2e24e035fddb9b96430c9bb2cf45d44facac6fc8
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FADE OUT .
 Clinical psychologist Dr. Chris Kelvin is approached by emissaries for DBA, a corporation operating a space station orbiting the planet Solaris, who relay a message sent from his scientist friend Dr. Gibarian. Gibarian requests that Kelvin come to the station to help understand an unusual phenomenon but is unwilling to explain more. DBA is unsure how to proceed, as the mission to study Solaris has been sidetracked and none of the astronauts want to return home. In addition, DBA has lost contact with the security patrol recently dispatched to the station. Kelvin agrees to a solo mission to Solaris as a last attempt to bring the crew home safely.
Upon arriving at Solaris Station, Kelvin learns that Gibarian has committed suicide and most of the crew have either died or disappeared under bizarre circumstances. Both surviving crew members, Snow and Dr. Gordon, are reluctant to explain the situation at hand. Once alone in his quarters, Kelvin dreams about his dead wife Rheya â reliving when they first met and some of their most romantic and intimate moments. He awakens shocked and terrified to encounter Rheya, apparently alive again beside him in bed, and he leads her into an escape pod and jettisons it into space. Kelvin confides his actions to Snow and comes to understand that replicas of the crew's loved ones have been mysteriously appearing. When Rheya manifests a second time Kelvin lets her stay, but she admits she does not feel human; her memories feel artificial, in that she lacks the emotional attachment that comes with actually having lived them.
Through numerous flashbacks, Kelvin and Rheya's meeting and courtship are explored, with hints as to her disturbed upbringing and emotional difficulties. It is also gradually revealed through these flashbacks that Rheya once terminated a pregnancy but did not tell Kelvin about it. When he discovered her choice he was distraught and walked out on her. Rheya then committed suicide and was later found by Kelvin when he returned for her.
Kelvin, Rheya, Snow and Gordon meet to discuss the situation and Gordon tells Rheya what Kelvin did to her previous replica. An appalled Rheya abandons the meeting. Kelvin confronts Gordon, who in turn chastises him for getting emotionally involved with something that is not really human and may eventually pose a threat to human beings on the station as well as on Earth. Later during a dream, Kelvin questions a replica of Gibarian as to what Solaris's motives are for providing the manifestations, but he is told "there are no answers, only choices." Kelvin wakes to find Rheya dead, having committed suicide by drinking liquid oxygen. But she quickly self-resurrects, and it is revealed that other manifestations who have 'died' have done the same.
Gordon develops an apparatus which can permanently destroy a replica but Kelvin objects to using it on Rheya. Driven by his own grief and guilt over the 'real' Rheya's death on Earth, he begins ingesting a chemical stimulant to stay awake in order to monitor Rheya, trying to avoid repeating the past and essentially abandoning her to suicide. Kelvin eventually falls asleep and Rheya successfully petitions Gordon to destroy her with the apparatus as she has done for her own replica(s). Traumatized, Kelvin confronts Dr. Gordon who maintains she merely facilitated in assisted suicide and only strives for the preservation of the humans on the station.
Kelvin and Gordon then discover Snow's body stashed away in a ceiling vent and realize that the Snow they have been interacting with is a replica. Snow admits to being a replica and explains that upon being dreamed into existence, he was attacked by his creator and thus killed the "original Snow" in self-defense. The Snow replica tells them that repeat usage of the apparatus has drained the ship's fuel cell reactor, making a return trip to Earth impossible. Furthermore, Solaris has reacted to the behavior of the humans by 'exponentially' increasing its mass, thereby gravitationally pulling the space station inexorably toward the planet. Gordon and Kelvin begin prepping a smaller space vehicle called Athena to escape.
Kelvin gives up the idea of boarding the lifeboat, and Doctor Gordon leaves him behind. As the plummeting space station rattles itself to pieces around him, a replica of Gibarian's young son appears and offers his hand in assistance. Kelvin is then shown struggling to return to normal life on Earth whilst ruminating on the idea that he "remembered her wrong" - that is, Rheya as being invariably suicidal. He accidentally cuts his finger while chopping vegetables in his kitchen, but the wound immediately heals, and he realises that he has only glimpsed a possible future and that he is still on Solaris, since an artificial environment has apparently been created by Solaris for his continued survival on the planet. Or maybe the original Kelvin died aboard the wrecked space station and has been replaced by a replica of himself without realising it. But even his perception of this home away from home could merely be a temporary convenience, because when Rheya appears to him yet again, she replies to a question of his with an implication that they have transcended the conventional meanings of 'life' and 'death' and that all they have done to each other is forgiven.
