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Solaris (2002)

by Steven Soderbergh.
Based on the novel by Stanislaw Lem.
October 4, 2001 draft.

More info about this movie on IMDb.com

FOR EDUCATIONAL PURPOSES ONLY

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

Then:

			A 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 suspicdfŝ@
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		(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.

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D/WD	}G^4^\:/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 (ON PROMETHEUS)

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 (ON PROMETHEUS)

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 (ON PROMETHEUS)

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
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	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% 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
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