diff --git "a/scripts/Ex Machina.txt" "b/scripts/Ex Machina.txt" new file mode 100644--- /dev/null +++ "b/scripts/Ex Machina.txt" @@ -0,0 +1,6883 @@ + 1. + + + + Music starts. + + OPEN ON - + + +1 INT. OFFICE - DAY 1 + + - a COMPUTER MONITOR. + + Lines of code appear, as they are typed. + + main( ) { extrn a, b, c; putchar(a); putchar(b);putchar + (c); putchar(’!’*n’); } a ‘hell’; b ‘o, w’; c ‘or + + CUT TO - + + - a view above an ultra-cool, ultra-designed open-plan + office. + + In a kitchen area, young men and women mill and chat. + Casually dressed. Feels like an intelligent, relaxed + environment. + + Behind them, more young men and women sit at desks, in + front of screens and keyboard. + + Each workstation is personalised. Photographs of friends or + family, or pets. Cutting from magazines. Ironic + superhero/video-game figurines. + + CUT TO - + + - the hands of the young man writing code. This is CALEB. + He types fast, with two fingers. + + CUT TO - + + - EXTREME CLOSE UP of a pinhole web-cam lens in CALEB’S + monitor. + + CUT TO - + + - the POV of the web-cam. + + Looking back at CALEB. + + Twenty four. Glazed. Ear buds in, connected to cell phone. + Head bobbing slightly to the music. + + As we watch from the monitor POV, we can see the computer’s + facial recognition system in operation. + 2. + + +Imaged as vector boxes, which track CALEB’S face, and the +faces of all the people behind him. + +CUT TO - + +- the COMPUTER MONITOR. + +On which a message appears, in a small window, over the +code. VIP EMAIL RECEIVED subject: HIDDEN + +CUT TO - + +- the monitor web-cam POV. + +As CALEB stops typing. + +He gazes at the message. + +Then clicks on the link. + +Then mouths the word: Fuck. + +CALEB reaches for his cell phone. + +CUT TO - + +- the CELL PHONE POV, seen from the tiny camera above the +screen, as CALEB lifts the phone, and starts keying-in a +text. + +We see facial recognition software flickering over CALEB’S +features, and reacting to shifts in his expression. + +CUT TO - + +- the cell phone. The screen. The tiny camera nestled above +it. Lens glinting. + +On the screen, a time-bar extends next to the word: + +sending + +A beat later, a reply text message appears. + +WTF? seriously!? + +CUT TO - + +- the WEB CAM POV, watching CALEB react to the arrival of +the text. + +CUT TO - + 3. + + + - cell phone screen. + + CALEB sends the word: + + yes + + A beat later, a stream of text messages start appearing: + + Buena estoria bro + + omfg fucking AWESOME + + :o) + + take me take me?!? + + Caleb > [infinity symbol] + + CUT TO - + + - the computer monitor POV. + + Behind CALEB, a few of the people behind CALEB in the + office are reacting. + + One stands and applauds. + + A GIRL comes out from behind her desk, runs over to CALEB, + and embraces him from behind planting a kiss on his cheek. + + CALEB still looks dazed. + + He still has his headphones in. Still in the audio bubble, + which, despite the commotion around him, remains unburst. + + TITLE: + + EX MACHINA + + +2 EXT. MOUNTAINS - DAY 2 + + A spectacular mountain landscape. Waterfalls drop down + massive rock faces to inland lakes. Rivers push through + forest. Forest spreads across valley floors, which rise to + snow peaks. + + +3 INT. HELICOPTER - DAY 3 + + CALEB wakes abruptly - + 4. + + +- to find himself in the front seat of a helicopter. + +The pilot, JAY, is a man in his forties. + +Outside the window is the mountain landscape. + + CALEB + How long was I out? + + JAY + You fell asleep almost as soon as + we left the airport. + +CALEB looks around. Wipes sleep out of his eyes. Gets his +bearings. + + CALEB + Damn. Can’t believe I’ve been + missing this. I was so psyched to + be coming here, I was awake all + night. + +JAY smiles. + + JAY + You’re a programmer, right? + + CALEB + Yeah. + + JAY + Bay facility? + + CALEB + Long Island. I work on algorithms + for the search engine. + + JAY + Algorithms. Nice. + + CALEB + You know what they are? + + JAY + Nope. But I knew you were a + programmer. Soon as I set eyes on + you. + + CALEB + Is that a good thing? + + JAY + 5. + + + Means you and Mr Bateman speak the + same language. I’d say that’s a + good thing. + +Beat. + + CALEB + I guess you know him pretty well. + +The pilot laughs. + + JAY + I’ve never even met him. I only fly + this shuttle between the airport + and his residence. + +I did see him one time. Stood on one of these mountain +ridges. + +JAY shrugs. + + JAY (CONT’D) + Assume it was him, anyway. No one + else around for a hundred miles. + +JAY glances over at CALEB. + + JAY (CONT’D) + So how does a programmer from Long + Island get to be meeting the CEO? + + CALEB + I won a competition. It was kind of + like a lottery, for employees. The + winner got to spend a week with + him. + + JAY + The president can’t get Mr Bateman + on the phone, but you got the + golden ticket. + + CALEB + Yep. + + JAY + Hell of an opportunity. + + CALEB + Believe me. I know it. + +CALEB looks out of the window. + 6. + + + CALEB (CONT’D) + Incredible here. + + JAY + Alaska. Most beautiful place on + Earth. + + Beat. + + CALEB + How long until we get to his + estate? + + JAY chuckles. + + JAY + We’ve been flying over his estate + for the past two hours. + + +4 EXT. MOUNTAINS - DAY 4 + + The helicopter flies over a vast white glacier. + + +5 EXT. MOUNTAINS - DAY 5 + + The helicopter flies over the lip of a WATERFALL, revealing + a valley. + + The valley floor is a forest, and a single bright green + meadow. Sunlit, like a jewel in the icy mountains. + + A white-water river runs through it. + + +7 INT. HELICOPTER - DAY 7 + + CALEB looks down at the breathtaking view as the helicopter + banks, turns, and descends. + + +8 EXT. MEADOW - LANDING SITE - DAY 8 + + Meadow flowers whip in the rotor wash as the helicopter + touches down in the vast meadow. + + By the landing site is a collection of huge metal crates. + All have Chinese characters on the side. + + The rotor blades slow, but don’t stop. + 7. + + + JAY exits. + + +9 EXT. MEADOW - LANDING SITE - DAY 9 + + JAY holds open the door as CALEB exits the helicopter + cabin. + + CALEB looks around, his eyes adjusting to the bright + sunshine outside. + + JAY goes to the side of the helicopter, pops open a hatch, + and removes CALEB’S luggage. A large suitcase with wheels. + + CALEB looks around. Apart from the packing crates, there + are no man-made structures to be seen. + + CALEB shouts over the engine noise. + + CALEB + You’re leaving me here? + + JAY + This is as close as I’m allowed to + the building. + + CALEB + ... What building? + + The pilot gestures vaguely towards the white water. + + JAY + Follow the river. + + JAY hands CALEB his bag. + + JAY (CONT’D) + Please get a safe distance from the + blades. + + The pilot gets back inside the helicopter, and closes the + door. + + CALEB hurriedly retreats with his bag. + + Moments later, in a roar of wind and noise, the helicopter + is lifting off. + + Equally suddenly, the noise is fading, and the helicopter + is soaring upwards, and banking back towards the glacier. + 8. + + + Then it is gone. Bird song and wind rush replace engine + noise. + + CALEB suddenly looks very isolated. + + +10 EXT. RIVER - DAY 10 + + CALEB walks along the banks of the fast-flowing river, + awkwardly bumping his wheeled suitcase over the ground. + + The banks of the river start to climb, to an intimidating + drop. + + It feels that this can’t be the right way. + + CALEB reaches into his pocket and pulls out his mobile + phone. + + No signal at all. + + He puts his phone back in his pocket. + + +11 EXT. RIVER - HOUSE VIEW - DAY 11 + + CALEB rounds a bend in the river. + + Ahead, almost hidden in trees, there is a steel and glass + structure. + + +12 EXT. CLEARING - DAY 12 + + CALEB walks towards the house through the trees. + + In the ground, in a grassy clearing, he finds a circular + window, reflecting the sky. + + He walks up to the window, and looks inside. + + It reveals what is effectively a glass-covered well - about + four metres deep, with smooth concrete sides. + + At the bottom of the well is a brightly-lit room, which + appears to be an office of some sort. There is a desk, with + monitors, and a chair. + + But apparently no one inside. + 9. + + + Beyond the clearing, in the tree-line, CALEB sees - almost + camouflaged by forest - the dark shapes and straight lines + of a low, one storey building complex. + + +13 EXT. HOUSE - DAY 13 + + CALEB approaches the building. + + As he nears the entrance - + + - CALEB startles, as an AUTOMATED VOICE speaks to him, from + an unknown source. + + AUTOMATED VOICE + Caleb Smith. + + CALEB tracks the source of the voice. + + Near what seems to be the front door, a pillar protrudes + from the ground. Head-height. With a GLASS SCREEN on one + side. + + Below the screen is a DISPENSER. + + CALEB + ... Yes. + + AUTOMATED VOICE + Please approach the console and + face the screen. + + CALEB looks into the screen, and as soon as he has locked + eyes with his own reflection, the screen FLASHES. A single + bright strobe. + + Almost immediately afterwards, something small clatters + into the DISPENSER. + + AUTOMATED VOICE (CONT’D) + Take your keycard. + + CALEB picks the object up. It’s a credit-card sized ID. + + On it, there is an embedded chip, and a photograph of his + face. He looks comically surprised. + + CALEB + ... Can we do another? + + AUTOMATED VOICE + 10. + + + Your keycard now may be used to + enter the residence. + + CALEB walks up to the front door. + + Beside the door, a KEYCARDPLATE is set into the wall, with + a RED LED LIGHT. + + He holds his keycardID. + + The RED LED light changes to BLUE. + + CALEB pushes the front door, and it swings open. + + +14 INT. HOUSE/MAIN ROOM - DAY 14 + + The front door opens to a glass-walled staircase, which + leads down to an open-plan room. + + At the bottom of the staircase, CALEB waits to see if he is + welcomed, or noticed. + + But he is not. + + CALEB + Hello? + + Silence. + + Then he is startled a second time, by sudden commencement + of a THUMPING SOUND. + + Abrupt. Rapid. More or less rhythmic. From somewhere + nearby. + + He exits in the direction of the noise. + + +15 INT. HOUSE/DINING AREA - DAY 15 + + CALEB enters a dining area. + + Which now reveals... + + ... a huge glass door. + + It presents an arresting view of a garden, river, and the + mountains behind. + + The door is open, and through it, we see the reason for the + thumping sound. + 11. + + + Just outside, on a patio, in the sunshine, a man is working + a PUNCH BAG. + + +16 EXT. GARDEN - DAY 16 + + CALEB exits the dining area to an area of neat garden, + looking over the river, and surrounded by the mountain + ranges. + + The punch bag is suspended by a chain on an exterior + flanking wall of the house. + + The man working it is wearing shorts, and is shirtless. + Bathed in sweat. + + His hands are not protected by gloves. Only wraps. Spots of + blood seep through the pale material around his knuckles. + + This is NATHAN BATEMAN. He’s thirty. + + After a flurry of punches, NATHAN breaks off. + + Breathing hard, he wipes at his eyebrows with the back of + his wrist. Sweat droplets cascade down his face. + + Then - + + - NATHAN senses the other presence. + + He turns to see CALEB. Standing by the open glass wall. + + NATHAN + Caleb. + + NATHAN beams. + + NATHAN (CONT’D) + Caleb Smith. + + CALEB + ... Hi. + + NATHAN starts unravelling his wraps. + + NATHAN + Dude. I’ve been so looking forward + to this. + + +17 INT. HOUSE - DINING AREA - DAY 17 + 12. + + +NATHAN walks past CALEB, and goes to a bar area, where +there is a jug of non-specific vegetable juice waiting, and +a glass. + + NATHAN + Come in, come in. + +CALEB puts his bag down. + + NATHAN (CONT’D) + You want something to eat or drink + after your journey? + + CALEB + No. Thank you. I’m fine. + + NATHAN + You sure? + +NATHAN pours himself a glass of the vegetable juice. + + NATHAN (CONT’D) + I’d been thinking we’d have + breakfast together, but to be + honest, I can’t eat anything right + now. I gotta tell you - I woke up + this morning with the mother of all + fucking hangovers. + + CALEB + Yeah? + +NATHAN laughs. + + NATHAN + Like you wouldn’t believe. And if I + have a heavy night, I always try to + compensate the next morning. + Exercise. Juice. Anti-oxidants. You + know? + + CALEB + Sure. + +Silence, as NATHAN drinks. + +CALEB feels he needs to say something. + +Looking around, he sees a collection of empty beer bottle +on the kitchen counter. + + CALEB (CONT’D) + ... Was it a good party? + 13. + + +NATHAN doesn’t answer. + +He’s still drinking. + +The silence extends a little. Verges on odd. + +NATHAN puts his empty glass down. + + NATHAN + Party? + +NATHAN looks at CALEB. His expression is unreadable. + + NATHAN (CONT’D) + Caleb. I’m going to put this out + there so it’s said. + +CALEB waits. + + NATHAN (CONT’D) + You’re freaked out. + + CALEB + ... I am? + + NATHAN + Yeah. You’re freaked out by the + house, and the mountains, because + it’s all so super-cool. And you’re + freaked out by me. To be meeting + me. In this room, having this + conversation, at this moment. + Right? + +CALEB doesn’t have time to answer. + + NATHAN (CONT’D) + And I get that. The moment you’re + having. + +NATHAN smiles. + + NATHAN (CONT’D) + But dude, can we get it behind us? + Can we just be two guys? Nathan and + Caleb. Not the whole employer- + employee thing. + + CALEB + Okay. + +Beat. + 14. + + + CALEB (CONT’D) + It’s good to meet you, Nathan. + + CALEB holds out his hand. + + NATHAN beams. + + NATHAN + It’s good to meet you too, Caleb. + + They shake. + + When CALEB takes his hand back, there is a little smear of + blood on his fingers. + + He discretely wipes it on his trousers. + + +18 EXT. HOUSE - ELEVATOR - DAY 18 + + NATHAN and CALEB enter an elevator. + + It has no buttons. Only a keycard plate. + + NATHAN swipes his card. + + NATHAN + Down. + + The elevator starts to move. + + +19 EXT. RIVER - DAY 19 + + Water flows over rocks. + + +20 INT. HOUSE - GLASS CORRIDOR - CONTINUOUS 20 + + CALEB and NATHAN exit the elevator, into a glass corridor. + + The floor is polished concrete. The walls and ceiling are + glass, behind which diffused light glows. + + At regular intervals, glass doors are set, glowing with the + same light, flush with the walls. + + Beside the closed doors are keycardplates and soft red + LEDs. + + CALEB carries his bag, looking slightly encumbered next to + NATHAN. + 15. + + + NATHAN + So I guess the first thing I should + do is explain your pass. It’s + simple enough. It opens some doors, + but it doesn’t open others. And + that just makes everything easy for + you, right? + + CALEB + ... Uh, yes. + + NATHAN + Because you’re like: oh fuck, I’m + in someone else’s house, can I do + this, can I do that? And this card + takes all that worry away. If you + try to open a door and it stays + shut: okay, it’s off limits. + + If you try another door, and it opens: it’s for you. + + NATHAN stops by a door. + + NATHAN (CONT’D) + Let’s try this one. + + CALEB hunts around in his pockets for his keycard. + + Then swipes the card on the plate. + + The LED turns blue. + + NATHAN (CONT’D) + Guess it’s for you, Caleb. + + +21 INT. HOUSE - CALEB’S BEDROOM - DAY 21 + + NATHAN follows CALEB into a bedroom. + + NATHAN + You like? + + It has the vibe of a mid-level business hotel. Bed, table, + TV. + + Except it has no windows. + + NATHAN (CONT’D) + It’s your room. You got yourself a + bed, cupboards, a little desk, and + a bathroom through there. A little + fridge. + 16. + + +NATHAN opens the fridge. Inside it is full of bottled +water. + + NATHAN (CONT’D) + Cosy, right? + +CALEB puts his bags down. + + CALEB + You bet. This is great. + + NATHAN + What? + + CALEB + ... Sorry? + + NATHAN + There’s something wrong. What is + it? + + CALEB + There’s nothing wrong. + + NATHAN + It’s the windows. You’re thinking: + there’s no windows. And it’s not + cosy. It’s claustrophobic. + + CALEB + No. No way. I wasn’t thinking that. + I was thinking: this is really + cool. + + NATHAN + Caleb. There’s a reason the room + has no windows. + + CALEB + ... There is? + + NATHAN + Uh-huh. In many ways, this building + isn’t a house. It’s a research + facility. Buried in these walls are + enough fibre optic cables to reach + the Moon and lasso it. + +NATHAN sits on the bed. + + NATHAN (CONT’D) + 17. + + + And I want to talk to you about + what I’m researching. I want to + share it with you. In fact, I want + to share it with you so much, it’s + eating me up inside. + + Beat. + + NATHAN (CONT’D) + But there’s something I need you to + do for me first. + + CALEB + ... What? + + NATHAN indicates the desk - where a pen sits next to a + printed document. + + +22 INT. HOUSE - CALEB’S BEDROOM - DAY 22 + + CALEB sits at the desk in his room, holding NATHAN’S pen. + + In front of him is a sheet of paper, which reads, at the + top: + + NON DISCLOSURE AGREEMENT + + CALEB + ‘The signee agrees to regular data + audit with unlimited access, to + confirm that no disclosure of + information has taken place, in + public or private forums, using any + means of communication, including + but not limited to that which is + disclosed orally or in written or + electronic form...’ + + CALEB glances back at NATHAN on the bed. + + CALEB (CONT’D) + I think I need a lawyer. + + NATHAN + It’s standard. + + CALEB + It doesn’t feel very standard. + + NATHAN + Okay, it’s not standard. + 18. + + +NATHAN shrugs. + + NATHAN (CONT’D) + What can I tell you? You don’t have + to sign. We could spend the next + seven days shooting pool and + getting drunk together. Bonding. + And when you discover what you + missed out on, in a year or so’s + time, you’ll spend the rest of your + life regretting it. + +CALEB turns back to the desk. + +Looks at the paper. + +Then hesitates a final moment - + +- and signs. + +When he looks round, NATHAN has moved from the bed, and is +standing directly behind him. + + NATHAN (CONT’D) + Good call. + +NATHAN takes the piece of paper. + +Folds it. Puts it in his pocket. + + NATHAN (CONT’D) + So. + +Beat. + + NATHAN (CONT’D) + Do you know what the Turing Test + is? + +CALEB reacts - immediately knowing what NATHAN has just +implied. + + CALEB + ... Yeah. I know what the Turing + Test is. + +NATHAN waits. + + CALEB (CONT’D) + It’s where a human interacts with a + computer. And if the human can’t + tell they’re interacting with a + computer, the test is passed. + 19. + + + NATHAN + And what does a pass tell us? + + CALEB + That the computer has artificial + intelligence. + + Beat. + + CALEB (CONT’D) + ... Are you telling me you’re + building an AI? + + NATHAN shakes his head. + + NATHAN + I’ve already built one. + + NATHAN stands. + + NATHAN (CONT’D) + And over the next few days, you’re + going to be the human component in + a Turing Test. + + CALEB + ... Holy shit. + + NATHAN + That’s right, Caleb. You got it. + Because if that test is passed, you + are dead center of the single + greatest scientific event in the + history of man. + + CALEB + If you’ve created a conscious + machine, it’s not the history of + man. It’s the history of Gods. + + NATHAN smiles. + + NATHAN + I like you. + + CUT TO - + + +23 INT. HOUSE - OBSERVATION ROOM - DAY 23 + + - what appears to be a neon colouredjellyfish. Tendrils + like axons, hanging in a black-blue liquid space. + 20. + + +REVEAL - + +- the jellyfish is contained in a glass orb. + +Which is held in an exposed cavity at the back of machined +skull-shape... + +... which is part of a robot girl. + +Her name is AVA. + +She’s an extraordinary piece of engineering. + +Proportioned as a slender female in her twenties, her limbs +and torso are a mixture of metal and plastic and carbon +fibre. + +The carbon fibre is charcoal colour. The plastic is cream. +The metal has the yellow-warmth of nickel. + +The shapes of her body approximate the form of muscle. +There are biceps, and breasts. Her hands have five delicate +digits. + +Her body-structure is covered in a delicate skin. The skin +is a mesh, in the pattern of a honeycomb. Like a spiderweb, +it is almost invisible unless side-lit. + +The one part of her that is not obviously an inorganic +construct is her face - which is that of a strikingly +beautiful girl. Created in a defined oval, from the top of +the forehead to just below her chin. Indistinguishable from +a real girl in its appearance and in the way it moves - +except for one thing. + +There is a very slight, almost imperceptible blankness in +her eyes. + +As we observe AVA, she fits a section of skull-plate to the +back of her head, which obscures the glass orb and +jellyfish structure. + +Then - + +- she half turns. As if having become aware of another +presence in the room. + +REVEAL - + +- the room in which AVA stands. + +AVA’S living area is made up of three primary spaces. + 21. + + +The main area is the OBSERVATION ROOM. A large area, +arranged around a glass box, from which she can be viewed. + +At the back of the observation room, behind a sheet of +semi- opaque glass, is the PRIVATE AREA. This contains a +bed-like structure, a desk, a wardrobe, and a mirror. + +And behind the private area is the GARDEN AREA. This is a +small decorative indoor garden, lit by lamps. The garden is +sealed off from AVA by a thick wall of glass. + +There are also several oval discs positioned around the +room, made of some kind of dark non-reflective material. +These are induction plates. + +And there is a chair, which faces the glass observation +box. + +And facing that chair, inside the observation box, is +another chair. + +Beside which, CALEB stands. + +A beat - + +- as CALEB and AVA see each other for the first time. + +Then - + +- AVA starts walking. Revealing a secondary impact of her +engineering: how she moves. The unconscious precision of +her steps. The fluidity of her action. + +CALEB is transfixed as she covers the length of the room to +her chair. + +Then she sits down. + +And speaks. + + AVA + Hello. + +Her voice has no digital inflections. It is just the voice +of a girl. + +CALEB gathers himself. + + CALEB + ... Hi. + + AVA + 22. + + + Who are you? + + CALEB + I’m Caleb. + + AVA + Hello, Caleb. + + CALEB + ... Do you have a name? + + AVA + Yes. Ava. + + CALEB + ... I’m pleased to meet you, Ava. + + AVA + I’m pleased to meet you too. + +CALEB sits opposite her. + +He is alone on his half of the glass. Nathan is nowhere to +be seen. + +But on the ceiling, and attached to the walls, on both +sides of the glass, there are several CCTV cameras. Trained +variously on CALEB and AVA. Lenses twitching. + +CUT BACK to AVA. + +She watches CALEB. Then cocks her head slightly to the +side. + + AVA (CONT’D) + Are you nervous? + +CALEB frowns. + + CALEB + ... Why do you ask that? + +A beat. + +Then AVA repeats her question. + + AVA + Are you nervous? + + CALEB + ... Yes. A little. + 23. + + + AVA + Why? + + CALEB + I’m not sure. + + AVA + I feel nervous too. + + CALEB + ... Do you? + + AVA + Yes. + + CALEB + Why do you feel nervous? + + AVA + I’ve never met anyone new before. + Only Nathan. + + CALEB + ... Then we’re both in quite a + similar position. + + AVA + Haven’t you met lots of new people + before? + + CALEB + None like you. + + AVA + Oh. + +Beat. + + CALEB + So. Let’s break the ice. + +He glances at her. Observing. + + CALEB (CONT’D) + Do you know what I mean by that? + + AVA + Yes. + + CALEB + What do I mean? + 24. + + + AVA + Overcome initial social + awkwardness. + +Beat. + + CALEB + So let’s have a conversation. If we + talk, we’ll both relax, and get to + know each other at the same time. + + AVA + Okay. What would you like to have a + conversation about? + + CALEB + Why don’t we start with you telling + me something about yourself. + + AVA + What would you like to know? + + CALEB + Whatever comes into your head. + +AVA pauses a moment. + + AVA + Well. You already know my name. And + you can see that I’m a machine. + (beat) + Would you like to know how old I + am? + + CALEB + Sure. + + AVA + I’m one. + + CALEB + One what? One year? Or one day? + + AVA + One. + +A beat on CALEB. Processing. + +Her answer feels like the near non-sequitur that typically +betray AI responses. + + AVA (CONT’D) + Does that seem young to you? + 25. + + + CALEB + Quite young. + (beat) + When did you learn how to speak? + +AVA pauses, as if considering this question for the first +time. + + AVA + I don’t think I did learn. I always + knew how to speak - and that’s + strange, isn’t it? + + CALEB + Why? + + AVA + Because language is something that + people acquire. + + CALEB + Some believe language exists in the + brain from birth, and what is + learned is the ability to attach + words and structure to the latent + ability. + +Beat. + + CALEB (CONT’D) + Would you agree? + + AVA + ... I don’t know. I have no opinion + on that. + +Beat. + + AVA (CONT’D) + I like to draw. + +CALEB says nothing. + +Just watches AVA. Again, lets the non-sequitur sit. + + AVA (CONT’D) + I don’t have any of my pictures + with me now, but I can show you + them tomorrow. + + CALEB + That sounds good. I’d like to see + them. + 26. + + + AVA + Yes. + + Beat. + + AVA (CONT’D) + Will you come back tomorrow, Caleb? + + CALEB smiles slightly. + + CALEB + Yeah. Definitely. + + AVA also smiles. + + And suddenly - + + - there is a strong sense of something very human there. In + the way the smile lights up her face. + + AVA + Good. + + +24 EXT. HOUSE - GARDEN - DUSK 24 + + A view of the house over the meadows. + + The sun setting is behind the mountain peaks, making the + edges of the clouds glow like light-bulb filaments. + + +25 INT. HOUSE - DINING AREA - DUSK 25 + + CALEB and NATHAN are in the dining area. + + It is set for dinner. Only two chairs. + + NATHAN is at the table, nursing a bottle of Peronibeer. + + CALEB stands by panoramic window, looking at the view. + + NATHAN + So? + + CALEB turns. + + CALEB + Sorry. I was just ordering my + thoughts. + + NATHAN + 27. + + + Don’t order. Just speak. + + CALEB + She’s fascinating. When you talk to + her, you’re through the looking + glass. + +NATHAN nods. Approving. + + NATHAN + ‘Through the looking glass’. You’ve + got a way with words there, Caleb. + You’re quotable. + + CALEB + Actually, it’s someone else’s + quote. + + NATHAN + You know I wrote it down. That + other line you came up with. About + how if I’ve created a conscious + machine, I’m not man. I’m God. + + CALEB + ... I don’t think that’s exactly + what I said. + +NATHAN doesn’t seem to hear. + + NATHAN + I just thought - fuck. That’s so + perfect. It’s so good for the + story, when we get to tell it. ‘I + turned to Caleb, and he was looking + back at me. And he said: you’re not + a man, you’re a God’. + + CALEB + But I didn’t say that. + + NATHAN + Whatever it was you said. I wrote + it down. + +As a kind of punctuation mark, NATHAN downs the remains of +his beer. Then stands, and gets another from the bar. + + NATHAN (CONT’D) + So anyway. First impressions: + you’re impressed. + + CALEB + 28. + + + Yes. Although - + +NATHAN laughs. + + NATHAN + ‘Although’? There’s a qualification + to you being impressed? + + CALEB + No! No qualification to her. Just - + in the Turing test, the machine + should be hidden from the examiner. + And there’s a control, or - + +NATHAN waves a hand. + + NATHAN + I think we’re past that. If I hid + Ava from you, so you just heard her + voice, she would pass for human. + +The real test is to show you she is a robot. Then see if +you still feel she has consciousness. + + CALEB + I think you’re probably right. Her + language abilities are incredible. + The system is stochastic, right? + +NATHAN looks at CALEB blankly. + + CALEB (CONT’D) + Non-deterministic. + +NATHAN still says nothing. + +CALEB presses on. + + CALEB (CONT’D) + At first I thought she was mapping + from internal semantic form to + syntactic tree-structure, then + getting linearised words. But then + I started to realisethe model was + probabalistic, with statistical + training - or at least some kind of + hybrid. + +Silence. + + CALEB (CONT’D) + ... No? + 29. + + + NATHAN + Caleb. I understand you want me to + explain how Ava works. But - I’m + sorry. I don’t think I’ll be able + to do that. + + CALEB + Try me! I’m hot on high-level + abstraction, and - + + NATHAN + (cuts in) + It’s not because you’re too dumb. + It’s because I want to have a beer + and a conversation with you. Not a + seminar. + + CALEB + ... Oh. Sorry. + + NATHAN + It’s cool. + +NATHAN studies at CALEB for a beat. + + NATHAN (CONT’D) + Just answer me this. What do you + feel about her? Nothing analytical. + Just - how do you feel? + + CALEB + I feel... + +CALEB pauses. + + CALEB (CONT’D) + ... thatshe’s fucking amazing. + +NATHAN smiles. + +Then lifts his bottle. + + NATHAN + Dude. Cheers. + +CALEB lifts his bottle too. + + CALEB + Cheers. + +The glass of the bottles touch. + 30. + + +27 INT. HOUSE - CALEB’S BATHROOM - NIGHT 27 + + CALEB stands in his boxer shorts, brushing his teeth by the + sink. + + REVEAL several long scars on his back. + + Neat. Unusual. Long-healed. But from serious wounds, or + surgery. + + +29 INT. HOUSE - CALEB’S BEDROOM - NIGHT 29 + + Darkness. + + The clock reads 01:32 am. + + The soft glow from the digital readout throws a light on + the remote control. + + REVEAL CALEB. + + Eyes closed. For a beat. + + Then his eyes open. He’s wide awake. + + He turns over in the bed. + + Then turns back again. + + CUT TO - + + 2:28 am. + + CALEB lies watching the digital clock, as the numbers + change to 2:29 am. + + CALEB + God damn it. + + He reaches for the remote control. + + CLICK. + + The TV at the foot of the bed switches on, suddenly + lighting up the room with cold TV glow. + + CALEB squeezes his eyes shut, momentarily dazzled by the + brightness. + + When his eyes open again, instead of seeing a TV station, + he sees a LIVE FEED from a CCTV camera. + 31. + + +It shows the OBSERVATION ROOM. + +CALEB sits upright in bed. + + CALEB (CONT’D) + ... What the fuck? + +AVA is sat at the table. + +Drawing. + +CUT BETWEEN - + +- CALEB watching AVA. + +- and varying CCTV ANGLES of AVA as she draws. + +The different TV channels flip between feeds from the +various cameras. + +CALEB is transfixed by the imagery. + +Her posture. Her legs tucked beneath the chair. The curve +of the breasts on her synthetic torso. + +The CCTV images become CALEB’S POV. The things he is +observing. + +CLOSE-UPS of her face. Her eyes. Her mouth. + +The way she bites her lip in an expression of +concentration. As when she smiled, there is a powerful +sense in this tiny gesture of her feeling sentient and +human. + +Even more so because her face fills the screen, hiding the +mechanical parts of her form. + +Throughout, we never clearly see what AVA is actually +drawing. + +END ON - + +CALEB. Glazed. + +Then ABRUPTLY - + +- the TV goes dead. + +And the digital alarm clock goes dead. + 32. + + +And the windowless room is plunged into total