"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"SOLARIS"

by

Steven Soderbergh

October 4, 2001



First, over BLACK, we hear the sound of a light rain.

Then:

MAN'S VOICE
I'm not a poet. I've never moved
anyone with my words.
(beat)
Maybe that's why they chose me.

EXT. WOODS - DAY

A mural of leafless trees beneath an overcast sky. Rain
continues to fall.

Maybe now we begin to notice a strange quality to the light
(or is it the sky?). Something vaguely unsettling.

CUT TO:

INT. BEDROOM - MORNING

Still, the sound of rain is heard.

A MAN

40s, lies on his side in bed, staring at us.

He has not been sleeping. In fact, judging from his distant
expression, he has not slept in ages.

CUT TO:

EXT. ROAD - DAY

Less like a road and more like a path that you maneuver a
vehicle through.

The Man, dressed in rain gear, walks down the middle. He is
accompanied by a medium-sized LABRADOR, and seems in no
particular hurry.

The sound of tires appear and grow in intensity. The Man,
without saying an actual word, instructs the dog to heal.
The dog obeys as the Man moves off the road. The vehicle
hurtles past him -- its engine quiet, its windows darkened --
spraying muddy debris in its wake.

Seconds later, the car brakes abruptly and skids to a stop.

THE MAN

Stops walking and stares at the car, which seems ominously
still.

The car then reverses direction and begins to move toward
the Man, who remains motionless.

When the car is alongside him, a darkened window turns
transparent and we see a WELL-DRESSED BUREAUCRAT in the rear
seat. His demeanor is pleasant and professional.

WELL-DRESSED BUREAUCRAT
Dr. Kelvin?

The Man he is addressing, who we now understand is CHRIS
KELVIN, stares back at him.

CUT TO:

INT. CABIN - DAY

The contrast between the cabin's rustic aesthetic and the
aggressively high-tech equipment contained therein isn't as
jarring as you might imagine.

Kelvin is seated in front of a desk, scrolling through a
text readout on a flat, transparent holographic screen.
Behind him is the Well-Dressed Bureaucrat from the car, and
two others: A WOMAN in her 50s and a MAN in his 30s. They
are also well-groomed. Each of their suits are embroidered
with a small but distinctive LOGO of some sort that composes
the acronym DBA.

Kelvin scrolls through several menus, hits a few keys, and a
digitized VIDEO IMAGE appears on his screen: A MAN, unshaven,
looking into the camera.

The man, GIBARIAN, looks very tired and somewhat apologetic.
The lower part of the screen has a time of day and date
display that reads: 0221 HRS 11/14/31.

GIBARIAN
We take off into the cosmos, ready
for anything: solitude, hardship,
exhaustion, death. We're proud of
ourselves, in a way. But our
enthusiasm is a sham. We don't want
to conquer the cosmos -- we want to
extend the boundaries of Earth to
the cosmos. We are only seeking
Man. We don't want Other Worlds.
We want mirrors.
(beat)
Maybe we don't need to know what it
is, or why. Maybe just knowing that
it is should be enough.

Gibarian stares at the camera for a long moment before
switching it off and ending the transmission.

Kelvin sits back.

The visitors exchange glances.

CUT TO:

INT. SPACE CAPSULE

Close on Kelvin. We hold on him a long time, as a myriad of
readouts scroll and flash across his face. A slit of sunlight
glides slowly through frame.

DISSOLVE TO:

KELVIN

in the same capsule, a month later. He is asleep.

DISSOLVE TO:

KELVIN

in the same capsule, two months later. He is dictating some
coordinates to Earth. He absently scratches his heavy growth
of beard.

DISSOLVE TO:

KELVIN

two months later still. He is looking out his small,
rectangular window, and for the fist time we cut around to
see the approaching planet: SOLARIS.

Kelvin stares at it, hypnotized. It has a translucent
quality, as though it is lit from within, and its undulating,
ocean-like surface slowly changes colors.

Kelvin's attention is diverted as an orbiting ship, the
PROMETHEUS, edges into frame.

KELVIN
Prometheus, this is Athena 7, on
approach, do you read me?
(beat)
Prometheus, this is Athena 7, on
approach, do you read me?

No response. He exhales and types on a keyboard.

EXT. SPACE

The Athena 7, sporting a DBA logo, advances toward the
Prometheus.

CUT TO:

INT. PROMETHEUS

Kelvin, in a space suit, climbs with some difficulty out of
the Athena 7, which has come to rest in the DOCKING BAY of
the Prometheus. Several exploratory PODS fill the remainder
of the area.

Kelvin gets his bearings and looks around, but sees no sign
of life.

CUT TO:

INT. CORRIDOR

Empty.

(NOTE: Except for some ROBOTIC, NON-SPEAKING CHARACTERS: the
AUTOMATED TASKMASTERS. These are small, bug-like repair
units that constantly roam the ship, fixing things. Their
tiny hum is virtually silent, and we see them all the time
on the Prometheus. They can adhere to any surface at any
angle.)

Kelvin, now out of his space suit and holding a small carrying
case and a duffle bag, moves on.

CUT TO:

INT. GIBARIAN'S ROOM

Ransacked.

Kelvin registers it, then moves to the corner of the room
where the computer terminal rests. Within moments he has
discovered Gibarian has recorded a video message for him to
replay.

VIDEO

Gibarian addressing the camera. He appears to be lucid, but
extremely fatigued.

GIBARIAN
Hi, Chris.
(a light smile)
I'm so glad you came.
(beat, the smile fades)
I still have a little time, and I
want to tell you something. To warn
you. By now you know about me, or
if you don't, get Snow or Sartorius
to tell you; it doesn't matter.
(beat)
I didn't lose my mind. You should
be able to tell from this video.
I'm not mad.
(beat)
If it happens to you, remember that
it isn't madness.
(beat)
You should know, I'm in favor of
destroying Solaris. I know that's...
illegal. And unethical. And
irresponsible. But it's the only
way to make it stop.

A long moment of silence is broken by a noise on the video,
which draws Gibarian's attention offscreen.

GIBARIAN
(addressing whoever
made the noise)
Cut that out. Do you hear me?

Gibarian switches off the video.

The computer screen freezes the last recorded frame and
overlays a readout indicating the file has ended.

CUT TO:

INT. CORRIDOR

Empty. But there is a door at the end of it, slightly open.
Kelvin moves toward it.

INT. ROOM

A FIGURE, seated with its back to the door, turns to see
Kelvin enter. This is SNOW. He looks Kelvin up and down,
his expression wary and alert.

KELVIN
Snow. Didn't you hear me radio?
I'm Kelvin.

A long beat. Snow just watches him.

SNOW
Yes. We heard.

Kelvin takes a step forward, and Snow recoils.

KELVIN
What's wrong? What happened to
Gibarian?

SNOW
He's dead.

KELVIN
How?

A beat.

SNOW
Suicide.

Snow exhales, then looks up as though he's remembered
something.

SNOW
You didn't bring any chocolate, did
you?

KELVIN
What?

SNOW
(musing)
I love chocolate. I realized just
yesterday how much I love it.
(beat, then he recovers)
I thought maybe, if they let you
bring personal effects, you might
have snuck some through, because...
well, I've been thinking about it.

A long beat as Kelvin stares at Snow.

KELVIN
What happened here?

Snow lies back in his bunk.

SNOW
I can't talk just now. I'm too tired.

KELVIN
Where's Sartorius?

SNOW
In his lab. He won't let you in.

KELVIN
(leaving)
He'll let me in.

SNOW
Kelvin, if you see anything unusual...

Kelvin stops, but doesn't turn around.

SNOW
...try to stay calm.

CUT TO:

INT. CORRIDOR

Kelvin stands outside a door.

KELVIN
Let me in.

A beat.

SARTORIUS
(inside, muffled)
You have to give me your word you
won't come in. Then I'll come out.

KELVIN
All right.

Sartorius cracks the door open and slithers through the slit
and into the hallway. He is of obvious intelligence and not
to be messed with; contentious, intimidating when he wants
to be, and probably brilliant. Kelvin eyes him suspiciously.

KELVIN
What happened to Gibarian?

SARTORIUS
Didn't you talk to Snow?

KELVIN
I want to hear your version.

SARTORIUS
(incredulous)
Who, here, could possibly care what
you want? At best, you're Employee
of the Month for the highest bidder
in the Solaris auction. They have
no idea what's going on up here.
They've never even been in space.
And I'm supposed to listen to you?

KELVIN
I am here to recover this mission,
report my findings, and make a
recommendation. Now: What happened
to him?

SARTORIUS
The same thing that could happen to
any of us.

KELVIN
Where's his body?

SARTORIUS
In the lab. With her, probably.

KELVIN
Her? Who are you talking about?

Sartorius is grabbed by something on the other side of his
door. He struggles to keep his composure.

SARTORIUS
His last wish was to be buried on
Earth. In dirt, he said. "I want
to buried in dirt." What a clown.

Sartorius is losing the battle with whomever or whatever is
on the other side of his door.

