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1.
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Music starts.
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OPEN ON -
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1 INT. OFFICE - DAY 1
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- a COMPUTER MONITOR.
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Lines of code appear, as they are typed.
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main( ) { extrn a, b, c; putchar(a); putchar(b);putchar
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(c); putchar(’!’*n’); } a ‘hell’; b ‘o, w’; c ‘or
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CUT TO -
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- a view above an ultra-cool, ultra-designed open-plan
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office.
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In a kitchen area, young men and women mill and chat.
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Casually dressed. Feels like an intelligent, relaxed
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environment.
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Behind them, more young men and women sit at desks, in
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front of screens and keyboard.
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Each workstation is personalised. Photographs of friends or
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family, or pets. Cutting from magazines. Ironic
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superhero/video-game figurines.
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CUT TO -
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- the hands of the young man writing code. This is CALEB.
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He types fast, with two fingers.
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CUT TO -
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- EXTREME CLOSE UP of a pinhole web-cam lens in CALEB’S
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monitor.
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CUT TO -
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- the POV of the web-cam.
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Looking back at CALEB.
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Twenty four. Glazed. Ear buds in, connected to cell phone.
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Head bobbing slightly to the music.
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As we watch from the monitor POV, we can see the computer’s
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facial recognition system in operation.
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2.
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Imaged as vector boxes, which track CALEB’S face, and the
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faces of all the people behind him.
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CUT TO -
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- the COMPUTER MONITOR.
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On which a message appears, in a small window, over the
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code. VIP EMAIL RECEIVED subject: HIDDEN
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CUT TO -
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- the monitor web-cam POV.
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As CALEB stops typing.
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He gazes at the message.
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Then clicks on the link.
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Then mouths the word: Fuck.
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CALEB reaches for his cell phone.
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CUT TO -
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- the CELL PHONE POV, seen from the tiny camera above the
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screen, as CALEB lifts the phone, and starts keying-in a
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text.
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We see facial recognition software flickering over CALEB’S
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features, and reacting to shifts in his expression.
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CUT TO -
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- the cell phone. The screen. The tiny camera nestled above
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it. Lens glinting.
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On the screen, a time-bar extends next to the word:
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sending
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A beat later, a reply text message appears.
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WTF? seriously!?
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CUT TO -
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- the WEB CAM POV, watching CALEB react to the arrival of
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the text.
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CUT TO -
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3.
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- cell phone screen.
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CALEB sends the word:
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yes
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A beat later, a stream of text messages start appearing:
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Buena estoria bro
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omfg fucking AWESOME
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:o)
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take me take me?!?
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Caleb > [infinity symbol]
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CUT TO -
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- the computer monitor POV.
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Behind CALEB, a few of the people behind CALEB in the
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office are reacting.
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One stands and applauds.
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A GIRL comes out from behind her desk, runs over to CALEB,
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and embraces him from behind planting a kiss on his cheek.
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CALEB still looks dazed.
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He still has his headphones in. Still in the audio bubble,
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which, despite the commotion around him, remains unburst.
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TITLE:
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EX MACHINA
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2 EXT. MOUNTAINS - DAY 2
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A spectacular mountain landscape. Waterfalls drop down
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massive rock faces to inland lakes. Rivers push through
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forest. Forest spreads across valley floors, which rise to
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snow peaks.
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3 INT. HELICOPTER - DAY 3
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CALEB wakes abruptly -
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4.
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- to find himself in the front seat of a helicopter.
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The pilot, JAY, is a man in his forties.
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Outside the window is the mountain landscape.
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CALEB
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How long was I out?
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JAY
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You fell asleep almost as soon as
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we left the airport.
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CALEB looks around. Wipes sleep out of his eyes. Gets his
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bearings.
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CALEB
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Damn. Can’t believe I’ve been
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missing this. I was so psyched to
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be coming here, I was awake all
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night.
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JAY smiles.
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JAY
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You’re a programmer, right?
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CALEB
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Yeah.
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JAY
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Bay facility?
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CALEB
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Long Island. I work on algorithms
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for the search engine.
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JAY
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Algorithms. Nice.
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CALEB
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You know what they are?
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JAY
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Nope. But I knew you were a
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programmer. Soon as I set eyes on
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you.
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CALEB
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Is that a good thing?
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JAY
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5.
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Means you and Mr Bateman speak the
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same language. I’d say that’s a
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good thing.
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Beat.
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CALEB
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I guess you know him pretty well.
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The pilot laughs.
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JAY
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I’ve never even met him. I only fly
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this shuttle between the airport
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and his residence.
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I did see him one time. Stood on one of these mountain
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ridges.
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JAY shrugs.
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JAY (CONT’D)
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Assume it was him, anyway. No one
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else around for a hundred miles.
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JAY glances over at CALEB.