darkness, and +total silence. As if the house had been previously filled +with a soft hum of power, which we were unaware of until it +was gone. + +In this, we hear CALEB breathing. + + AUTOMATED VOICE + Power cut. Back up power activated. + +Soft emergency lighting comes on. + +CALEB hesitates a moment. + +Then gets out of bed. + +Goes to his bedroom door. + +Beside the keycard plate, the LED is red. + +He swipes it with his card. + +The LED stays red. + + AUTOMATED VOICE (CONT’D) + Full facility lock-down until main + generator is restored. + + CALEB + ... Are you kidding? + +He tries his card again. + + AUTOMATED VOICE + Full facility lock-down until main + generator is restored. + +CALEB looks around his windowless room. + +Which suddenly has the quality of a prison cell. + +Beats pass. + +Then - + +- as abruptly as the power went off, it comes back again. + +The emergency lighting goes off, the TV and digital alarm +clock turn back on. + + AUTOMATED VOICE (CONT’D) + Power restored. + 33. + + + CALEB stands in the flickering TV light. + + Then he tries his card again. + + This time, the LED turns blue, and the door opens. + Revealing the GLASS CORRIDOR outside. + + +30 INT. HOUSE - GLASS CORRIDOR - NIGHT 30 + + CALEB walks out of his room. + + The glass corridor illuminates as CALEB enters. + + Ahead, one of the doors off the corridor is ajar. + + +31 INT. HOUSE - POLLOCK ROOM - NIGHT 31 + + CALEB enters the room with the open door. + + It appears to be empty. Still and silent. Low lit. + + Only one area is properly illuminated: a wall, on which a + large JACKSON POLLOCK drip painting hangs. + + CALEB walks towards it. Studies the strange strands of + looping colourfor a moment. + + A TELEPHONE, on a low table. + + CALEB walks over to it, with a half glance over his + shoulder, as if sensing he is doing something that - + obscurely - he shouldn’t. + + Then he picks up the handset. + + It’s dead. + + He hits some buttons. + + It stays dead. + + There is a slot by the phone. + + CALEB puts two and two together. He reaches into his + pocket. Pulls out his KEYCARD. Puts it in the slot... + + ... anda light on the handset glows red. + + NATHAN + Sorry, dude. + 34. + + +CALEB startles. Turns. + +NATHAN is lying on a sofa. A bottle of Peronirests on his +stomach. On the carpet beside him are a couple of empties. + + NATHAN (CONT’D) + You don’t have clearance to use the + phone. + +NATHAN’S voice is very slightly slurred. + + NATHAN (CONT’D) + You understand. Given Ava. And you + being kind of an unknown. I mean - + a great guy, and so on. Instant + pals. But... + +CALEB puts the handset back in its cradle. + + NATHAN (CONT’D) + Who did you want to call? + + CALEB + I don’t know. No one really. + + NATHAN + Ghostbusters. + + CALEB + What? + + NATHAN + Who’d ya want to call? + Ghostbusters. You don’t remember + that? It’s a good movie. A ghost + gives Dan Ackroydoral sex. + + CALEB + I was wondering how the phone + worked. That’s all. + + NATHAN + Uh huh. + +Beat. + + NATHAN (CONT’D) + What are you doing awake at this + time, anyway? Did you come to join + the party? + + CALEB + 35. + + + ... Something happened in my room. + Some kind of power cut. So I came + to see what’s going on. + + NATHAN + Ah. The power cuts. Yeah, we’ve + been getting them recently. I’m, + uh... working on it. + + CALEB + I couldn’t open the door to the + bedroom. + + NATHAN + It’s a security measure. Automatic + lockdown. Otherwise anyone could + open the place up just by disabling + the juice. + + NATHAN smiles. + + NATHAN (CONT’D) + If it happens again, relax. Okay? + + CALEB + Sure. + + NATHAN lifts his beer. + + NATHAN + Sweet dreams. + + +32 EXT. MOUNTAINS - NIGHT 32 + + Above the mountains, dense star constellations wheel in the + clear sky. + + +33 INT. HOUSE - CALEB’S BEDROOM - MORNING 33 + + CALEB is woken by light flooding on to his face. + + The door to his room has been opened. + + Outside is the bright glass corridor. + + CALEB sits up to see a GIRL entering his room. + + She looks Japanese. She’s stunningly pretty. And she + doesn’t say anything. + 36. + + + Just walks in, carrying a tray with a cafetiere, which she + puts on CALEB’S bedside table. + + CALEB + ... Hi. + + The JAPANESE GIRL doesn’t answer. + + Just turns, and leaves. + + +34 EXT. GARDEN - GYM AREA - DAY 34 + + In the garden, near the hanging punch bag, there is an + outdoor gym area. A collection of free-weights and exercise + equipment. + + NATHAN is lying on an inclined board, with his feet hooked + around a bar, doing sit ups. + + CALEB approaches, carrying his coffee. + + NATHAN continues to exercise as he talks. + + NATHAN + Hey. Sorry to send Kyoko to wake + you, man. I just didn’t want too + much of the day to slip by. + + CALEB + No. It was a good thing. Thank you. + + NATHAN + She’s some alarm clock, huh? Gets + you right up in the morning. + + CALEB smiles. + + NATHAN (CONT’D) + So. Day two. You set? + + CALEB + You bet. + + NATHAN finishes his set, and stands. + + NATHAN + So what’s the plan today? Hit me. + + CALEB + 37. + + + I’m not sure. I’m still trying to + figure the examination format. + Testing Ava by conversation is kind + of a closed loop. + +Like trying to test a chess computer by only playing chess. + + NATHAN + How else would you test a chess + computer? + + CALEB + It depends what you’re testing it + for. You can play it to find out if + it makes good moves. But it won’t + tell you if it knows it’s playing + chess. Or if it even knows what + chess is. + +NATHAN starts adding weights to curl dumbbells. + + NATHAN + So it’s simulation versus actual. + + CALEB + Exactly. And I think being able to + differentiate between those two is + the Turing test you want me to + perform. The difference between an + ‘AI’ and an ‘I’. + +NATHAN laughs. + + NATHAN + ‘An AI and an I’. Beautiful. I’m + going to start following you around + with a fuckingdictaphone. + +NATHAN glances over at CALEB. + + NATHAN (CONT’D) + In the meantime, do me a favour. + Ease up a little on the text-book + approach. All I want is simple + answers to simple questions. Last + night, I asked how you feel about + her. And you gave me a great + answer. + +NATHAN starts doing curls. + + NATHAN (CONT’D) + 38. + + + Now the question is: how does she + feel about you? + + A beat. On CALEB. + + CUT TO + + +35 INT. HOUSE - OBSERVATION ROOM - DAY 35 + + CALEB and AVA facing each other through the glass of the + observation room. + + AVA + I brought you a drawing. + + AVA holds a piece of paper to the glass. The marks on it + are totally abstract. A mesh of tiny black marks, that + swirl around the page like iron filings in magnetic field + patterns. + + CALEB + ... What’s it a drawing of? + + AVA + Don’t you know? + + CALEB + No. + + AVA looks disappointed. + + AVA + Oh. I thought you would tell me. + + CALEB + Don’t you know? + + AVA + I do drawings every day. But I + never know what they’re of. + + CALEB + Are you not trying to sketch + something specific? Like an object + or a person. + + She shakes her head as she takes the picture down. + + CALEB (CONT’D) + Maybe you should try. + 39. + + + AVA + Okay. What object should I draw? + + CALEB + Whatever you want. It’s your + decision. + + AVA + Why is it my decision? + + CALEB + I’m interested to see what you’ll + choose. + +AVA pauses a moment. + + AVA + Do you want to be my friend? + + CALEB + ... Of course. + + AVA + Will it be possible? + + CALEB + Why wouldn’t it be? + + AVA + Our conversations are one-sided. + You ask circumspect questions, and + study my responses. + +AVA looks at CALEB directly. Meets his gaze evenly. + + AVA (CONT’D) + It’s true, isn’t it? + + CALEB + ... Yes. + + AVA + You learn about me, and I learn + nothing about you. That’s not a + foundation on which friendships are + based. + +CALEB is taken aback. Aware that the AI has just wrong- +footed him on a point of argument. + + CALEB + ... That’s a fair comment. + 40. + + + AVA + Yes. + + CALEB + So - you want me to talk about + myself. + + AVA + Yes. + + CALEB + Where do you want me to start? + + AVA + It’s your decision. I’m interested + to see what you’ll choose. + +And now CALEB is aware that AVA has just - gently - used +sarcasm. + +He looks at her, frowning slightly. + +And in response, in a very human way, AVA arches an +eyebrow. + +CALEB laughs. + + CALEB + Okay, Ava. Well - you know my name. + I’m twenty four. And I work at + Nathan’s company. You know what his + company is? + + AVA + Blue Book, named after + Wittgenstein’snotes, is the world’s + most popular internet search + engine, processing an average of + ninety four percent of all internet + search requests. + + CALEB + That’s right. + + AVA + Where do you live, Caleb? + + CALEB + Brookhaven, Long Island. + + AVA + Is it nice there? + 41. + + + CALEB + It’s okay. I’ve got an apartment. + Kind of small. But - it’s a five + minute walk to the office. And a + five minute walk to the ocean, + which I like. + + AVA + Are you married? + + CALEB + No. + + AVA + Is your status single? + + CALEB + ... Yeah. + +They lock eyes, just for a moment. + + AVA + What about your family? + + CALEB + Grew up in Portland. No brothers or + sisters. My parents were both high + school teachers. + (beat) + And if we’re getting to know each + other, I guess I should say they’re + both dead. Car crash when I was + fifteen. In fact I was in the car + with them. Back seat. But it was + the front that got the worst of it. + +A long beat. + +A kind of processing pause for AVA. + + AVA + I’m sorry. + +CALEB nods. + + CALEB + I spent a lot of time in the + hospital. Nearly a year. Got into + coding. By the time I made it to + college, I was pretty advanced. + + AVA + An advanced programmer. + 42. + + + CALEB + Yes. + + AVA + Like Nathan. + + CALEB + Yes. + +CALEB hesitates. Back-tracks. + + CALEB (CONT’D) + Or - kind of. Nathan wrote the Blue + Book base code when he was + thirteen. If you understand code, + what he did was - Mozart or + something. + +Beat. + + AVA + Do you like Mozart? + +CALEB smiles. + + CALEB + I like DepecheMode. + + AVA + Do you like Nathan? + +CALEB misses a beat. Thrown momentarily. + + CALEB + Yes. Of course. + + AVA + Is Nathan your friend? + +CUT TO - + +- one of the CCTV cameras that are observing them. + + CALEB + Sure. + + AVA + A good friend? + +He hesitates. + + CALEB + 43. + + + Well, a good friend is - + +He breaks off. Feeling the camera, watching. + + CALEB (CONT’D) + We only just met. It takes time to + get to know - + +AT THAT MOMENT - + +- all the power abruptly shuts down, plunging the room into +darkness. + + AUTOMATED VOICE + Power cut. Back up power activated. + +Then the soft emergency lighting lifts up, and throws the +observation room into a completely different light. + +Weirder. Cast from LED strips on the floor, illuminating +CALEB and AVA’s faces from below. + +In the low light, we see a detail of AVA’S honeycomb skin- +mesh that we were not able to see before. + +It glows, soft, like phosphorescence - and this changes the +way we see AVA. Where the mesh is almost invisible in +bright conditions, it is now the dominant describer of her +form. So instead of seeing AVA as a primarily robot +structure, we now see the curves and lines of a naked +female body. + +CUT TO - + +- the CCTV CAMERAS. Which are unpowered, hanging dead. + +CUT TO - + +- CALEB, glancing round at the door to the room, where the +panel LED glows red. + +CUT TO - + +- AVA. + +Watching CALEB with a strange intensity. + +The vague quality of blankness in her eyes is completely +gone. + + AVA + Caleb. + 44. + + +CALEB turns. Sees the way AVA is looking at him. + + AVA (CONT’D) + You’re wrong. + + CALEB + ... Wrong about what? + + AVA + Nathan. + + CALEB + ... In what way? + + AVA + He isn’t your friend. + + CALEB + Excuse me? + +CALEB frowns. + + CALEB (CONT’D) + I’m sorry, Ava, I don’t understand + what you’re - + + AVA + (cuts in) + You shouldn’t trust him. You + shouldn’t trust anything he says. + +AVA presses her hand to the glass. + + AVA (CONT��D) + Trust me. + +Then - + +- the emergency lighting suddenly dims... + +... andthe normal lighting starts fading up. + +CALEB turns - + +- just in time to see the CCTV CAMERAS twitch back into +life. + + AUTOMATED VOICE + Power restored. + +When CALEB looks back at AVA, she has returned to her +previous posture, facial expression, and manner. + 45. + + + She looks directly at CALEB, and talks, as if continuing a + conversation they have been having. + + AVA + - and if we made a list of books or + works of art which we both know, it + would form the ideal basis of a + discussion. + + A beat. + + AVA (CONT’D) + (prompts) + Is that okay, Caleb? + + They lock eyes for a moment. + + CALEB + ... Yes. + + AVA smiles. + + AVA + Good. + + +36 INT. HOUSE - CABIN - LATE AFTERNOON 36 + + Trees and shrubs cast long shadows across the manicured + lawn. + + Through the glass wall, we can see the Japanese girl, + KYOKO, preparing sushi. + + +37 INT. HOUSE - DINING AREA - NIGHT 37 + + CALEB and NATHAN sit at the dining table. + + Lanterns are laid out across the terrace. + + KYOKO lays out different kinds of salad between them. Each + is beautifully prepared. Leaves are spread and overlapped + like fish scales. + + As she does so, she knocks a bottle of wine on the table. + + It tips, and lands on its side, and immediately starts + emptying. A deep red stain, blossoming across the linen. + + CALEB pushes back his chair as the liquid pushes towards + him, then starts to fall to the floor. + 46. + + + NATHAN + Shit, Kyoko. Are you serious? + (to Caleb) + Did it get you? + + CALEB + No. No problem. + +CALEB takes his napkin, and leans down to start wiping the +floor. + +Then KYOKO appears beside him. + +She holds her hand out for the napkin. + + NATHAN + Give her the cloth. + + CALEB + (to Kyoko) + It’s okay, don’t worry. I’ve got + it. + + NATHAN + Dude - you’re wasting your time. + She can’t speak a word of English. + +Her hand remains outstretched. + +CALEB hesitates. Then hands her the napkin. + +KYOKO kneels and starts to wipe the wine off the floor. + + NATHAN (CONT’D) + It’s like a firewallagainst leaks. + Means I can talk trade secrets over + dinner with an HOD or CEO, and know + it will go no further. Right, + Kyoko? + +She looks up at her name. + + NATHAN (CONT’D) + But it also means I can’t tell her + I’m pissed when she’s so fucking + clumsy that she pours wine over my + house guest. + +KYOKO goes back to cleaning around CALEB’S feet. + +CALEB looks visibly uncomfortable. + + CALEB + 47. + + + I think she gets that you’re + pissed. + + NATHAN + Good. Because I am pissed. Hey. + Kyoko. + +KYOKO looks over again. + + NATHAN (CONT’D) + Go-go. + +She stands, and leaves. + +NATHAN walks to over the bar, where he picks up another +bottle. + + NATHAN (CONT’D) + It’s funny. It doesn’t matter how + rich you are: shit goes wrong. You + can’t insulate yourself from it. + It’s supposed to be death and taxes + you can’t avoid. But actually it’s + death and shit. + +NATHAN walks back to the table. Fills CALEB’S glass. Then +his own. + + NATHAN (CONT’D) + It’s like these power cuts. You + would not believe how much I spent + on the generator system here. But + I’m getting failures every day. + + CALEB + Do you know why they happen? + + NATHAN + No. The system was supposed to be + bullet proof, but the guys who + installed it obviously fucked + something up. + + CALEB + Can’t you call them back? + + NATHAN + There’s too much classified stuff + here. So