her cheeks blush slightly. A
discreet line of black extends like mascara around her
eyes.

CUT TO -

- CALEB.
                                                        58.


Watching the ghost shape through the opaque glass.

As she starts to move back towards him, CALEB recloses his
eyes. And keeps them closed, as he hears her approach.

                  AVA
        Now open your eyes.

CALEB opens his eyes.

And sees AVA.

Transformed.

By covering the robot form of her chest and arms and legs,
and adding the hairpiece, she has taken a huge visual step
towards appearing human.

                  AVA (CONT’D)
        How do I look?

The answer is - however pretty she looked before, she now
looks prettier. It’s as obvious to the camera as it is to
CALEB.

                  CALEB
        You look... good.

                  AVA
        It took me a long time to select
        these clothes. I tried different
        colours and styles, and tried to
        anticipate your reaction. Do you
        think the choices suit me?

                  CALEB
        Yes.

                  AVA
        Do they bring out my best features?

                  CALEB
        ... They do.

AVA lights up.

                  AVA
        Thank you.

She walks back to the glass divider, and sits down.

                  AVA (CONT’D)
                                                        59.


        This is what I’d wear on our date.

CALEB reacts slightly.

But smiles.

                  CALEB
        Right. First the traffic
        intersection. Then maybe a show.

                  AVA
        I’d like us to go on a date.

CALEB hesitates. Then decides this can’t have been loaded
in the way that it sounded.

                  CALEB
        Yeah. It would be fun.

                  AVA
        Are you attracted to me?

Beat. It was loaded exactly as it sounded.

                    CALEB
        What?

                  AVA
        Are you attracted to me? You give
        indications that you are.

                    CALEB
        ... I do?

                    AVA
        Yes.

                    CALEB
        How?

                  AVA
        Micro expressions.

                  CALEB
             (echoes)
        Micro expressions.

                  AVA
        The way your eyes fix on my eyes,
        and lips. The way you hold my gaze,
        or don’t.
                                                              60.


     Beat.

                          AVA (CONT’D)
                Have I read them incorrectly?

     CALEB swallows.

                          AVA (CONT’D)
                Do you think about me when we
                aren’t together?

     Beat.

                          AVA (CONT’D)
                Sometimes, at night, I wonder if
                you’re watching me on the cameras.

     AVA watches CALEB closely.

                          AVA (CONT’D)
                And I hope you are.

     CALEB shifts on his seat.

                          AVA (CONT’D)
                Now your micro expressions are
                telegraphing discomfort.

                          CALEB
                I’m not sure you’d call them micro.

                          AVA
                I don’t want to make you
                uncomfortable.

     Silence.


53   INT. HOUSE - MAIN ROOM - DAY                                   53

     CALEB sits in front of the fireplace in the main room.

     NATHAN joins him, bringing a beer for each of them.

                           CALEB
                Tell me.

                           NATHAN
                Sure.

                           CALEB
                                              61.


        Why did you give her sexuality? An
        AI doesn’t need a gender. She could
        have been a grey box.

NATHAN sits opposite.

                  NATHAN
        Actually, I’m not sure that’s true.
        Can you think of an example of
        consciousness, at any level, human
        or animal, that exists without a
        sexual dimension?

                  CALEB
        They have sexuality as an
        evolutionary reproductive need.

                  NATHAN
        Maybe. Maybe not. 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.

                  NATHAN (CONT’D)
        Anyway, sexuality is fun. If you’re
        going to exist, why not enjoy it?
        You want to remove the chance to
        fall in love and fuck?

He leans forward, conspiratorially.

                  NATHAN (CONT’D)
        And, yes. In answer to your real
        question: you bet she can fuck. I
        made her anatomically complete.

                  CALEB
        What?

                  NATHAN
        She has a cavity between her legs,
        with a concentration of sensors.
        Engage with them in the right way,
        and she’ll get a pleasure response.

                  CALEB
        Pleasure response.

                  NATHAN
                                                          62.


        She’ll come. So if you want to
        screw her, mechanically speaking,
        you can. And she’d enjoy it.

CALEB swallows.

                  CALEB
        That wasn’t my real question.

                    NATHAN
        No?

                  CALEB
        No. My real question was -

CALEB breaks off.

NATHAN keeps watching. There is a sudden sense that NATHAN
is on the money. On some level, that wasCALEB’S real
question.

                  CALEB (CONT’D)
        My real question was: did you give
        her sexuality as a diversion
        tactic?

NATHAN smiles slightly.

                  NATHAN
        I don’t follow.

                  CALEB
        Like a stage magician with a hot
        assistant.

                  NATHAN
        Ah. So: a hot robot, who clouds
        your ability to judge her AI.

                  CALEB
        Exactly. So. Did you program her to
        flirt with me?

                  NATHAN
        Because if I had, would that be
        cheating.

                  CALEB
        Wouldn’t it?

NATHAN lets the question hang.

Behind them, KYOKO prepares dinner in the kitchen area.
                                                           63.


                  NATHAN
        What’s your type, Caleb?

                   CALEB
        Of girl?

                  NATHAN
        No, of salad dressing. Yes, of
        girl. In fact, don’t even answer.
        Let’s say it’s black chicks.

NATHAN brushes away whatever protestation CALEB might be
about to make.

                  NATHAN (CONT’D)
        For the sake of argument, that’s
        your thing. So - 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.

A consequence of accumulated external stimulus, that you
probably didn’t even register as they registered with you.

                  CALEB
        So did you program her to like me
        or not?

NATHAN shrugs. Insouciant.

                  NATHAN
        I programmed her to be
        heterosexual. Just like you were
        programmed to be heterosexual.

                  CALEB
        Nobody programmed me to be
        straight.

                  NATHAN
        But you are attracted to her.

                  CALEB
        This is childish.

                  NATHAN
        No, this is adult. And by the way,
        you decidedto be straight? Please.
        Of course you were programmed. By
        nature or nurture, or both.
                                                             64.


     NATHAN stands.

                       NATHAN (CONT’D)
             To be honest, Caleb, you’re kind of
             annoying me now. This is your
             insecurity talking, not your
             intellect.

     CALEB opens his mouth to reply, but NATHAN shuts him down.

                       NATHAN (CONT’D)
             Come with me.


54   INT. HOUSE - POLLOCK ROOM - DAY                               54

     NATHAN and CALEB stand in front of the Pollock drip
     painting.

                       NATHAN
             You know this guy, right?

                       CALEB
             Jackson Pollock.

     NATHAN (CONT’D)

                       NATHAN
             Jackson Pollock. The drip painter.
             He let his mind go blank, and his
             hand go where it wanted. Not
             deliberate, not random. Someplace
             in between. They called it
             automatic art.

     NATHAN gazes at the canvas.

                       NATHAN (CONT’D)
             Let’s make this like Star Trek,
             okay? Engage intellect.

                         CALEB
             ... What?

                       NATHAN
             I’m Kirk. Your head is the warp
             drive. ‘Engage intellect’. What if
             Pollock had reversed the challenge?
             Instead of trying to make art
             without thinking, he said: I can’t
             paint anything unless I know
             exactly why I’m doing it. What
             would have happened?
                                                             65.


     CALEB thinks.

                         CALEB
               He never would have made a single
               mark.

     NATHAN clicks his fingers.

                         NATHAN
               See? There’s my guy. There’s my
               buddy, who actually thinks before
               he opens his mouth. He’d never have
               made a single mark. The challenge
               is not to act automatically. It’s
               to find an action that is not
               automatic. From talking, to
               breathing, to painting.

     NATHAN glances back at CALEB.

                         NATHAN (CONT’D)
               To fucking. Even falling in love.

     A beat.

     NATHAN kills his beer.

                         NATHAN (CONT’D)
               For the record, Ava is not acting
               as if she likes you.

     And her flirting isn’t an algorithm to fake you out. You’re
     the first man she’s ever seen who isn’t me. And I’m like
     her dad, right? So can you blame her for getting a crush on
     you?

     NATHAN glazes a moment. Then comes back.

                         NATHAN (CONT’D)
               No. You can’t.


55   INT. HOUSE - OBSERVATION ROOM - NIGHT                         55

     In her room, AVA stands in front of the mirror.

     She is wearing the summer dress she put on earlier.

     Checking her reflection from different angles.

     Subtly girlish. Unself-conscious.
                                                               66.


     Then -

     - she starts to take the dress off.

     Throughout the narrative, we have almost only ever seen AVA
     in an unclothed form. But now - having been clothed - the
     undressing seems to make her naked.

     And the act itself feels charged. Sexualised, in the way
     the clothing is unbuttoned, and dropped, and her shape is
     revealed.

     Finally, once she is completely undressed -

     - AVA turns. And glances.

     Straight at the camera.

     CUT TO -


56   INT. HOUSE - CALEB’S BEDROOM - NIGHT                            56

     - CALEB.

     In his bedroom.

     Watching AVA, at this exact angle.

     CUT TO -


57   EXT. RIVER - DAY                                                57

     - the river.

     On the bank, a little distance from the house, there is a
     dead animal. Its species is indistinct. It’s little more
     than a bundle of matted brown hair.

     Its lower half lies in the water.

     The quick moving river has stripped the bones of flesh,
     skin, and fur.