Clinical psychologist Dr. Chris Kelvin is approached by emissaries for DBA , a corporation operating a space station orbiting the planet Solaris , who relay a message sent from his scientist friend Dr. Gibarian . Gibarian requests that Kelvin come to the station to help understand an unusual phenomenon but is unwilling to explain more . DBA is unsure how to proceed , as the mission to study Solaris has been sidetracked and none of the astronauts want to return home . In addition , DBA has lost contact with the security patrol recently dispatched to the station . Kelvin agrees to a solo mission to Solaris as a last attempt to bring the crew home safely . Upon arriving at Solaris Station , Kelvin learns that Gibarian has committed suicide and most of the crew have either died or disappeared under bizarre circumstances . Both surviving crew members , Snow and Dr. Gordon , are reluctant to explain the situation at hand . Once alone in his quarters , Kelvin dreams about his dead wife Rheya â reliving when they first met and some of their most romantic and intimate moments . He awakens shocked and terrified to encounter Rheya , apparently alive again beside him in bed , and he leads her into an escape pod and jettisons it into space . Kelvin confides his actions to Snow and comes to understand that replicas of the crew s loved ones have been mysteriously appearing . When Rheya manifests a second time Kelvin lets her stay , but she admits she does not feel human ; her memories feel artificial , in that she lacks the emotional attachment that comes with actually having lived them . Through numerous flashbacks , Kelvin and Rheya s meeting and courtship are explored , with hints as to her disturbed upbringing and emotional difficulties . It is also gradually revealed through these flashbacks that Rheya once terminated a pregnancy but did not tell Kelvin about it . When he discovered her choice he was distraught and walked out on her . Rheya then committed suicide and was later found by Kelvin when he returned for her . Kelvin , Rheya , Snow and Gordon meet to discuss the situation and Gordon tells Rheya what Kelvin did to her previous replica . An appalled Rheya abandons the meeting . Kelvin confronts Gordon , who in turn chastises him for getting emotionally involved with something that is not really human and may eventually pose a threat to human beings on the station as well as on Earth . Later during a dream , Kelvin questions a replica of Gibarian as to what Solaris s motives are for providing the manifestations , but he is told there are no answers , only choices . Kelvin wakes to find Rheya dead , having committed suicide by drinking liquid oxygen . But she quickly self-resurrects , and it is revealed that other manifestations who have died ' have done the same . Gordon develops an apparatus which can permanently destroy a replica but Kelvin objects to using it on Rheya . Driven by his own grief and guilt over the real ' Rheya s death on Earth , he begins ingesting a chemical stimulant to stay awake in order to monitor Rheya , trying to avoid repeating the past and essentially abandoning her to suicide . Kelvin eventually falls asleep and Rheya successfully petitions Gordon to destroy her with the apparatus as she has done for her own replica ( s ) . Traumatized , Kelvin confronts Dr. Gordon who maintains she merely facilitated in assisted suicide and only strives for the preservation of the humans on the station . Kelvin and Gordon then discover Snow s body stashed away in a ceiling vent and realize that the Snow they have been interacting with is a replica . Snow admits to being a replica and explains that upon being dreamed into existence , he was attacked by his creator and thus killed the original Snow in self-defense . The Snow replica tells them that repeat usage of the apparatus has drained the ship s fuel cell reactor , making a return trip to Earth impossible . Furthermore , Solaris has reacted to the behavior of the humans by exponentially ' increasing its mass , thereby gravitationally pulling the space station inexorably toward the planet . Gordon and Kelvin begin prepping a smaller space vehicle called Athena to escape . Kelvin gives up the idea of boarding the lifeboat , and Doctor Gordon leaves him behind . As the plummeting space station rattles itself to pieces around him , a replica of Gibarian s young son appears and offers his hand in assistance . Kelvin is then shown struggling to return to normal life on Earth whilst ruminating on the idea that he remembered her wrong - that is , Rheya as being invariably suicidal . He accidentally cuts his finger while chopping vegetables in his kitchen , but the wound immediately heals , and he realises that he has only glimpsed a possible future and that he is still on Solaris , since an artificial environment has apparently been created by Solaris for his continued survival on the planet . Or maybe the original Kelvin died aboard the wrecked space station and has been replaced by a replica of himself without realising it . But even his perception of this home away from home could merely be a temporary convenience , because when Rheya appears to him yet again , she replies to a question of his with an implication that they have transcended the conventional meanings of life ' and death ' and that all they have done to each other is forgiven .
http://en.wikipedia.org/wiki/Solaris_(2002_film)
Solaris (2002 film)
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<title>Solaris - by Steven Soderbergh -  October 4, 2001 draft</title>
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<pre>