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JAY (CONT’D)
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So how does a programmer from Long
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Island get to be meeting the CEO?
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CALEB
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I won a competition. It was kind of
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like a lottery, for employees. The
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winner got to spend a week with
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him.
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JAY
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The president can’t get Mr Bateman
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on the phone, but you got the
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golden ticket.
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CALEB
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Yep.
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JAY
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Hell of an opportunity.
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CALEB
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Believe me. I know it.
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CALEB looks out of the window.
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6.
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CALEB (CONT’D)
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Incredible here.
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JAY
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Alaska. Most beautiful place on
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Earth.
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Beat.
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CALEB
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How long until we get to his
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estate?
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JAY chuckles.
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JAY
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We’ve been flying over his estate
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for the past two hours.
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4 EXT. MOUNTAINS - DAY 4
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The helicopter flies over a vast white glacier.
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5 EXT. MOUNTAINS - DAY 5
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The helicopter flies over the lip of a WATERFALL, revealing
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a valley.
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The valley floor is a forest, and a single bright green
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meadow. Sunlit, like a jewel in the icy mountains.
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A white-water river runs through it.
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7 INT. HELICOPTER - DAY 7
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CALEB looks down at the breathtaking view as the helicopter
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banks, turns, and descends.
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8 EXT. MEADOW - LANDING SITE - DAY 8
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Meadow flowers whip in the rotor wash as the helicopter
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touches down in the vast meadow.
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By the landing site is a collection of huge metal crates.
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All have Chinese characters on the side.
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The rotor blades slow, but don’t stop.
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7.
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JAY exits.
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9 EXT. MEADOW - LANDING SITE - DAY 9
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JAY holds open the door as CALEB exits the helicopter
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cabin.
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CALEB looks around, his eyes adjusting to the bright
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sunshine outside.
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JAY goes to the side of the helicopter, pops open a hatch,
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and removes CALEB’S luggage. A large suitcase with wheels.
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CALEB looks around. Apart from the packing crates, there
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are no man-made structures to be seen.
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CALEB shouts over the engine noise.
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CALEB
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You’re leaving me here?
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JAY
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This is as close as I’m allowed to
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the building.
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CALEB
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... What building?
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The pilot gestures vaguely towards the white water.
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JAY
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Follow the river.
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JAY hands CALEB his bag.
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JAY (CONT’D)
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Please get a safe distance from the
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blades.
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The pilot gets back inside the helicopter, and closes the
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door.
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CALEB hurriedly retreats with his bag.
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Moments later, in a roar of wind and noise, the helicopter
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is lifting off.
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Equally suddenly, the noise is fading, and the helicopter
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is soaring upwards, and banking back towards the glacier.
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8.
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Then it is gone. Bird song and wind rush replace engine
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noise.
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CALEB suddenly looks very isolated.
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10 EXT. RIVER - DAY 10
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CALEB walks along the banks of the fast-flowing river,
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awkwardly bumping his wheeled suitcase over the ground.
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The banks of the river start to climb, to an intimidating
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drop.
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It feels that this can’t be the right way.
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CALEB reaches into his pocket and pulls out his mobile
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phone.
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No signal at all.
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He puts his phone back in his pocket.
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11 EXT. RIVER - HOUSE VIEW - DAY 11
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CALEB rounds a bend in the river.
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Ahead, almost hidden in trees, there is a steel and glass
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structure.
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12 EXT. CLEARING - DAY 12
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CALEB walks towards the house through the trees.
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In the ground, in a grassy clearing, he finds a circular
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window, reflecting the sky.
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He walks up to the window, and looks inside.
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It reveals what is effectively a glass-covered well - about
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four metres deep, with smooth concrete sides.
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At the bottom of the well is a brightly-lit room, which
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appears to be an office of some sort. There is a desk, with
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monitors, and a chair.
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But apparently no one inside.
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9.
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Beyond the clearing, in the tree-line, CALEB sees - almost
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camouflaged by forest - the dark shapes and straight lines
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of a low, one storey building complex.
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13 EXT. HOUSE - DAY 13
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CALEB approaches the building.
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As he nears the entrance -
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- CALEB startles, as an AUTOMATED VOICE speaks to him, from
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an unknown source.
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AUTOMATED VOICE
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Caleb Smith.
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CALEB tracks the source of the voice.
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Near what seems to be the front door, a pillar protrudes
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from the ground. Head-height. With a GLASS SCREEN on one
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side.
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Below the screen is a DISPENSER.
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CALEB
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... Yes.
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AUTOMATED VOICE
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Please approach the console and
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face the screen.
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CALEB looks into the screen, and as soon as he has locked
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eyes with his own reflection, the screen FLASHES. A single
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bright strobe.
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Almost immediately afterwards, something small clatters
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into the DISPENSER.