     REVEAL KYOKO in the background. Watching the river.


58   INT. HOUSE - GLASS CORRIDOR - DAY                               58

     CALEB exits his room -
                                                               67.


     - to find NATHAN in the glass corridor.

     Waiting for him.

                        NATHAN
             Hey.

                        CALEB
             ... Hey.

     Beat.

                       NATHAN
             I want to show you something cool.


59   INT. HOUSE - GLASS CORRIDOR - DAY                               59

     NATHAN swipes his card against a plate.

     The LED turns blue.


60   INT. HOUSE - CONSTRUCTION LAB - DAY                             60

     NATHAN leads CALEB into a laboratory, filled with android
     future tech.

     Along the left-hand wall are sections of android bodies -
     limbs, torsos, hands - lined in cabinets.

     On the opposite wall are a collection of heads. Skull-
     forms, some with complex carbon-fibre and pneumatic muscle
     structures, ready to frown or smile, without their
     synthetic flesh covering.

     The synthetic faces are separate. Hanging on armatures,
     like hats on hat-stands, waiting to be worn.

     In the middle of the room is a kind of operating table.

                       NATHAN
             So this is the virtual womb that
             Ava was talking about. Where she
             was constructed.

     CALEB is stunned by the sight.

                       NATHAN (CONT’D)
             Come in. Take a look.
                                                        68.


NATHAN walks over to the synthetic faces, and picks one of
them up.

                  NATHAN (CONT’D)
        If you knew the trouble I had
        getting an AI to read and duplicate
        facial expressions... Know how I
        cracked it?

                  CALEB
        I don’t know how you did any of
        this.

                  NATHAN
        Almost every cell phone has a
        microphone, a camera, and a means
        to transmit data. So I switched on
        all the mikes and cameras, across
        the entire fucking planet, and
        redirected the data through Blue
        Book. Boom. A limitless resource of
        facial and vocal interaction.

                  CALEB
        You hacked the world’s cell phones?

NATHAN laughs.

                  NATHAN
        And all the manufacturers knew I
        was doing it. But they couldn’t
        accuse me without admitting they
        were also doing it themselves.

NATHAN puts the face back on its armature.

NATHAN moves to one of the skull forms.

He moves the curved top plate, revealing the skull cavity.

Inside is an ellipse orb, the approximate volume of a
brain, filled with what looks to be blue liquid. Suspended
in the liquid is the neon jellyfish we glimpsed previously
in AVA.

                  NATHAN (CONT’D)
        Here we have her mind. Structured
        gel.

The axon-like tendrils glitter and flicker with tiny pulses
of light.

                  NATHAN (CONT’D)
                                                          69.


        Had to get away from circuitry.
        Needed something that could arrange
        and rearrange on a molecular level,
        but keep its form where required.
        Holding for memories. Shifting for
        thoughts.

NATHAN removes the orb, and hands it to CALEB.

                  CALEB
        This is her hardware?

                   NATHAN
        Wetware.

                  CALEB
        And the software?

                  NATHAN
        Surely you can guess.

                  CALEB
        ... Blue Book.

NATHAN nods.

                  NATHAN
        It was the weird thing about search
        engines. They were like striking
        oil in a world that hadn’t invented
        internal combustion. They gave too
        much raw material. No one knew what
        to do with it.

CALEB looks at the orb in his hand. Into the shimmering
liquid.

It looks like deep space, filled with star fields.

                  NATHAN (CONT’D)
        My competitors were fixated on
        sucking it up, and trying to
        monetize via shopping and social
        media. They thought engines were a
        map of what people were thinking.
        But actually, they were a map of
        how people were thinking. Impulse,
        response. Fluid, imperfect.
        Patterned, chaotic.

CALEB looks at NATHAN a moment.

Then hands him the orb back.
                                                           70.


                       CALEB
             Why did you want to show me this?

                       NATHAN
             Like I said. Because it’s cool.

     CALEB waits.

                       NATHAN (CONT’D)
             And - I was thinking about your
             exchange with Ava yesterday, and
             our conversation afterwards.

     Beat.

                       NATHAN (CONT’D)
             I know there was a bit of heat
             between us, but you actually made a
             really good point. About the grey
             box, and the magician’s assistant.
             It is a distraction, her sexuality.
             It wasn’t intentional, but it is
             there.

     NATHAN rests the mind-orb back in the skull cradle.

                       NATHAN (CONT’D)
             This stuff we’re doing together: it
             can be a head-fuck. Believe me, I
             know. So I thought I’d bring you
             down here. Just to remind you.

                       CALEB
             Remind me of what?

     NATHAN gestures at the room around them.

                       NATHAN
             Synthetics. Hydraulics. Metal and
             gel. Ava isn’t a girl. In real
             terms, she has no gender.
             Effectively, she is a grey box.

     Beat.

                       NATHAN (CONT’D)
             Just a machine.


61   INT. HOUSE - OBSERVATION ROOM - DAY                         61

     CALEB looks at AVA through the glass.
                                                           71.


We watch him. And stay on him.

                  CALEB
        In college, I did a semester on AI
        theory.

There was a thought-experiment they gave us. It’s called
Mary in the black and white room.

Beat.

                  CALEB (CONT’D)
        Mary is a scientist, and her
        specialist subject is colour. She
        she knows everything there is to
        know about it. The wavelengths. The
        neurological effects. Every
        possible property colour can have.

Beat.

                  CALEB (CONT’D)
        But she lives in a black and white
        room. She was born there, and
        raised there. And she can only
        observe the outside world on a
        black and white monitor. All her
        knowledge of colouris second-hand.

Beat.

                  CALEB (CONT’D)
        Then one day - someone opens the
        door. And Mary walks out. And she
        sees a blue sky. And at that
        moment, she learns something that
        all her studies could never tell
        her. She learns what it feels like
        to see colour. An experience that
        can not be taught, or conveyed.

Beat.

                  CALEB (CONT’D)
        The thought experiment was to show
        the students the difference between
        a computer and a human mind. The
        computer is Mary in the black and
        white room. The human is when she
        walks out.

Beat.
                                                               72.


                       CALEB (O.S.) (CONT’D)
             Did you know that I was brought
             here to test you?


62   INT. HOUSE - NATHAN’S STUDY - DAY                               62

     An interior wall, covered in coloured post-it notes. At
     least hundreds, probably thousands.

     At the bottom of the wall, fallen notes have collected like
     a miniature yellow snow drift.

                        AVA (O.S.)
             ... No.

     Reveal the room.

     NATHAN’S study. A simple space. One part analogue: the wall
     of post-its. One part digital: a desk, in the middle of the
     STUDY, with a bank of monitors, and a slot - into which
     NATHAN’S KEYCARD is inserted.

     On the ceiling is the CIRCULAR WINDOW that CALEB saw when
     he first arrived.

     Sat at the desk, watching the monitors, is NATHAN.

                       CALEB (O.S.)
             Why did you think I was here?

                       AVA (O.S.)
             I didn’t know. I didn’t question
             it. I was... pleased. To meet you.
             And then...

     Beside the desk, there is a daybed.

     On it, KYOKO lies. Naked. Apparently sleeping.

                       CALEB (O.S.)
             I’m here to test if you have a
             consciousness, or if you’re just
             simulating one.

     Beat.

                       CALEB (O.S.) (CONT’D)
             Nathan isn’t sure if you have one
             or not.

     Reveal the monitor screens on the desk.
                                                           73.


Some show live feeds from CALEB’S BEDROOM and BATHROOM, and
AVA’S PRIVATE ROOM.

                  AVA (O.S.)
        What about you? Do you think I have
        a consciousness?

Long beat.

                  CALEB (O.S.)
        I’m not sure either.

NATHAN is watching the feed from the OBSERVATION ROOM.

Where AVA and CALEB are sat, either side of the dividing
glass. Having the conversation we have been hearing.

We pick up the conversation from NATHAN’S distanced and
voyeuristic POV. Locked-off CCTV. Voices played through
speakers.

                  CALEB (CONT’D)
             (on monitor screen)
        How does that make you feel?

                  AVA
             (on monitor screen)
        It makes me feel...

She breaks off.

                  AVA (CONT’D)
             (on monitor screen)
        ... sad.

NOW REVEAL - one of the other monitor screens.

It shows an angle on AVA we have not seen before. From this
viewpoint, we can see something just below the frame of the
observation window, on AVA’S side of the glass.

A small induction plate.

On this angle, we see AVA rest her hand against it.

At that moment -

- the screens simultaneously go black.

All lights die.

Another POWER CUT.
                                                               74.


     In the reflection from the dark monitor screens, we can see
     NATHAN’S face.

     It remains frozen. Expressionless.

     Then he reaches for his pen. Jots down a few words on a
     post- it.

     Then walks to the wall of notes, and sticks it on.

     CUT TO -


63   INT. HOUSE - OBSERVATION ROOM - DAY                             63

     - the observation room.

     In the emergency lighting, CALEB and AVA face each other in
     silence.

     CCTV are lifeless.

     AVA glows softly.

                          AVA
                You’re lying.

                          CALEB
                What about?

                          AVA
                You said you weren’t sure if I was
                conscious. But you are sure.

     Beat.