<b>                            SOLARIS
</b>
                              by

                       Steven Soderbergh






























                                              October 4, 2001





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

Then:

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

<b>EXT.  WOODS - DAY
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  BEDROOM - MORNING
</b>
Still, the sound of rain is heard.

<b>A MAN
</b>
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.

<b>                                                  CUT TO:
</b>
<b>EXT.  ROAD - DAY
</b>
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.

<b>THE MAN
</b>
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.

<b>                    WELL-DRESSED BUREAUCRAT
</b>          Dr. Kelvin?

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

<b>                                                  CUT TO:
</b>
<b>INT.  CABIN - DAY
</b>
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.

<b>                    GIBARIAN
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  SPACE CAPSULE
</b>
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.

<b>                                             DISSOLVE TO:
</b>
<b>KELVIN
</b>
in the same capsule, a month later.  He is asleep.

<b>                                             DISSOLVE TO:
</b>
<b>KELVIN
</b>
in the same capsule, two months later.  He is dictating some
coordinates to Earth.  He absently scratches his heavy growth
of beard.

<b>                                             DISSOLVE TO:
</b>
<b>KELVIN
</b>
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.

<b>                    KELVIN
</b>          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.

<b>EXT.  SPACE
</b>
The Athena 7, sporting a DBA logo, advances toward the
Prometheus.

<b>                                                  CUT TO:
</b>
<b>INT.  PROMETHEUS
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  CORRIDOR
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  GIBARIAN'S ROOM
</b>
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.

<b>VIDEO
</b>
Gibarian addressing the camera.  He appears to be lucid, but
extremely fatigued.

<b>                    GIBARIAN
</b>          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.

<b>                    GIBARIAN
</b>              (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.

<b>                                                  CUT TO:
</b>
<b>INT.  CORRIDOR
</b>
Empty.  But there is a door at the end of it, slightly open. 
Kelvin moves toward it.

<b>INT.  ROOM
</b>
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.

<b>                    KELVIN
</b>          Snow.  Didn't you hear me radio? 
          I'm Kelvin.

A long beat.  Snow just watches him.

<b>                    SNOW
</b>          Yes.  We heard.

Kelvin takes a step forward, and Snow recoils.

<b>                    KELVIN
</b>          What's wrong?  What happened to
          Gibarian?

<b>                    SNOW
</b>          He's dead.

<b>                    KELVIN
</b>          How?

A beat.

<b>                    SNOW
</b>          Suicide.

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

<b>                    SNOW
</b>          You didn't bring any chocolate, did
          you?

<b>                    KELVIN
</b>          What?

<b>                    SNOW
</b>              (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.

<b>                    KELVIN
</b>          What happened here?

Snow lies back in his bunk.