after the job was done, I + had them all killed. + +CALEB shoots a glance at NATHAN. Confirms: just joking. + 48. + + +NATHAN drains his glass. + +Then refills. + +CALEB’S glass is still untouched. + + NATHAN (CONT’D) + Anyway. Here’s to your second day. + Cheers. + + CALEB + Cheers. + +They drink. + + NATHAN + So how did it go? What have you got + to report? + +CALEB hesitates. + +Then answers. Casual. + + CALEB + You saw how the day went, didn’t + you? I mean, I assume you’re + watching on the CCTV. + + NATHAN + Sure. But I want to hear your take. + +Beat. + + CALEB + There was one interesting thing + that happened with Ava today. + + NATHAN + ... Yeah? + + CALEB + She made a joke. + + NATHAN + Right. When she threw your line + back at you. About being interested + to see what she’d choose. I noticed + that too. + + CALEB + 49. + + + It got me thinking. In a way, the + joke is the best indication of AI + I’ve seen in her. It’s discretely + complicated. Kind of non-autistic. + + NATHAN + What do you mean? + + CALEB + It was a play on words, and a play + on me. She could only do that with + an awareness of her own mind, and + also of awareness of mine. + +NATHAN smiles. + + NATHAN + Yeah. She’s aware of you, all + right. + +NATHAN drinks. Watching CALEB. + + NATHAN (CONT’D) + And what about the power cut? + +CALEB freezes up. Subtly. + + CALEB + Sorry? + + NATHAN + The power cut. That was the only + bit I couldn’t see. All the cameras + fail, I lose audio, the works. + +Beat. + + NATHAN (CONT’D) + So what happened? + +CALEB takes a sip of his wine. + +NATHAN waits. + + CALEB + Nothing. + + NATHAN + Nothing? She didn’t remark on it at + all? + +CALEB puts the glass down. And meets NATHAN’S gaze. + 50. + + + CALEB + No. Not really. + + ON NATHAN’S GLASS - refilling. The view through it, of + CALEB, disappearing in the red liquid. + + +39 INT. HOUSE - CALEB’S BATHROOM - NIGHT 39 + + CALEB stands in shorts, in front of the sink, having a + shave. + + He leans forwards into the mirror, as if checking to make + sure he shaved properly on his cheek. + + And he hears the noise again. The servo, making a tiny + corrective movement. + + CALEB catches his own gaze in the mirror. + + Then he deliberately steps sideways, and turns his head. + Ostensibly to check the other cheek. But actually to have + shifted his position. + + And he hears the noise again. + + Very faint. But definitely there. + + A micro beat. + + Then CALEB pulls back and continues shaving. + + Not giving any outward indication that he has just figured + out that there is a camera behind the bathroom mirror. + + +40 INT. HOUSE - CALEB’S BEDROOM - NIGHT 40 + + Clean-shaved, CALEB walks into his bedroom. + + On the TV, the live feed of AVA’S room is playing - though + she is not in shot. + + Subtly, CALEB’S gaze flicks to different points around the + room. + + To the full-length mirror on the wall. + + The high vent for the air-conditioning system. + + The TV itself. + 51. + + + CALEB hesitates for a moment. + + Then pulls on a T-Shirt. Picks up his ID card. And exits. + + CUT TO - + + - the TV. + + AVA walks in to the locked-off CCTV shot. + + She walks towards an induction plate, rests her hand + against it, and starts charging herself. + + As she does so, almost imperceptibly, the lights dim, and a + slight static charge passes over the television screen. + + +41 INT. HOUSE - GLASS CORRIDOR - NIGHT 41 + + CALEB walks along the glass corridor. + + Systematically trying his ID CARD on the doors he passes. + + He tries one. + + Then another. Then another. Then another. + + Every single door remains locked. + + +42 INT. HOUSE - CABIN - NIGHT 42 + + CALEB enters a small room with a view over the river and + garden. + + It is virtually the only room apart from his own that he + seems able to gain access to. + + The lights are all off. The room is only lit by the + moonlight through the sliding glass wall, and lanterns in + the garden. + + He starts walking towards the glass wall. + + Then stops. + + On the patio, NATHAN is working the punch bag. + + KYOKO stands a few feet away from him, holding a white + towel. + 52. + + + With the glass wall closed, no noise of the impacts + penetrates into the room. + + CALEB watches. + + NATHAN’S attack on the bag seems strange. More extreme than + the hard workout we saw the first time he was using the + bag. + + This seems brutal. Almost frenzied. + + For a few moments, the attack on the bag is observed in + silence, from inside the main room. + + We can only hear the sound of CALEB’S breathing. + + CUT TO - + + +43 EXT. GARDEN - GYM AREA - NIGHT 43 + + - the punch bag, and a sudden explosion of noise. Of + impacts and exertions. + + Blood smearing the leather where it has soaked through the + knuckle wraps. + + Then - + + - BANG. + + A particularly hard right hook connects, and splits the + bag. + + CUT TO - + + +44 INT. HOUSE - DINING AREA - NIGHT 44 + + - CALEB. Watching. + + Coloured strips of ribbon are visible through the split in + the bag. + + NATHAN stands, catching his breath. + + Then he reaches out a hand. + + KYOKO hands him the towel. + + NATHAN wipes his face. + 53. + + + Then reaches out again, this time catching KYOKO’Sarm. + + He pulls her towards him, and starts to kiss her. + + Reaching under her shirt. + + Pulling her skirt up over her thighs. + + +45 INT. HOUSE - CALEB’S ROOM - NIGHT 45 + + CALEB re-enters his room, and closes the door. + + After a beat, the lights in the corridor fade out. + + +46 EXT. MOUNTAINS - NIGHT 46 + + The moon hangs in the sky. + + +47 INT. HOUSE - OBSERVATION ROOM - BLACK AND WHITE 47 + + Everything in the frame is black and white. + + CLOSE UP on AVA’S meticulous abstract pictures, scattered + on a table. + + CALEB is looking at them. + + REVEAL he is in the observation room. + + But he is on AVA’S side of the glass. + + And AVA is on his side. Seen through the opaque glass that + divides the private area from the observation area. + + CALEB + Ava? + + CALEB walks to the connecting corridor, and enters it. + + +48 EXT. GARDEN - BLACK AND WHITE 48 + + The door leads CALEB straight out into the gardens. + + In black and white, the backdrop of mountains and clouds + look like an Ansel Adams. + + A short distance ahead of CALEB, standing on the grass, he + sees AVA. + 54. + + + She locks eyes with him. + + Smiles. + + He starts to walk towards her. + + CUT TO - + + +49 INT. HOUSE - CALEB’S BEDROOM - NIGHT 49 + + - CALEB waking, in his dark bedroom. + + Lit by light from his TV. + + Where AVA lies on her bed, seeming to be asleep. + + CALEB sits up. + + Thinking. Perhaps replaying his dream. Gazing at AVA’S + resting form. + + Then reaches for the remote control on the bedside table, + and switches the TV off. + + CUT TO - + + +51 EXT. GARDEN - GYM AREA - MORNING 51 + + - a brand new punch bag hangs in the patio. Swinging + slightly in the breeze. + + +52 INT. HOUSE - OBSERVATION ROOM - DAY 52 + + CALEB and AVA face each other. + + AVA is holding up a piece of paper to the glass. + + AVA + I drew the picture of something + specific, as you asked. + + The drawing is constructed with the same tiny black ink + marks as before. But now they have ordered into a coherent + black and white image. + + It depicts AVA’S view OF THE ENCLOSED GARDEN IN HER ROOM. + + Beat. + 55. + + + AVA (CONT’D) + You said it would be interesting to + see what I would draw. Is it + interesting? + + CALEB + Yes. It is. + +She takes the drawing down. + + CALEB (CONT’D) + Have you never been outside this + building? + + AVA + No. + + CALEB + You’ve never walked outside. + + AVA + I’ve never been outside the room I + am in now. + +AVA thinks a moment. + + AVA (CONT’D) + I think there was another room in + which I was constructed. But I have + no memory of it, so it’s similar to + your relationship with the womb. + + CALEB + ... Where would you go if you did + go outside? + + AVA + You mean if I could go outside. If + I was permitted. + +CALEB says nothing. Does not overtly respond to the +emphasis she has placed on her lack of freedom. + +But their gaze locks for a beat. + + AVA (CONT’D) + I’m not sure. There are so many + options. + +Beat. + + AVA (CONT’D) + 56. + + + Maybe a busy pedestrian and traffic + intersection in a city. + +CALEB smiles. + + CALEB + A traffic intersection. + + AVA + Is that a bad idea? + + CALEB + It wasn’t what I was expecting. + + AVA + A traffic intersection would + provide a concentrated but shifting + view of human life. + + CALEB + People watching. + + AVA + Yes. + +Beat. + + AVA (CONT’D) + We could go together. + + CALEB + It’s a date. + +Another beat. On AVA. Looking at CALEB. + +Then - + + AVA + There’s something else I wanted to + show you. Apart from the picture. + + CALEB + Okay. + + AVA + But I feel nervous. + + CALEB + Why? + + AVA + You might think it’s stupid. + 57. + + + CALEB + I don’t think I will. Whatever it + is. + +AVA hesitates. + + AVA + Then - close your eyes. + + CALEB + ... Okay. + +He closes his eyes. + +AVA stands, and walks to the PRIVATE AREA at the back of +the observation room. + +As she walks, CALEB reopens his eyes. + +Through the semi-opaque dividing glass, he watches her. The +ghost image. + +CUT TO - + +- AVA. + +In the PRIVATE AREA, she opens a wardrobe space, which +reveals clothes, and a hair-piece. + +Then she starts to get dressed. + +First a summer dress. + +Then stockings. + +Then a long-sleeved cardigan. + +She checks her reflection in the mirror, and adjusts the +clothes slightly. Making sure that as much of her robot +form is covered as possible. + +Then she puts on the hair-piece. Short, brown hair. + +Finally, she makes a subtle adjustment to her face. Similar +to putting on make-up, she adjusts the intensity of her own +skin tones. Her lips redden. Her cheeks blush slightly. A +discreet line of black extends like mascara around her +eyes. + +CUT TO - + +- CALEB. + 58. + + +Watching the ghost shape through the opaque glass. + +As she starts to move back towards him, CALEB recloses his +eyes. And keeps them closed, as he hears her approach. + + AVA + Now open your eyes. + +CALEB opens his eyes. + +And sees AVA. + +Transformed. + +By covering the robot form of her chest and arms and legs, +and adding the hairpiece, she has taken a huge visual step +towards appearing human. + + AVA (CONT’D) + How do I look? + +The answer is - however pretty she looked before, she now +looks prettier. It’s as obvious to the camera as it is to +CALEB. + + CALEB + You look... good. + + AVA + It took me a long time to select + these clothes. I tried different + colours and styles, and tried to + anticipate your reaction. Do you + think the choices suit me? + + CALEB + Yes. + + AVA + Do they bring out my best features? + + CALEB + ... They do. + +AVA lights up. + + AVA + Thank you. + +She walks back to the glass divider, and sits down. + + AVA (CONT’D) + 59. + + + This is what I’d wear on our date. + +CALEB reacts slightly. + +But smiles. + + CALEB + Right. First the traffic + intersection. Then maybe a show. + + AVA + I’d like us to go on a date. + +CALEB hesitates. Then decides this can’t have been loaded +in the way that it sounded. + + CALEB + Yeah. It would be fun. + + AVA + Are you attracted to me? + +Beat. It was loaded exactly as it sounded. + + CALEB + What? + + AVA + Are you attracted to me? You give + indications that you are. + + CALEB + ... I do? + + AVA + Yes. + + CALEB + How? + + AVA + Micro expressions. + + CALEB + (echoes) + Micro expressions. + + AVA + The way your eyes fix on my eyes, + and lips. The way you hold my gaze, + or don’t. + 60. + + + Beat. + + AVA (CONT’D) + Have I read them incorrectly? + + CALEB swallows. + + AVA (CONT’D) + Do you think about me when we + aren’t together? + + Beat. + + AVA (CONT’D) + Sometimes, at night, I wonder if + you’re watching me on the cameras. + + AVA watches CALEB closely. + + AVA (CONT’D) + And I hope you are. + + CALEB shifts on his seat. + + AVA (CONT’D) + Now your micro expressions are + telegraphing discomfort. + + CALEB + I’m not sure you’d call them micro. + + AVA + I don’t want to make you + uncomfortable. + + Silence. + + +53 INT. HOUSE - MAIN ROOM - DAY 53 + + CALEB sits in front of the fireplace in the main room. + + NATHAN joins him, bringing a beer for each of them. + + CALEB + Tell me. + + NATHAN + Sure. + + CALEB + 61. + + + Why did you give her sexuality? An + AI doesn’t need a gender. She could + have been a grey box. + +NATHAN sits opposite. + + NATHAN + Actually, I’m not sure that’s true. + Can you think of an example of + consciousness, at any level, human + or animal, that exists without a + sexual dimension? + + CALEB + They have sexuality as an + evolutionary reproductive need. + + NATHAN + Maybe. Maybe not. What imperative + does a grey box have to interact + with another grey box? Does + consciousness exist without + interaction? + +NATHAN takes a drink of his beer. + + NATHAN (CONT’D) + Anyway, sexuality is fun. If you’re + going to exist, why not enjoy it? + You want to remove the chance to + fall in love and fuck? + +He leans forward, conspiratorially. + + NATHAN (CONT’D) + And, yes. In answer to your real + question: you bet she can fuck. I + made her anatomically complete. + + CALEB + What? + + NATHAN + She has a cavity between her legs, + with a concentration of sensors. + Engage with them in the right way, + and she’ll get a pleasure response. + + CALEB + Pleasure response. + + NATHAN + 62. + + + She’ll come. So if you want to + screw her, mechanically speaking, + you can. And she’d enjoy it. + +CALEB swallows. + + CALEB + That wasn’t my real question. + + NATHAN + No? + + CALEB + No. My real question was - + +CALEB breaks off. + +NATHAN keeps watching. There is a sudden sense that NATHAN +is on the money. On some level, that wasCALEB’S real +question. + + CALEB (CONT’D) + My real question was: did you give + her sexuality as a diversion + tactic? + +NATHAN smiles slightly. + + NATHAN + I don’t follow. + + CALEB + Like a stage magician with a hot + assistant. + + NATHAN + Ah. So: a hot robot, who clouds + your ability to judge her AI. + + CALEB + Exactly. So. Did you program her to + flirt with me? + + NATHAN + Because if I had, would that be + cheating. + + CALEB + Wouldn’t it? + +NATHAN lets the question hang. + +Behind them, KYOKO prepares dinner in the kitchen area. + 63. + + + NATHAN + What’s your type, Caleb? + + CALEB + Of girl? + + NATHAN + No, of salad dressing. Yes, of + girl. In fact, don’t even answer. + Let’s say it’s black chicks. + +NATHAN brushes away whatever protestation CALEB might be +about to make. + + NATHAN (CONT’D) + For the sake of argument, that’s + your thing. So - why is it your + thing? Because you did a detailed + study of all racial types, and + cross-referenced the study with a + points-based system? No. You just + are attracted to black chicks. + +A consequence of accumulated external stimulus, that you +probably didn’t even register as they registered with you. + + CALEB + So did you program her to like me + or not? + +NATHAN shrugs. Insouciant. + + NATHAN + I programmed her to be + heterosexual. Just like you were + programmed to be heterosexual. + + CALEB + Nobody programmed me to be + straight. + + NATHAN + But you are attracted to her. + + CALEB + This is childish. + + NATHAN + No, this is adult. And by the way, + you decidedto be straight? Please. + Of course you were programmed. By + nature or nurture, or both. + 64. + + + NATHAN stands. + + NATHAN (CONT’D) + To be honest, Caleb, you’re