KELVIN
They shouldn't let people like you
into space.

SARTORIUS
Just so you know: I'm not going back
until I understand what it is. I am
going to figure out what it is, make
it stop, and then I will go home.

KELVIN
Listen --

SARTORIUS
We're done. Oh, I should tell you,
I don't trust Snow. There's something
wrong with him.

Sartorius rotates and zips back into his room. As the door
closes Kelvin sees a flash of ANOTHER FIGURE in Sartorius'
room. The glimpse was too quick to judge who or what the
other figure could have been.

CUT TO:

INT. CORRIDOR - DAY

Kelvin walks, exploring the ship. He sees something that
stops him:

A NUDE WOMAN

Black, early 20s, slipping across a corridor up ahead.

Kelvin gives chase. He sees her turn a corner, but by the
time he gets there, she is gone.

CUT TO:

INT. SNOW'S ROOM

Snow is lying on his bunk.

KELVIN
Is there anybody else here?

SNOW
(sits up a little)
Why, who did you see?

KELVIN
Gibarian warned me. He left me a
message.

SNOW
Who was it?

KELVIN
She was real. Where did she come
from?

Snow looks at him but doesn't respond.

KELVIN
Tell me. I won't think you're insane.

SNOW
Oh, that's a relief.

Snow lies back down.

KELVIN
Where did she come from?

A beat.

SNOW
How much sleep do you need?

KELVIN
How much sleep?

SNOW
How long can you go without sleep?

KELVIN
That depends.

SNOW
Well, when you do go to sleep:
barricade your door.

Snow rolls over, away from Kelvin.

CUT TO:

EXT. SPACE

Solaris. Quiet, but still active somehow.

KELVIN (V.O.)
The Prometheus, as far as I can tell,
is functionally intact. Crew status:
One dead, Gibarian. Cause of death
appears to be suicide.

CUT TO:

INT. KELVIN'S ROOM

Kelvin speaks into a video communication device. As he does,
we see images of the things and people he describes.

KELVIN
Interviews with the surviving members
and a perusal of the deceased's
personal effects indicate he was
suffering from severe depression
with psychotic features, along with
bouts of hypomania, dementia,
delirium, and primary insomnia. All
of these symptoms, combined with a
profound sense of isolation, are
commonly found in studies of low
stimulation environments, particularly
long range space travel. Snow and
Sartorius show indications of
depression, including dysthymic and
bipolar I; a variety of stress
disorders, including acute and post-
traumatic; and suggestions of
agoraphobia, obsessive/compulsive
disorder, and hypersomnia. I
emphasize these are preliminary
opinions on my part. I will attempt
to convince Snow and Sartorius to
return to Earth, but as they currently
view me as an intruder of sorts,
this may take some time.

CUT TO:

INT. KELVIN'S ROOM

Later. Kelvin is lying down. The lights are out, and he is
trying to sleep.

After a moment, he gets up, checks the lock on his door, and
lies back down.

Then he gets up and moves a chair in front of the door, and
lies back down.

Then he gets up and puts two heavy cases on top of the chair,
and lies back down.

Laughing to himself, he drifts off to sleep.

Silence.

ANOTHER ANGLE

On Kelvin, asleep.

ANOTHER ANGLE

On Kelvin, still asleep. Then:

EXTREME CLOSE-UP:

A WOMAN'S LIPS, slightly parted.

BACK TO KELVIN

Asleep. Then:

INT. TRAIN - DAY

Continued silence, and:

RHEYA, 30s, staring at us, practically daring us to look
away. Her obvious intelligence and confidence make her
extremely compelling, along with the fact that it was her
parted lips we were looking at a moment ago. Her expression
indicates she's in a very raw emotional state.

REVERSE ANGLE

Kelvin is the person she has locked eyes with on the TRAIN.

He is younger here; not just in age, but in spirit. The
contrast with his older self is striking.

BACK TO KELVIN

Asleep on the ship. After a beat:

EXTREME CLOSE-UP:

Rheya's LIPS.

Except the circumstance is clearly different: it's darker
and there isn't the side-to-side shimmy of the train car.

A WIDER VIEW

Reveals that Rheya is not sitting on the train -- she is
sitting in Kelvin's room on the Prometheus, right now.

She is staring at Kelvin and she is ethereal in her stillness.

KELVIN

Awakens, blinks, and slowly recognizes her.

If he is not entirely surprised it is because he has obviously
dreamed of Rheya before. He looks at her, simply.

RHEYA

Stands and makes her way to Kelvin.

Without hesitation she kisses him and they begin to explore
each other and we see all of it happen and two things are
obvious: first, they have done this before, and two: they
haven't done it in some time.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is asleep, Rheya in his arms.

He wakes up and looks at her, perplexed. After a beat he
rises to sit on the edge of the bed.

A wave of terror is barely suppressed as he puts his hand to
his forehead. Rheya opens her eyes.

KELVIN
Oh, God. I'm awake.

RHEYA
Yes.

He looks at her.

KELVIN
Where did you come from?

She moves to him and kisses him as if that's all she wants
to do, forever.

Between kisses.

KELVIN
How are you here?

She stops.

RHEYA
How do you mean?
(beat)
Chris, what's wrong?

Hearing his name spoken by her (and those particular words,
perhaps) nearly causes Kelvin to scream.

He stands and moves to the chair. Rheya watches him.

RHEYA
I love you.

He looks up at her for as long as he can. Then he looks
down.

RHEYA
Do you love me?

He doesn't look up.

KELVIN
Yes.

A beat.

KELVIN
I need to see Snow.

RHEYA
I'll go with you.

KELVIN
(rising)
I'll just be a minute.

She bolts out of bed.

RHEYA
Don't.

KELVIN
Why?

RHEYA
I don't know. I can't be alone.

KELVIN
I'll be right back.

She is trying to accommodate him but her fear of being left
alone is palpable, even excessive. He sees this and puts
his arms on her shoulders to comfort her.

KELVIN
All right. All right. Here.

He hands her a few pills and retrieves a glass of water.

RHEYA
What are they?

KELVIN
To calm your anxiety.

RHEYA
To calm my anxiety.

She takes the pills and smiles.

CUT TO:

INT. DOCKING BAY

Kelvin leads Rheya to one of the exploratory pods. They are
in space suits.

RHEYA
We're taking a flight?

KELVIN
Yes.

He opens the door of a pod and indicates for her to enter.
She is unsure.

KELVIN
Go ahead. I'll close the door behind
me.

She stares up and into the pod. Kelvin watches her go with
difficulty and then CLOSES THE DOOR behind Rheya.

He walks across the docking bay to the control room and begins
preparations for the pod to be jettisoned.

KELVIN

In agony as he watches a real-time, beat-by-beat brand of
technological murder take place: Rheya's pod is pushed off
into space.

RHEYA

Her face contorted in confusion, watches through the pod
window as the docking bay doors close in front of her with a
brutal finality.

KELVIN

collapses to the ground, shattered.

INSERT:

A woman's HAND, resting on the floor of an apartment. The
fingers are being licked by a LABRADOR PUPPY.

ANOTHER INSERT:

A pot of coffee, on the boil. Except that it has been left
unattended for too long...

ANOTHER INSERT:

A rain-streaked window.

CUT TO:

INT. KELVIN'S ROOM

Kelvin, on the edge of his bed. He wants to tear himself
inside out.

A voice calls over the intercom: Snow's.

SNOW
Was her breakfast conversation that
bad?

KELVIN
Shut up.

SNOW
I told you, try to stay calm. You're
supposed to be the psychologist of
the bunch.

KELVIN
What was it?

Kelvin rises and goes to wash his face.

SNOW
Personally, I think it's God. At
least, it fits my definition.

KELVIN
And professionally?

SNOW
I'm not sure.
(beat)
It started with Gibarian. He locked
himself in his room and refused to
talk except through a crack in the
door. He covered the video lens.
Obviously we thought he was having a
nervous breakdown. I don't know why
he didn't tell us he had somebody in
there. By this time, we were getting
visitors, too. He was desperately
trying to figure it out. Day and
night.
(beat)
Who was she?

KELVIN
My wife.

SNOW
Dead?

Kelvin nods.

SNOW
She has materialized from your memory
of her. What was her name?

KELVIN
Rheya.

SNOW
It started about three months ago.
Right after the government sold the
expedition. We were ready to go
home.

KELVIN
Will she come back?

SNOW
Probably.

KELVIN
I wish you'd told me.

SNOW
Told you what?

A beat.

SNOW
What will you say?

KELVIN
To who?

SNOW
What are you going to report back to
Earth?

KELVIN
I don't know.

SNOW
An enormous amount of money changed
hands to get control of this project.
We are in little danger of being
left alone for long.
(beat)
You'll need to do something.
Otherwise they'll be sending someone
out to recover you.

KELVIN
Gibarian said he thinks Solaris should
be destroyed.

SNOW
That's ludicrous. This is contact.
We have found God. The only issue
is figuring out how to prove this in
a way that will make sense back on
Earth. So how will we describe it,
if we choose to describe it at all?