<b>                    SNOW
</b>          I can't talk just now.  I'm too
          tired.

<b>                    KELVIN
</b>          Where's Sartorius?

<b>                    SNOW
</b>          In his lab.  He won't let you in.

<b>                    KELVIN
</b>              (leaving)
          He'll let me in.

<b>                    SNOW
</b>          Kelvin, if you see anything
          unusual...

Kelvin stops, but doesn't turn around.

<b>                    SNOW
</b>          ... try to stay calm.

<b>                                                  CUT TO:
</b>
<b>INT.  CORRIDOR
</b>
Kelvin stands outside a door.

<b>                    KELVIN
</b>          Let me in.

A beat.

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

<b>                    KELVIN
</b>          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.

<b>                    KELVIN
</b>          What happened to Gibarian?

<b>                    SARTORIUS
</b>          Didn't you talk to Snow?

<b>                    KELVIN
</b>          I want to hear your version.

<b>                    SARTORIUS
</b>              (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?

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

<b>                    SARTORIUS
</b>          The same thing that could happen to
          any of us.

<b>                    KELVIN
</b>          Where's his body?

<b>                    SARTORIUS
</b>          In the lab.  With her, probably.

<b>                    KELVIN
</b>          Her?  Who are you talking about?

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

<b>                    SARTORIUS
</b>          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.

<b>                    KELVIN
</b>          They shouldn't let people like you
          into space.

<b>                    SARTORIUS
</b>          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.

<b>                    KELVIN
</b>          Listen --

<b>                    SARTORIUS
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  CORRIDOR - DAY
</b>
Kelvin walks, exploring the ship.  He sees something that
stops him:

<b>A NUDE WOMAN
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  SNOW'S ROOM
</b>
Snow is lying on his bunk.

<b>                    KELVIN
</b>          Is there anybody else here?

<b>                    SNOW
</b>              (sits up a little)
          Why, who did you see?

<b>                    KELVIN
</b>          Gibarian warned me.  He left me a
          message.

<b>                    SNOW
</b>          Who was it?

<b>                    KELVIN
</b>          She was real.  Where did she come
          from?

Snow looks at him but doesn't respond.

<b>                    KELVIN
</b>          Tell me.  I won't think you're
          insane.

<b>                    SNOW
</b>          Oh, that's a relief.

Snow lies back down.

<b>                    KELVIN
</b>          Where did she come from?

A beat.

<b>                    SNOW
</b>          How much sleep do you need?

<b>                    KELVIN
</b>          How much sleep?

<b>                    SNOW
</b>          How long can you go without sleep?

<b>                    KELVIN
</b>          That depends.

<b>                    SNOW
</b>          Well, when you do go to sleep:
          barricade your door.

Snow rolls over, away from Kelvin.

<b>                                                  CUT TO:
</b>
<b>EXT.  SPACE
</b>
Solaris.  Quiet, but still active somehow.

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

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin speaks into a video communication device.  As he does,
we see images of the things and people he describes.

<b>                    KELVIN
</b>          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
          posttraumatic; 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.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
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.

<b>ANOTHER ANGLE
</b>
On Kelvin, asleep.

<b>ANOTHER ANGLE
</b>
On Kelvin, still asleep.  Then:

<b>EXTREME CLOSE-UP:
</b>
A WOMAN'S LIPS, slightly parted.

<b>BACK TO KELVIN
</b>
Asleep.  Then:

<b>INT.  TRAIN - DAY
</b>
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.

<b>REVERSE ANGLE
</b>
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.

<b>BACK TO KELVIN
</b>
Asleep on the ship.  After a beat:

<b>EXTREME CLOSE-UP:
</b>
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.

<b>A WIDER VIEW
</b>
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.

<b>KELVIN
</b>
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.

<b>RHEYA
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
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.

<b>                    KELVIN
</b>          Oh, God.  I'm awake.

<b>                    RHEYA
</b>          Yes.

He looks at her.

<b>                    KELVIN
</b>          Where did you come from?