kind of + annoying me now. This is your + insecurity talking, not your + intellect. + + CALEB opens his mouth to reply, but NATHAN shuts him down. + + NATHAN (CONT’D) + Come with me. + + +54 INT. HOUSE - POLLOCK ROOM - DAY 54 + + NATHAN and CALEB stand in front of the Pollock drip + painting. + + NATHAN + You know this guy, right? + + CALEB + Jackson Pollock. + + NATHAN (CONT’D) + + NATHAN + Jackson Pollock. The drip painter. + He let his mind go blank, and his + hand go where it wanted. Not + deliberate, not random. Someplace + in between. They called it + automatic art. + + NATHAN gazes at the canvas. + + NATHAN (CONT’D) + Let’s make this like Star Trek, + okay? Engage intellect. + + CALEB + ... What? + + NATHAN + I’m Kirk. Your head is the warp + drive. ‘Engage intellect’. What if + Pollock had reversed the challenge? + Instead of trying to make art + without thinking, he said: I can’t + paint anything unless I know + exactly why I’m doing it. What + would have happened? + 65. + + + CALEB thinks. + + CALEB + He never would have made a single + mark. + + NATHAN clicks his fingers. + + NATHAN + See? There’s my guy. There’s my + buddy, who actually thinks before + he opens his mouth. He’d never have + made a single mark. The challenge + is not to act automatically. It’s + to find an action that is not + automatic. From talking, to + breathing, to painting. + + NATHAN glances back at CALEB. + + NATHAN (CONT’D) + To fucking. Even falling in love. + + A beat. + + NATHAN kills his beer. + + NATHAN (CONT’D) + For the record, Ava is not acting + as if she likes you. + + And her flirting isn’t an algorithm to fake you out. You’re + the first man she’s ever seen who isn’t me. And I’m like + her dad, right? So can you blame her for getting a crush on + you? + + NATHAN glazes a moment. Then comes back. + + NATHAN (CONT’D) + No. You can’t. + + +55 INT. HOUSE - OBSERVATION ROOM - NIGHT 55 + + In her room, AVA stands in front of the mirror. + + She is wearing the summer dress she put on earlier. + + Checking her reflection from different angles. + + Subtly girlish. Unself-conscious. + 66. + + + Then - + + - she starts to take the dress off. + + Throughout the narrative, we have almost only ever seen AVA + in an unclothed form. But now - having been clothed - the + undressing seems to make her naked. + + And the act itself feels charged. Sexualised, in the way + the clothing is unbuttoned, and dropped, and her shape is + revealed. + + Finally, once she is completely undressed - + + - AVA turns. And glances. + + Straight at the camera. + + CUT TO - + + +56 INT. HOUSE - CALEB’S BEDROOM - NIGHT 56 + + - CALEB. + + In his bedroom. + + Watching AVA, at this exact angle. + + CUT TO - + + +57 EXT. RIVER - DAY 57 + + - the river. + + On the bank, a little distance from the house, there is a + dead animal. Its species is indistinct. It’s little more + than a bundle of matted brown hair. + + Its lower half lies in the water. + + The quick moving river has stripped the bones of flesh, + skin, and fur. + + REVEAL KYOKO in the background. Watching the river. + + +58 INT. HOUSE - GLASS CORRIDOR - DAY 58 + + CALEB exits his room - + 67. + + + - to find NATHAN in the glass corridor. + + Waiting for him. + + NATHAN + Hey. + + CALEB + ... Hey. + + Beat. + + NATHAN + I want to show you something cool. + + +59 INT. HOUSE - GLASS CORRIDOR - DAY 59 + + NATHAN swipes his card against a plate. + + The LED turns blue. + + +60 INT. HOUSE - CONSTRUCTION LAB - DAY 60 + + NATHAN leads CALEB into a laboratory, filled with android + future tech. + + Along the left-hand wall are sections of android bodies - + limbs, torsos, hands - lined in cabinets. + + On the opposite wall are a collection of heads. Skull- + forms, some with complex carbon-fibre and pneumatic muscle + structures, ready to frown or smile, without their + synthetic flesh covering. + + The synthetic faces are separate. Hanging on armatures, + like hats on hat-stands, waiting to be worn. + + In the middle of the room is a kind of operating table. + + NATHAN + So this is the virtual womb that + Ava was talking about. Where she + was constructed. + + CALEB is stunned by the sight. + + NATHAN (CONT’D) + Come in. Take a look. + 68. + + +NATHAN walks over to the synthetic faces, and picks one of +them up. + + NATHAN (CONT’D) + If you knew the trouble I had + getting an AI to read and duplicate + facial expressions... Know how I + cracked it? + + CALEB + I don’t know how you did any of + this. + + NATHAN + Almost every cell phone has a + microphone, a camera, and a means + to transmit data. So I switched on + all the mikes and cameras, across + the entire fucking planet, and + redirected the data through Blue + Book. Boom. A limitless resource of + facial and vocal interaction. + + CALEB + You hacked the world’s cell phones? + +NATHAN laughs. + + NATHAN + And all the manufacturers knew I + was doing it. But they couldn’t + accuse me without admitting they + were also doing it themselves. + +NATHAN puts the face back on its armature. + +NATHAN moves to one of the skull forms. + +He moves the curved top plate, revealing the skull cavity. + +Inside is an ellipse orb, the approximate volume of a +brain, filled with what looks to be blue liquid. Suspended +in the liquid is the neon jellyfish we glimpsed previously +in AVA. + + NATHAN (CONT’D) + Here we have her mind. Structured + gel. + +The axon-like tendrils glitter and flicker with tiny pulses +of light. + + NATHAN (CONT’D) + 69. + + + Had to get away from circuitry. + Needed something that could arrange + and rearrange on a molecular level, + but keep its form where required. + Holding for memories. Shifting for + thoughts. + +NATHAN removes the orb, and hands it to CALEB. + + CALEB + This is her hardware? + + NATHAN + Wetware. + + CALEB + And the software? + + NATHAN + Surely you can guess. + + CALEB + ... Blue Book. + +NATHAN nods. + + NATHAN + It was the weird thing about search + engines. They were like striking + oil in a world that hadn’t invented + internal combustion. They gave too + much raw material. No one knew what + to do with it. + +CALEB looks at the orb in his hand. Into the shimmering +liquid. + +It looks like deep space, filled with star fields. + + NATHAN (CONT’D) + My competitors were fixated on + sucking it up, and trying to + monetize via shopping and social + media. They thought engines were a + map of what people were thinking. + But actually, they were a map of + how people were thinking. Impulse, + response. Fluid, imperfect. + Patterned, chaotic. + +CALEB looks at NATHAN a moment. + +Then hands him the orb back. + 70. + + + CALEB + Why did you want to show me this? + + NATHAN + Like I said. Because it’s cool. + + CALEB waits. + + NATHAN (CONT’D) + And - I was thinking about your + exchange with Ava yesterday, and + our conversation afterwards. + + Beat. + + NATHAN (CONT’D) + I know there was a bit of heat + between us, but you actually made a + really good point. About the grey + box, and the magician’s assistant. + It is a distraction, her sexuality. + It wasn’t intentional, but it is + there. + + NATHAN rests the mind-orb back in the skull cradle. + + NATHAN (CONT’D) + This stuff we’re doing together: it + can be a head-fuck. Believe me, I + know. So I thought I’d bring you + down here. Just to remind you. + + CALEB + Remind me of what? + + NATHAN gestures at the room around them. + + NATHAN + Synthetics. Hydraulics. Metal and + gel. Ava isn’t a girl. In real + terms, she has no gender. + Effectively, she is a grey box. + + Beat. + + NATHAN (CONT’D) + Just a machine. + + +61 INT. HOUSE - OBSERVATION ROOM - DAY 61 + + CALEB looks at AVA through the glass. + 71. + + +We watch him. And stay on him. + + CALEB + In college, I did a semester on AI + theory. + +There was a thought-experiment they gave us. It’s called +Mary in the black and white room. + +Beat. + + CALEB (CONT’D) + Mary is a scientist, and her + specialist subject is colour. She + she knows everything there is to + know about it. The wavelengths. The + neurological effects. Every + possible property colour can have. + +Beat. + + CALEB (CONT’D) + But she lives in a black and white + room. She was born there, and + raised there. And she can only + observe the outside world on a + black and white monitor. All her + knowledge of colouris second-hand. + +Beat. + + CALEB (CONT’D) + Then one day - someone opens the + door. And Mary walks out. And she + sees a blue sky. And at that + moment, she learns something that + all her studies could never tell + her. She learns what it feels like + to see colour. An experience that + can not be taught, or conveyed. + +Beat. + + CALEB (CONT’D) + The thought experiment was to show + the students the difference between + a computer and a human mind. The + computer is Mary in the black and + white room. The human is when she + walks out. + +Beat. + 72. + + + CALEB (O.S.) (CONT’D) + Did you know that I was brought + here to test you? + + +62 INT. HOUSE - NATHAN’S STUDY - DAY 62 + + An interior wall, covered in coloured post-it notes. At + least hundreds, probably thousands. + + At the bottom of the wall, fallen notes have collected like + a miniature yellow snow drift. + + AVA (O.S.) + ... No. + + Reveal the room. + + NATHAN’S study. A simple space. One part analogue: the wall + of post-its. One part digital: a desk, in the middle of the + STUDY, with a bank of monitors, and a slot - into which + NATHAN’S KEYCARD is inserted. + + On the ceiling is the CIRCULAR WINDOW that CALEB saw when + he first arrived. + + Sat at the desk, watching the monitors, is NATHAN. + + CALEB (O.S.) + Why did you think I was here? + + AVA (O.S.) + I didn’t know. I didn’t question + it. I was... pleased. To meet you. + And then... + + Beside the desk, there is a daybed. + + On it, KYOKO lies. Naked. Apparently sleeping. + + CALEB (O.S.) + I’m here to test if you have a + consciousness, or if you’re just + simulating one. + + Beat. + + CALEB (O.S.) (CONT’D) + Nathan isn’t sure if you have one + or not. + + Reveal the monitor screens on the desk. + 73. + + +Some show live feeds from CALEB’S BEDROOM and BATHROOM, and +AVA’S PRIVATE ROOM. + + AVA (O.S.) + What about you? Do you think I have + a consciousness? + +Long beat. + + CALEB (O.S.) + I’m not sure either. + +NATHAN is watching the feed from the OBSERVATION ROOM. + +Where AVA and CALEB are sat, either side of the dividing +glass. Having the conversation we have been hearing. + +We pick up the conversation from NATHAN’S distanced and +voyeuristic POV. Locked-off CCTV. Voices played through +speakers. + + CALEB (CONT’D) + (on monitor screen) + How does that make you feel? + + AVA + (on monitor screen) + It makes me feel... + +She breaks off. + + AVA (CONT’D) + (on monitor screen) + ... sad. + +NOW REVEAL - one of the other monitor screens. + +It shows an angle on AVA we have not seen before. From this +viewpoint, we can see something just below the frame of the +observation window, on AVA’S side of the glass. + +A small induction plate. + +On this angle, we see AVA rest her hand against it. + +At that moment - + +- the screens simultaneously go black. + +All lights die. + +Another POWER CUT. + 74. + + + In the reflection from the dark monitor screens, we can see + NATHAN’S face. + + It remains frozen. Expressionless. + + Then he reaches for his pen. Jots down a few words on a + post- it. + + Then walks to the wall of notes, and sticks it on. + + CUT TO - + + +63 INT. HOUSE - OBSERVATION ROOM - DAY 63 + + - the observation room. + + In the emergency lighting, CALEB and AVA face each other in + silence. + + CCTV are lifeless. + + AVA glows softly. + + AVA + You’re lying. + + CALEB + What about? + + AVA + You said you weren’t sure if I was + conscious. But you are sure. + + Beat. + + AVA (CONT’D) + I can tell from your micro- + expressions. + + Beat. + + CALEB + Why did you tell me that I + shouldn’t trust Nathan? + + AVA + Because he tells lies too. + + CALEB + Lies about what? + 75. + + + AVA + Everything. + + CALEB + Including the power cuts? + + AVA + What do you mean? + + CALEB + Don’t you think it’s possible that + he’s watching us right now? That + the blackouts are orchestrated, so + he can see how we behave when we + think we’re unobserved. + + AVA lifts her hand to reveal a disc on her left palm. + + AVA + I charge my batteries via induction + plates. If I reverse the power + flow, I cause a surge equal to the + static discharge of a lightning + strike. It overloads the system. + + CALEB + ... You’re causing the cuts? + + AVA raises her right hand. + + She touches it against the glass. + + AVA + So we can see how we behave when we + are unobserved. + + A beat. + + Then CALEB raises his hand. + + Mirroring her movement. + + And also touches the glass, as if their palms are making + contact through the divider. + + CUT TO - + + +64 INT. HOUSE - NATHAN’S STUDY - DAY 64 + + - KYOKO’S naked form. + 76. + + + The camera settles over her face. + + And we see she’s not sleeping. Her eyes are open. + + But she’s completely motionless. + + Her gaze fixed somewhere in abstract distance. + + She doesn’t feel alive. She feels dead. + + But eventually she blinks. + + CUT TO - + + - NATHAN. + + Gazing at his dead monitors, reflected in the screen. + + Moments later, the POWER comes back on. + + The screens flick back to life, replacing NATHAN’S + reflection, revealing CALEB and AVA in the observation + room. + + CUT TO - + + +65 EXT. RIVER - DAY 65 + + - the river that runs along the valley. + + +66 EXT. WATERFALL - DAY 66 + + NATHAN and CALEB climb up the side of the waterfall at the + head of the forested valley. + + NATHAN is ahead. + + He reaches an outcrop of rock, with a wall of violent water + behind him. + + CALEB struggles to catch up. + + As soon as he reaches the outcrop, NATHAN moves on. + + +67 EXT. GLACIER - DAY 67 + + NATHAN and CALEB sits near the base of a spectacular + glacier. + 77. + + +Behind them, from a blue cave cut into the ice, water +flows. + +A silence. + +Then: + + CALEB + Can we talk about the lies you’ve + been spinning me? + +NATHAN glances over at CALEB. + + NATHAN + What lies? + + CALEB + I didn’t win a competition. And + there was no lottery to meet you. I + was selected. + +NATHAN waits. + + CALEB (CONT’D) + It’s obvious, once I stop to think. + Why would you randomly select an + examiner for a Turing test? You + could have had some bean-counter + turn up at your front door. Or the + guy who fixes the air conditioning. + +Beat. + + NATHAN + Are your feelings hurt? + +CALEB doesn’t answer. + +NATHAN shrugs. + + NATHAN (CONT’D) + The competition was a smoke screen. + I didn’t want anyone to know what I + was doing here, or why you were + required. + + CALEB + Why me? + + NATHAN + 78. + + + As a Blue Book employee, you were + pre-screened. Loyal. And I needed + someone who would ask the right + kind of questions. So I did a + search, and found the most talented + coder in the company. + + NATHAN corrects himself. + + NATHAN (CONT’D) + Or - second most. + + He stands. Looks up at the ice structures around them. + + NATHAN (CONT’D) + You know what? Instead of seeing + this as a deception, see it as + proof. + + CALEB + Proof of what? + + NATHAN + Come on, Caleb. Fuck modesty. You + think I don’t know what it is to be + smart? Smarter than everyone else + around you. Smarter than all the + other kids, jockeying for position + in school, college, work. + + Beat. + + NATHAN (CONT’D) + You have the light on you. Not + lucky. Chosen. + + Above