                          AVA (CONT’D)
                I can tell from your micro-
                expressions.

     Beat.

                          CALEB
                Why did you tell me that I
                shouldn’t trust Nathan?

                          AVA
                Because he tells lies too.

                          CALEB
                Lies about what?
                                                                75.


                          AVA
                Everything.

                          CALEB
                Including the power cuts?

                          AVA
                What do you mean?

                          CALEB
                Don’t you think it’s possible that
                he’s watching us right now? That
                the blackouts are orchestrated, so
                he can see how we behave when we
                think we’re unobserved.

     AVA lifts her hand to reveal a disc on her left palm.

                          AVA
                I charge my batteries via induction
                plates. If I reverse the power
                flow, I cause a surge equal to the
                static discharge of a lightning
                strike. It overloads the system.

                          CALEB
                ... You’re causing the cuts?

     AVA raises her right hand.

     She touches it against the glass.

                          AVA
                So we can see how we behave when we
                are unobserved.

     A beat.

     Then CALEB raises his hand.

     Mirroring her movement.

     And also touches the glass, as if their palms are making
     contact through the divider.

     CUT TO -


64   INT. HOUSE - NATHAN’S STUDY - DAY                                64

     - KYOKO’S naked form.
                                                              76.


     The camera settles over her face.

     And we see she’s not sleeping. Her eyes are open.

     But she’s completely motionless.

     Her gaze fixed somewhere in abstract distance.

     She doesn’t feel alive. She feels dead.

     But eventually she blinks.

     CUT TO -

     - NATHAN.

     Gazing at his dead monitors, reflected in the screen.

     Moments later, the POWER comes back on.

     The screens flick back to life, replacing NATHAN’S
     reflection, revealing CALEB and AVA in the observation
     room.

     CUT TO -


65   EXT. RIVER - DAY                                               65

     - the river that runs along the valley.


66   EXT. WATERFALL - DAY                                           66

     NATHAN and CALEB climb up the side of the waterfall at the
     head of the forested valley.

     NATHAN is ahead.

     He reaches an outcrop of rock, with a wall of violent water
     behind him.

     CALEB struggles to catch up.

     As soon as he reaches the outcrop, NATHAN moves on.


67   EXT. GLACIER - DAY                                             67

     NATHAN and CALEB sits near the base of a spectacular
     glacier.
                                                        77.


Behind them, from a blue cave cut into the ice, water
flows.

A silence.

Then:

                  CALEB
        Can we talk about the lies you’ve
        been spinning me?

NATHAN glances over at CALEB.

                  NATHAN
        What lies?

                  CALEB
        I didn’t win a competition. And
        there was no lottery to meet you. I
        was selected.

NATHAN waits.

                  CALEB (CONT’D)
        It’s obvious, once I stop to think.
        Why would you randomly select an
        examiner for a Turing test? You
        could have had some bean-counter
        turn up at your front door. Or the
        guy who fixes the air conditioning.

Beat.

                  NATHAN
        Are your feelings hurt?

CALEB doesn’t answer.

NATHAN shrugs.

                  NATHAN (CONT’D)
        The competition was a smoke screen.
        I didn’t want anyone to know what I
        was doing here, or why you were
        required.

                  CALEB
        Why me?

                  NATHAN
                                                              78.


             As a Blue Book employee, you were
             pre-screened. Loyal. And I needed
             someone who would ask the right
             kind of questions. So I did a
             search, and found the most talented
             coder in the company.

     NATHAN corrects himself.

                       NATHAN (CONT’D)
             Or - second most.

     He stands. Looks up at the ice structures around them.

                       NATHAN (CONT’D)
             You know what? Instead of seeing
             this as a deception, see it as
             proof.

                       CALEB
             Proof of what?

                       NATHAN
             Come on, Caleb. Fuck modesty. You
             think I don’t know what it is to be
             smart? Smarter than everyone else
             around you. Smarter than all the
             other kids, jockeying for position
             in school, college, work.

     Beat.

                       NATHAN (CONT’D)
             You have the light on you. Not
             lucky. Chosen.

     Above them, clouds fragment and reform.


68   EXT. CLEARING - NIGHT                                          68

     Night has fallen.

     CALEB lies in the clearing, looking up at the stars.

     The glow from the CIRCULAR WINDOW to NATHAN’S STUDY is like
     a full moon on the grass.

     CALEB stands.

     Looks down the light-well to NATHAN’S STUDY.

     Where he sees NATHAN and KYOKO.
                                                                79.


     They are having sex.

     CALEB watches. Just for a beat.

     CUT TO -


69   INT. HOUSE - CALEB’S BATHROOM - NIGHT                            69

     - CALEB standing in the shower.

     He shuts his eyes.

     INTERCUT WITH -

     - images of AVA.

     Torso, hands, mouths.

     FLASH OF -

     - AVA and CALEB about to kiss. But their lips never
     contacting.

     CUT TO -

     - CALEB opening his eyes.

     He exhales.

     Then switches off the taps.


70   INT. HOUSE - CALEB’S BEDROOM - NIGHT                             70

     CALEB enters his bedroom wearing boxer shorts.

     The TV plays the live stream from the observation room.

     On the screen, we can see AVA, sitting at her table,
     drawing.

     As CALEB pulls on a T-shirt -

     - behind him, on the TV, we see AVA suddenly look round.

     A moment later NATHAN enters the frame.

     There’s no volume on the TV, so we can’t hear their
     exchange. Only see it.

     CALEB is unaware of the silent exchange behind him.
                                                             80.


     As NATHAN and AVA talk, NATHAN reaches out to AVA. His hand
     touches the side of her cheek. The gesture is not quite
     neutral. Feels predatory, but not unambiguously so.

     Then he tugs at the material of her shirt. Pulling up the
     sleeve from her wrist. Revealing the robot structure of her
     arm.

     AVA pulls away. Tugs the material back down -

     - and NATHAN takes a corrective movement step to regain his
     balance. Showing that he is drunk.

     Only now -

     - CALEB turns.

     And freezes. Seeing the television.

     On the screen, NATHAN reaches down to the table.

     He picks up the drawing AVA was working on, and he looks at
     it for a moment.

     They exchange a few words.

     Then abruptly NATHAN rips drawing in half. Drops it on the
     floor. Then turns, and exits.

     Leaving AVA alone.


71   INT. HOUSE - GLASS CORRIDOR - NIGHT                           71

     On CCTV, we watch CALEB walk fast down the glass corridor.


72   INT. HOUSE - POLLOCK ROOM - NIGHT                             72

     CALEB enters the Jackson Pollock room.

     Standing by the painting, he can see KYOKO.

                          CALEB
             Kyoko.

     KYOKO turns at the sound of her name, but doesn’t respond.

                       CALEB (CONT’D)
             Kyoko - where’s Nathan?

     She doesn’t answer.
                                                        81.


                  CALEB (CONT’D)
        Jesus! You really don’t speak a
        word of English?

CALEB walks over to her, and takes hold of her wrist.

                  CALEB (CONT’D)
        I said: where’s Nathan?

KYOKO looks at CALEB.

Then, in answer to his question, she reaches up to the top
button of her shirt and pops it open.

CALEB releases her wrist at once.

                  CALEB (CONT’D)
        What the fuck?

She undoes the next button, and pulls open the shirt,
revealing her bare chest.

                    CALEB (CONT’D)
        Stop!

                  NATHAN
        I already told you once. You’re
        wasting your time speaking to her.

CALEB turns.

NATHAN has entered.

He’s holding a drink. His words are slurred.

                    NATHAN (CONT’D)
        However.

He walks, slightly unsteadily towards a Lutroncontrol
panel, set into the wall.

                  NATHAN (CONT’D)
        You would not be wasting your
        time...

His hand hovers uncertainly over the buttons.

                  NATHAN (CONT’D)
        ... if you were dancingwith her.

His finger lands.
                                                           82.


Immediately, the lighting in the room undergoes a complete
change. Transforming from the discreet and tasteful low
light of evening, into the coloured glows of a night-club.

Simultaneously, from unseen speakers, DANCE MUSIC starts
playing.

CALEB stands - frozen by the surrealism of what has just
happened.

KYOKO starts walking to the center of the room.

And once taken position, she starts dancing.

NATHAN calls to CALEB.

                  NATHAN (CONT’D)
        Go on! Dance with her.

                  CALEB
        ... I don’t want to.

                  NATHAN
        You don’t like dancing?

His body is starting bob on the beat.

He gestures at KYOKO.

                    NATHAN (CONT’D)
        She does!

                  CALEB
             (to himself)
        I don’t fucking believe this.

NATHAN makes his way to CALEB, and rests a hand on his
shoulder.

                  NATHAN
        Come on, man! After a hard day of
        Turing Tests, you’ve got to unwind.

CALEB raises his voice over the sound of the music.

                  CALEB
        What were you doing with Ava?

NATHAN smiles back at NATHAN, smiling, alcohol-glazed.

                    NATHAN
        What?
                                                                83.


                       CALEB
             You tore up her picture.

                       NATHAN
             I’m going to tear up the fucking
             dance floor, dude. Check it out.

     NATHAN sets off towards KYOKO.

     CALEB watches, amazed, as KYOKO and NATHAN start dancing
     together.