CUT TO:

INT. CONFERENCE ROOM

Before Kelvin's arrival.

Gibarian is talking to Snow and Sartorius.

GIBARIAN
A pre-biological colloidal envelope,
possibly exceeding terrestrial
structures in complexity; a plasmic
mechanism. Probably without life as
we conceive it, but capable of
performing functional activities on
an astronomic scale. My view is
that Solaris has reached, in a single
bound, the "homeostatic ocean" stage
without passing through stages of
terrestrial evolution. I think it
bypassed cellular development
altogether. It hasn't taken endless
eons to adapt itself to its
environment, but in fact dominated
its environment immediately. From
the moment it existed, it was the
most superior element in the Universe.
And now it passes the time doing
extravagant theoretical thinking
about the Universe, with us as the
cast.

We now show this scene being played out on a video monitor,
watched by Kelvin.

GIBARIAN
It's engaged in a never-ending process
of transformation; an ontological
autometamorphosis, begging the
question: Can thought exist separately
from consciousness?

SNOW
It's God.

SARTORIUS
I don't care what it is, we need to
figure out how to make it stop.

GIBARIAN
Nelson, we have the opportunity --

SARTORIUS
What if this thing follows us back
to Earth? What if what's happening
here started happening on Earth, on
a mass scale? Don't you see that as
a problem? I think it's a serious
mistake to assume it's benign. For
all we know it's driving us crazy so
it can watch us kill each other.

Gibarian considers this.

SNOW
We're not even sure it will let us
leave.

CUT TO:

ANOTHER VIDEO

This time, Gibarian alone. Near the end.

GIBARIAN
Maybe it's stuck. Maybe its power
isn't that God-like. I mean, we
have God-like power relative to an
insect, but that doesn't mean we can
move the Earth around at will. Maybe
it's like a spider web, waiting for
something to show up.
(beat)
We intercepted some brief fragments
of what must be an everlasting
monologue with itself. Of course it
was beyond our understanding.
(beat)
I've come to hate it here. There's
only one way out of its reach, for
us. Humans.

CUT TO:

INT. LAB

Kelvin stares at Gibarian's body, which is lying under a
sheet in the ship's operating room. Also under the sheet,
next to Gibarian: The Young Girl.

GIBARIAN
(from a video)
I thought I'd been behaving normally,
rationally. But a sign of insanity
is the inability to think about more
than one thing. So if I am consumed
by the idea that I am insane and
can't think of anything else, then I
am insane.
(beat, smiles)
You ask questions at the end of your
life, the sort of questions people
who are content don't ask.
(beat)
Maybe life just can't be solved.

CUT TO:

EXT. SPACE

A shot hovering over the surface of Solaris.

INT. KELVIN'S ROOM

Kelvin is lying down, looking at the door.

After a beat, he turns out the lights and rolls over.

CUT TO:

INT. KELVIN'S ROOM

Time has passed. Kelvin is asleep.

RHEYA leans into frame and kisses him.

Without even waking, he kisses her back, hungrily.

KELVIN
Rheya...

RHEYA
I want you inside me right now.

They make love. It's even better than before.

CUT TO:

INT. KELVIN'S ROOM

Kelvin and Rheya are asleep.

CUT TO:

INT. TRAIN - DAY

Kelvin, staring intently. What he is staring at is Rheya,
who is seated across from him. She doesn't see him, yet.
When she does, she locks eyes with his and doesn't look away.

This continues until she gets off the train. Kelvin watches
her go, and she looks back at him through the window as the
train pulls away.

INT. PARTY - NIGHT

Rheya enters, looks around. She spots Kelvin, who has already
spotted her. Their expressions indicate they are pleased to
see each other again. He approaches her, and they stare at
each other a long time, until:

KELVIN
"And Death Shall Have No Dominion".

RHEYA
Book?

KELVIN
Poem. Dylan Thomas. I thought of
it when I saw you on the train.

RHEYA
My Thomas is a little rusty.

He leans over and whispers into her ear. She listens, and
when he finishes, she leans back and looks at him, intrigued.
Genuinely intrigued. He smiles.

RHEYA
Not a very happy poem.

KELVIN
You didn't look very happy.

RHEYA
I wasn't.

KELVIN
And tonight?

RHEYA
Better.

He nods, and they smile. They seem to be rooting for each
other. After an extended pleasurable moment, Rheya leans
over and whispers in his ear. He listens, then leans back
and looks at her.

KELVIN
That's good to know.

CUT TO:

INT. FRIEND'S APARTMENT - NIGHT

Another night.

Rheya is wound up. Not drunk, something else. She has an
odd look in her eyes.

We are at a dinner party, and there are people trying -- but
failing -- not to watch.

RHEYA
You want to fuck her?

KELVIN
Stop it.

RHEYA
You behave as though you want to
fuck her.

KELVIN
Rheya. Not here.

RHEYA
And I just want to know if I'm crazy
or not -- if what I think is happening
is actually happening. Or am I one
of those people, those women, who
are blind to what's going on? Who
pretend not to see their husband's
attention toward another woman?

KELVIN
Let's go home.

RHEYA
You go home.

KELVIN
I am. Please come with me. I don't
want to do this here.

RHEYA
You talk like an actor.

He is stung.

CUT TO:

INT. APARTMENT - NIGHT

The immediate aftermath of the preceding scene, but at home
now.

Rheya crying as she embraces Kelvin.

RHEYA
I'm so sorry. I'm so sorry.

He is unmoved, but she labors to change his mind.

CUT TO:

INT. APARTMENT - MORNING

Rheya, in a chair, remorseful, Kelvin is dressing.

KELVIN
You're better when you take them.

RHEYA
I know, I know. But still, somehow
I don't feel better.

KELVIN
All right. How about I feel better
when you take them?

A beat.

RHEYA
Right.

They look at each other and understand; she will take the
pills.

CUT TO:

INT. APARTMENT - MORNING

Rheya, on the floor, dead. Her hand outstretched, a repeat
of an image we saw earlier.

Rain streaks the kitchen window.

The bottle of pills nearby.

CUT TO:

INT. PROMETHEUS

Rheya is taking her pills. Kelvin watches.

KELVIN
What do you remember?

RHEYA
What do you mean?

KELVIN
Do you remember Beethoven? The
Beatles? Movies, books, restaurants,
friends?

RHEYA
(thinking)
Yes. But not until you mentioned
them. As soon as you said those
things, I remembered them. And they
have associations that make me think
of other things I remember. It's
like filling up.

She looks out the portal at Solaris.

RHEYA
Is it a planet?

KELVIN
Not exactly. It exists in a continuum
that wasn't proven until ten years
ago, a higher mathematical dimension
superimposed on top of the Universe.
An infinite number of them, in fact.
It was a violation of all of our
various laws regarding the Universe,
Space, or Space-Time. It was
completely counter-intuitive. We
had to unlearn everything.

RHEYA
Is it intelligent?

KELVIN
Intelligent beyond our comprehension.

RHEYA
Then it's God, right?

KELVIN
It's something.

RHEYA
You still don't believe in God?

KELVIN
The whole idea of God was dreamed up
by a silly animal with a small brain
called Man. Even the limits we put
on it are human limits. It can do
this, it can do that! It designs,
it creates!

RHEYA
Even a God that wasn't active, that
just created something and stood
back and watched?

KELVIN
You're talking about a man in a white
beard again. You're ascribing human
characteristics to something that
isn't human. Human beings look for
causes and patterns. How could we
know what Solaris is up to, if
anything?

A beat.

RHEYA
But what if Solaris is what there
was before The Big Bang?

KELVIN
As I said, it is beyond our
comprehension.

RHEYA
As I said, then it's God, right?

She looks at him and can't keep from smiling, eventually.

RHEYA
Why are we talking about this shit
when we could be fucking?

Kelvin smiles.

The intercom comes to life.

SNOW
Kelvin, you awake?

KELVIN
What is it?

SNOW
Can you meet me and Sartorius on B
deck in an hour?

KELVIN
Why?

SNOW
Just a little strategy session. But
in person this time.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is getting ready to leave. Rheya sits on the edge of
the bed, nervous.

KELVIN
All right?

She nods and Kelvin exits, locking the door behind him.

We sit with her for a moment as she tries to remain calm.

IN THE CORRIDOR

Kelvin listens. A long time.

Satisfied, he begins to walk away but is stopped by the
sounding of a CRASHING GLASS from within. He hears footsteps
approach the door, and then a fierce POUNDING.

He takes a step back. An INHUMAN AMOUNT OF NOISE begins
emanating from the other side of the door, which is now
threatening to break apart. It sounds like a plane is
crashing in Kelvin's room -- no human could create this kind
of cacophony.

Finally, he steps forward and presses the button to open the
door.

RHEYA

Is revealed, covered in blood. She has completely torn the
inside of the cabin door apart and has badly injured herself
in the process.

KELVIN
Rheya...

Confused, she looks up at him as he takes her in his arms
and carries her to the bed.