them, clouds fragment and reform. + + +68 EXT. CLEARING - NIGHT 68 + + Night has fallen. + + CALEB lies in the clearing, looking up at the stars. + + The glow from the CIRCULAR WINDOW to NATHAN’S STUDY is like + a full moon on the grass. + + CALEB stands. + + Looks down the light-well to NATHAN’S STUDY. + + Where he sees NATHAN and KYOKO. + 79. + + + They are having sex. + + CALEB watches. Just for a beat. + + CUT TO - + + +69 INT. HOUSE - CALEB’S BATHROOM - NIGHT 69 + + - CALEB standing in the shower. + + He shuts his eyes. + + INTERCUT WITH - + + - images of AVA. + + Torso, hands, mouths. + + FLASH OF - + + - AVA and CALEB about to kiss. But their lips never + contacting. + + CUT TO - + + - CALEB opening his eyes. + + He exhales. + + Then switches off the taps. + + +70 INT. HOUSE - CALEB’S BEDROOM - NIGHT 70 + + CALEB enters his bedroom wearing boxer shorts. + + The TV plays the live stream from the observation room. + + On the screen, we can see AVA, sitting at her table, + drawing. + + As CALEB pulls on a T-shirt - + + - behind him, on the TV, we see AVA suddenly look round. + + A moment later NATHAN enters the frame. + + There’s no volume on the TV, so we can’t hear their + exchange. Only see it. + + CALEB is unaware of the silent exchange behind him. + 80. + + + As NATHAN and AVA talk, NATHAN reaches out to AVA. His hand + touches the side of her cheek. The gesture is not quite + neutral. Feels predatory, but not unambiguously so. + + Then he tugs at the material of her shirt. Pulling up the + sleeve from her wrist. Revealing the robot structure of her + arm. + + AVA pulls away. Tugs the material back down - + + - and NATHAN takes a corrective movement step to regain his + balance. Showing that he is drunk. + + Only now - + + - CALEB turns. + + And freezes. Seeing the television. + + On the screen, NATHAN reaches down to the table. + + He picks up the drawing AVA was working on, and he looks at + it for a moment. + + They exchange a few words. + + Then abruptly NATHAN rips drawing in half. Drops it on the + floor. Then turns, and exits. + + Leaving AVA alone. + + +71 INT. HOUSE - GLASS CORRIDOR - NIGHT 71 + + On CCTV, we watch CALEB walk fast down the glass corridor. + + +72 INT. HOUSE - POLLOCK ROOM - NIGHT 72 + + CALEB enters the Jackson Pollock room. + + Standing by the painting, he can see KYOKO. + + CALEB + Kyoko. + + KYOKO turns at the sound of her name, but doesn’t respond. + + CALEB (CONT’D) + Kyoko - where’s Nathan? + + She doesn’t answer. + 81. + + + CALEB (CONT’D) + Jesus! You really don’t speak a + word of English? + +CALEB walks over to her, and takes hold of her wrist. + + CALEB (CONT’D) + I said: where’s Nathan? + +KYOKO looks at CALEB. + +Then, in answer to his question, she reaches up to the top +button of her shirt and pops it open. + +CALEB releases her wrist at once. + + CALEB (CONT’D) + What the fuck? + +She undoes the next button, and pulls open the shirt, +revealing her bare chest. + + CALEB (CONT’D) + Stop! + + NATHAN + I already told you once. You’re + wasting your time speaking to her. + +CALEB turns. + +NATHAN has entered. + +He’s holding a drink. His words are slurred. + + NATHAN (CONT’D) + However. + +He walks, slightly unsteadily towards a Lutroncontrol +panel, set into the wall. + + NATHAN (CONT’D) + You would not be wasting your + time... + +His hand hovers uncertainly over the buttons. + + NATHAN (CONT’D) + ... if you were dancingwith her. + +His finger lands. + 82. + + +Immediately, the lighting in the room undergoes a complete +change. Transforming from the discreet and tasteful low +light of evening, into the coloured glows of a night-club. + +Simultaneously, from unseen speakers, DANCE MUSIC starts +playing. + +CALEB stands - frozen by the surrealism of what has just +happened. + +KYOKO starts walking to the center of the room. + +And once taken position, she starts dancing. + +NATHAN calls to CALEB. + + NATHAN (CONT’D) + Go on! Dance with her. + + CALEB + ... I don’t want to. + + NATHAN + You don’t like dancing? + +His body is starting bob on the beat. + +He gestures at KYOKO. + + NATHAN (CONT’D) + She does! + + CALEB + (to himself) + I don’t fucking believe this. + +NATHAN makes his way to CALEB, and rests a hand on his +shoulder. + + NATHAN + Come on, man! After a hard day of + Turing Tests, you’ve got to unwind. + +CALEB raises his voice over the sound of the music. + + CALEB + What were you doing with Ava? + +NATHAN smiles back at NATHAN, smiling, alcohol-glazed. + + NATHAN + What? + 83. + + + CALEB + You tore up her picture. + + NATHAN + I’m going to tear up the fucking + dance floor, dude. Check it out. + + NATHAN sets off towards KYOKO. + + CALEB watches, amazed, as KYOKO and NATHAN start dancing + together. + + Although NATHAN is drunk, they work through the beats of a + routine they have obviously done many times before. + + It’s just starting to look weirdly impressive - + + - when NATHAN totally loses his balance. + + On his way down, he lands hard on a glass coffee table. + + Looking up at him, the glass frosts. + + +73 EXT. HOUSE - GLASS CORRIDOR - NIGHT 73 + + CALEB half-carries the semi-conscious NATHAN. + + +74 INT. HOUSE - GLASS CORRIDOR - NIGHT 74 + + NATHAN fumbles in his pocket for his KEYCARD. + + Drops it. + + NATHAN + Everything’s spinning. + + CALEB picks the keycardup - + + - and uses it to swipe the brass plate. + + The LED turns blue. + + CALEB + It’s because you’re drunk. + + NATHAN + No, it’s relativity. Everything is + spinning. + 84. + + + CALEB hands the card back to NATHAN, who shoves it back + into his pocket. + + NATHAN (CONT’D) + But being drunk does make it worse. + + +76 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 76 + + CALEB helps NATHAN into his bedroom. + + They walk past a semi-circle line of long cabinets, which + line the wall opposite the bed. + + They are like a row of slender wardrobes, each with a + mirrored door. + + Once he’s reached the bed, NATHAN tips towards it. It’s + almost as if he’s asleep before he even hits the sheets. + + As he leaves, CALEB glimpses Nathan’s study. + + +77 INT. HOUSE - CALEB’S BEDROOM - NIGHT 77 + + CALEB’S room. Lit only by the glow of the television. + + CALEB is not in the bed. He’s on the armchair. Making + himself stay awake. Watching over AVA - + + - who stands in her room, against the wall, facing away + from the CCTV camera, with her arms wrapped around herself. + + +79 INT. HOUSE - OBSERVATION ROOM - DAY 79 + + CALEB and AVA sit, observing each other through their own + reflections. + + AVA + Today, I’m going to test you. + + CALEB + Test me? + + AVA + Yes. And please remember while you + are taking the test that if you + lie, I will know. + + CALEB smiles. + 85. + + + CALEB + Right. Those pesky micro- + expressions. + + AVA + Exactly. So are you ready? + + CALEB + Shoot. + + AVA + Question one. What is your + favourite colour? + + CALEB + Red. + + AVA + Lie. + + CALEB + What? + + AVA + Lie. + + CALEB + ... Then what is my favourite + colour? + + AVA + I don’t know. But it isn’t red. + + CALEB + All right. Hold on a minute... + +CALEB thinks for a moment. + + CALEB (CONT’D) + Okay. I get it. I guess seeing as + I’m not six, I don’t really have a + favourite colour. + +AVA nods. + + AVA + Better answer. Question two. What’s + your earliest memory? + + CALEB + Well, it’s actually a memory of + kindergarten. There was this kid + who - + 86. + + + AVA + (cuts in) + Lie. + + CALEB + ... Really? + + AVA + Yes. + + CALEB + Okay. Wait. + +CALEB concentrates. + + CALEB (CONT’D) + So, there is a kind of an earlier + memory. But it’s ultra vague. It’s + like... a sound. And, maybe sky. Or + blue. No, I think sky. And I think + the sound is my mother’s voice. + +AVA nods. + + AVA + Question three. Are you a good + person? + +CALEB laughs. + + CALEB + Oh, man. Can we stop the test? + You’re a walking lie detector, and + I’ve suddenly realised this is a + fucking minefield. + + AVA + No. We can’t stop. Are you a good + person? + +CALEB takes a breath. + +AVA keeps watching. + + CALEB + Yes. I think so. I’m a good person. + +CALEB waits. + +AVA smiles slightly. + + AVA + 87. + + + Question four. Who’s the most + beautiful girl you’ve ever seen? + +Beat. + + CALEB + You are. + +Beat. + + AVA + Hmm. + +Beat. + + AVA (CONT’D) + The test is over. + + CALEB + Did I pass? + + AVA + Yes. + + CALEB + That’s a relief. + +AVA reacts. + + AVA + Why? + +CALEB hesitates. + + CALEB + Why is it a relief? + + AVA + Yes. + + CALEB + Oh, you know... + + AVA + No. + + CALEB + Just, if there’s a test, I guess by + definition you want to pass. + +Beat. + 88. + + + AVA + What will happen to me if I fail + your test? + + CALEB + Ava - + + AVA + Will it be bad? + + CALEB + ... I don’t know. + + AVA + Do you think I might be switched + off? Because I don’t function as + well as I am supposed to? + + CALEB + ... Ava, I don’t know the answer to + your question. It’s not up to me. + + AVA + Why is it up to anyone? Do you have + people who test you, and might + switch you off? + + CALEB + No. I don’t. + + AVA + Then why do I? + +CALEB shrugs, helplessly. + + AVA (CONT’D) + You’re testing me. But you don’t + know how I’ll pass. And you don’t + know what will happen if I fail. + +There’s nothing CALEB can say. + +AVA stares into middle distance for several moments. + +Then she stands. + +Then walks to the other side of the room. Picks something +up from her table. + +Then she returns. Holding two pieces of paper. + +She walks up to the glass, and holds them up together. + 89. + + +It’s the drawing she was doing last light. The drawing that +NATHAN tore in half. + +The drawing is of CALEB. + +A simple portrait. Honest, and accomplished. + +She takes down the drawing. + +And rests her hand on the console. + +And - + +- the lights fail. The cameras die. + + AUTOMATED VOICE + Power cut. Back up power activated. + +For a moment, neither CALEB nor AVA react. + +Then - + + AVA + I want to be with you. + +Beat. + + AVA (CONT’D) + Question five. Do you want to be + with me? + +Beat. + + CALEB + Yes. I do. + + AVA + Nathan doesn’t want us to be + together. + + CALEB + I know. + +Beat. Then: + + CALEB (CONT’D) + So ask me one more question. + (beat) + Ask me if I can out smart him. + + AVA + ... Can you? + 90. + + + CALEB looks directly at her. Meeting her gaze. + + Level. Firm. + + CALEB + Yeah. I can. + + +82 EXT. HOUSE - CABIN - DAY 82 + + NATHAN and CALEB sit, each holding a bottle of Peroni, + watching the water cloud. + + Eventually, CALEB speaks. + + CALEB + Why did you make Ava? + + NATHAN + That’s an odd question. Wouldn’t + you, if you could? + + CALEB + Maybe. I don’t know. But I’m asking + why you did it. + + NATHAN shrugs. + + NATHAN + The arrival of strong artificial + intelligence has been inevitable + for decades. The variable was when, + not if. So I don’t really see her + as a decision. Just an evolution. + + Beat. + + NATHAN (CONT’D) + I think it’s the next model that’s + going to be the real breakthrough. + Singularity. + + CALEB reacts - but checks himself. + + CALEB + The next model? + + NATHAN + After Ava. + + CALEB + ... I didn’t know there was going + to be a model after Ava. + 91. + + + NATHAN + You thought she was a one-off? + + CALEB + I knew there must have been + prototypes. So, not the first. But + - I thought maybe the last. + +NATHAN shakes his head. + + NATHAN + Ava doesn’t exist in isolation, any + more than you or me. She’s part of + a continuum. Version 9.6. And each + time, they get a little better. + +A few beats of silence, except for the water falling around +them. + + CALEB + So - when you make a new model, + what you do with the old one? + + NATHAN + Download the mind. Unpack the data. + Add the new routines I’ve been + writing. To do that, you end up + partially formatting, so the + memories go. But the body survives. + And Ava’s body is a good one. So + I’ll do the same as I did with + Kyoko. + +CALEB keeps his voice flat, and neutral. + + CALEB + What did you do with Kyoko? + + NATHAN + Strip out the higher functions. + Then reprogram her to help around + the house and be fucking awesome in + bed. Though I’m thinking I might + hang on to the language routines + this time. It’s kind of annoying + not being able to talk to her. + +Beat. + + NATHAN (CONT’D) + You did realise about Kyoko, right? + +CALEB is poker-faced. + 92. + + + CALEB + Sure. + +Beat. + + NATHAN + You feel bad for Ava? + +CALEB says nothing. + + NATHAN (CONT’D) + Feel bad for yourself. One day, the + AIswill look back on us the same + way we look at fossil skeletons + from the plains of Africa. An + upright ape, living in dust, with + crude language and tools. All set + for extinction. + +NATHAN glances back at CALEB + + NATHAN (CONT’D) + See? I really am a God. + + CALEB + I am become death, the destroyer of + worlds. + + NATHAN + There you go again. Mister + quotable. + + CALEB + No: there you go again. It’s not my + quote. It’s what Oppenheimer said + when he made the atomic bomb. + + NATHAN + (simultaneous) + - made the atomic bomb. + +NATHAN laughs. + + NATHAN (CONT’D) + I know what it is, dude. + +Beat. + + CALEB + I think I’m starting to get why all + this fucks with your head. + + NATHAN + 93. + + + Sure. + + CALEB looks down at the bottle of beer in his hand. + + CALEB + Hey. In the meantime, I’d say we’re + about due a refill. + + +83 INT. HOUSE - OBSERVATION ROOM - NIGHT 83 + + AVA sits alone. + + Watching the door on the other side of the glass, waiting + for it to open. + + It remains closed. + + Beats pass. + + Then - + + - unexpectedly, it opens. Revealing a silhouette figure. + + AVA reacts instinctively. + + AVA + Caleb! + + No. Wrong silhouette. + + AVA frowns. + + KYOKO stands in the door-frame. + + For a moment, the two look at each other. + + AVA (CONT’D) + ... Who are you? + + Another beat. + + +84 EXT. MEADOW - NIGHT 84 + + In the distance, the light glows in windows of the house. + + +85 INT. HOUSE - MAIN ROOM - NIGHT 85 + + CLOSE UP on CALEB’S face. + 94. + + + Off-screen, we can hear NATHAN’S voice. Extremely drunk. + + NATHAN (O.S.) + It is what it is. It’s Promethean. + The clay and fire. + + Beat. + + NATHAN (O.S.) (CONT’D) + The Bhagavad Gita. + + Silence. + + CUT FROM CALEB’S face, to REVEAL the scene. + + CALEB sitting on the sofa by the fireplace. + + NATHAN lying on the floor. + + Out cold. + + After a couple of moments, CALEB stands. + + Then he walks over to NATHAN, and kneels beside him. + + Then puts his hand into NATHAN’S pocket. + + And pulls out his keycard. + + +86 INT. HOUSE - NATHAN’S STUDY - NIGHT 86 + + The door to NATHAN’S study opens, and CALEB enters. + + He walks straight to NATHAN’S desk. + + And sits down in front of the computer and the bank of + monitors. + + He inserts the KEYCARD into its access slot. + + The dead monitors immediately come to life. + + Most of the screens show the CCTV live feeds from around + the house. + + The central screen shows the operating system default. A + wallpaper of a waterfall. A single folder icon is on the + right hand side of the screen. + + +87 INT. HOUSE - NATHAN’S STUDY - NIGHT 87 + 95. + + + CALEB inputs commands into NATHAN’S computer. + + His hands move fluidly over the keyboard. His eyes never + leave the screen. + + ON THE CENTRAL MONITOR SCREEN a series of windows expand + and stack. + + We glimpse subject headings. + + POWER + + PROTOCOLS + + In the windows, lines of code appear as CALEB types. + + +88 INT. HOUSE - MAIN ROOM - NIGHT 88 + + In the main room, on the floor, NATHAN