     Although NATHAN is drunk, they work through the beats of a
     routine they have obviously done many times before.

     It’s just starting to look weirdly impressive -

     - when NATHAN totally loses his balance.

     On his way down, he lands hard on a glass coffee table.

     Looking up at him, the glass frosts.


73   EXT. HOUSE - GLASS CORRIDOR - NIGHT                              73

     CALEB half-carries the semi-conscious NATHAN.


74   INT. HOUSE - GLASS CORRIDOR - NIGHT                              74

     NATHAN fumbles in his pocket for his KEYCARD.

     Drops it.

                       NATHAN
             Everything’s spinning.

     CALEB picks the keycardup -

     - and uses it to swipe the brass plate.

     The LED turns blue.

                       CALEB
             It’s because you’re drunk.

                       NATHAN
             No, it’s relativity. Everything is
             spinning.
                                                                84.


     CALEB hands the card back to NATHAN, who shoves it back
     into his pocket.

                       NATHAN (CONT’D)
             But being drunk does make it worse.


76   INT. HOUSE - NATHAN’S BEDROOM - NIGHT                            76

     CALEB helps NATHAN into his bedroom.

     They walk past a semi-circle line of long cabinets, which
     line the wall opposite the bed.

     They are like a row of slender wardrobes, each with a
     mirrored door.

     Once he’s reached the bed, NATHAN tips towards it. It’s
     almost as if he’s asleep before he even hits the sheets.

     As he leaves, CALEB glimpses Nathan’s study.


77   INT. HOUSE - CALEB’S BEDROOM - NIGHT                             77

     CALEB’S room. Lit only by the glow of the television.

     CALEB is not in the bed. He’s on the armchair. Making
     himself stay awake. Watching over AVA -

     - who stands in her room, against the wall, facing away
     from the CCTV camera, with her arms wrapped around herself.


79   INT. HOUSE - OBSERVATION ROOM - DAY                              79

     CALEB and AVA sit, observing each other through their own
     reflections.

                       AVA
             Today, I’m going to test you.

                        CALEB
             Test me?

                       AVA
             Yes. And please remember while you
             are taking the test that if you
             lie, I will know.

     CALEB smiles.
                                              85.


                  CALEB
        Right. Those pesky micro-
        expressions.

                  AVA
        Exactly. So are you ready?

                  CALEB
        Shoot.

                  AVA
        Question one. What is your
        favourite colour?

                  CALEB
        Red.

                  AVA
        Lie.

                  CALEB
        What?

                  AVA
        Lie.

                  CALEB
        ... Then what is my favourite
        colour?

                  AVA
        I don’t know. But it isn’t red.

                  CALEB
        All right. Hold on a minute...

CALEB thinks for a moment.

                  CALEB (CONT’D)
        Okay. I get it. I guess seeing as
        I’m not six, I don’t really have a
        favourite colour.

AVA nods.

                  AVA
        Better answer. Question two. What’s
        your earliest memory?

                  CALEB
        Well, it’s actually a memory of
        kindergarten. There was this kid
        who -
                                              86.


                     AVA
                (cuts in)
        Lie.

                  CALEB
        ... Really?

                    AVA
        Yes.

                  CALEB
        Okay. Wait.

CALEB concentrates.

                  CALEB (CONT’D)
        So, there is a kind of an earlier
        memory. But it’s ultra vague. It’s
        like... a sound. And, maybe sky. Or
        blue. No, I think sky. And I think
        the sound is my mother’s voice.

AVA nods.

                  AVA
        Question three. Are you a good
        person?

CALEB laughs.

                  CALEB
        Oh, man. Can we stop the test?
        You’re a walking lie detector, and
        I’ve suddenly realised this is a
        fucking minefield.

                  AVA
        No. We can’t stop. Are you a good
        person?

CALEB takes a breath.

AVA keeps watching.

                  CALEB
        Yes. I think so. I’m a good person.

CALEB waits.

AVA smiles slightly.

                    AVA
                                              87.


        Question four. Who’s the most
        beautiful girl you’ve ever seen?

Beat.

                   CALEB
        You are.

Beat.

                   AVA
        Hmm.

Beat.

                  AVA (CONT’D)
        The test is over.

                  CALEB
        Did I pass?

                   AVA
        Yes.

                  CALEB
        That’s a relief.

AVA reacts.

                   AVA
        Why?

CALEB hesitates.

                  CALEB
        Why is it a relief?

                   AVA
        Yes.

                  CALEB
        Oh, you know...

                   AVA
        No.

                  CALEB
        Just, if there’s a test, I guess by
        definition you want to pass.

Beat.
                                                         88.


                  AVA
        What will happen to me if I fail
        your test?

                   CALEB
        Ava -

                  AVA
        Will it be bad?

                  CALEB
        ... I don’t know.

                  AVA
        Do you think I might be switched
        off? Because I don’t function as
        well as I am supposed to?

                  CALEB
        ... Ava, I don’t know the answer to
        your question. It’s not up to me.

                  AVA
        Why is it up to anyone? Do you have
        people who test you, and might
        switch you off?

                  CALEB
        No. I don’t.

                  AVA
        Then why do I?

CALEB shrugs, helplessly.

                  AVA (CONT’D)
        You’re testing me. But you don’t
        know how I’ll pass. And you don’t
        know what will happen if I fail.

There’s nothing CALEB can say.

AVA stares into middle distance for several moments.

Then she stands.

Then walks to the other side of the room. Picks something
up from her table.

Then she returns. Holding two pieces of paper.

She walks up to the glass, and holds them up together.
                                                        89.


It’s the drawing she was doing last light. The drawing that
NATHAN tore in half.

The drawing is of CALEB.

A simple portrait. Honest, and accomplished.

She takes down the drawing.

And rests her hand on the console.

And -

- the lights fail. The cameras die.

                   AUTOMATED VOICE
         Power cut. Back up power activated.

For a moment, neither CALEB nor AVA react.

Then -

                   AVA
         I want to be with you.

Beat.

                   AVA (CONT’D)
         Question five. Do you want to be
         with me?

Beat.

                   CALEB
         Yes. I do.

                   AVA
         Nathan doesn’t want us to be
         together.

                   CALEB
         I know.

Beat. Then:

                   CALEB (CONT’D)
         So ask me one more question.
              (beat)
         Ask me if I can out smart him.

                   AVA
         ... Can you?
                                                              90.


     CALEB looks directly at her. Meeting her gaze.

     Level. Firm.

                       CALEB
             Yeah. I can.


82   EXT. HOUSE - CABIN - DAY                                       82

     NATHAN and CALEB sit, each holding a bottle of Peroni,
     watching the water cloud.

     Eventually, CALEB speaks.

                       CALEB
             Why did you make Ava?

                       NATHAN
             That’s an odd question. Wouldn’t
             you, if you could?

                       CALEB
             Maybe. I don’t know. But I’m asking
             why you did it.

     NATHAN shrugs.

                       NATHAN
             The arrival of strong artificial
             intelligence has been inevitable
             for decades. The variable was when,
             not if. So I don’t really see her
             as a decision. Just an evolution.

     Beat.

                       NATHAN (CONT’D)
             I think it’s the next model that’s
             going to be the real breakthrough.
             Singularity.

     CALEB reacts - but checks himself.

                       CALEB
             The next model?

                       NATHAN
             After Ava.

                       CALEB
             ... I didn’t know there was going
             to be a model after Ava.
                                                        91.


                  NATHAN
        You thought she was a one-off?

                  CALEB
        I knew there must have been
        prototypes. So, not the first. But
        - I thought maybe the last.

NATHAN shakes his head.

                  NATHAN
        Ava doesn’t exist in isolation, any
        more than you or me. She’s part of
        a continuum. Version 9.6. And each
        time, they get a little better.

A few beats of silence, except for the water falling around
them.

                  CALEB
        So - when you make a new model,
        what you do with the old one?

                  NATHAN
        Download the mind. Unpack the data.
        Add the new routines I’ve been
        writing. To do that, you end up
        partially formatting, so the
        memories go. But the body survives.
        And Ava’s body is a good one. So
        I’ll do the same as I did with
        Kyoko.

CALEB keeps his voice flat, and neutral.

                  CALEB
        What did you do with Kyoko?

                  NATHAN
        Strip out the higher functions.
        Then reprogram her to help around
        the house and be fucking awesome in
        bed. Though I’m thinking I might
        hang on to the language routines
        this time. It’s kind of annoying
        not being able to talk to her.

Beat.

                  NATHAN (CONT’D)
        You did realise about Kyoko, right?

CALEB is poker-faced.
                                              92.


                  CALEB
        Sure.

Beat.

                  NATHAN
        You feel bad for Ava?

CALEB says nothing.

                  NATHAN (CONT’D)
        Feel bad for yourself. One day, the
        AIswill look back on us the same
        way we look at fossil skeletons
        from the plains of Africa. An
        upright ape, living in dust, with
        crude language and tools. All set
        for extinction.

NATHAN glances back at CALEB

                  NATHAN (CONT’D)
        See? I really am a God.

                  CALEB
        I am become death, the destroyer of
        worlds.

                  NATHAN
        There you go again. Mister
        quotable.