RHEYA
What happened?

KELVIN
You were trying to break down the
door. Do you know why?

RHEYA
When I saw you were gone I got scared.

He puts her down on the bed and runs to the bathroom, where
he gathers all the first aid materials he can find.

Returning, he blanches.

Rheya's wounds have HEALED; in fact, they are HEALING in
front of us.

She looks up at him and doesn't like the look on his face.

RHEYA
Chris, what's wrong with me?

CUT TO:

INT. LAB

Kelvin runs Rheya through a battery of tests and studies the
results.

RHEYA
Am I all right?

A beat.

KELVIN
Yes.

CUT TO:

INT. B DECK CONFERENCE ROOM

Snow and Sartorius wait for Kelvin.

SNOW
He won't do it.

SARTORIUS
Why do you say that?

SNOW
He won't.

Kelvin enters, with Rheya. Snow and Sartorius exchange
glances.

KELVIN
This is my wife, Rheya.

She looks at Snow and nods. Sartorius she hates instantly,
and the feeling seems to be mutual.

SARTORIUS
We thought you'd be alone. We want
to talk about...

SNOW
We want to talk freely.

KELVIN
Go ahead.

Sartorius begins.

SARTORIUS
I suggest we pool our knowledge
regarding the... visitors. We can
express whatever questions or
conclusions we might have... share
information about our various...
experiments. Agreed?

Kelvin and Snow nod.

SARTORIUS
I would like to start with motivation.
Why are they here?

Sartorius looks at Rheya. She looks away.

SARTORIUS
They are not autonomous individuals
and they're not actual persons.
They are projections materializing
from our minds, based on a given
individual.

SNOW
It's an experiment.

KELVIN
No. There's no behavior modification.

SARTORIUS
She reappeared exactly as she had
before?

Kelvin looks at Rheya and nods. She is struck by the word
"before".

SNOW
The same vulnerabilities?

He nods again.

SARTORIUS
A recoil, with no compensating
mechanism.

SNOW
And when a given situation no longer
corresponds to the normal faculties
of the... original, the visitor
suffers some sort of disconnected
consciousness.

SARTORIUS
Followed by non-human manifestations.

SNOW
Are the actions of Solaris
premeditated?

KELVIN
Is it being deliberately cruel, you
mean? I don't think so.

SNOW
I'm just trying to find an explanation
for the continual reappearances.

KELVIN
(to Rheya)
When you cut yourself pounding the
door, did it hurt?

RHEYA
Yes.
(looks around)
Of course.

SARTORIUS
If they're not learning anything and
they're not modifying their behavior,
why do they come back?

SNOW
It's like they're plugged into a
game, which goes around and around,
endlessly repeating itself.

CUT TO:

INT. APARTMENT - NIGHT

This is ten years ago. Rheya enters, alone.

She crosses to the kitchen and makes a drink. Almost
immediately, the labrador puppy enters from the bedroom and
stands beside her, tail wagging. She ignores it and continues
mixing her drink.

Halfway through this activity, the bedroom light comes on.
A moment later, Kelvin is in the doorway. Eventually, but
not angrily, because he's still not really awake:

KELVIN
Where've you been?

RHEYA
I been thinking about how much I
hate you.

She finishes making her drink, drinks it, and walks out the
door.

Kelvin stands in the doorway for a beat, then pivots and
returns to bed. The light goes out.

RHEYA (V.O.)
Yes, I remember that. I went back
to Lois' house and spent the night.
Those were dark days.

CUT TO:

INT. PARTY - NIGHT

Kelvin and Rheya, later in the evening when they spoke for
the first time. They are absolutely infatuated with each
other; they know something is happening between them, will
happen between them.

RHEYA
I would have these -- I don't know
how to describe them -- visions,
when I was younger. Maybe not
visions, but like these waking dream
states. Time would just collapse, I
would be inside time. I would stare
at a second hand on a clock until it
stopped. Freaky stuff.

KELVIN
How old were you?

RHEYA
Seven, eight. So one day my mother
catches me sort of staring off into
space, and she asks me what I'm doing,
and I start trying to explain to
her, about this state that I can put
myself in, and this look comes over
her face.

KELVIN
What kind of look?

INT. KELVIN'S ROOM

Kelvin and Rheya sit together in the Prometheus. Rheya
continues her story without a beat.

RHEYA
Scared. No, not scared. Wary.
Like I was something to be... her
guard went up. I was a threat. Now
I know why. She was afraid she'd be
seen. That I would see her for the
self-obsessed neurotic that she was.
I think she thought she had a few
more years of being on a pedestal.
But that's the cycle, right? I knew
a little more than she did, she knew
a little more than her mother, and
on and on.
(beat)
I guess that's part of the reason
why --

KELVIN
I know. I know. We don't have to
talk about that.

Another beat.

RHEYA
I remember days of just thinking
about you.

INT. OFFICES - DAY

Intercut Kelvin and Rheya at their respective jobs, going
through a normal day. There is no sound. As we see these
images, it's clear that Kelvin and Rheya are slightly not
present in their respective encounters with other people;
they are distracted by the idea of each other.

And they like it.

RHEYA
Thinking what you were doing and
saying, just being consumed by
thinking of you. I loved it so much,
that feeling.

KELVIN
I did too.

INT. APARTMENT - NIGHT

Rheya on the edge of the bed, facing away.

KELVIN
I used to watch you undress.

As she does:

KELVIN
I never tired of watching you undress.
Every time, it was exciting. Right
until... to the end.

A beat. Then a shot of Kelvin that we've seen before: Him
leaving their apartment, angry.

ON THE PROMETHEUS

A beat.

RHEYA
What happened to us, exactly?

KELVIN
You don't know?

Rheya shakes her head.

Kelvin just watches her.

RHEYA
I remember... something burning.
Coffee burning.

INT. APARTMENT - DAY

The rain-streaked window.

An automated coffee maker has been left on, and the solidified
coffee at the bottom of the pot is smoking.

Rheya's body is on the floor of the kitchen.

RHEYA (ON PROMETHEUS)

She is looking at Kelvin. He is dreading this.

RHEYA
You found me?

He nods. It's coming back to her.

INT. APARTMENT - DAY

Kelvin is yelling at Rheya. We don't hear what he's saying,
but judging from her reaction, it's not pleasant. She is
crying.

RHEYA

Experiencing this all over again. Kelvin comes and sits in
front of her.

INT. APARTMENT - DAY

Kelvin, still yelling, is packing some things into a suitcase.
Rheya, between sobs, pleads with him.

RHEYA

Her eyes fill with tears. Kelvin embraces her.

KELVIN
I'm sorry. I'm sorry.

Rheya is devastated, inconsolable.

RHEYA
Why did you say those things?

KELVIN
I don't know. I couldn't understand
why you didn't tell me.

INT. APARTMENT - DAY

Rheya lies on the kitchen floor, dead. There is a NOTE in
her hand.

Kelvin kneels next to her.

KELVIN (ON PROMETHEUS)

With Rheya still in his arms.

KELVIN
When you said you wouldn't make it...
I didn't believe you. Or I didn't
take you seriously, which is worse.

INT. APARTMENT - DAY

Kelvin holds the dead Rheya.

KELVIN

Squeezing her.

KELVIN
I should have believed you.

CUT TO:

INT. KELVIN'S ROOM

Kelvin lies in bed, his eyes open. Rheya is in his arms.

CUT TO:

INT. APARTMENT - DAY

Rheya, talking to Chris. Obviously during a period when
they were getting along. Or at least: not fighting.

RHEYA
I can't help feeling that I'm cheating
when I take them.

KELVIN
It's genetics. You know this. You
know where it comes from. There is
nothing wrong with uncrossing a few
crossed wires.

She knows, intellectually, that he is right. But it doesn't
matter.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is out of bed and speaking into a videophone to Snow.
Rheya is asleep in the background. The room is dark except
for the glow of the screen.

SNOW
You're unnerved because you've spent
your whole life thinking nobody is
looking over you, and suddenly your
subconscious is an open book. We
are, for the first time, experiencing
changes in natural reality by a force
not our own. That proves that --

KELVIN
-- we are not sure of that. We are
not sure we aren't all hallucinating.

SNOW
If God is beyond our comprehension,
and she --
(meaning Rheya)
-- is here for reasons that can't be
understood, isn't God here?

KELVIN
Not necessarily.

SNOW
Stop equivocating! Unbelievable,
how you equivocate! You, the atheist,
you're more dogmatic than any holy
person I've ever seen! This is
happening, Kelvin. Wake up.

KELVIN
Consciousness is enough, that's all
I've saying. Consciousness should
be enough for anybody.

SNOW
Who are you trying to convince?

Kelvin just looks back at Rheya.

SNOW
It will end badly. As inevitably as
the rising of a bubble.

Kelvin doesn't respond.

SNOW
Let's all meet tomorrow. Sartorius
has some new ideas, about making it
stop.

Kelvin just keeps staring at Rheya, asleep.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is eating with Rheya. Looking at her. Desiring her.

