Ex Machina Page #5
- Year:
- 2014
- 3,337 Views
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 hersteps. 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 c*cks 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
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
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"Ex Machina" Scripts.com. STANDS4 LLC, 2025. Web. 30 Jan. 2025. <https://www.scripts.com/script/ex_machina_24211>.
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