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

Between kisses.

<b>                    KELVIN
</b>          How are you here?

She stops.

<b>                    RHEYA
</b>          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.

<b>                    RHEYA
</b>          I love you.

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

<b>                    RHEYA
</b>          Do you love me?

He doesn't look up.

<b>                    KELVIN
</b>          Yes.

A beat.

<b>                    KELVIN
</b>          I need to see Snow.

<b>                    RHEYA
</b>          I'll go with you.

<b>                    KELVIN
</b>              (rising)
          I'll just be a minute.

She bolts out of bed.

<b>                    RHEYA
</b>          Don't.

<b>                    KELVIN
</b>          Why?

<b>                    RHEYA
</b>          I don't know.  I can't be alone.

<b>                    KELVIN
</b>          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.

<b>                    KELVIN
</b>          All right.  All right.  Here.

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

<b>                    RHEYA
</b>          What are they?

<b>                    KELVIN
</b>          To calm your anxiety.

<b>                    RHEYA
</b>          To calm my anxiety.

She takes the pills and smiles.

<b>                                                  CUT TO:
</b>
<b>INT.  DOCKING BAY
</b>
Kelvin leads Rheya to one of the exploratory pods.  They are
in space suits.

<b>                    RHEYA
</b>          We're taking a flight?

<b>                    KELVIN
</b>          Yes.

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

<b>                    KELVIN
</b>          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.

<b>KELVIN
</b>
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.

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

<b>KELVIN
</b>
collapses to the ground, shattered.

<b>INSERT:
</b>
A woman's HAND, resting on the floor of an apartment.  The
fingers are being licked by a LABRADOR PUPPY.

<b>ANOTHER INSERT:
</b>
A pot of coffee, on the boil.  Except that it has been left
unattended for too long...

<b>ANOTHER INSERT:
</b>
A rain-streaked window.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin, on the edge of his bed.  He wants to tear himself
inside out.

A voice calls over the intercom: Snow's.

<b>                    SNOW
</b>          Was her breakfast conversation that
          bad?

<b>                    KELVIN
</b>          Shut up.

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

<b>                    KELVIN
</b>          What was it?

Kelvin rises and goes to wash his face.

<b>                    SNOW
</b>          Personally, I think it's God.  At
          least, it fits my definition.

<b>                    KELVIN
</b>          And professionally?

<b>                    SNOW
</b>          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?

<b>                    KELVIN
</b>          My wife.

<b>                    SNOW
</b>          Dead?

Kelvin nods.

<b>                    SNOW
</b>          She has materialized from your
          memory of her.  What was her name?

<b>                    KELVIN
</b>          Rheya.

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

<b>                    KELVIN
</b>          Will she come back?

<b>                    SNOW
</b>          Probably.

<b>                    KELVIN
</b>          I wish you'd told me.

<b>                    SNOW
</b>          Told you what?

A beat.

<b>                    SNOW
</b>          What will you say?

<b>                    KELVIN
</b>          To who?

<b>                    SNOW
</b>          What are you going to report back
          to Earth?

<b>                    KELVIN
</b>          I don't know.

<b>                    SNOW
</b>          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.

<b>                    KELVIN
</b>          Gibarian said he thinks Solaris
          should be destroyed.

<b>                    SNOW
</b>          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?

<b>                                                  CUT TO:
</b>
<b>INT.  CONFERENCE ROOM
</b>
Before Kelvin's arrival.

Gibarian is talking to Snow and Sartorius.

<b>                    GIBARIAN
</b>          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.

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

<b>                    SNOW
</b>          It's God.

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

<b>                    GIBARIAN
</b>          Nelson, we have the opportunity --

<b>                    SARTORIUS
</b>          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.

<b>                    SNOW
</b>          We're not even sure it will let us
          leave.

<b>                                                  CUT TO:
</b>
<b>ANOTHER VIDEO
</b>
This time, Gibarian alone.  Near the end.

<b>                    GIBARIAN
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  LAB
</b>
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.

<b>                    GIBARIAN
</b>              (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.

