Ex Machina Page #11

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.

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