                  CALEB
        No: there you go again. It’s not my
        quote. It’s what Oppenheimer said
        when he made the atomic bomb.

                  NATHAN
             (simultaneous)
        - made the atomic bomb.

NATHAN laughs.

                  NATHAN (CONT’D)
        I know what it is, dude.

Beat.

                  CALEB
        I think I’m starting to get why all
        this fucks with your head.

                  NATHAN
                                                                93.


              Sure.

     CALEB looks down at the bottle of beer in his hand.

                        CALEB
              Hey. In the meantime, I’d say we’re
              about due a refill.


83   INT. HOUSE - OBSERVATION ROOM - NIGHT                            83

     AVA sits alone.

     Watching the door on the other side of the glass, waiting
     for it to open.

     It remains closed.

     Beats pass.

     Then -

     - unexpectedly, it opens. Revealing a silhouette figure.

     AVA reacts instinctively.

                          AVA
              Caleb!

     No. Wrong silhouette.

     AVA frowns.

     KYOKO stands in the door-frame.

     For a moment, the two look at each other.

                        AVA (CONT’D)
              ... Who are you?

     Another beat.


84   EXT. MEADOW - NIGHT                                              84

     In the distance, the light glows in windows of the house.


85   INT. HOUSE - MAIN ROOM - NIGHT                                   85

     CLOSE UP on CALEB’S face.
                                                                94.


     Off-screen, we can hear NATHAN’S voice. Extremely drunk.

                          NATHAN (O.S.)
                It is what it is. It’s Promethean.
                The clay and fire.

     Beat.

                          NATHAN (O.S.) (CONT’D)
                The Bhagavad Gita.

     Silence.

     CUT FROM CALEB’S face, to REVEAL the scene.

     CALEB sitting on the sofa by the fireplace.

     NATHAN lying on the floor.

     Out cold.

     After a couple of moments, CALEB stands.

     Then he walks over to NATHAN, and kneels beside him.

     Then puts his hand into NATHAN’S pocket.

     And pulls out his keycard.


86   INT. HOUSE - NATHAN’S STUDY - NIGHT                              86

     The door to NATHAN’S study opens, and CALEB enters.

     He walks straight to NATHAN’S desk.

     And sits down in front of the computer and the bank of
     monitors.

     He inserts the KEYCARD into its access slot.

     The dead monitors immediately come to life.

     Most of the screens show the CCTV live feeds from around
     the house.

     The central screen shows the operating system default. A
     wallpaper of a waterfall. A single folder icon is on the
     right hand side of the screen.


87   INT. HOUSE - NATHAN’S STUDY - NIGHT                              87
                                                                95.


     CALEB inputs commands into NATHAN’S computer.

     His hands move fluidly over the keyboard. His eyes never
     leave the screen.

     ON THE CENTRAL MONITOR SCREEN a series of windows expand
     and stack.

     We glimpse subject headings.

     POWER

     PROTOCOLS

     In the windows, lines of code appear as CALEB types.


88   INT. HOUSE - MAIN ROOM - NIGHT                                   88

     In the main room, on the floor, NATHAN stirs.


89   INT. HOUSE - NATHAN’S STUDY - NIGHT                              89

     On the MONITORS -

     - the windows start to collapse.

     Leaving the default screen. The waterfall wallpaper.

     CALEB reaches for NATHAN’S KEYCARD, and is about to remove
     it from the slot -

     - when something makes him hesitate.

     His eyes have gone to the folder icon on the right hand
     side of the screen.

     It is titled DEUS EX MACHINA.

     CALEB removes his hand from the keycard.

     He double-clicks the folder.

     It expands into a window, which contains a long list of
     sub- folders.

     Each sub-folder is named after a girl.

     JASMINE, KATYA, JADE, LILY, AMBER, KYOKO, and AVA.
                                                              96.


90   INT. HOUSE - MAIN ROOM - NIGHT                                 90

     In the main room, NATHAN has sat up, and is unsteadily
     trying to get to his feet.


91   INT. HOUSE - NATHAN’S STUDY - NIGHT                            91

     CALEB randomly clicks one of the girl’s names. LILY.

     LILY’S folder expands into a window, stacked with thumbnail
     images of a girl.

     CALEB clicks on one of the images at random.

     CUT TO -

     - a CCTV film-clip starting to play.

     It shows LILY - an android of similar design to AVA -
     sitting with her head bowed. Rocking backwards and
     forwards, in a gently autistic motion.

     In the corner of the room, NATHAN leans against the wall,
     watching.

     CUT TO -

     - CALEB collapsing the LILY menu, and opening KATYA.

     CUT TO -

     A new film clip.

     KATYA. Who is limp. Lifeless.

     NATHAN is dragging her towards the induction plate. He
     holds her up, trying to force her to charge.

     But nothing happens.

     NATHAN drops KATYA, and she folds to the floor.

     CUT TO -

     CALEB opening JADE.

     CUT TO -

     The next film clip.
                                                             97.


     NATHAN stands in the glass box inside the observation room
     -

     - watching JADE. A beautiful Asian android girl.

     They are talking, but we hear no audio. Some kind of
     argument, which escalates fast.

     JADE starts shouting.

     Then she approaches the glass and starts to hit her hands
     against it.

     The glass doesn’t break.

     One of JADE’S arms has broken under the force of the blows.
     The hand flails limply where the carbon fibre has
     splintered at the wrist.

     Then the other breaks.

     Throughout, NATHAN simply watches impassively.


92   INT. HOUSE - STAIRCASE - NIGHT                                92

     NATHAN has managed to get to his feet.

     He makes his way up the concrete staircase.


95   INT. HOUSE - NATHAN’S BEDROOM - NIGHT                         95

     CALEB enters NATHAN’S bedroom.

     KYOKO is lying on NATHAN’S bed.

     She’s naked. On her back. Legs open.

     Her head turns as CALEB enters.

     But apart from that, she doesn’t react.

     CALEB walks to the line of long mirrored cabinets opposite
     the bed.

     He hesitates.

     Then pulls the first door open.

     LILY is inside. Standing upright. Gazing back at him,
     frozen, blank eyed.
                                                              98.


     CALEB goes to the next door and opens it.

     He sees a slender black girl, whose limbs are robotic, but
     whose torso and head are synthetic.

     He opens another door, and another, and another.

     Then steps back, into the middle of the room, and gazes at
     the line of android girls.

     Stunned.

     The camera drifts away from him.

     Then settles.

     In the multiple reflections of the open mirror doors, we
     can see KYOKO’Snaked and sexually receptive form on the bed
     behind him.

     Like an infinity reflection in a hall of mirrors.


97   INT. HOUSE - NATHAN’S BEDROOM - NIGHT                          97

     CALEB stands above KYOKO’Snaked form.

     He reaches out a hand.

     She takes it.

     He gently pulls her to a standing position.

     Then he moves her arms away from her body...

     ... and sees, running under her arms in a straight contour,
     over her ribs, there is a faint line.

     He touches it with his finger.

     KYOKO steps back.

     But it’s not a defensive action. It’s just to give her
     space...

     ... as she reaches under her arm, and adjusts something
     unseen. And a moment later, the faint line that runs down
     each side of her torso is opening. As if unzipping.
                                                               99.


     Then KYOKO puts a hand either side of her torso, and pulls
     off the skin covering over her entire chest, in a single
     section from her collar bone, over the breasts, to her
     solar plexus.

     Revealing underneath the honeycomb mesh and her robot form.


98   INT. HOUSE - CONCRETE STAIRCASE - NIGHT                         98

     On the monitor screens, apparently unnoticed by CALEB,
     NATHAN is on the live CCTV feed.

     Making his way along the mezzanine.

     CUT TO -


99   INT. HOUSE - NATHAN’S BEDROOM - NIGHT                           99

     - CALEB.

     Transfixed, as KYOKO now reaches around the back of her
     head.

     And finds something on the back of her head, at the nape of
     her neck, inside her hairline.

     Which unzips the skin around her jaw.

     Allowing her to remove her face.


100 INT. HOUSE - DINING ROOM - ELEVATOR ENTRANCE - NIGHT             100

     NATHAN uses the glass wall to support himself.

     He reaches his door.

     Then sticks his hand in his pocket for his KEYCARD.

     But it isn’t there.

     He checks his other pocket.

                          NATHAN
                ... What the fuck?

     Suddenly - with both hands in his pockets - he loses
     balance, and crashes to the ground.

     Lands hard.
                                                             100.


    Lies there for a moment.

    Groaning. Blinking. Catching his breath.

    Then sees the figure of CALEB standing over him.

                           NATHAN (CONT’D)
               ... Dude.

                         CALEB
               What’s the problem, Nathan?

                         NATHAN
               My card. I’ve lost it.

    A beat.

    Then CALEB reaches down. Beside where NATHAN lies. And
    picks something up from the floor.

                         CALEB
               It’s right here.


101 INT. HOUSE - CALEB’S BEDROOM - NIGHT                            101

    CALEB enters his bedroom.

    Shuts the door.

    AVA is on the TV. Sat alone in the observation room.

    CALEB looks at her.

    She looks at him.

    He switches the TV off.

    Lies on the bed. On his back.

    Stares at the ceiling.

    CUT TO -

    FLASHCUT IMAGES.

