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ALL SCRIPTS




                          EX MACHINA




                          Written by

                         Alex Garland




    Music starts.

    OPEN ON -

1                                                                 1
    INT. OFFICE - DAY

    - 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 -

- cell phone screen.

CALEB sends the word:
                                                               3.


         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                                                                   2
    EXT. MOUNTAINS - DAY

    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                                                                   3
    INT. HELICOPTER - DAY

    CALEB wakes abruptly -

    - 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?
                                                           4.


                    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
          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.
                    (MORE)
                                                5.
                    JAY (CONT'D)
          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.

                    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.
                                                                6.

4                                                                    4
    EXT. MOUNTAINS - DAY

    The helicopter flies over a vast white glacier.

5                                                                    5
    EXT. MOUNTAINS - DAY

    CUT

6                                                                    6
    EXT. MOUNTAINS - DAY

    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                                                                    7
    INT. HELICOPTER - DAY
    CALEB looks down at the breathtaking view as the helicopter
    banks, turns, and descends.

8                                                                    8
    EXT. MEADOW/LANDING SITE - DAY

    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.

    JAY exits.

9                                                                    9
    EXT. MEADOW/LANDING SITE - DAY

    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?
                                                                  7.


                         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.

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

     CALEB suddenly looks very isolated.

10                                                                 10
     EXT. RIVER - DAY

     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                                                                 11
     EXT. RIVER/HOUSE VIEW - DAY

     CALEB rounds a bend in the river.

     Ahead, almost hidden in trees, there is a steel and glass
     structure.
                                                                 8.

12                                                                12
      EXT. CLEARING - DAY

      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.

      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.

12A                                                              12A
      EXT. HOUSE - DAY

      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.
                                                                     9.


      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
                  Your keycard now may be used to
                  enter the residence.

      CALEB walks up to the front door.

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

      He holds his keycard ID.

      The RED LED light changes to BLUE.

      CALEB pushes the front door, and it swings open.

13                                                                    13
      INT. HOUSE/MAIN ROOM - DAY

      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.

13A                                                                  13A
      INT. HOUSE/DINING AREA - DAY

      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.
                                                                  10.


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

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

14                                                                  14
     EXT. GARDEN - DAY

     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.

15                                                                  15
     INT. HOUSE/DINING AREA - DAY

     NATHAN walks past CALEB, and goes to a bar area, where there
     is a jug of non-specific vegetable juice waiting, and a
     glass.
                                                        11.


                    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?

NATHAN doesn't answer.

He's still drinking.

The silence extends a little.   Verges on odd.

NATHAN puts his empty glass down.
                                                         12.


                      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.

                    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.
                                                              13.


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

      He discretely wipes it on his trousers.

16                                                                 16
      EXT. HOUSE/ELEVATOR - DAY

      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.

16A                                                            16A
      EXT. RIVER - DAY
      Water flows over rocks.

17                                                                 17
      INT. HOUSE/GLASS CORRIDOR - CONTINUOUS

      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 keycard plates and soft red LEDs.

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

                          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.
                          (MORE)
                                                                  14.
                         NATHAN (CONT'D)
               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.

18                                                                  18
     INT. HOUSE/CALEB'S BEDROOM - DAY

     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.

     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.
                                                              15.


                         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)
               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.

19                                                               19
     INT. HOUSE/CALEB'S BEDROOM - DAY

     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
                                                        16.


                      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.

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.
                                                          17.


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.

                    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.
                                                              18.


                          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 -

20                                                                20
     INT. HOUSE/OBSERVATION ROOM - DAY

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

     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.
                                                         19.


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.

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.
                                                          20.


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

CALEB gathers himself.

                          CALEB
          ... Hi.

                    AVA
          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?
                                               21.


                     CALEB
          ... Yes.   A little.

                      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?

                    AVA
          Overcome initial social
          awkwardness.
                                                        22.


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?

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

AVA pauses, as if considering this question for the first
time.
                                                         23.


                    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.

                       AVA
          Yes.

Beat.

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

CALEB smiles slightly.

                       CALEB
          Yeah.     Definitely.
                                                                24.


     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.