RHEYA
Do you have any idea how much I like
fucking you?

KELVIN
I think so.

RHEYA
Good. Because I want you to know.
I really like fucking you.

He leans over and whispers in her ear. She smiles and leans
back.

RHEYA
I like that too.

KELVIN (V.O.)
How could she not be real? I can
smell her, taste her. She does
exactly what she did... it's not
possible.

RHEYA
(smiles, teasing)
You know, I've decided: I'm just
gonna believe what you believe about
this whole Solaris thing, it'll make
life so much easier; the little wife
agreeing with her big, strong husband.
You must get such a headache thinking
about those Great Big Problems all
day.

He just stares at her -- he really likes this. It's familiar,
this type of teasing, and it reminds him of when things were
good.

KELVIN (V.O.)
Like I said, it's not possible.

A beat.

RHEYA
So, Chris, seriously, aren't you
afraid you're going to get fired?

They laugh.

CUT TO:

INT. KELVIN'S ROOM

Kelvin and Rheya, post-coital. Relaxed. On the verge of
sleep.

RHEYA
You sure say "God" a lot when we're
doing it.

KELVIN
I know. I'm putting that in my next
report.

She smiles.

RHEYA
Right. The report. Report and
recommend.

They consider that.

RHEYA
What does Snow think you should do?

KELVIN
Snow thinks we shouldn't leave until
we figure out a way to document it,
to prove its existence to the planet
Earth. This is hilarious: He thinks
it's God, but he wants it to sit
still for a photograph so he can
show the folks back home.

They smile at this. Rheya's smile fades before Kelvin's.

RHEYA
Sartorius wants to destroy it.

KELVIN
Well. He doesn't think it's God,
but for different reasons than me.
He's thinking: If I can figure out
how to make it stop, than I am smarter
than it is, and therefore it cannot
be God.

RHEYA
He has a point.

KELVIN
He does have a point. That's just
not the way I'd like to see it proven.

RHEYA
You feel sorry for Solaris, or for
me?

KELVIN
It's a violent response to something
we haven't figured out. Don't let
the cowardly demeanor fool you: He
is ruthless. Unblinking in his
prejudice.

RHEYA
It was obvious from the way he first
looked at me.

A beat. He holds her.

RHEYA
Do I really feel like... I am...?

KELVIN
Yes. Yes.

RHEYA
I'm glad.

A beat.

CUT TO:

EXT. SOLARIS

Turning, slowly.

CUT TO:

INT. APARTMENT - NIGHT

Then years ago. Kelvin, naked, sitting in a chair, in the
dark. Rheya, also naked, is smoking a cigarette in bed.

KELVIN
Everything you pursue, you end up
becoming disinterested in. The fact
that you're good at everything you
try makes it worse. You have a degree
in animal science, you could be a
terrific vet. You drifted into
writing and turned out to be a
perceptive journalist. Then it was
politics, which seemed best of all,
you had an actual gift for
understanding the best pattern for a
group of people to be arranged for
you to achieve your goal. And they
didn't even know they were being
arranged. But you got bored with
it, like you do with everything.

She just smokes, not really looking at him. Maybe it's a
common observation and she's past being defensive about it.

KELVIN
I don't know what it's really like,
to not know what you want to do. To
not have anything that you love to
do more than anything else.

A beat. He looks at her. She seems more interested in her
cigarette at the moment.

RHEYA
(sarcastic)
Imagine my frustration.

CUT TO:

INT. KELVIN'S ROOM

On the Prometheus. Rheya is awake, Kelvin asleep.

She rises and goes to sit in a chair; she is anxious,
something we haven't seen before.

Kelvin wakes up, looks at her. Noting her expression:

KELVIN
What's wrong.

RHEYA
You don't love me.

KELVIN
Stop.

A beat. She looks down.

RHEYA
I have to talk to you... I... I don't
know where I came from.
(up at him)
Do you know?

He doesn't respond.

RHEYA
If you know but can't tell me now...
will you ever be able to?

Calmly:

KELVIN
What are you talking about?

RHEYA
That I am not Rheya. That Rheya
died. Killed herself. I'm different.

He's looking at her, and knows this is dangerous territory.

KELVIN
Who have you been talking to?

RHEYA
(no reason to lie)
Sartorius.

KELVIN
When? When I'm asleep?

She nods. He can only imagine what form Sartorius' anecdotes
must have taken.

KELVIN
I'm sure there are worse people to
talk to, but I don't know who they
are.

RHEYA
I'm just trying to understand what's
going on.

A beat.

RHEYA
How have you lived the last ten years?
Did you love anyone?

A long beat. Kelvin shakes his head.

RHEYA
Did you think about me?

Another beat. He nods. Then:

RHEYA
But we fought.

KELVIN
Yes. Especially toward the end.

RHEYA
Why did she do it?

KELVIN
You... she said I didn't love her.

RHEYA
Was she right?

KELVIN
No. I love you.

RHEYA
(reflexive, but genuine)
I love you, too.

If she seems satisfied for the moment, Kelvin knows the
feeling won't last.

KELVIN
Can you sleep?

RHEYA
I don't think do. It's not sleep;
it's something else. It's all around
me.

KELVIN
Those are dreams.

She falls asleep.

FADE OUT

FADE IN:

INT. CONFERENCE ROOM

Kelvin, Rheya, Sartorius, and Snow. They are in the middle
of a heated discussion.

SNOW
Gibarian was under enormous --

SARTORIUS
Gibarian was helpless. It's very
simple: Man created the science that
resulted in the discovery of Solaris,
and the ship that brought us here.

KELVIN
Meaning Man can do whatever the fuck
it wants?

SARTORIUS
Yes.

KELVIN
That's fantastic.

SARTORIUS
Why did you agree to come here?

A beat.

SARTORIUS
Too tired to answer?

Looks at Rheya, then back to Kelvin.

SARTORIUS
I'll bet. Is this what they sent
you here to do? You've lost it,
you've gone native.

Kelvin moves toward him. Sartorius just lets him come.

RHEYA
(to Sartorius)
You're the coward.

KELVIN
Don't debate him; he'll say anything.

RHEYA
(still, to Sartorius)
I'm just as human as you. I see, I
hear, I touch, and I feel just like
you do.

SARTORIUS
Prove it.

RHEYA
These "guests" are a part of you, of
your subconscious. Chris loves me.

SARTORIUS
YOU ARE NOT HUMAN! Try to understand
that if you can understand anything!

Kelvin is within an inch of his face.

KELVIN
Get out of here.

Slowly, carefully, Sartorius grasps Kelvin by the shoulders.
Then he leans in and whispers in Kelvin's ear:

SARTORIUS
Rheya is dead. She's a copy. A
facsimile. And she's seducing you
all over again. You're sick. You
think of fucking her as research for
humanity. It's just fucking.

Kelvin backs away.

SARTORIUS
There's nothing grandiose about it.
You've jumped out of a plane and
you're trying to sew a parachute
together while you fall.

Sartorius turns...

SARTORIUS
It'd be hilarious if it weren't so
damn sad.

And leaves.

A beat.

SNOW
We didn't even get to hear his new
ideas.

Snow wanders toward the door.

SNOW
I'm not feeling well.

He passes Kelvin and leaves.

Kelvin watches him, then looks at Rheya. She seems dazed.

CUT TO:

EXT. SOLARIS

The fog-shrouded surface, shifting and turning like an ocean.

CUT TO:

INT. KELVIN'S ROOM

Rheya is asleep. Kelvin is talking to Snow on the videophone.

SNOW
We can liquidate the station. Take
the Athena back.

KELVIN
No.

SNOW
Of course, when we return, we'll be
regarded as lunatics if we tell the
truth.
(shrugs)
We'll chalk it up to isolation,
collective derangement.

KELVIN
I've never heard you express any
desire to leave before now. Why
now?

SNOW
Well, I think we're reaching the
point of diminishing returns here,
right? Certainly it's learning more
about us than we'll ever learn about
it.

KELVIN
But why is it doing what it's doing?
Given it's resources, it could have
done anything. Presented me with
your double, and you with mine.

SNOW
Perhaps it did.

KELVIN
Human beings can die.

SNOW
But they are human. They certainly
become human with incredible speed.
First they're like they were in our
memory, but then they fill in on
their own. DNA doesn't determine
the hundreds of trillions of
connections that occur in the brain,
it's not dense enough. They build
up with experience.

INT. KELVIN'S ROOM - EARLIER

Quick glimpses of Rheya. In several of them she is in repose,
thinking, as if to illustrate Snow's point.

INT. KELVIN'S ROOM

Back to Kelvin, thinking.

KELVIN
They come when you sleep.

SNOW
That's right. And we all have to
sleep, eventually.

CUT TO:

INT. KELVIN'S ROOM

Kelvin on the bed with Rheya. Their eyes are closed.

We think they are asleep until:

RHEYA
You don't want me.

KELVIN
Rheya.

RHEYA
That's what you were saying. I heard
what you were saying.