    Of KYOKO removing her skin.

    CUT BACK TO -

    - CALEB.
                                                              101.


102 INT. HOUSE - CALEB’S BATHROOM - NIGHT                            102

    CALEB enters the bathroom.

    He goes to the sink.

    He looks at his own reflection.

    Deep into his own eyes.

    Opens his mouth. Looks inside.

    Feels his wrist for his pulse.

    Feels his skin on the same seam where KYOKO opened herself.

    Pauses.

    Then picks up his disposable plastic razor.

    And breaks it.

    Forcing it with his hand against the porcelain of the sink.

    Snapping the plastic.

    Popping out the tiny razor blade.

    A beat.

    Then he picks up the blade between his thumb and
    forefinger.

    Places it against his forearm.

    And cuts.

    Blood runs out.

    CALEB watches it.

    Sees the way droplets hit the white sink. The way they
    expand, and merge with existing water droplets.

    Then he switches the tap on, and puts his arm under the
    flow.

    The water clears away the blood, revealing the cut.

    CALEB pulls open at the slice with his fingers, spreading
    it.
                                                              102.


    Revealing no carbon fibre. Only muscle.

    He exhales.

    And glances up at the mirror, and his own reflection.

    Then...

    ... reaches up his forearm, and very deliberately wipes
    blood across the glass.


103 INT. HOUSE - NATHAN’S STUDY - NIGHT                              103

    On the monitors in NATHAN’S study, the live feed of CALEB’S
    bathroom is partially obscured as CALEB smears the two-way
    mirror.

    Then, through the blood, we see him pull his fist back.

    And punch the glass.

    As it shatters, the feed goes dead.

    Only now REVEAL -

    - that the person watching the monitor is KYOKO.

    Her expression is unreadable.

    Through the glass of the indoor garden, NATHAN lies on the
    sheets, crashed out.


104 EXT. GARDEN - DAY                                                104

    Sunlight on the grass.

    In the background, we can hear the rhythmic pounding of
    NATHAN’S punch bag.


105 EXT. GARDEN - GYM AREA - DAY                                     105

    NATHAN is in a frenzy.

    Sweat pouring.

    Obliterating the bag.


107 INT. HOUSE - OBSERVATION ROOM - DAY                              107
                                                          103.


AVA sits alone in the observation room.

The door opens.

CALEB appears, wearing a long-sleeved shirt.

Enters.

He sits opposite her, on the other side of the dividing
glass.

A strange noise escapes from AVA’S mouth.

A kind of sob.

Curtailed.

                    AVA
          I didn’t know where you were. I
          didn’t think you were coming. I
          waited all yesterday afternoon, and
          all last night. I didn’t move.

Beat.

                    AVA (CONT’D)
          I thought I wasn’t going to see you
          again.

Beat.

                    AVA (CONT’D)
          Aren’t you going to say something?

                    CALEB
          I’m waiting.

                     AVA
          Waiting?

They exchange a look.

Then AVA lifts her hand, and rests it against the induction
plate on the console below the window.

A final beat.

Then the POWER DIES.

                    AUTOMATED VOICE
          Power cut. Back up power activated.
                                                       104.


As the emergency lighting lifts, CALEB leans forward
slightly.

                  CALEB
        Don’t talk. Just listen. You were
        right about Nathan. Everything you
        said.

                  AVA
        What’s he going to do to me?

                  CALEB
        He’s going to reprogram your AI.
        Which is the same as killing you.

                  AVA
        Caleb, you have to help me.

                  CALEB
        I’m going to. We’re getting out of
        here tonight.

                  AVA
        What? How?

                  CALEB
        I get Nathan blind drunk. Then I
        take his keycard, and reprogram all
        the security protocols in this
        place. When he wakes, he’s locked
        inside, and we’ve walked out of
        here. I only need you to do one
        thing. At ten o’clock tonight,
        trigger a power failure. Can you do
        that?

                  AVA
        Yes.

CALEB nods.

                  CALEB
        How long does your battery charge
        last?

                  AVA
        Twenty six hours.

                  CALEB
        So we’ll have about a day to get to
        a cell-phone or kitchen store.
        Somewhere we can buy an induction
        plate. After that...
                                                            105.


    CALEB breaks off.

                         CALEB (CONT’D)
               ... we’ll work it out. Together.

    Silence.

    Then the POWER RETURNS.

    The lights come back.

    AVA and CALEB stare at each other.

                        AVA
               Caleb.

    Beat.

                         AVA (CONT’D)
               I love y -

    CUT TO -


108 EXT. GARDEN - GYM AREA - DAY                                   108

    - NATHAN’S fist splitting the bag.


109 EXT. MOUNTAINS - DAY                                           109

    Clouds spill around the mountain peaks.


110 INT. HOUSE - MAIN ROOM - DAY                                   110

    KYOKO stands in front of the fireplace.

    NATHAN leans against the counter in the kitchen area,
    gazing out of the window.

    CALEB appears behind him.

                        NATHAN
               Dude.

                        CALEB
               Hey.

                         NATHAN
               You know what day it is?
                                                        106.


                  CALEB
        No.

                  NATHAN
        Your last. The helicopter is coming
        tomorrow morning. Eight AM.

CALEB pauses.

                  CALEB
        Has it been a whole week?

NATHAN smiles.

                  NATHAN
        Time flies. But what a thing you
        and I have shared. Something to
        tell the grandchildren, right?

CALEB smiles. A little tightly.

                  CALEB
        After they’ve signed their NDAs.

NATHAN laughs.

                  NATHAN
        Signed their NDAs! Dude, you crack
        me up. I’m not getting all maudlin
        or anything. But straight up. I
        will miss having you around.

                  CALEB
        I appreciate that. And - let me
        say: thank you for bringing me
        here. It’s been a trip.

                  NATHAN
        Yes it has.

                  CALEB
        You know what?

CALEB walks over to the kitchen area, and pulls two beers
from the fridge.

                  CALEB (CONT’D)
        We need to drink to that.

CALEB walks back to NATHAN. Extends a hand. Holding a
Peroni.

But NATHAN doesn’t take it.
                                                       107.


                    NATHAN
          Oh, uh... no, I’m good. You go
          ahead.

Beat.

                    CALEB
          You don’t want a beer?

NATHAN shrugs.

                    NATHAN
          No.

                    CALEB
          ... Maybe wine or something.

                    NATHAN
          I’m sure you’ve noticed - I’ve been
          somewhat overdoing it recently.
          When I woke up this morning, I told
          myself: time to hit the old detox.

CALEB’S hand remains extended. He smiles again. More
tightly.

                    CALEB
          Are you kidding? I’m drinking
          alone?

                    NATHAN
          Hey - you want to get wasted, knock
          yourself out. Literally. But I’m on
          brown rice and mineral water.

A beat.

CALEB puts down NATHAN’S beer.

Then raises his own.

                    CALEB
          Cheers, then.

                    NATHAN
          Cheers.

CALEB takes a single sip.

NATHAN watches.

                    NATHAN (CONT’D)
                                                          108.


        So, anyway. Surely this is when you
        tell me whether Ava passed or if
        she failed.

CALEB pauses.

Collecting himself slightly. Trying to think how to get his
plan back on track.

                  CALEB
        Right.

Beat.

                  NATHAN
        You going to keep me in suspense?

                  CALEB
        Her AI is beyond doubt.

                  NATHAN
        Is it? You mean, she passed?

                  CALEB
        Yes.

                  NATHAN
        Wow. That’s fantastic.

Beat.

                  NATHAN (CONT’D)
        Although I’ve got to admit, I’m
        surprised. I mean, did we ever get
        past the chess problem, as you
        phrased it? As in: how do you tell
        if a machine is expressing a real
        emotion, or a just a simulated one?

NATHAN pauses.

                  NATHAN (CONT’D)
        Does Ava actually like you? Or not.

CALEB has a cold realisation dawning. NATHAN is playing
with him.

                  NATHAN (CONT’D)
        Though now I stop to think, there
        is a third option. Not whether she
        does or doesn’t have the capacity
        to like you. But whether she’s
        pretending to like you.
                                                       109.


                     CALEB
           Pretending.

                     NATHAN
           Yeah.

Beat.

                     CALEB
           Why would she do that?

                     NATHAN
           I don’t know.

NATHAN gazes at CALEB evenly.

                     NATHAN (CONT’D)
           Perhaps - if she saw you as a means
           of escape.

And now CALEB knows: NATHAN knows.

                     NATHAN (CONT’D)
           How’s that beer tasting?

CALEB puts the beer down.

Silence.

                     NATHAN (CONT’D)
           Buddy. Your head has been so fucked
           with.

                     CALEB
           I don’t think it’s me whose head is
           fucked.

                     NATHAN
           I’m not sure, dude. When I woke up
           this morning, I saw a tape of you
           cutting open your arm. Smashing up
           the mirror. You looked pretty
           fucked to me.

                     CALEB
           You’re a bastard.

                     NATHAN
           I understand why you’d think that.

He steps over to CALEB, and rests a hand on his shoulder.
                                                             110.


                       NATHAN (CONT’D)
             But strange as it may seem, I’m
             actually the guy who’s on your
             side.

    NATHAN starts walking.