21                                                                21
     EXT. HOUSE/GARDEN - DUSK

     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.

22                                                                22
     INT. HOUSE/DINING AREA - DUSK

     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 Peroni beer.

     CALEB stands by panoramic window, looking at the view.

                           NATHAN
               So?

     CALEB turns.

                         CALEB
               Sorry. I was just ordering my
               thoughts.

                         NATHAN
               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.
                                                        25.


                    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
          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.
                    (MORE)
                                                 26.
                     NATHAN (CONT'D)
           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 realise the model was
           probabalistic, with statistical
           training - or at least some kind of
           hybrid.

Silence.

                        CALEB (CONT'D)
           ... No?

                     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.
                                                                 27.


                           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)
                 ... that she'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.

23                                                                    23
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     CUT

24                                                                    24
     INT. HOUSE/CALEB'S BATHROOM - NIGHT

     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.

25                                                                    25
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     CUT

26                                                                    26
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     Darkness.

     The clock reads 01:32 am.

     The soft glow from the digital readout throws a light on the
     remote control.
                                                           28.


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.

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.
                                                             29.


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.

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.
                                                               30.


                            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.

     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.

27                                                               27
     INT. HOUSE/GLASS CORRIDOR - NIGHT

     CALEB walks out of his room.

     The glass corridor illuminates as CALEB enters.

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

28                                                               28
     INT. HOUSE/POLLOCK ROOM - NIGHT

     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 colour for 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.
                                                       31.


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...

... and a light on the handset glows red.

                    NATHAN
          Sorry, dude.

CALEB startles.   Turns.

NATHAN is lying on a sofa. A bottle of Peroni rests 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 Ackroyd oral sex.

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

                     NATHAN
          Uh huh.
                                                             32.


     Beat.

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

                         CALEB
               ... 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.

29                                                             29
     EXT. MOUNTAINS - NIGHT

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

30                                                             30
     INT. HOUSE/CALEB'S BEDROOM - MORNING

     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.
                                                                33.


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

     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.

31                                                                31
     EXT. GARDEN/GYM AREA - DAY

     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
               I'm not sure. I'm still trying to
               figure the examination format.
               Testing Ava by conversation is kind
               of a closed loop.
                         (MORE)
                                                  34.
                      CALEB (CONT'D)
            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 fucking dictaphone.

NATHAN glances over at CALEB.

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

NATHAN starts doing curls.

                      NATHAN (CONT'D)
            Now the question is: how does she
            feel about you?

A beat.    On CALEB.

CUT TO -
                                                             35.

32                                                                32
     INT. HOUSE/OBSERVATION ROOM - DAY

     - 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.

                          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.
                                                           36.


                    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.

                     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.
                                                        37.


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

CALEB laughs.

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

                    AVA
          Blue Book, named after
          Wittgenstein's notes, 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?

                    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.
                    (MORE)
                                                38.
                       CALEB (CONT'D)
              (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.

                       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 Depeche Mode.

                    AVA
          Do you like Nathan?

CALEB misses a beat.    Thrown momentarily.
                                                             39.


                       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
           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 -
                                                           40.


- 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.

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...

... and the normal lighting starts fading up.

CALEB turns -
                                                             41.


     - 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.

     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.

33                                                                33
     INT. HOUSE/CABIN - LATE AFTERNOON

     Trees and shrubs cast long shadows across the manicured lawn.

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

34                                                                34
     INT. HOUSE/DINING AREA - NIGHT

     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.
                                                          42.


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

                    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 firewall against 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
          I think she gets that you're
          pissed.
                                                             43.


                   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.

NATHAN drains his glass.

Then refills.

CALEB'S glass is still untouched.
                                                 44.


                     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
          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.
                                                               45.


     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.

                           CALEB
               No.    Not really.

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

35                                                               35
     INT. HOUSE/CALEB'S BATHROOM - NIGHT

     CUT

36                                                               36
     INT. HOUSE/CALEB'S BATHROOM - NIGHT

     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.
                                                                46.


     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.

37                                                                37
     INT. HOUSE/CALEB'S BEDROOM - NIGHT
     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.

     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.