<b>                                                  CUT TO:
</b>
<b>EXT.  SPACE
</b>
A shot hovering over the surface of Solaris.

<b>INT.  KELVIN'S ROOM
</b>
Kelvin is lying down, looking at the door.

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

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Time has passed.  Kelvin is asleep.

RHEYA leans into frame and kisses him.

Without even waking, he kisses her back, hungrily.

<b>                    KELVIN
</b>          Rheya...

<b>                    RHEYA
</b>          I want you inside me right now.

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

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin and Rheya are asleep.

<b>                                                  CUT TO:
</b>
<b>INT.  TRAIN - DAY
</b>
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.

<b>INT.  PARTY - NIGHT
</b>
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:

<b>                    KELVIN
</b>          "And Death Shall Have No Dominion".

<b>                    RHEYA
</b>          Book?

<b>                    KELVIN
</b>          Poem.  Dylan Thomas.  I thought of
          it when I saw you on the train.

<b>                    RHEYA
</b>          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.

<b>                    RHEYA
</b>          Not a very happy poem.

<b>                    KELVIN
</b>          You didn't look very happy.

<b>                    RHEYA
</b>          I wasn't.

<b>                    KELVIN
</b>          And tonight?

<b>                    RHEYA
</b>          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.

<b>                    KELVIN
</b>          That's good to know.

<b>                                                  CUT TO:
</b>
<b>INT.  FRIEND'S APARTMENT - NIGHT
</b>
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.

<b>                    RHEYA
</b>          You want to fuck her?

<b>                    KELVIN
</b>          Stop it.

<b>                    RHEYA
</b>          You behave as though you want to
          fuck her.

<b>                    KELVIN
</b>          Rheya.  Not here.

<b>                    RHEYA
</b>          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?

<b>                    KELVIN
</b>          Let's go home.

<b>                    RHEYA
</b>          You go home.

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

<b>                    RHEYA
</b>          You talk like an actor.

He is stung.

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - NIGHT
</b>
The immediate aftermath of the preceding scene, but at home
now.

Rheya crying as she embraces Kelvin.

<b>                    RHEYA
</b>          I'm so sorry.  I'm so sorry.

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

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - MORNING
</b>
Rheya, in a chair, remorseful, Kelvin is dressing.

<b>                    KELVIN
</b>          You're better when you take them.

<b>                    RHEYA
</b>          I know, I know.  But still, somehow
          I don't feel better.

<b>                    KELVIN
</b>          All right.  How about I feel better
          when you take them?

A beat.

<b>                    RHEYA
</b>          Right.

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

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - MORNING
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  PROMETHEUS
</b>
Rheya is taking her pills.  Kelvin watches.

<b>                    KELVIN
</b>          What do you remember?

<b>                    RHEYA
</b>          What do you mean?

<b>                    KELVIN
</b>          Do you remember Beethoven?  The
          Beatles?  Movies, books,
          restaurants, friends?

<b>                    RHEYA
</b>              (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.

<b>                    RHEYA
</b>          Is it a planet?

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>          Is it intelligent?

<b>                    KELVIN
</b>          Intelligent beyond our
          comprehension.

<b>                    RHEYA
</b>          Then it's God, right?

<b>                    KELVIN
</b>          It's something.

<b>                    RHEYA
</b>          You still don't believe in God?

<b>                    KELVIN
</b>          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!

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

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>          But what if Solaris is what there
          was before The Big Bang?

<b>                    KELVIN
</b>          As I said, it is beyond our
          comprehension.

<b>                    RHEYA
</b>          As I said, then it's God, right?

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

<b>                    RHEYA
</b>          Why are we talking about this shit
          when we could be fucking?

Kelvin smiles.

The intercom comes to life.

<b>                    SNOW
</b>          Kelvin, you awake?

<b>                    KELVIN
</b>          What is it?

<b>                    SNOW
</b>          Can you meet me and Sartorius on B
          deck in an hour?

<b>                    KELVIN
</b>          Why?