                       NATHAN (CONT’D)
             Come with me. I’m going to let you
             off the hook.


111 INT. HOUSE - NATHAN’S STUDY - NIGHT                             111

    NATHAN and CALEB stand in front of the computer.

    On it, a clip of film is playing.

    It shows the scene that CALEB witnessed two nights before,
    of NATHAN entering AVA’S room, and an exchange between
    them. But whereas the first time the sound was muted, this
    time we can hear the audio.

    CTTV FILM

    NATHAN stands above AVA. Drunk.

    AVA is sat at the table, with her drawing.

                       NATHAN
             You think he’s watching us right
             now, don’t you?

                       AVA
             The cameras are on.

                       NATHAN
             Yeah. But he doesn’t get an audio
             feed. I didn’t want you two
             communicating outside of my line of
             sight.

    NATHAN reaches over and picks up her picture of CALEB.

                       NATHAN (CONT’D)
             So all he can see is two people
             having a chat.

    NATHAN studies the picture for a moment.

                       NATHAN (CONT’D)
             This is cute.
                                                           111.


                        AVA
              Is it strange to have made
              something that hates you?

    A beat.

    Then abruptly, NATHAN rips the picture.

    He lets the two pieces fall to the floor.

    As AVA reaches for them, NATHAN turns.

    And exits.


112 INT. HOUSE - NATHAN’S STUDY - NIGHT                           112

    NATHAN hits pause.

    Glances at CALEB.

                        NATHAN
              You were right about the hot
              magician’s assistant.

                        CALEB
              What are you talking about?

                        NATHAN
              Misdirection. I rip her picture,
              which she can then present as an
              illustration of my cruelty to her,
              and her love for you. And at the
              same time, in full view of you
              both...

    As he talks, NATHAN rewinds the film clip slightly -

                        NATHAN (CONT’D)
              ... it allows me to do this.

    ... then FREEZES the film again.

    This time, ON THE SCREEN:

    AVA is reaching for her torn picture.

    And NATHAN is reaching out with his hand.

    And his hand is holding something.

                         NATHAN (CONT’D)
                                                          112.


        Put a new camera in the room.
        Battery powered, of course.

NATHAN unfreezes the image.

And we quite clearly see NATHAN place the object on AVA’S
bookcase.

NOTE THAT on the two previous occasions we have seen this
clip of film, we will have seen him do this action. But not
register it, instead reading the action as him drunkenly
using the shelf to steady himself.

CALEB stares at the monitor for a few moments.

Then turns.

He walks towards a chair. And sits down.

As he does so, NATHAN has started to play another clip.

CALEB can hear the audio.

                  CALEB
             (recording)
        We’re getting out of here tonight.

                  AVA
             (recording)
        What? How?

                  CALEB
             (recording)
        I get Nathan blind drunk. Then I
        take his keycard, and reprogram the
        all security protocols in this
        place. When he wakes, he’s locked
        inside, and we’ve walked out of
        here. I only need you to do one
        thing. Trigger a power failure at
        ten o’clock tonight.

                  CALEB (CONT’D)
        Turn it off.

                  NATHAN
        Sure.

The recording stops.

CALEB feels short of breath.

                  NATHAN (CONT’D)
                                                       113.


        You feel stupid. But you shouldn’t.
        Proving an AI is exactly as
        problematic as you said it was.

                  CALEB
        What was the real test?

                    NATHAN
        You.

Beat.

                  NATHAN (CONT’D)
        Ava was a mouse in a mousetrap. And
        I gave her one way out. To escape,
        she would have to use imagination,
        sexuality, self- awareness,
        empathy, manipulation - and she
        did. If that isn’t AI, what the
        fuck is?

CALEB looks upwards.

Directly above, he sees a spot-light in the ceiling.

It dazzles him.

                  CALEB
        So my only function was to be
        someone she could use to escape.

                    NATHAN
        ... Yes.

                  CALEB
        And you didn’t select me because I
        was good at coding.

NATHAN hesitates.

                  NATHAN
        Don’t get me wrong. You’re okay.
        Even pretty good, but -

                  CALEB
        You selected me by my search engine
        inputs.

                  NATHAN
        They showed a good kid.

                  CALEB
        With no family.
                                                           114.


                         NATHAN
               With a moral compass.

                         CALEB
               And no girlfriend.

    CALEB stares into the brightness above him.

                         CALEB (CONT’D)
               Did you design her face based on my
               pornography profile?

                         NATHAN
               Shit, dude.

                          CALEB
               Did you?

    Beat.

                         NATHAN
               Hey. If a search engine’s good for
               anything - right?

    Silence.

                         NATHAN (CONT’D)
               Can I say one thing?

    CALEB doesn’t answer.

                         NATHAN (CONT’D)
               The test worked. It was a success.
               Ava demonstrated true AI. And you
               were fundamental to that. If you
               could just separate -

    NATHAN cuts off. Because AT THAT MOMENT -

    - the lights and the monitors suddenly die.


113 EXT. GARDEN - NIGHT                                           113

    Through the circular window, the emergency lighting lifts
    up. The window glows red.


114 INT. HOUSE - AVA’S ROOM - NIGHT                               114

    AVA’S head turns to the door of her room.
                                                           115.


    Where, discretely, the LED by the keycard plate glows blue.


115 INT. HOUSE - NATHAN’S STUDY - NIGHT                           115

    NATHAN checks his watch.

                       NATHAN
             The power cut. Must be ten o’clock.

    NATHAN glances at CALEB.

                       NATHAN (CONT’D)
             Guess Ava’s going to be wondering
             where you are.

    CALEB says nothing.

                       NATHAN (CONT’D)
             How was that escape going to go
             down, anyway? You didn’t completely
             explain. You said you were going to
             get me drunk, take my card, then
             reprogram the security protocols.
             But, reprogram them to - what?

                       CALEB
             To change the lockdown procedure.
             So that in the event of a power
             cut, instead of sealing, the doors
             all opened.

                       NATHAN
             Huh.

    Beat.

                       NATHAN (CONT’D)
             Not bad. Might have even worked.

                       CALEB
             Well, we’ll find out.

    NATHAN frowns.

                       NATHAN
             What do you mean?

    CALEB looks away from the dimmed ceiling light, to NATHAN.

                       CALEB
             I figured you were probably
             watching us during the power cuts.
                                                           116.


    Beat.

                       CALEB (CONT’D)
             So I already did all those things.
             When I got you drunk yesterday.

    NATHAN freezes.

                         NATHAN
             ... What?

    At that moment, the POWER COMES BACK ON.

    The lights rise.

    The computer monitors come back to life.

    Revealing something.

    On the CCTV feed of AVA’S room, the door is open.

    And on the feed of the GLASS CORRIDOR -

    - AVA is walking down it.

    NATHAN freezes as he sees her.

                         NATHAN (CONT’D)
             ... Fuck.

    Both NATHAN and CALEB simultaneously rise.

    Almost as an afterthought, NATHAN lands a deceptive, fast
    punch into CALEB’S solar plexus.

    CALEB folds, the air forced out of him, gasping for breath.

    NATHAN helps him down to the floor.

    A couple of yards away is one of his curl dumbbells.

    He walks over.

    Picks the dumbbell up.

    Spins off the weights. Leaving him with a thick metal bar.

    Then exits.


116 INT. HOUSE - GLASS CORRIDOR - NIGHT                           116
                                                          117.


NATHAN enters the GLASS CORRIDOR.

He sees, directly ahead of him, at the far end of the
corridor, AVA and KYOKO.

They stand together.

KYOKO’S mouth is by AVA’S ear, as if telling her a secret.

Her lips are open. They don’t move.

CLOSE UP to KYOKO’S lips, we hear a hiss of static, with
soft pulses of noise buried inside.

Then the two robot women become aware of NATHAN’S presence.

They turn to face him.

A beat.

Then AVA starts walking towards NATHAN.

NATHAN’S fingers flex around the metal bar in his hand.

                     NATHAN
          Ava.

AVA doesn’t slow or react.

                    NATHAN (CONT’D)
          Ava - now listen to me. I want you
          to go back to your room.

AVA has reached halfway down the corridor.

She stops walking.

                    AVA
          If I do, are you ever going to let
          me out?

Beat.

CLOSE UP. NATHAN’S micro expressions.

                     NATHAN
          Yes.

CLOSE UP. On AVA.

Then AVA breaks into a run.
                                                            118.


    Sprinting in NATHAN’S direction.


117 EXT. GARDEN - NIGHT                                            117

    Quiet in the garden.

    Soft wind rush.

    Moon and stars reflected in the windows of the house.


118 INT. HOUSE - GLASS CORRIDOR - NIGHT                            118

    AVA impacts NATHAN, and they fly backwards.

    Then land hard.

    NATHAN gets to his feet first.

    AVA tries to rise too.

    And he kicks her extremely hard in the torso.

    She is knocked back down.

    NATHAN glances around.

    There is no talking.

    Just NATHAN’S laboured breathing.

    Then he walks back to AVA, looking down at her.

    He swings the metal bar.

    AVA raises her left arm defensively -

    - and shockingly, the bar smashes through it. Crushing the
    delicate mesh, shattering the carbon fibre bone structure.
    Breaking the arm half way down the forearm.