38                                                                38
     INT. HOUSE/GLASS CORRIDOR - NIGHT

     CALEB walks along the glass corridor.
                                                                47.


     Systematically trying his ID CARD on the doors he passes.

     He tries one.

     Then another.    Then another.   Then another.

     Every single door remains locked.

39                                                                39
     INT. HOUSE/CABIN - NIGHT

     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.

     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 -

40                                                                40
     EXT. GARDEN/GYM AREA - NIGHT

     - 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.
                                                               48.


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

     CUT TO -

41                                                                41
     INT. HOUSE/DINING AREA - NIGHT

     - 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.

     Then reaches out again, this time catching KYOKO'S arm.
     He pulls her towards him, and starts to kiss her.

     Reaching under her shirt.

     Pulling her skirt up over her thighs.

42                                                                42
     INT. HOUSE/CALEB'S ROOM - NIGHT

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

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

43                                                                43
     EXT. MOUNTAINS - NIGHT

     The moon hangs in the sky.

44                                                                44
     INT. HOUSE/OBSERVATION ROOM - BLACK AND WHITE

     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.
                                                                49.


                         CALEB
                Ava?

     CALEB walks to the connecting corridor, and enters it.

45                                                                45
     EXT. GARDEN - BLACK AND WHITE

     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.

     She locks eyes with him.

     Smiles.

     He starts to walk towards her.
     CUT TO -

46                                                                46
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     - 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 -

47                                                                47
     EXT. GARDEN - MORNING

     CUT

48                                                                48
     EXT. GARDEN/GYM AREA - MORNING

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

49                                                                49
     INT. HOUSE/OBSERVATION ROOM - DAY

     CALEB and AVA face each other.
                                                        50.


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.

                    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.
                                                51.


But their gaze locks for a beat.

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

Beat.

                    AVA (CONT'D)
          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?
                                                          52.


                     AVA
           You might think it's stupid.

                     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.

Watching the ghost shape through the opaque glass.
                                                        53.


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)
          This is what I'd wear on our date.

CALEB reacts slightly.

But smiles.
                                                       54.


                     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.

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.
                                                              55.


                          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.

50                                                              50
     INT. HOUSE/MAIN ROOM - DAY

     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
                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.
                                                       56.


                    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
          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 was CALEB'S real
question.
                                                           57.


                    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.

                    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.
                    (MORE)
                                                              58.
                          NATHAN (CONT'D)
                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 decided to be straight?
                Please. Of course you were
                programmed. By nature or nurture,
                or both.

      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.

50A                                                            50A
      INT. HOUSE/POLLOCK ROOM - DAY

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

                          NATHAN
                You know this guy, right?

                          CALEB
                Jackson Pollock.
                                                59.


                    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?

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.
                    (MORE)
                                                             60.
                          NATHAN (CONT'D)
                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.

51                                                             51
     INT. HOUSE/OBSERVATION ROOM - NIGHT

     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.
     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 -

52                                                             52
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     - CALEB.

     In his bedroom.

     Watching AVA, at this exact angle.

     CUT TO -

53                                                             53
     EXT. RIVER - DAY

     - the river.
                                                               61.


     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.

54                                                               54
     INT. HOUSE/GLASS CORRIDOR - DAY

     CALEB exits his room -

     - to find NATHAN in the glass corridor.

     Waiting for him.

                           NATHAN
               Hey.
                           CALEB
               ... Hey.

     Beat.

                         NATHAN
               I want to show you something cool.

55                                                               55
     INT. HOUSE/GLASS CORRIDOR - DAY

     NATHAN swipes his card against a plate.

     The LED turns blue.

56                                                               56
     INT. HOUSE/CONSTRUCTION LAB - DAY

     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.
                                                        62.


                    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.

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.
                                                            63.


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

                    NATHAN (CONT'D)
          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.
                                                           64.


                         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.

57                                                           57
     INT. HOUSE/OBSERVATION ROOM - DAY

     CALEB looks at AVA through the glass.

     We watch him.   And stay on him.

                         CALEB
               In college, I did a semester on AI
               theory.
                         (MORE)
                                                                 65.
                         CALEB (CONT'D)
               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 colour is 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.