KELVIN
For a reason that neither of us
understand, you are forced to stay
near me. That's all I know right
now.

She realizes she doesn't want to argue. Not right now,
anyway.

RHEYA
I have these strange thoughts, I
don't know where they come from.
(beat)
I can't explain it.

KELVIN
Neither can I. Not any of it.
There's no reference point for what's
going on; it's never happened before.
It's a clean break in the fabric of
the Universe; a gap. There is nothing
to do but experience it, moment-to-
moment, and not let it destroy us.

RHEYA
But that's what happened before.

KELVIN
Not this time.

He kisses her. She wants to believe him, so she says nothing.
Then:

RHEYA
Do you want to stay here?

KELVIN
Do you?

RHEYA
If you're here.

They kiss again...

DISSOLVE TO:

INT. KELVIN'S ROOM

Kelvin is asleep. Rheya is next to him.

Offscreen, we hear the door open.

Someone walks quietly (though not surreptitiously) through
the frame and sits.

After a long beat, Kelvin bolts upright, his mind struggling
to clear. When it does:

KELVIN
Gibarian.

GIBARIAN
Leave the light off.

A beat. Kelvin tries to get his bearings.

GIBARIAN
I wish you'd come a little sooner.
I might not have had to kill myself.

He smiles, looking at Kelvin.

GIBARIAN
You think you're dreaming me, like
you dream her. Understand something:
I am the real Gibarian. Just a new
incarnation.

KELVIN
What do you want?

GIBARIAN
You're being tricked. Sartorius
picked a fight with you to avoid
telling you about his idea for getting
rid of the visitors. He's figured
out they're made of subatomic
particles called neutrinos, and he's
going to create a negative neutrino
field. Twenty four hours a day,
until they're back on Earth.

KELVIN
Can it work?

GIBARIAN
It can. Ordinary matter, like ours?
Not affected. Everything else,
disintegrates.

Kelvin registers this.

GIBARIAN
What I'm saying is: Don't trust
anyone. Find yourself a weapon of
some sort.

KELVIN
I can trust Rheya.

GIBARIAN
You'll end up like me.

KELVIN
You're not Gibarian...

GIBARIAN
No? Who am I, then?

KELVIN
A puppet.

GIBARIAN
And you're not? Maybe you're my
puppet. But like all puppets, you
think you're actually human. It's
The Puppet's Dream. Wondering if
they're human!

Gibarian smiles.

KELVIN

wakes up, gulping air. Rheya, startled:

RHEYA
What's wrong?

KELVIN
Gibarian. He was here.

RHEYA
You said he was dead.

KELVIN
He is. But he was here...

He moves to the chair, looking for some residue of Gibarian,
some proof. Finding none:

KELVIN
He spoke to me.

Kelvin leaves the room. After a few beats, Rheya follows.

INT. LAB

Rheya lingers behind Kelvin, who is looking at Gibarian's
body.

It is there, alone on its slab; even the Young Girl is not
with him.

CUT TO:

INT. KELVIN'S ROOM

Kelvin, thinking. He gives Rheya some pills to take. She
just looks at them.

KELVIN
Are you going to take them?

She nods and takes them.

RHEYA
What's happening to us?

KELVIN
It's all right.

RHEYA
Please don't lie. I told you before,
I don't know how I came to be here.
Whatever you think you can't say to
me, I need to hear you say it.

KELVIN
I love you.

RHEYA
Don't. I'm the one at risk here.
If we're playing out what happened
before, I won't survive.

He goes to her.

KELVIN
That won't happen again. We're
different.

RHEYA
How can I tell? You've seen both of
me. I only know what you're like
here. You're all I know. There is
no "You" from before.

She sits, frustrated. Sad.

RHEYA
How could it be so cruel? How could
it torture us like this?

KELVIN
I don't think it knows it's torturing
us. It's just watching.

CUT TO:

INT. KELVIN'S ROOM

Kelvin and Rheya, in bed. She looks despondent.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is asleep. Alone.

After a long period of silence, we hear the faint sound of
an instrument of some sort hitting the ground. After another
beat, Kelvin awakens. He notices that he is alone, and
something tells him that's not a good sign.

CUT TO:

INT. LAB

Rheya is on the ground, convulsing. Beside her is a SMALL
STEEL DRUM, which is spilling a strange-looking LIQUID that
solidifies and vaporizes with a smoky hiss.

Kelvin moves to Rheya and is startled to see that half of
her face and throat are burned away -- not melted as in a
fire, but merely eaten cleanly away. He picks her up.

INT. CORRIDOR

Kelvin is carrying Rheya. Snow sticks his head out of a
passing room.

SNOW
What happened?

KELVIN
She drank liquid oxygen.

INT. KELVIN'S ROOM

Kelvin puts Rheya on the bed. Her face and throat have
returned to normal, but she is not breathing. Kelvin goes
and puts his head to her chest, but doesn't hear what he
hoped to hear. He stands, still looking at her. Snow seems
very detached.

An uncomfortably long moment as we realize she is actually
not going to wake up.

KELVIN
She's dead.

Snow says nothing.

Then:

Her finger twitches.

Barely noticeable at first, but growing in intensity. Kelvin
sees it, and goes to her. She is starting to shake a little,
as though cold.

SNOW
She'll come back, don't worry. But
then what? My theory is she can
only live here, that she will die if
she leaves this ship.

Kelvin is still looking at Rheya, who is shaking a little
harder; it's feeling like a seizure now.

SNOW
Why do you think she hasn't suggested
that? It's the most obvious solution:
Escape. She knows she can't leave
here --

KELVIN
Get out --

SNOW
Oh, this one you love? What about
the first one, the one you fucked
and then put into a rocket and blasted
into space? You didn't love her?

Rheya is shaking much harder now, Kelvin tries to hold her
still, but she's too strong. He stands, reluctantly, and
watches her.

SNOW
What happens if she comes back? Is
that polygamy? And even if you could
take her home, how would you get her
through? You think they're not going
to notice her?

Rheya is shaking violently now, as if a rippling rhythmic
force were coursing through her. Snow, as he looks
dispassionately on the two of them:

SNOW
I never get used to them, these...
"Resurrections".

He leaves.

Rheya continues her process of "waking up" -- it's violent,
even sexual. She spasms to a peak of some sort, and then
slowly returns to normal.

Kelvin puts his hand on her forehead.

She gradually begins to open her eyes. She looks at Kelvin.

It takes her a moment to realize she shouldn't be seeing
him; she shouldn't be seeing anything. She should be dead.

She begins to cry.

RHEYA
What am I? Why can't I die?

She turns away.

RHEYA
I'm not Rheya. You've always known
that.

KELVIN
Rheya --

RHEYA
Don't call me that.

He turns her over.

KELVIN
Listen: I don't care about anything
but the fact that you are here. You
are her, you are Rheya.

RHEYA
I'm disgusting.

KELVIN
No.

RHEYA
You're lying. I'm not human.

KELVIN
Rheya, I am not going back. I'm
staying here with you.

RHEYA
Then you'll die.

KELVIN
I want every second I can get with
you.

A beat.

RHEYA
What will I do, if you die?

He doesn't know.

CUT TO:

EXT. SOLARIS

Turning slowly.

CUT TO:

INT. KELVIN'S ROOM

Kelvin and Rheya, in bed.

RHEYA
Do you think I can get pregnant here?

A long beat.

KELVIN
We'll know soon enough.

INSERT:

The first time Kelvin and Rheya spoke, at the party ten years
ago. Again we see her whisper in Kelvin's ear, but this
time we hear what she is saying:

RHEYA
I can't be a mother.

She pulls back.

KELVIN
That's good to know.

CUT TO:

INT. APARTMENT - DAY

Kelvin, as he packs to leave Rheya.

RHEYA
Don't do this. I am literally begging
you not to do this. Chris.

KELVIN
You should have told me.

RHEYA
It wouldn't have made any difference.

KELVIN
Thank you.

RHEYA
Chris, I had to. I had to. I didn't
think you'd react like this.

KELVIN
Neither did I.

RHEYA
You never said you wanted one.

KELVIN
I never said I didn't.

RHEYA
Chris --

KELVIN
I can't stay here.

RHEYA
Chris, please. Chris, I'm serious.
I won't make it.

KELVIN
Then you won't make it.

He leaves, brushing past her.

CUT TO:

INT. APARTMENT - DAY

Rheya, unconscious, on the kitchen floor.

CUT TO:

INT. KELVIN'S ROOM

A long, held shot of Rheya, crying. She is curled up,
retreating into herself. Kelvin is trying to console her.

KELVIN
I came back. You have to know that.
I came back that night.

CUT TO:

INT. APARTMENT - DAY

Rheya on the kitchen floor, the note in her hand.

Kelvin is kneeling over her.

CUT TO:

INT. KELVIN'S ROOM

Kelvin and Rheya. She is sobbing, but somewhat calmer.

KELVIN
I couldn't make it, either.
(beat)
I'm so sorry.