<b>                    SNOW
</b>          Just a little strategy session. 
          But in person this time.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin is getting ready to leave.  Rheya sits on the edge of
the bed, nervous.

<b>                    KELVIN
</b>          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.

<b>IN THE CORRIDOR
</b>
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.

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

<b>                    KELVIN
</b>          Rheya...

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

<b>                    RHEYA
</b>          What happened?

<b>                    KELVIN
</b>          You were trying to break down the
          door.  Do you know why?

<b>                    RHEYA
</b>          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.

<b>                    RHEYA
</b>          Chris, what's wrong with me?

<b>                                                  CUT TO:
</b>
<b>INT.  LAB
</b>
Kelvin runs Rheya through a battery of tests and studies the
results.

<b>                    RHEYA
</b>          Am I all right?

A beat.

<b>                    KELVIN
</b>          Yes.

<b>                                                  CUT TO:
</b>
<b>INT.  B DECK CONFERENCE ROOM
</b>
Snow and Sartorius wait for Kelvin.

<b>                    SNOW
</b>          He won't do it.

<b>                    SARTORIUS
</b>          Why do you say that?

<b>                    SNOW
</b>          He won't.

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

<b>                    KELVIN
</b>          This is my wife, Rheya.

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

<b>                    SARTORIUS
</b>          We thought you'd be alone.  We want
          to talk about...

<b>                    SNOW
</b>          We want to talk freely.

<b>                    KELVIN
</b>          Go ahead.

Sartorius begins.

<b>                    SARTORIUS
</b>          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.

<b>                    SARTORIUS
</b>          I would like to start with
          motivation.  Why are they here?

Sartorius looks at Rheya.  She looks away.

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

<b>                    SNOW
</b>          It's an experiment.

<b>                    KELVIN
</b>          No.  There's no behavior
          modification.

<b>                    SARTORIUS
</b>          She reappeared exactly as she had
          before?

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

<b>                    SNOW
</b>          The same vulnerabilities?

He nods again.

<b>                    SARTORIUS
</b>          A recoil, with no compensating
          mechanism.

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

<b>                    SARTORIUS
</b>          Followed by non-human
          manifestations.

<b>                    SNOW
</b>          Are the actions of Solaris
          premeditated?

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

<b>                    SNOW
</b>          I'm just trying to find an
          explanation for the continual
          reappearances.

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

<b>                    RHEYA
</b>          Yes.
              (looks around)
          Of course.

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

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

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - NIGHT
</b>
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:

<b>                    KELVIN
</b>          Where've you been?

<b>                    RHEYA
</b>          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.

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

<b>                                                  CUT TO:
</b>
<b>INT.  PARTY - NIGHT
</b>
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.

<b>                    RHEYA
</b>          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.

<b>                    KELVIN
</b>          How old were you?

<b>                    RHEYA
</b>          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.

<b>                    KELVIN
</b>          What kind of look?

<b>INT.  KELVIN'S ROOM
</b>
Kelvin and Rheya sit together in the Prometheus.  Rheya
continues her story without a beat.

<b>                    RHEYA
</b>          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 --

<b>                    KELVIN
</b>          I know.  I know.  We don't have to
          talk about that.

Another beat.

<b>                    RHEYA
</b>          I remember days of just thinking
          about you.

<b>INT.  OFFICES - DAY
</b>
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.

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

<b>                    KELVIN
</b>          I did too.

<b>INT.  APARTMENT - NIGHT
</b>
Rheya on the edge of the bed, facing away.

<b>                    KELVIN
</b>          I used to watch you undress.

As she does:

<b>                    KELVIN
</b>          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.

<b>ON THE PROMETHEUS
</b>
A beat.

<b>                    RHEYA
</b>          What happened to us, exactly?

<b>                    KELVIN
</b>          You don't know?

Rheya shakes her head.

Kelvin just watches her.

<b>                    RHEYA
</b>          I remember... something burning. 
          Coffee burning.

<b>INT.  APARTMENT - DAY
</b>
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.