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

58                                                                 58
     INT. HOUSE/NATHAN'S STUDY - DAY

     An interior wall, covered in coloured post-it notes.   At
     least hundreds, probably thousands.
                                                         66.


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.

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.
                                                                67.


     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.

     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 -

59                                                                59
     INT. HOUSE/OBSERVATION ROOM - DAY

     - the observation room.

     In the emergency lighting, CALEB and AVA face each other in
     silence.
                                                        68.


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?

                    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.
                                                                69.


                           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 -

60                                                                60
     INT. HOUSE/NATHAN'S STUDY - DAY

     - KYOKO'S naked form.

     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 -

61                                                                61
     EXT. RIVER - DAY

     - the river that runs along the valley.
                                                             70.

62                                                                62
     EXT. WATERFALL - DAY

     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.

63                                                                63
     EXT. GLACIER - DAY

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

     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.
                                                                 71.


                            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
                  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.

64                                                                 64
     EXT. CLEARING - NIGHT

     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.
                                                                72.


     CALEB stands.

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

     Where he sees NATHAN and KYOKO.

     They are having sex.

     CALEB watches.    Just for a beat.

     CUT TO -

65                                                                65
     INT. HOUSE/CALEB'S BATHROOM - NIGHT

     - 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.

66                                                                66
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     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.
                                                                 73.


     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.

67                                                                 67
     INT. HOUSE/GLASS CORRIDOR - NIGHT

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

68                                                                 68
     INT. HOUSE/POLLOCK ROOM - NIGHT

     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.

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

     CALEB walks over to her, and takes hold of her wrist.
                                                           74.


                    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 Lutron control 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 dancing with her.

His finger lands.

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.
                                                           75.


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?

                    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 -
                                                                76.


     - 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.

69                                                                69
     EXT. HOUSE/GLASS CORRIDOR - NIGHT

     CALEB half-carries the semi-conscious NATHAN.

70                                                                70
     INT. HOUSE/GLASS CORRIDOR - NIGHT

     NATHAN fumbles in his pocket for his KEYCARD.

     Drops it.

                           NATHAN
                 Everything's spinning.

     CALEB picks the keycard up -
     - 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.

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

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

71                                                                71
     INT. HOUSE/CONNECTING CORRIDOR - NIGHT

     CUT

72                                                                72
     INT. HOUSE/NATHAN'S BEDROOM - NIGHT

     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.
                                                                77.


     As he leaves, CALEB glimpses Nathan's study.

73                                                                73
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     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.

74                                                                74
     INT. HOUSE/CALEB'S BEDROOM - DAY

     CUT

75                                                                75
     INT. HOUSE/OBSERVATION ROOM - DAY

     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.

                         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.
                                                 78.


                         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 -

                         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.
                                                   79.


                    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
          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.
                                                80.


                      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.
                     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.
                                                          81.


                    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.

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.
                                                              82.


                            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?

     CALEB looks directly at her.   Meeting her gaze.

     Level.   Firm.

                            CALEB
                 Yeah.   I can.

76                                                              76
     INT. HOUSE/CONCRETE STAIRS - DAY
     CUT

77                                                              77
     INT. HOUSE/DINING AREA - DAY

     CUT

78                                                              78
     EXT. HOUSE/CABIN - DAY

     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.
                                                        83.


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.

                    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?
                                                84.


                    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.

                      CALEB
          Sure.

Beat.

                    NATHAN
          You feel bad for Ava?

CALEB says nothing.

                    NATHAN (CONT'D)
          Feel bad for yourself. One day,
          the AIs will 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.
                                                                 85.


                          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
                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.

79                                                                   79
     INT. HOUSE/OBSERVATION ROOM - NIGHT

     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.

80                                                                   80
     EXT. MEADOW - NIGHT

     In the distance, the light glows in windows of the house.
                                                               86.

81                                                                 81
     INT. HOUSE/MAIN ROOM - NIGHT

     CLOSE UP on CALEB'S face.

     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.

82                                                                 82
     INT. HOUSE/NATHAN'S STUDY - NIGHT

     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.