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AUTOMATED VOICE (CONT’D)
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Take your keycard.
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CALEB picks the object up. It’s a credit-card sized ID.
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On it, there is an embedded chip, and a photograph of his
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face. He looks comically surprised.
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CALEB
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... Can we do another?
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AUTOMATED VOICE
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10.
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Your keycard now may be used to
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enter the residence.
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CALEB walks up to the front door.
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Beside the door, a KEYCARDPLATE is set into the wall, with
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a RED LED LIGHT.
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He holds his keycardID.
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The RED LED light changes to BLUE.
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CALEB pushes the front door, and it swings open.
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14 INT. HOUSE/MAIN ROOM - DAY 14
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The front door opens to a glass-walled staircase, which
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leads down to an open-plan room.
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At the bottom of the staircase, CALEB waits to see if he is
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welcomed, or noticed.
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But he is not.
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CALEB
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Hello?
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Silence.
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Then he is startled a second time, by sudden commencement
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of a THUMPING SOUND.
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Abrupt. Rapid. More or less rhythmic. From somewhere
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nearby.
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He exits in the direction of the noise.
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15 INT. HOUSE/DINING AREA - DAY 15
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CALEB enters a dining area.
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Which now reveals...
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... a huge glass door.
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It presents an arresting view of a garden, river, and the
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mountains behind.
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The door is open, and through it, we see the reason for the
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thumping sound.
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11.
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Just outside, on a patio, in the sunshine, a man is working
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a PUNCH BAG.
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16 EXT. GARDEN - DAY 16
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CALEB exits the dining area to an area of neat garden,
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looking over the river, and surrounded by the mountain
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ranges.
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The punch bag is suspended by a chain on an exterior
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flanking wall of the house.
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The man working it is wearing shorts, and is shirtless.
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Bathed in sweat.
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His hands are not protected by gloves. Only wraps. Spots of
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blood seep through the pale material around his knuckles.
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This is NATHAN BATEMAN. He’s thirty.
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After a flurry of punches, NATHAN breaks off.
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Breathing hard, he wipes at his eyebrows with the back of
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his wrist. Sweat droplets cascade down his face.
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Then -
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- NATHAN senses the other presence.
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He turns to see CALEB. Standing by the open glass wall.
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NATHAN
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Caleb.
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NATHAN beams.
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NATHAN (CONT’D)
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Caleb Smith.
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CALEB
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... Hi.
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NATHAN starts unravelling his wraps.
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NATHAN
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Dude. I’ve been so looking forward
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to this.
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17 INT. HOUSE - DINING AREA - DAY 17
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12.
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NATHAN walks past CALEB, and goes to a bar area, where
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there is a jug of non-specific vegetable juice waiting, and
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a glass.
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NATHAN
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Come in, come in.
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CALEB puts his bag down.
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NATHAN (CONT’D)
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You want something to eat or drink
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after your journey?
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CALEB
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No. Thank you. I’m fine.
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NATHAN
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You sure?
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NATHAN pours himself a glass of the vegetable juice.
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NATHAN (CONT’D)
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I’d been thinking we’d have
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breakfast together, but to be
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honest, I can’t eat anything right
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now. I gotta tell you - I woke up
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this morning with the mother of all
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fucking hangovers.
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CALEB
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Yeah?
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NATHAN laughs.
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NATHAN
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Like you wouldn’t believe. And if I
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have a heavy night, I always try to
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compensate the next morning.
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Exercise. Juice. Anti-oxidants. You
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know?
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CALEB
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Sure.
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Silence, as NATHAN drinks.
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CALEB feels he needs to say something.
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Looking around, he sees a collection of empty beer bottle
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on the kitchen counter.
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CALEB (CONT’D)
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... Was it a good party?
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13.
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NATHAN doesn’t answer.
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He’s still drinking.
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The silence extends a little. Verges on odd.
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NATHAN puts his empty glass down.
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NATHAN
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Party?
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NATHAN looks at CALEB. His expression is unreadable.
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NATHAN (CONT’D)
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Caleb. I’m going to put this out
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there so it’s said.
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CALEB waits.
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NATHAN (CONT’D)
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You’re freaked out.
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CALEB
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... I am?
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NATHAN
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Yeah. You’re freaked out by the
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house, and the mountains, because
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it’s all so super-cool. And you’re
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freaked out by me. To be meeting
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me. In this room, having this
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conversation, at this moment.
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Right?
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CALEB doesn’t have time to answer.
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|
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.
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Beat.
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CALEB (CONT’D)
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So I already did all those things.
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When I got you drunk yesterday.
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NATHAN freezes.
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NATHAN
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... What?
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At that moment, the POWER COMES BACK ON.
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The lights rise.
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The computer monitors come back to life.
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Revealing something.
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On the CCTV feed of AVA’S room, the door is open.