CUT TO:

INT. KELVIN'S ROOM

Kelvin, asleep.

CUT TO:

GIBARIAN

As we saw him before, sitting in the chair. But we didn't
hear him say this before:

GIBARIAN
If they succeed, you'll never see
her again.

CUT TO:

INT. KELVIN'S ROOM

In the immediate aftermath of her suicide attempt with the
liquid oxygen:

RHEYA
You're afraid of me. I can't do
this anymore. I still don't
understand. It's not possible.

He tries to console her, but she recoils.

RHEYA
Don't --

INT. APARTMENT - DAY

Rheya, as Kelvin brushes past her on his way out. She looks
desperate.

INT. KELVIN'S ROOM

Rheya and Kelvin.

RHEYA
What do I have to do to stop it?

KELVIN
I want you here.

RHEYA
You're lying.

KELVIN
You exist here. I keep telling you.

RHEYA
That's impossible. I'm not Rheya.

KELVIN
Who are you, then?

RHEYA
I... I am Rheya. But I am not the
woman you loved ten years ago.

KELVIN
Yes, you are --

RHEYA
Did you hear what Gibarian said?
I'm not a human being. I'm an
instrument. I came from your memory
and your imagination and I will
torture you no matter what. Even if
I remain passive. That's when I
drank the...
(beat)
I was going mad. It felt like there
was no body underneath my skin.
There was something else. An
illusion. But I could feel my heart
beating, and I remembered you tested
my blood. Is it like yours?

KELVIN
Yes. I told you. It was exactly
like mine.

RHEYA
But then I would be dead now.

A beat.

KELVIN
Is that really what you want?

RHEYA
I want to stop taking those pills.

KELVIN
I wish you wouldn't.

RHEYA
They do something to me. It's hard
to think straight.

KELVIN
I think they help.

RHEYA
I have consciousness, but I am not
mortal. Don't you see why I'm going
crazy?

KELVIN
You have to remember that I love
you, that's all that matters --

RHEYA
I can't --

KELVIN
It put you here. I'll admit it, it
acted like a God and put you here,
put you into my consciousness. I
was asleep, and it put you into my
dream. I saw your mouth. And there
you were.
(beat)
Whether you've been sent here to
make me happy or punish me, it doesn't
matter. The decision we make now is
all that matters. Stay with me.

RHEYA
Am I really her?

KELVIN
I don't know anymore. All I see is
you.

They kiss.

KELVIN
Stay with me.
(beat)
Stay with me.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is asleep. Rheya is next to him.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is on the videophone to Snow.

KELVIN
She knows everything. She knows who
she is.

SNOW
She knows everything? Does she know
she came once before and you put her
in --

KELVIN
No.

A beat.

SNOW
What do you want?

KELVIN
I want you to get Sartorius to abandon
his plan.

SNOW
(feigning innocence)
What plan?

KELVIN
Just get him to stop.

SNOW
What do you want to do, leave the
station with her?

KELVIN
Yes.

SNOW
Kelvin, she'll disintegrate. You
don't believe me? Let's radio that
shuttle pod you launched -- better
yet, let's go get it. I've charted
it's trajectory, only take a few
hours...

KELVIN
Her oxygen would have run out.

SNOW
Maybe she doesn't need any. Should
we check?

Kelvin just stares at him.

SNOW
Who are you trying to please?
Yourself? Her? Which her, this one
or that one. Can you face both? We
are in a situation that is beyond
morality. So: Leave with her. You'll
see the transformation.

KELVIN
Into what?

SNOW
You'll see her die, that's all.
They're mortal, despite what she
told you. She will die. Then what
will you do?

KELVIN
I love her.

SNOW
You do, you don't. She's willing to
give her life, you're willing to
give yours, it's touching and
magnificent, anything you want but --
this isn't the place for it. Don't
you see? No, you don't.

CUT TO:

INT. KELVIN'S ROOM

He is playing back a message sent by Sartorius.

SARTORIUS
I'm sending you a message because I
feel sorry for you. I really do,
Kelvin.
(beat)
It is a mistake to become emotionally
engaged with one of them. You are
being manipulated. You are going
around in circles to satisfy the
curiosity of a power we don't
understand and can't control, and
she is the living proof that power
exists. If she were ugly, you
wouldn't want her around; that's why
she's not ugly. She is a mirror
that reflects part of your mind.
You provide the formula. You can
only finish where you started,
remember that.
(beat)
They sold us out to the highest
bidder. They had no right to do
that. We should have been consulted.
We're not fucking hardware.

CUT TO:

INT. KELVIN'S ROOM

Kelvin wakes up. Rheya is beside him. He rises and heads
for the bathroom.

He swallows two pills and a small cup of water.

When he returns to the bed, Rheya is looking at him.

RHEYA
What are you taking?

KELVIN
A sleeping pill. Do you want yours?

INT. APARTMENT - DAY

Rheya, on the kitchen floor. The bottle of sleeping pills
just beyond her hand.

BACK ON THE PROMETHEUS

Kelvin looks at Rheya. She shakes her head; she doesn't
want the pills. Kelvin comes and sits beside her.

KELVIN
What does it want?

RHEYA
I don't know. Something. Anything.

She goes to a portal and stares out at Solaris.

RHEYA
It created me and yet I can't
communicate with it. It must hear
me, though. It must know what's
happening to me. Don't you think?

CUT TO:

INT. KELVIN'S ROOM

Snow on the videophone to Kelvin. Rheya is asleep in the
background.

SNOW
I don't think it dislikes us. I
think it just noticed us. It lives,
thinks, and acts. We are dealing
with a living creature here, no
question. And it's done something
we've never been able to do: create
a perfect human body. Perfect except
for the subatomic alterations, but...

CUT TO:

GIBARIAN

On his suicide tape:

GIBARIAN
If Solaris is inside our brain, and
it knows everything, and we're only
consciously aware of what 2 percent
of our brain is up to at any given
moment, it knows us better than we
know ourselves. It's not even close.

CUT TO:

INT. KELVIN'S ROOM

Rheya and Kelvin.

RHEYA
I've decided that if it is God, it's
a sick God. Its ambitions exceed
its powers, but it doesn't realize
it.
(beat)
It's created a situation without a
goal, and I hate that. A God whose
passion is not a redemption, who
saves nothing, fulfills no purpose.
(beat)
And us? We would have to have "an
arrangement". An unspoken
understanding that I am not human.
How can I not hate something that
does that?

KELVIN
Please. Don't.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is asleep. Rheya is crying beside him.

CUT TO:

INT. KELVIN'S ROOM

Kelvin asleep, alone. Rheya is in the corridor, talking to
someone.

KELVIN

wakes up. Rheya is beside him, asleep.

CUT TO:

EXT. SOLARIS

Turning, slowly.

CUT TO:

INT. KELVIN'S ROOM

Kelvin, in a fever, eyes open but glazed.

Rheya is putting a compress on his forehead.

KELVIN'S POV

Of the room.

His LABRADOR FROM THE OPENING SEQUENCE is sitting by the
chair.

CUT TO:

INT. KELVIN'S CABIN (EARTH)

Kelvin sits in a chair, looking at:

THE LABRADOR

Sitting in the same position as it was on the Prometheus.

KELVIN

Breathes a sigh of relief at being home. Everything seems
slowed down, somehow.

KELVIN (V.O.)
I though I was home.

CUT TO:

INT. KELVIN'S ROOM

On the Prometheus. Kelvin is in bed, feverish.

KELVIN (V.O.)
I thought it was over.

He sees Rheya, in the hallway again, talking to someone we
can't see.

KELVIN

Wakes up again. Rheya is asleep beside him.

CUT TO:

INT. TRAIN

Rheya, the first day she and Kelvin saw each other.

CUT TO:

EXT. STREET CORNER - DAY

Ten years ago. Kelvin and Rheya standing on a street corner.
They seem to be pausing in the midst of a very serious
conversation. It is raining.

CUT TO:

INT. KELVIN'S ROOM

Kelvin in bed, on the Prometheus. Still feverish.

Rheya is mopping his brow.

INT. KELVIN'S CABIN (EARTH)

Kelvin in bed, feverish.

Rheya is there, wiping his forehead.

INT. KELVIN'S ROOM

On the Prometheus. Kelvin looks over to Rheya.

KELVIN
Where did you go before?

RHEYA
When?

KELVIN
Last night. You were talking to
someone in the corridor.

RHEYA
You must have been dreaming.

She begins to cry.

KELVIN
What's the matter?

She just shakes her head.

KELVIN
Rheya?

From Kelvin's point of view: Rheya, in the chair, crying.

Then he looks right to see: Rheya, in the doorway, talking
to someone we cannot see.

Then he looks further to the right, and there she is again,
staring at him from the bathroom doorway. She moves to the
edge of the bed in order to be near.

KELVIN

Sweating. Struggling. Beyond fear.

KELVIN (V.O.)
I'm losing my mind.
(beat)
I'm breaking apart.

INT. CABIN - DAY

Kelvin sits in his chair, as he did at the beginning, with
the three officials from DBA behind him.