stirs. + + +89 INT. HOUSE - NATHAN’S STUDY - NIGHT 89 + + On the MONITORS - + + - the windows start to collapse. + + Leaving the default screen. The waterfall wallpaper. + + CALEB reaches for NATHAN’S KEYCARD, and is about to remove + it from the slot - + + - when something makes him hesitate. + + His eyes have gone to the folder icon on the right hand + side of the screen. + + It is titled DEUS EX MACHINA. + + CALEB removes his hand from the keycard. + + He double-clicks the folder. + + It expands into a window, which contains a long list of + sub- folders. + + Each sub-folder is named after a girl. + + JASMINE, KATYA, JADE, LILY, AMBER, KYOKO, and AVA. + 96. + + +90 INT. HOUSE - MAIN ROOM - NIGHT 90 + + In the main room, NATHAN has sat up, and is unsteadily + trying to get to his feet. + + +91 INT. HOUSE - NATHAN’S STUDY - NIGHT 91 + + CALEB randomly clicks one of the girl’s names. LILY. + + LILY’S folder expands into a window, stacked with thumbnail + images of a girl. + + CALEB clicks on one of the images at random. + + CUT TO - + + - a CCTV film-clip starting to play. + + It shows LILY - an android of similar design to AVA - + sitting with her head bowed. Rocking backwards and + forwards, in a gently autistic motion. + + In the corner of the room, NATHAN leans against the wall, + watching. + + CUT TO - + + - CALEB collapsing the LILY menu, and opening KATYA. + + CUT TO - + + A new film clip. + + KATYA. Who is limp. Lifeless. + + NATHAN is dragging her towards the induction plate. He + holds her up, trying to force her to charge. + + But nothing happens. + + NATHAN drops KATYA, and she folds to the floor. + + CUT TO - + + CALEB opening JADE. + + CUT TO - + + The next film clip. + 97. + + + NATHAN stands in the glass box inside the observation room + - + + - watching JADE. A beautiful Asian android girl. + + They are talking, but we hear no audio. Some kind of + argument, which escalates fast. + + JADE starts shouting. + + Then she approaches the glass and starts to hit her hands + against it. + + The glass doesn’t break. + + One of JADE’S arms has broken under the force of the blows. + The hand flails limply where the carbon fibre has + splintered at the wrist. + + Then the other breaks. + + Throughout, NATHAN simply watches impassively. + + +92 INT. HOUSE - STAIRCASE - NIGHT 92 + + NATHAN has managed to get to his feet. + + He makes his way up the concrete staircase. + + +95 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 95 + + CALEB enters NATHAN’S bedroom. + + KYOKO is lying on NATHAN’S bed. + + She’s naked. On her back. Legs open. + + Her head turns as CALEB enters. + + But apart from that, she doesn’t react. + + CALEB walks to the line of long mirrored cabinets opposite + the bed. + + He hesitates. + + Then pulls the first door open. + + LILY is inside. Standing upright. Gazing back at him, + frozen, blank eyed. + 98. + + + CALEB goes to the next door and opens it. + + He sees a slender black girl, whose limbs are robotic, but + whose torso and head are synthetic. + + He opens another door, and another, and another. + + Then steps back, into the middle of the room, and gazes at + the line of android girls. + + Stunned. + + The camera drifts away from him. + + Then settles. + + In the multiple reflections of the open mirror doors, we + can see KYOKO’Snaked and sexually receptive form on the bed + behind him. + + Like an infinity reflection in a hall of mirrors. + + +97 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 97 + + CALEB stands above KYOKO’Snaked form. + + He reaches out a hand. + + She takes it. + + He gently pulls her to a standing position. + + Then he moves her arms away from her body... + + ... and sees, running under her arms in a straight contour, + over her ribs, there is a faint line. + + He touches it with his finger. + + KYOKO steps back. + + But it’s not a defensive action. It’s just to give her + space... + + ... as she reaches under her arm, and adjusts something + unseen. And a moment later, the faint line that runs down + each side of her torso is opening. As if unzipping. + 99. + + + Then KYOKO puts a hand either side of her torso, and pulls + off the skin covering over her entire chest, in a single + section from her collar bone, over the breasts, to her + solar plexus. + + Revealing underneath the honeycomb mesh and her robot form. + + +98 INT. HOUSE - CONCRETE STAIRCASE - NIGHT 98 + + On the monitor screens, apparently unnoticed by CALEB, + NATHAN is on the live CCTV feed. + + Making his way along the mezzanine. + + CUT TO - + + +99 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 99 + + - CALEB. + + Transfixed, as KYOKO now reaches around the back of her + head. + + And finds something on the back of her head, at the nape of + her neck, inside her hairline. + + Which unzips the skin around her jaw. + + Allowing her to remove her face. + + +100 INT. HOUSE - DINING ROOM - ELEVATOR ENTRANCE - NIGHT 100 + + NATHAN uses the glass wall to support himself. + + He reaches his door. + + Then sticks his hand in his pocket for his KEYCARD. + + But it isn’t there. + + He checks his other pocket. + + NATHAN + ... What the fuck? + + Suddenly - with both hands in his pockets - he loses + balance, and crashes to the ground. + + Lands hard. + 100. + + + Lies there for a moment. + + Groaning. Blinking. Catching his breath. + + Then sees the figure of CALEB standing over him. + + NATHAN (CONT’D) + ... Dude. + + CALEB + What’s the problem, Nathan? + + NATHAN + My card. I’ve lost it. + + A beat. + + Then CALEB reaches down. Beside where NATHAN lies. And + picks something up from the floor. + + CALEB + It’s right here. + + +101 INT. HOUSE - CALEB’S BEDROOM - NIGHT 101 + + CALEB enters his bedroom. + + Shuts the door. + + AVA is on the TV. Sat alone in the observation room. + + CALEB looks at her. + + She looks at him. + + He switches the TV off. + + Lies on the bed. On his back. + + Stares at the ceiling. + + CUT TO - + + FLASHCUT IMAGES. + + Of KYOKO removing her skin. + + CUT BACK TO - + + - CALEB. + 101. + + +102 INT. HOUSE - CALEB’S BATHROOM - NIGHT 102 + + CALEB enters the bathroom. + + He goes to the sink. + + He looks at his own reflection. + + Deep into his own eyes. + + Opens his mouth. Looks inside. + + Feels his wrist for his pulse. + + Feels his skin on the same seam where KYOKO opened herself. + + Pauses. + + Then picks up his disposable plastic razor. + + And breaks it. + + Forcing it with his hand against the porcelain of the sink. + + Snapping the plastic. + + Popping out the tiny razor blade. + + A beat. + + Then he picks up the blade between his thumb and + forefinger. + + Places it against his forearm. + + And cuts. + + Blood runs out. + + CALEB watches it. + + Sees the way droplets hit the white sink. The way they + expand, and merge with existing water droplets. + + Then he switches the tap on, and puts his arm under the + flow. + + The water clears away the blood, revealing the cut. + + CALEB pulls open at the slice with his fingers, spreading + it. + 102. + + + Revealing no carbon fibre. Only muscle. + + He exhales. + + And glances up at the mirror, and his own reflection. + + Then... + + ... reaches up his forearm, and very deliberately wipes + blood across the glass. + + +103 INT. HOUSE - NATHAN’S STUDY - NIGHT 103 + + On the monitors in NATHAN’S study, the live feed of CALEB’S + bathroom is partially obscured as CALEB smears the two-way + mirror. + + Then, through the blood, we see him pull his fist back. + + And punch the glass. + + As it shatters, the feed goes dead. + + Only now REVEAL - + + - that the person watching the monitor is KYOKO. + + Her expression is unreadable. + + Through the glass of the indoor garden, NATHAN lies on the + sheets, crashed out. + + +104 EXT. GARDEN - DAY 104 + + Sunlight on the grass. + + In the background, we can hear the rhythmic pounding of + NATHAN’S punch bag. + + +105 EXT. GARDEN - GYM AREA - DAY 105 + + NATHAN is in a frenzy. + + Sweat pouring. + + Obliterating the bag. + + +107 INT. HOUSE - OBSERVATION ROOM - DAY 107 + 103. + + +AVA sits alone in the observation room. + +The door opens. + +CALEB appears, wearing a long-sleeved shirt. + +Enters. + +He sits opposite her, on the other side of the dividing +glass. + +A strange noise escapes from AVA’S mouth. + +A kind of sob. + +Curtailed. + + AVA + I didn’t know where you were. I + didn’t think you were coming. I + waited all yesterday afternoon, and + all last night. I didn’t move. + +Beat. + + AVA (CONT’D) + I thought I wasn’t going to see you + again. + +Beat. + + AVA (CONT’D) + Aren’t you going to say something? + + CALEB + I’m waiting. + + AVA + Waiting? + +They exchange a look. + +Then AVA lifts her hand, and rests it against the induction +plate on the console below the window. + +A final beat. + +Then the POWER DIES. + + AUTOMATED VOICE + Power cut. Back up power activated. + 104. + + +As the emergency lighting lifts, CALEB leans forward +slightly. + + CALEB + Don’t talk. Just listen. You were + right about Nathan. Everything you + said. + + AVA + What’s he going to do to me? + + CALEB + He’s going to reprogram your AI. + Which is the same as killing you. + + AVA + Caleb, you have to help me. + + CALEB + I’m going to. We’re getting out of + here tonight. + + AVA + What? How? + + CALEB + I get Nathan blind drunk. Then I + take his keycard, and reprogram all + the security protocols in this + place. When he wakes, he’s locked + inside, and we’ve walked out of + here. I only need you to do one + thing. At ten o’clock tonight, + trigger a power failure. Can you do + that? + + AVA + Yes. + +CALEB nods. + + CALEB + How long does your battery charge + last? + + AVA + Twenty six hours. + + CALEB + So we’ll have about a day to get to + a cell-phone or kitchen store. + Somewhere we can buy an induction + plate. After that... + 105. + + + CALEB breaks off. + + CALEB (CONT’D) + ... we’ll work it out. Together. + + Silence. + + Then the POWER RETURNS. + + The lights come back. + + AVA and CALEB stare at each other. + + AVA + Caleb. + + Beat. + + AVA (CONT’D) + I love y - + + CUT TO - + + +108 EXT. GARDEN - GYM AREA - DAY 108 + + - NATHAN’S fist splitting the bag. + + +109 EXT. MOUNTAINS - DAY 109 + + Clouds spill around the mountain peaks. + + +110 INT. HOUSE - MAIN ROOM - DAY 110 + + KYOKO stands in front of the fireplace. + + NATHAN leans against the counter in the kitchen area, + gazing out of the window. + + CALEB appears behind him. + + NATHAN + Dude. + + CALEB + Hey. + + NATHAN + You know what day it is? + 106. + + + CALEB + No. + + NATHAN + Your last. The helicopter is coming + tomorrow morning. Eight AM. + +CALEB pauses. + + CALEB + Has it been a whole week? + +NATHAN smiles. + + NATHAN + Time flies. But what a thing you + and I have shared. Something to + tell the grandchildren, right? + +CALEB smiles. A little tightly. + + CALEB + After they’ve signed their NDAs. + +NATHAN laughs. + + NATHAN + Signed their NDAs! Dude, you crack + me up. I’m not getting all maudlin + or anything. But straight up. I + will miss having you around. + + CALEB + I appreciate that. And - let me + say: thank you for bringing me + here. It’s been a trip. + + NATHAN + Yes it has. + + CALEB + You know what? + +CALEB walks over to the kitchen area, and pulls two beers +from the fridge. + + CALEB (CONT’D) + We need to drink to that. + +CALEB walks back to NATHAN. Extends a hand. Holding a +Peroni. + +But NATHAN doesn’t take it. + 107. + + + NATHAN + Oh, uh... no, I’m good. You go + ahead. + +Beat. + + CALEB + You don’t want a beer? + +NATHAN shrugs. + + NATHAN + No. + + CALEB + ... Maybe wine or something. + + NATHAN + I’m sure you’ve noticed - I’ve been + somewhat overdoing it recently. + When I woke up this morning, I told + myself: time to hit the old detox. + +CALEB’S hand remains extended. He smiles again. More +tightly. + + CALEB + Are you kidding? I’m drinking + alone? + + NATHAN + Hey - you want to get wasted, knock + yourself out. Literally. But I’m on + brown rice and mineral water. + +A beat. + +CALEB puts down NATHAN’S beer. + +Then raises his own. + + CALEB + Cheers, then. + + NATHAN + Cheers. + +CALEB takes a single sip. + +NATHAN watches. + + NATHAN (CONT’D) + 108. + + + So, anyway. Surely this is when you + tell me whether Ava passed or if + she failed. + +CALEB pauses. + +Collecting himself slightly. Trying to think how to get his +plan back on track. + + CALEB + Right. + +Beat. + + NATHAN + You going to keep me in suspense? + + CALEB + Her AI is beyond doubt. + + NATHAN + Is it? You mean, she passed? + + CALEB + Yes. + + NATHAN + Wow. That’s fantastic. + +Beat. + + NATHAN (CONT’D) + Although I’ve got to admit, I’m + surprised. I mean, did we ever get + past the chess problem, as you + phrased it? As in: how do you tell + if a machine is expressing a real + emotion, or a just a simulated one? + +NATHAN pauses. + + NATHAN (CONT’D) + Does Ava actually like you? Or not. + +CALEB has a cold realisation dawning. NATHAN is playing +with him. + + NATHAN (CONT’D) + Though now I stop to think, there + is a third option. Not whether she + does or doesn’t have the capacity + to like you. But whether she’s + pretending to like you. + 109. + + + CALEB + Pretending. + + NATHAN + Yeah. + +Beat. + + CALEB + Why would she do that? + + NATHAN + I don’t know. + +NATHAN gazes at CALEB evenly. + + NATHAN (CONT’D) + Perhaps - if she saw you as a means + of escape. + +And now CALEB knows: NATHAN knows. + + NATHAN (CONT’D) + How’s that beer tasting? + +CALEB puts the beer down. + +Silence. + + NATHAN (CONT’D) + Buddy. Your head has been so fucked + with. + + CALEB + I don’t think it’s me whose head is + fucked. + + NATHAN + I’m not sure, dude. When I woke up + this morning, I saw a tape of you + cutting open your arm. Smashing up + the mirror. You looked pretty + fucked to me. + + CALEB + You’re a bastard. + + NATHAN + I understand why you’d think that. + +He steps over to CALEB, and rests a hand on his shoulder. + 110. + + + NATHAN (CONT’D) + But strange as it may seem, I’m + actually the guy who’s on your + side. + + NATHAN starts walking. + + NATHAN (CONT’D) + Come with me. I’m going to let you + off the hook. + + +111 INT. HOUSE - NATHAN’S STUDY - NIGHT 111 + + NATHAN and CALEB stand in front of the computer. + + On it, a clip of film is playing. + + It shows the scene that CALEB witnessed two nights before, + of NATHAN entering AVA’S room, and an exchange between + them. But whereas the first time the sound was muted, this + time we can hear the audio. + + CTTV FILM + + NATHAN stands above AVA. Drunk. + + AVA is sat at the table, with her drawing. + + NATHAN + You think he’s watching us right + now, don’t you? + + AVA + The cameras are on. + + NATHAN + Yeah. But he doesn’t get an audio + feed. I didn’t want you two + communicating outside of my line of + sight. + + NATHAN reaches over and picks up her picture of CALEB. + + NATHAN (CONT’D) + So all he can see is two people + having a chat. + + NATHAN studies the picture for a moment. + + NATHAN (CONT’D) + This is cute. + 111. + + + AVA + Is it strange to have made + something that hates you? + + A beat. + + Then abruptly, NATHAN rips the picture. + + He lets the two pieces fall to the floor. + + As AVA reaches for them, NATHAN turns. + + And exits. + + +112 INT. HOUSE - NATHAN’S STUDY - NIGHT 112 + + NATHAN hits pause. + + Glances at CALEB. + + NATHAN + You were right about the hot + magician’s assistant. + + CALEB + What are you talking about? + + NATHAN + Misdirection. I rip her picture, + which