83                                                                 83
     INT. HOUSE/NATHAN'S STUDY - NIGHT

     CALEB inputs commands into NATHAN'S computer.
                                                               87.


     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.

84                                                                84
     INT. HOUSE/MAIN ROOM - NIGHT

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

85                                                                85
     INT. HOUSE/NATHAN'S STUDY - NIGHT
     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.

86                                                                86
     INT. HOUSE/MAIN ROOM - NIGHT

     In the main room, NATHAN has sat up, and is unsteadily trying
     to get to his feet.
                                                               88.

87                                                               87
     INT. HOUSE/NATHAN'S STUDY - NIGHT

     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.

     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.
                                                                  89.


      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.

88                                                                  88
      INT. HOUSE/STAIRCASE - NIGHT

      NATHAN has managed to get to his feet.

      He makes his way up the concrete staircase.

88A                                                                88A
      INT. HOUSE/ELEVATOR - NIGHT

      CUT

89                                                                  89
      INT. CLEARING - NIGHT
      CUT

90                                                                  90
      INT. HOUSE/NATHAN'S BEDROOM - NIGHT

      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.

      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.
                                                                 90.


     Stunned.

     The camera drifts away from him.

     Then settles.

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

     Like an infinity reflection in a hall of mirrors.

91                                                                 91
     INT. HOUSE/GLASS CORRIDOR - NIGHT

     CUT

92                                                                 92
     INT. HOUSE/NATHAN'S BEDROOM - NIGHT

     CALEB stands above KYOKO'S naked 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.

     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.

93                                                                 93
     INT. HOUSE/CONCRETE STAIRCASE - NIGHT

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

     Making his way along the mezzanine.
                                                                 91.


     CUT TO -

94                                                                 94
     INT. HOUSE/NATHAN'S BEDROOM - NIGHT

     - 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.

95                                                                 95
     INT. HOUSE/DINING ROOM/ELEVATOR ENTRANCE - NIGHT

     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.

     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.
                                                               92.


                          CALEB
                It's right here.

96                                                               96
     INT. HOUSE/CALEB'S BEDROOM - NIGHT

     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.

97                                                               97
     INT. HOUSE/CALEB'S BATHROOM - NIGHT

     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.
                                                               93.


     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.
     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.

98                                                                98
     INT. HOUSE/NATHAN'S STUDY - NIGHT

     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.
                                                                94.

99                                                                99
      EXT. GARDEN - DAY

      Sunlight on the grass.

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

100                                                              100
      EXT. GARDEN/GYM AREA - DAY

      NATHAN is in a frenzy.

      Sweat pouring.

      Obliterating the bag.

101                                                              101
      INT. HOUSE/CALEB'S BEDROOM - DAY

      CUT

102                                                              102
      INT. HOUSE/OBSERVATION ROOM - DAY

      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?
                                                        95.


                    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.

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.
                                                              96.


      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...

      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 -

103                                                            103
      EXT. GARDEN/GYM AREA - DAY

      - NATHAN'S fist splitting the bag.

104                                                            104
      EXT. MOUNTAINS - DAY

      Clouds spill around the mountain peaks.

105                                                            105
      INT. HOUSE/MAIN ROOM - DAY

      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.
                                                        97.


                      NATHAN
          Dude.

                      CALEB
          Hey.

                    NATHAN
          You know what day it is?

                      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.
                                                              98.


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

But NATHAN doesn't take it.

                    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.
                                                         99.


                    NATHAN (CONT'D)
          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.

                    CALEB
          Pretending.
                                                       100.


                     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.

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

NATHAN starts walking.
                                                               101.


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

106                                                              106
      INT. HOUSE/NATHAN'S STUDY - NIGHT

      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.

                            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.
                                                             102.


      And exits.

107                                                               107
      INT. HOUSE/NATHAN'S STUDY - NIGHT

      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)
                   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.
                                                          103.


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)
          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.
                                                       104.


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.

                     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.
                                                             105.


                          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.

108                                                            108
      EXT. GARDEN - NIGHT

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

109                                                            109
      INT. HOUSE/AVA'S ROOM - NIGHT

      AVA'S head turns to the door of her room.