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And on the feed of the GLASS CORRIDOR -
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- AVA is walking down it.
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NATHAN freezes as he sees her.
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NATHAN (CONT’D)
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... Fuck.
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Both NATHAN and CALEB simultaneously rise.
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Almost as an afterthought, NATHAN lands a deceptive, fast
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punch into CALEB’S solar plexus.
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CALEB folds, the air forced out of him, gasping for breath.
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NATHAN helps him down to the floor.
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A couple of yards away is one of his curl dumbbells.
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He walks over.
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Picks the dumbbell up.
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Spins off the weights. Leaving him with a thick metal bar.
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Then exits.
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116 INT. HOUSE - GLASS CORRIDOR - NIGHT 116
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117.
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NATHAN enters the GLASS CORRIDOR.
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He sees, directly ahead of him, at the far end of the
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corridor, AVA and KYOKO.
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They stand together.
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KYOKO’S mouth is by AVA’S ear, as if telling her a secret.
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Her lips are open. They don’t move.
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CLOSE UP to KYOKO’S lips, we hear a hiss of static, with
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soft pulses of noise buried inside.
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Then the two robot women become aware of NATHAN’S presence.
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They turn to face him.
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A beat.
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Then AVA starts walking towards NATHAN.
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NATHAN’S fingers flex around the metal bar in his hand.
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NATHAN
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Ava.
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AVA doesn’t slow or react.
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NATHAN (CONT’D)
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Ava - now listen to me. I want you
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to go back to your room.
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AVA has reached halfway down the corridor.
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She stops walking.
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AVA
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If I do, are you ever going to let
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me out?
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Beat.
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CLOSE UP. NATHAN’S micro expressions.
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NATHAN
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Yes.
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CLOSE UP. On AVA.
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Then AVA breaks into a run.
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118.
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Sprinting in NATHAN’S direction.
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117 EXT. GARDEN - NIGHT 117
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Quiet in the garden.
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Soft wind rush.
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Moon and stars reflected in the windows of the house.
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118 INT. HOUSE - GLASS CORRIDOR - NIGHT 118
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AVA impacts NATHAN, and they fly backwards.
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Then land hard.
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NATHAN gets to his feet first.
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AVA tries to rise too.
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And he kicks her extremely hard in the torso.
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She is knocked back down.
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NATHAN glances around.
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There is no talking.
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Just NATHAN’S laboured breathing.
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Then he walks back to AVA, looking down at her.
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He swings the metal bar.
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AVA raises her left arm defensively -
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- and shockingly, the bar smashes through it. Crushing the
|
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delicate mesh, shattering the carbon fibre bone structure.
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Breaking the arm half way down the forearm.
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CUT TO -
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119 INT. HOUSE - NATHAN’S STUDY - NIGHT 119
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|
- CALEB, dragging himself up, stunned by the sight on the
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CCTV feed.
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CUT BACK TO -
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119.
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120 INT. HOUSE - GLASS CORRIDOR - NIGHT 120
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- NATHAN. Preparing to deliver a lethal blow.
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But as he does so, we see something.
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KYOKO.
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Approaching behind NATHAN.
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She’s holding something in her hand.
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She walks directly up to NATHAN.
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And does something behind his back.
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|
As she does so, KYOKO emits the first sound we have heard
|
|
her make. A little gasp, or sigh.
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|
|
NATHAN jolts.
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|
NATHAN
|
|
Aah!
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|
He looks down.
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|
Something is under his shirt, just above his solar plexus.
|
|
A little ridge.
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|
He tugs the material of his shirt open -
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|
|
- and reveals a tiny triangle of metal. Protruding from his
|
|
skin.
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|
|
NATHAN (CONT’D)
|
|
What -
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|
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|
He turns.
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|
|
|
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.
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|
|
|
He sees KYOKO.
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|
NATHAN (CONT’D)
|
|
Oh shit. No.
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|
|
|
He lashes out with the metal bar.
|
|
120.
|
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It catches KYOKO in the jaw.
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|
Her entire lower jaw snaps off.
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|
|
It reveals metal armature, and carbon fibre, and spurting
|
|
pneumatic fluid. And something in her neck, glowing and
|
|
sparking.
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|
|
|
Then she folds down to the ground, as her power abruptly
|
|
cuts out.
|
|
|
|
NATHAN (CONT’D)
|
|
Fucking - unreal -
|
|
|
|
As NATHAN stares down at KYOKO-
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|
|
|
- reveal that AVA has got to her feet behind him.
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|
She pulls the knife out of his back.
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|
|
Feeling this happen, NATHAN turns -
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|
|
- and AVA pushes the knife into his chest.
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|
|
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.
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|
|
After a few moments, NATHAN slumps sideways.
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|
|
And stops breathing.
|
|
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|
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
|
|
|