Only now the three officials are Snow, Sartorius, and
Gibarian.

INT. KELVIN'S ROOM (PROMETHEUS)

Kelvin, transfixed.

KELVIN (V.O.)
Is this what it means to die?
(beat)
Am I in the moment of my own death?
(beat)
Is this the last thought I will ever
have?

This idea forces him to rise, and he does, slowly.

INT. CORRIDOR

Behind Kelvin as he somehow keeps moving.

We hold a long time, and then:

CUT TO:

BLACK.

Count to ten. Then:

CUT TO:

EXT. STREET

Kelvin moving down a crowded sidewalk, in slow motion.

KELVIN (V.O.)
I am home now.
(beat)
I try to find the rhythm of the world
where I used to live... but I feel
completely and continually out of
sync. I am separate. Why did I
return to Earth and lie about what
happened? Lie about having contact
with something like Solaris? I knew
something else was out there, and
didn't tell a soul. I left them in
the dark. We all did.

CUT TO:

INT. TRAIN - DAY

Kelvin, traveling home from the city.

CUT TO:

EXT. KELVIN'S CABIN - DAY

Kelvin returns. He stops and looks around before entering
his front door.

KELVIN (V.O.)
So why come back at all? To see if
she comes here?

KEVIN'S POV

Of the woods.

But there are strange incongruities in the image -- pieces
of the Prometheus breaking through; for instance, a few of
the AUTOMATED TASKMASTERS are crawling along the ground.

KELVIN

Looking from the doorway, notes this. He doesn't seem
surprised, though.

KELVIN (V.O.)
I don't believe it will happen.

INT. KELVIN'S CABIN - NIGHT

Kelvin, in his bed, awake.

KELVIN (V.O.)
But I will wait, anyway.

CUT TO:

BLACK.

Count to five. Then:

CUT TO:

INT. KELVIN'S ROOM (PROMETHEUS)

Kelvin is in his bed, still feverish.

KELVIN (V.O.)
I thought it was over.

He looks around the room. He is alone.

A flashing light on his computer demands attention.

ON THE COMPUTER

A video message from Rheya.

RHEYA
Don't blame them. I begged them to
do it. It's better this way.
(beat)
I'm sorry.
(beat)
I'm sorry I tried to make you think
I was human.
(beat)
I read my own suicide note. I found
it in your things. I realized I was
not her.

She looks away.

RHEYA
I know that you loved me, Chris. I
know that.
(beat)
I love you.

Kelvin breaks down.

CUT TO:

INT. APARTMENT - DAY

Kelvin, with the dead Rheya in his arms, crying. Beyond him
is the rain-streaked window. On the floor, by her hand, is
the note. On it is scrawled the end of a Dylan Thomas poem,
the one Kelvin quoted to her the first time they spoke.

INT. PARTY - NIGHT

The first night. Again, Kelvin leans into Rheya's ear and
whispers. This time we hear what he says:

KELVIN
"Though they go mad they shall be
sane. Though they sink through the
sea they shall rise again."

INT. APARTMENT - DAY

Kevin holding Rheya.

The note on the floor.

The rain-streaked window.

RHEYA (V.O.)
"Though lovers be lost love shall
not. And death shall have no
dominion."

Kelvin wipes the hair from her face.

KELVIN (V.O.)
You killed her!

SARTORIUS (V.O.)
Not her. It.

CUT TO:

INT. PROMETHEUS

Kelvin, furious, is talking through a slit in Sartorius'
door.

KELVIN
You murdered her!

SARTORIUS
Kelvin, she begged me. I had a short-
range version of the destabilizer
prototype, a miniature with a range
of a few meters. She walked into it
and disappeared. She was gone.

Kelvin looks around.

KELVIN
She'll come back.

SARTORIUS
No, she won't.

KELVIN
Why would you let her to do that?

SARTORIUS
It's not human, Kelvin. Whatever it
is, it's not human, and I am
threatened by that. Evolution-of-
the-species-at-stake threatened.
And I want to win. I want humans to
win. So I am killing it before it
kills me.

KELVIN
You fucking bastard...

SARTORIUS
Whose side are you on?

Kelvin moves away.

CUT TO:

EXT. SOLARIS

Still turning, slowly.

But something about its appearance is different.

INT. PROMETHEUS

Complete chaos.

Kelvin is chasing Sartorius to the flight deck.

SARTORIUS
(yelling as he runs)
It's changing characteristics. It's
solidifying taking on weight.

KELVIN
How quickly?

SARTORIUS
If it continues, it will implode
from its own weight and turn into a
black hole in about four hours and
pulls us in with it.

INT. FLIGHT DECK

Kelvin and Sartorius get the ship ready for take off.

KELVIN
Where's Snow? Did you call him?

SARTORIUS
Yes.

Kelvin turns and sees one of the video monitors that Snow is
sitting in his room.

KELVIN
(via intercom)
Snow! We need you up here.

Snow doesn't reply.

KELVIN
Snow!

Snow looks up. There's a strange look on his face.

KELVIN
What's wrong with you? We need your
help.

SNOW
I won't be making the trip.

SARTORIUS
Snow, get up here, now.

SNOW
I'm not Snow.

This stops Kelvin and Sartorius. They look at each other
and then at the monitor.

SNOW
I got rid of him. I wanted to see
if... I wanted to be the only one.
I wanted to be Snow.

SARTORIUS
Fuck me. I knew it.

KELVIN
When did this happen?

SNOW
Oh, right away. That's why you never
saw me with anyone. You should've
noticed that. I miss him, though.
I think I made a mistake.

KELVIN
Jesus...

SNOW
But I can't leave with you. I won't
make it.

KELVIN
Maybe you can.

SARTORIUS
You want it coming back with us?

SNOW
You go ahead. Of what I remember
about Earth... it's all one thing
now. Everything's a blur. I like
distinctions.

Snow lies down on his bed. Kelvin looks at Sartorius.

SARTORIUS
We do not have time to deal with
this. Get the diode sail into
position and let me know when the
bias drive and the induction ring
are at zero point.

Kelvin nods and obeys. He then takes one last look at the
monitor to see Snow lying in bed. Kelvin reaches over and
shuts the monitor off.

CUT TO:

EXT. SPACE

Silence.

The Prometheus moves away from Solaris.

CLOSER ON SOLARIS

After the ship has gone.

A soft black spot begins to form in the center of the planet.

Slowly, inexorably, this black spot begins to expand.

Within a minute Solaris has disappeared.

CUT TO:

EXT. STREET CORNER - DAY

Kelvin, back on Earth. Silent and still. And the rain
continues.

He watches the activity; the cars, buses, and people moving
to and fro.

KELVIN (V.O.)
Earth.
(beat)
What did that word mean to me?
(beat)
I have returned. Finally.

Kelvin begins to walk.

KELVIN (V.O.)
I work in the city now. After work
I wander and lose myself. I am silent
and attentive. I follow the current.
I make a conscious effort to smile,
nod, stand, and perform the millions
of gestures that constitute life on
Earth.

INT. TRAIN - DAY

Kelvin taking the train to the suburbs.

KELVIN (V.O.)
I will study these gestures until
they become reflexes again. I will
find new interests and occupations,
but --

EXT. ROAD - DAY

Kelvin makes his way toward his cabin. As he nears, his
LABRADOR recognizes him and approaches.

Kelvin pats the dog's coat.

KELVIN (V.O.)
I will not... give myself. I will
not give myself to anything or anyone,
because I am haunted by the idea
that I remembered her wrong. That I
shaded my memory of her to suit
myself. That I was unfair to her
and caused her destruction. What if
I was wrong about everything?
(beat)
I've come to believe that memory is
a curse.

EXT. CABIN - DAY

Kelvin is near the front door, dog at his heel. He looks in
as he brings his key to the lock and his face FREEZES.

RHEYA

Is in the living room, waiting for him.

She is sitting on the sofa, looking toward the other side of
the room. Sensing someone, she turns to see Kelvin, and her
face melts into a smile.

KELVIN

Opens the door. He cannot speak.

RHEYA

Rises and moves toward him.

They embrace.

He breathes her in. She squeezes him.

After a long beat:

KELVIN
How can you be here...

RHEYA
(whispering)
Shhhh. Just stay with me.
(beat)
Stay with me. Everything is forgiven.
Everything.

She sways with him, gently. His body relaxes.

KELVIN
I love you.

EXT. CABIN - DAY

A tableau of the cabin. The dog is on the front step,
seemingly content despite the light rain.

As fog drifts in, we RISE, and soon the mist has nearly
obscured the house. The fog turns into clouds and we get
fleeting glimpses of the cabin, as we move farther and farther
away.

We stay in a translucent white stage for a few moments, until
gradually the edges of a circle become apparent in the corners
of the frame. Still there is a light rain sound.

These dark, rounded edges penetrate further until they are
forming the shape of a circle.

The misty consistency begins to gain some color and body.

And we realize we are now looking at the surface of Solaris.

FADE OUT

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