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

110                                                            110
      INT. HOUSE/NATHAN'S STUDY - NIGHT

      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?
                                                       106.


                    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.

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.
                                                                107.


      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.

111                                                               111
      INT. HOUSE/GLASS CORRIDOR - NIGHT
      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.
                                                               108.


                             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.

       Sprinting in NATHAN'S direction.

112                                                              112
       EXT. GARDEN - NIGHT

       Quiet in the garden.
       Soft wind rush.

       Moon and stars reflected in the windows of the house.

112A                                                            112A
       INT. HOUSE/GLASS CORRIDOR - NIGHT

       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 -
                                                                 109.

112B                                                              112B
       INT. HOUSE/NATHAN'S STUDY - NIGHT

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

       CUT BACK TO -

112C                                                              112C
       INT. HOUSE/GLASS CORRIDOR - NIGHT

       - 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.
                                                                110.


      He lashes out with the metal bar.

      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.

113                                                               113
      INT. HOUSE/NATHAN'S STUDY - NIGHT

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

      Then -

      - AVA starts walking.

      As she walks, she discards the broken section of her arm.
                                                                111.


      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.

114                                                               114
      INT. HOUSE/NATHAN'S BEDROOM - NIGHT

      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.

      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.
                                                                   112.

115                                                                  115
      INT. HOUSE/NATHAN'S STUDY - NIGHT

      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.

116                                                                  116
      EXT. MOUNTAINS - DAWN

      First light breaks over the mountains.

117                                                                  117
      INT. HOUSE/NATHAN'S BEDROOM - DAWN

      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.

118                                                                  118
      INT. HOUSE/NATHAN'S STUDY - DAWN

      CALEB watches as AVA - now clothed - walks back down the
      connecting corridor to the study...

      ... then passes straight by his door.

                             CALEB
                Ava?

      CALEB gets up.

      Goes to the closed door.       Tries to open it.

      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.
                                                                   113.

118A                                                                118A
        INT. HOUSE/GLASS CORRIDOR - DAWN

        AVA stands in the glass corridor.

        She looks at KYOKO'S body 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.

118AA                                                              118AA
        INT. HOUSE/MAIN ROOM - DAWN

        AVA walks up the glass staircase from the main room.

118B                                                                118B
        EXT. ENTRANCE - DAWN

        AVA steps outside for the first time.   Into the garden.

118C                                                                118C
        INT. HOUSE/NATHAN'S STUDY - DAWN

        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 -

119                                                                  119
        EXT. GARDEN - DAWN

        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.
                                                              114.

120                                                                120
       INT. HOUSE/NATHAN'S STUDY - DAWN

       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!

120A                                                              120A
       INT. HOUSE/GLASS CORRIDOR - DAWN

       NATHAN'S body.

       KYOKO'S body.

121                                                                121
       EXT. RIVER - DAWN
       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.

122                                                                122
       EXT. MOUNTAINS - DAY

       The helicopter sweeps over the glacier, into the valley.

123                                                                123
       INT. HELICOPTER - DAY

       CUT

124                                                                124
       EXT. MEADOW/LANDING SITE - DAY

       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.
                                                               115.


      CUT TO -

125                                                              125
      EXT. MEADOW/LANDING SITE - DAY

      - 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.

126                                                              126
      EXT. MEADOW - DAY

      AVA and the PILOT finish talking.

      We are too distant to hear their conversation.

      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 -

127                                                              127
      INT. HOUSE/NATHAN'S STUDY/CIRCULAR WINDOW - DAY

      - 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;
                                                            116-117.


            putchar(a); putchar (b);putchar (c); putchar('!'*n');
          }
          a `goo';
          b `dby';
          c `e, wo -

      CUT TO -

128                                                               128
      EXT. TRAFFIC INTERSECTION - DAY

      - a busy traffic intersection.    Somewhere in North America.

      In the crowd, we glimpse AVA.    Just for a moment.

      CUT TO BLACK.

                            END

Ex Machina



Writers :   Alex Garland
Genres :   Drama  Mystery  Sci-Fi


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