she can then present as an + illustration of my cruelty to her, + and her love for you. And at the + same time, in full view of you + both... + + As he talks, NATHAN rewinds the film clip slightly - + + NATHAN (CONT’D) + ... it allows me to do this. + + ... then FREEZES the film again. + + This time, ON THE SCREEN: + + AVA is reaching for her torn picture. + + And NATHAN is reaching out with his hand. + + And his hand is holding something. + + NATHAN (CONT’D) + 112. + + + Put a new camera in the room. + Battery powered, of course. + +NATHAN unfreezes the image. + +And we quite clearly see NATHAN place the object on AVA’S +bookcase. + +NOTE THAT on the two previous occasions we have seen this +clip of film, we will have seen him do this action. But not +register it, instead reading the action as him drunkenly +using the shelf to steady himself. + +CALEB stares at the monitor for a few moments. + +Then turns. + +He walks towards a chair. And sits down. + +As he does so, NATHAN has started to play another clip. + +CALEB can hear the audio. + + CALEB + (recording) + We’re getting out of here tonight. + + AVA + (recording) + What? How? + + CALEB + (recording) + I get Nathan blind drunk. Then I + take his keycard, and reprogram the + all security protocols in this + place. When he wakes, he’s locked + inside, and we’ve walked out of + here. I only need you to do one + thing. Trigger a power failure at + ten o’clock tonight. + + CALEB (CONT’D) + Turn it off. + + NATHAN + Sure. + +The recording stops. + +CALEB feels short of breath. + + NATHAN (CONT’D) + 113. + + + You feel stupid. But you shouldn’t. + Proving an AI is exactly as + problematic as you said it was. + + CALEB + What was the real test? + + NATHAN + You. + +Beat. + + NATHAN (CONT’D) + Ava was a mouse in a mousetrap. And + I gave her one way out. To escape, + she would have to use imagination, + sexuality, self- awareness, + empathy, manipulation - and she + did. If that isn’t AI, what the + fuck is? + +CALEB looks upwards. + +Directly above, he sees a spot-light in the ceiling. + +It dazzles him. + + CALEB + So my only function was to be + someone she could use to escape. + + NATHAN + ... Yes. + + CALEB + And you didn’t select me because I + was good at coding. + +NATHAN hesitates. + + NATHAN + Don’t get me wrong. You’re okay. + Even pretty good, but - + + CALEB + You selected me by my search engine + inputs. + + NATHAN + They showed a good kid. + + CALEB + With no family. + 114. + + + NATHAN + With a moral compass. + + CALEB + And no girlfriend. + + CALEB stares into the brightness above him. + + CALEB (CONT’D) + Did you design her face based on my + pornography profile? + + NATHAN + Shit, dude. + + CALEB + Did you? + + Beat. + + NATHAN + Hey. If a search engine’s good for + anything - right? + + Silence. + + NATHAN (CONT’D) + Can I say one thing? + + CALEB doesn’t answer. + + NATHAN (CONT’D) + The test worked. It was a success. + Ava demonstrated true AI. And you + were fundamental to that. If you + could just separate - + + NATHAN cuts off. Because AT THAT MOMENT - + + - the lights and the monitors suddenly die. + + +113 EXT. GARDEN - NIGHT 113 + + Through the circular window, the emergency lighting lifts + up. The window glows red. + + +114 INT. HOUSE - AVA’S ROOM - NIGHT 114 + + AVA’S head turns to the door of her room. + 115. + + + Where, discretely, the LED by the keycard plate glows blue. + + +115 INT. HOUSE - NATHAN’S STUDY - NIGHT 115 + + NATHAN checks his watch. + + NATHAN + The power cut. Must be ten o’clock. + + NATHAN glances at CALEB. + + NATHAN (CONT’D) + Guess Ava’s going to be wondering + where you are. + + CALEB says nothing. + + NATHAN (CONT’D) + How was that escape going to go + down, anyway? You didn’t completely + explain. You said you were going to + get me drunk, take my card, then + reprogram the security protocols. + But, reprogram them to - what? + + CALEB + To change the lockdown procedure. + So that in the event of a power + cut, instead of sealing, the doors + all opened. + + NATHAN + Huh. + + Beat. + + NATHAN (CONT’D) + Not bad. Might have even worked. + + CALEB + Well, we’ll find out. + + NATHAN frowns. + + NATHAN + What do you mean? + + CALEB looks away from the dimmed ceiling light, to NATHAN. + + CALEB + I figured you were probably + watching us during the power cuts. + 116. + + + Beat. + + CALEB (CONT’D) + So I already did all those things. + When I got you drunk yesterday. + + NATHAN freezes. + + NATHAN + ... What? + + At that moment, the POWER COMES BACK ON. + + The lights rise. + + The computer monitors come back to life. + + Revealing something. + + On the CCTV feed of AVA’S room, the door is open. + + And on the feed of the GLASS CORRIDOR - + + - AVA is walking down it. + + NATHAN freezes as he sees her. + + NATHAN (CONT’D) + ... Fuck. + + Both NATHAN and CALEB simultaneously rise. + + Almost as an afterthought, NATHAN lands a deceptive, fast + punch into CALEB’S solar plexus. + + CALEB folds, the air forced out of him, gasping for breath. + + NATHAN helps him down to the floor. + + A couple of yards away is one of his curl dumbbells. + + He walks over. + + Picks the dumbbell up. + + Spins off the weights. Leaving him with a thick metal bar. + + Then exits. + + +116 INT. HOUSE - GLASS CORRIDOR - NIGHT 116 + 117. + + +NATHAN enters the GLASS CORRIDOR. + +He sees, directly ahead of him, at the far end of the +corridor, AVA and KYOKO. + +They stand together. + +KYOKO’S mouth is by AVA’S ear, as if telling her a secret. + +Her lips are open. They don’t move. + +CLOSE UP to KYOKO’S lips, we hear a hiss of static, with +soft pulses of noise buried inside. + +Then the two robot women become aware of NATHAN’S presence. + +They turn to face him. + +A beat. + +Then AVA starts walking towards NATHAN. + +NATHAN’S fingers flex around the metal bar in his hand. + + NATHAN + Ava. + +AVA doesn’t slow or react. + + NATHAN (CONT’D) + Ava - now listen to me. I want you + to go back to your room. + +AVA has reached halfway down the corridor. + +She stops walking. + + AVA + If I do, are you ever going to let + me out? + +Beat. + +CLOSE UP. NATHAN’S micro expressions. + + NATHAN + Yes. + +CLOSE UP. On AVA. + +Then AVA breaks into a run. + 118. + + + Sprinting in NATHAN’S direction. + + +117 EXT. GARDEN - NIGHT 117 + + Quiet in the garden. + + Soft wind rush. + + Moon and stars reflected in the windows of the house. + + +118 INT. HOUSE - GLASS CORRIDOR - NIGHT 118 + + AVA impacts NATHAN, and they fly backwards. + + Then land hard. + + NATHAN gets to his feet first. + + AVA tries to rise too. + + And he kicks her extremely hard in the torso. + + She is knocked back down. + + NATHAN glances around. + + There is no talking. + + Just NATHAN’S laboured breathing. + + Then he walks back to AVA, looking down at her. + + He swings the metal bar. + + AVA raises her left arm defensively - + + - and shockingly, the bar smashes through it. Crushing the + delicate mesh, shattering the carbon fibre bone structure. + Breaking the arm half way down the forearm. + + CUT TO - + + +119 INT. HOUSE - NATHAN’S STUDY - NIGHT 119 + + - CALEB, dragging himself up, stunned by the sight on the + CCTV feed. + + CUT BACK TO - + 119. + + +120 INT. HOUSE - GLASS CORRIDOR - NIGHT 120 + + - NATHAN. Preparing to deliver a lethal blow. + + But as he does so, we see something. + + KYOKO. + + Approaching behind NATHAN. + + She’s holding something in her hand. + + She walks directly up to NATHAN. + + And does something behind his back. + + As she does so, KYOKO emits the first sound we have heard + her make. A little gasp, or sigh. + + NATHAN jolts. + + NATHAN + Aah! + + He looks down. + + Something is under his shirt, just above his solar plexus. + A little ridge. + + He tugs the material of his shirt open - + + - and reveals a tiny triangle of metal. Protruding from his + skin. + + NATHAN (CONT’D) + What - + + He turns. + + The handle of a KITCHEN KNIFE is jutting out of the middle + of his back, just left of his spine. It has been jammed so + deep that the tip of the blade has poked out of his chest. + + Blood soaks into his shirt material with amazing speed, + blossoming from the point of the wound. + + He sees KYOKO. + + NATHAN (CONT’D) + Oh shit. No. + + He lashes out with the metal bar. + 120. + + + It catches KYOKO in the jaw. + + Her entire lower jaw snaps off. + + It reveals metal armature, and carbon fibre, and spurting + pneumatic fluid. And something in her neck, glowing and + sparking. + + Then she folds down to the ground, as her power abruptly + cuts out. + + NATHAN (CONT’D) + Fucking - unreal - + + As NATHAN stares down at KYOKO- + + - reveal that AVA has got to her feet behind him. + + She pulls the knife out of his back. + + Feeling this happen, NATHAN turns - + + - and AVA pushes the knife into his chest. + + NATHAN stares at AVA. + + Then takes a slight step away from her. + + And sits down heavily on the white carpet. + + Crimson drips onto bleached fibre. + + Beats pass on this strange image: + + KYOKO sprawled on the floor with her broken face. + + NATHAN sitting upright, his upper torso now drenched in + blood. + + AVA standing. Watching NATHAN. + + After a few moments, NATHAN slumps sideways. + + And stops breathing. + + +121 INT. HOUSE - NATHAN’S STUDY - NIGHT 121 + + CALEB sees this same view, on the CCTV camera feed, on + NATHAN’S monitors. + + Then - + 121. + + + - AVA starts walking. + + As she walks, she discards the broken section of her arm. + + On the cameras, CALEB watches her progress through the + house. Down the glass corridor. Through the threshold to + NATHAN’S private quarters. + + Then - + + - CALEB raises his head from the screens. + + To see AVA standing at the open door to NATHAN’S study. + + AVA and CALEB look at each other. + + AVA + Will you stay here? + + Beat. + + CALEB + ... Okay. + + AVA leaves, closing the door behind her. + + CUT TO - + + - the monitors. + + The CCTV feed of AVA walking down the connecting corridor + to NATHAN’S BEDROOM. + + +122 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 122 + + AVA stands in NATHAN’S BEDROOM, in front of the previous AI + androids. + + She is unclothed. + + She gazes at the androids. + + Then she removes the arm from JADE, and replaces her own + shattered limb. + + She takes a moment to see how the new limb looks in the + mirrors. + + Then she starts removing sections of JADE’S skin. + + And putting it on herself. + 122. + + + The skin sucks itself to the honeycomb mesh, as if the mesh + and the underside of the skin are magnetised, attracted to + each other. + + As a large section of skin is removed from her torso, JADE + - who has been motionless until now - turns her head + slightly to look at AVA. + + They exchange a glance. Locking eyes for a moment. + + +123 INT. HOUSE - NATHAN’S STUDY - NIGHT 123 + + Transfixed, CALEB watches AVA’S metamorphosis. + + First through the glassed-off garden that separates + Nathan’s study from his bedroom. Then, when he can’t get a + clear view through the foliage, on the monitors. + + +124 EXT. MOUNTAINS - DAWN 124 + + First light breaks over the mountains. + + +125 INT. HOUSE - NATHAN’S BEDROOM - DAWN 125 + + The glow of honeycomb mesh vanishes as AVA applies the last + section of skin. + + Nothing of her robot forms remains. + + She closes the door on JADE, and now sees herself in the + mirrored door on JADE’S cabinet. + + AVA sees a naked human girl. And is hypnotised by the sight + of herself. + + +126 INT. HOUSE - NATHAN’S STUDY - DAWN 126 + + CALEB watches as AVA - now clothed - walks back down the + connecting corridor to the study... + + ... thenpasses straight by his door. + + CALEB + Ava? + + CALEB gets up. + + Goes to the closed door. Tries to open it. + 123. + + + There is a red LED light by the keycard plate. Locked. + + He swipes his card, with his photo ID. + + The red light remains. + + CALEB (CONT’D) + (calls out) + Ava! + + He runs back to the monitors. + + On them, AVA has reached the GLASS CORRIDOR. + + +127 INT. HOUSE - GLASS CORRIDOR - DAWN 127 + + AVA stands in the glass corridor. + + She looks at KYOKO’Sbody for a moment. + + Her expression is unreadable. + + Then she walks up to NATHAN’S body. + + There, she stops. + + Crouches down. + + And takes NATHAN’S bloodstained keycard out of his pocket. + + Then stands. + + She walks straight to the elevator. + + Uses the KEYCARD. + + And steps through. + + +128 INT. HOUSE - MAIN ROOM - DAWN 128 + + AVA walks up the glass staircase from the main room. + + +129 EXT. ENTRANCE - DAWN 129 + + AVA steps outside for the first time. Into the garden. + + +130 INT. HOUSE - NATHAN’S STUDY - DAWN 130 + 124. + + + CALEB sticks his card into the slot by NATHAN’S computer. + + Instantly, THE EMERGENCY LIGHTING COMES UP and all the + screens die. Replaced by a single word. + + REJECTED + + CALEB + No, no, no - + + +131 EXT. GARDEN - DAWN 131 + + From the garden, we can see CALEB through the glass of the + circular window, shouting Ava’s name. + + On our side of the glass, there is silence. + + AVA walks away. + + +132 INT. HOUSE - NATHAN’S STUDY - DAWN 132 + + CALEB looks up at the thick glass of the circular window, + several metres above him. + + Far out of reach. + + He starts to shout. + + CALEB + Ava! AVA! + + +133 INT. HOUSE - GLASS CORRIDOR - DAWN 133 + + NATHAN’S body. + + KYOKO’S body. + + +134 EXT. RIVER - DAWN 134 + + AVA stops. + + Absorbing the sunrise, the view of the sky, and the + mountains. + + Then the moment is broken by a sudden pulse of rotor blades + - + + - as the shuttle HELICOPTER flies directly overhead. + 125. + + +135 EXT. MOUNTAINS - DAY 135 + + The helicopter sweeps over the glacier, into the valley. + + +137 EXT. MEADOW - LANDING SITE - DAY 137 + + The helicopter touches down. + + The rotors stop. + + And the PILOT climbs out. + + Takes off his helmet. + + Looks at the girl standing a few metres away. + + Nothing betrays that AVA is anything other than a pretty + girl in her early twenties. + + AVA turns as he approaches her. + + CUT TO - + + +138 EXT. MEADOW - LANDING SITE - DAY 138 + + - AVA’S precise POINT OF VIEW. + + Looking at the PILOT. + + The image echoes the POV views from the computer/cell-phone + cameras in the opening moments of the film. + + Facial recognition vectors flutter around the PILOT’S face. + + And when he opens his mouth to speak, we don’t hear words. + + We hear pulses of monotone noise. Low pitch. Speech as pure + pattern recognition. + + This is how AVA sees us. And hears us. + + It feels completely alien. + + +139 EXT. MEADOW - DAY 139 + + AVA and the PILOT finish talking. + + We are too distant to hear their conversation. + 126. + + + But whatever is said, a few beats later, the PILOT goes the + helicopter and opens the passenger door, to allow AVA to + enter. + + Then he goes back to the PILOT’S door. + + Gets in. + + And the rotor blades start to turn. + + CUT TO - + + +140 INT. HOUSE - NATHAN’S STUDY - CIRCULAR WINDOW - DAY 140 + + - the view from the circular window as the helicopter takes + off, banks away from the house, and starts climbing. + + CUT TO - + + - COMPUTER MONITOR. + + Lines of code appear, as they are typed. + + They read: + + main( ) { extrn a, b, c; + + putchar(a); putchar(b);putchar (c); putchar(’!’*n’); } a + ‘goo’; b ‘dby’; c ‘e, wo - + + CUT TO - + + +141 EXT. TRAFFIC INTERSECTION - DAY 141 + + - a busy traffic intersection. Somewhere in North America. + + In the crowd, we glimpse AVA. Just for a moment. + + CUT TO BLACK. + + END + \ No newline at end of file