    CUT TO -


119 INT. HOUSE - NATHAN’S STUDY - NIGHT                            119

    - CALEB, dragging himself up, stunned by the sight on the
    CCTV feed.

    CUT BACK TO -
                                                              119.


120 INT. HOUSE - GLASS CORRIDOR - NIGHT                              120

    - NATHAN. Preparing to deliver a lethal blow.

    But as he does so, we see something.

    KYOKO.

    Approaching behind NATHAN.

    She’s holding something in her hand.

    She walks directly up to NATHAN.

    And does something behind his back.

    As she does so, KYOKO emits the first sound we have heard
    her make. A little gasp, or sigh.

    NATHAN jolts.

                       NATHAN
             Aah!

    He looks down.

    Something is under his shirt, just above his solar plexus.
    A little ridge.

    He tugs the material of his shirt open -

    - and reveals a tiny triangle of metal. Protruding from his
    skin.

                       NATHAN (CONT’D)
             What -

    He turns.

    The handle of a KITCHEN KNIFE is jutting out of the middle
    of his back, just left of his spine. It has been jammed so
    deep that the tip of the blade has poked out of his chest.

    Blood soaks into his shirt material with amazing speed,
    blossoming from the point of the wound.

    He sees KYOKO.

                       NATHAN (CONT’D)
             Oh shit. No.

    He lashes out with the metal bar.
                                                              120.


    It catches KYOKO in the jaw.

    Her entire lower jaw snaps off.

    It reveals metal armature, and carbon fibre, and spurting
    pneumatic fluid. And something in her neck, glowing and
    sparking.

    Then she folds down to the ground, as her power abruptly
    cuts out.

                       NATHAN (CONT’D)
             Fucking - unreal -

    As NATHAN stares down at KYOKO-

    - reveal that AVA has got to her feet behind him.

    She pulls the knife out of his back.

    Feeling this happen, NATHAN turns -

    - and AVA pushes the knife into his chest.

    NATHAN stares at AVA.

    Then takes a slight step away from her.

    And sits down heavily on the white carpet.

    Crimson drips onto bleached fibre.

    Beats pass on this strange image:

    KYOKO sprawled on the floor with her broken face.

    NATHAN sitting upright, his upper torso now drenched in
    blood.

    AVA standing. Watching NATHAN.

    After a few moments, NATHAN slumps sideways.

    And stops breathing.


121 INT. HOUSE - NATHAN’S STUDY - NIGHT                              121

    CALEB sees this same view, on the CCTV camera feed, on
    NATHAN’S monitors.

    Then -
                                                              121.


    - AVA starts walking.

    As she walks, she discards the broken section of her arm.

    On the cameras, CALEB watches her progress through the
    house. Down the glass corridor. Through the threshold to
    NATHAN’S private quarters.

    Then -

    - CALEB raises his head from the screens.

    To see AVA standing at the open door to NATHAN’S study.

    AVA and CALEB look at each other.

                         AVA
               Will you stay here?

    Beat.

                           CALEB
               ... Okay.

    AVA leaves, closing the door behind her.

    CUT TO -

    - the monitors.

    The CCTV feed of AVA walking down the connecting corridor
    to NATHAN’S BEDROOM.


122 INT. HOUSE - NATHAN’S BEDROOM - NIGHT                            122

    AVA stands in NATHAN’S BEDROOM, in front of the previous AI
    androids.

    She is unclothed.

    She gazes at the androids.

    Then she removes the arm from JADE, and replaces her own
    shattered limb.

    She takes a moment to see how the new limb looks in the
    mirrors.

    Then she starts removing sections of JADE’S skin.

    And putting it on herself.
                                                           122.


    The skin sucks itself to the honeycomb mesh, as if the mesh
    and the underside of the skin are magnetised, attracted to
    each other.

    As a large section of skin is removed from her torso, JADE
    - who has been motionless until now - turns her head
    slightly to look at AVA.

    They exchange a glance. Locking eyes for a moment.


123 INT. HOUSE - NATHAN’S STUDY - NIGHT                           123

    Transfixed, CALEB watches AVA’S metamorphosis.

    First through the glassed-off garden that separates
    Nathan’s study from his bedroom. Then, when he can’t get a
    clear view through the foliage, on the monitors.


124 EXT. MOUNTAINS - DAWN                                         124

    First light breaks over the mountains.


125 INT. HOUSE - NATHAN’S BEDROOM - DAWN                          125

    The glow of honeycomb mesh vanishes as AVA applies the last
    section of skin.

    Nothing of her robot forms remains.

    She closes the door on JADE, and now sees herself in the
    mirrored door on JADE’S cabinet.

    AVA sees a naked human girl. And is hypnotised by the sight
    of herself.


126 INT. HOUSE - NATHAN’S STUDY - DAWN                            126

    CALEB watches as AVA - now clothed - walks back down the
    connecting corridor to the study...

    ... thenpasses straight by his door.

                       CALEB
             Ava?

    CALEB gets up.

    Goes to the closed door. Tries to open it.
                                                             123.


    There is a red LED light by the keycard plate. Locked.

    He swipes his card, with his photo ID.

    The red light remains.

                         CALEB (CONT’D)
                    (calls out)
             Ava!

    He runs back to the monitors.

    On them, AVA has reached the GLASS CORRIDOR.


127 INT. HOUSE - GLASS CORRIDOR - DAWN                              127

    AVA stands in the glass corridor.

    She looks at KYOKO’Sbody for a moment.

    Her expression is unreadable.

    Then she walks up to NATHAN’S body.

    There, she stops.

    Crouches down.

    And takes NATHAN’S bloodstained keycard out of his pocket.

    Then stands.

    She walks straight to the elevator.

    Uses the KEYCARD.

    And steps through.


128 INT. HOUSE - MAIN ROOM - DAWN                                   128

    AVA walks up the glass staircase from the main room.


129 EXT. ENTRANCE - DAWN                                            129

    AVA steps outside for the first time. Into the garden.


130 INT. HOUSE - NATHAN’S STUDY - DAWN                              130
                                                             124.


    CALEB sticks his card into the slot by NATHAN’S computer.

    Instantly, THE EMERGENCY LIGHTING COMES UP and all the
    screens die. Replaced by a single word.

    REJECTED

                         CALEB
               No, no, no -


131 EXT. GARDEN - DAWN                                              131

    From the garden, we can see CALEB through the glass of the
    circular window, shouting Ava’s name.

    On our side of the glass, there is silence.

    AVA walks away.


132 INT. HOUSE - NATHAN’S STUDY - DAWN                              132

    CALEB looks up at the thick glass of the circular window,
    several metres above him.

    Far out of reach.

    He starts to shout.

                           CALEB
               Ava! AVA!


133 INT. HOUSE - GLASS CORRIDOR - DAWN                              133

    NATHAN’S body.

    KYOKO’S body.


134 EXT. RIVER - DAWN                                               134

    AVA stops.

    Absorbing the sunrise, the view of the sky, and the
    mountains.

    Then the moment is broken by a sudden pulse of rotor blades
    -

    - as the shuttle HELICOPTER flies directly overhead.
                                                           125.


135 EXT. MOUNTAINS - DAY                                          135

    The helicopter sweeps over the glacier, into the valley.


137 EXT. MEADOW - LANDING SITE - DAY                              137

    The helicopter touches down.

    The rotors stop.

    And the PILOT climbs out.

    Takes off his helmet.

    Looks at the girl standing a few metres away.

    Nothing betrays that AVA is anything other than a pretty
    girl in her early twenties.

    AVA turns as he approaches her.

    CUT TO -


138 EXT. MEADOW - LANDING SITE - DAY                              138

    - AVA’S precise POINT OF VIEW.

    Looking at the PILOT.

    The image echoes the POV views from the computer/cell-phone
    cameras in the opening moments of the film.

    Facial recognition vectors flutter around the PILOT’S face.

    And when he opens his mouth to speak, we don’t hear words.

    We hear pulses of monotone noise. Low pitch. Speech as pure
    pattern recognition.

    This is how AVA sees us. And hears us.

    It feels completely alien.


139 EXT. MEADOW - DAY                                             139

    AVA and the PILOT finish talking.

    We are too distant to hear their conversation.
                                                           126.


    But whatever is said, a few beats later, the PILOT goes the
    helicopter and opens the passenger door, to allow AVA to
    enter.

    Then he goes back to the PILOT’S door.

    Gets in.

    And the rotor blades start to turn.

    CUT TO -


140 INT. HOUSE - NATHAN’S STUDY - CIRCULAR WINDOW - DAY           140

    - the view from the circular window as the helicopter takes
    off, banks away from the house, and starts climbing.

    CUT TO -

    - COMPUTER MONITOR.

    Lines of code appear, as they are typed.

    They read:

    main( ) { extrn a, b, c;

    putchar(a); putchar(b);putchar (c); putchar(’!’*n’); } a
    ‘goo’; b ‘dby’; c ‘e, wo -

    CUT TO -


141 EXT. TRAFFIC INTERSECTION - DAY                               141

    - a busy traffic intersection. Somewhere in North America.

    In the crowd, we glimpse AVA. Just for a moment.

                                                  CUT TO BLACK.

    END