<b>RHEYA (ON PROMETHEUS)
</b>
She is looking at Kelvin.  He is dreading this.

<b>                    RHEYA
</b>          You found me?

He nods.  It's coming back to her.

<b>INT.  APARTMENT - DAY
</b>
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.

<b>RHEYA (ON PROMETHEUS)
</b>
Experiencing this all over again.  Kelvin comes and sits in
front of her.

<b>INT.  APARTMENT - DAY
</b>
Kelvin, still yelling, is packing some things into a
suitcase.  Rheya, between sobs, pleads with him.

<b>RHEYA (ON PROMETHEUS)
</b>
Her eyes fill with tears.  Kelvin embraces her.

<b>                    KELVIN
</b>          I'm sorry.  I'm sorry.

Rheya is devastated, inconsolable.

<b>                    RHEYA
</b>          Why did you say those things?

<b>                    KELVIN
</b>          I don't know.  I couldn't
          understand why you didn't tell me.

<b>INT.  APARTMENT - DAY
</b>
Rheya lies on the kitchen floor, dead.  There is a NOTE in
her hand.

Kelvin kneels next to her.

<b>KELVIN (ON PROMETHEUS)
</b>
With Rheya still in his arms.

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

<b>INT.  APARTMENT - DAY
</b>
Kelvin holds the dead Rheya.

<b>KELVIN (ON PROMETHEUS)
</b>
Squeezing her.

<b>                    KELVIN
</b>          I should have believed you.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin lies in bed, his eyes open.  Rheya is in his arms.

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - DAY
</b>
Rheya, talking to Chris.  Obviously during a period when they
were getting along.  Or at least: not fighting.

<b>                    RHEYA
</b>          I can't help feeling that I'm
          cheating when I take them.

<b>                    KELVIN
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
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.

<b>                    SNOW
</b>          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 --

<b>                    KELVIN
</b>          -- we are not sure of that.  We are
          not sure we aren't all
          hallucinating.

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

<b>                    KELVIN
</b>          Not necessarily.

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

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

<b>                    SNOW
</b>          Who are you trying to convince?

Kelvin just looks back at Rheya.

<b>                    SNOW
</b>          It will end badly.  As inevitably
          as the rising of a bubble.

Kelvin doesn't respond.

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

Kelvin just keeps staring at Rheya, asleep.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin is eating with Rheya.  Looking at her.  Desiring her.

<b>                    RHEYA
</b>          Do you have any idea how much I
          like fucking you?

<b>                    KELVIN
</b>          I think so.

<b>                    RHEYA
</b>          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.

<b>                    RHEYA
</b>          I like that too.

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

<b>                    RHEYA
</b>              (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.

<b>                    KELVIN (V.O.)
</b>          Like I said, it's not possible.

A beat.

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

They laugh.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin and Rheya, post-coital.  Relaxed.  On the verge of
sleep.

<b>                    RHEYA
</b>          You sure say "God" a lot when we're
          doing it.

<b>                    KELVIN
</b>          I know.  I'm putting that in my
          next report.

She smiles.

<b>                    RHEYA
</b>          Right.  The report.  Report and
          recommend.

They consider that.

<b>                    RHEYA
</b>          What does Snow think you should do?

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>          Sartorius wants to destroy it.

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>          He has a point.

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

<b>                    RHEYA
</b>          You feel sorry for Solaris, or for
          me?

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>          It was obvious from the way he
          first looked at me.

A beat.  He holds her.

<b>                    RHEYA
</b>          Do I really feel like... I am...?

<b>                    KELVIN
</b>          Yes.  Yes.

<b>                    RHEYA
</b>          I'm glad.

A beat.

<b>                                                  CUT TO:
</b>
<b>EXT.  SOLARIS
</b>
Turning, slowly.

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - NIGHT
</b>
Then years ago.  Kelvin, naked, sitting in a chair, in the
dark.  Rheya, also naked, is smoking a cigarette in bed.

<b>                    KELVIN
</b>          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.

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>              (sarcastic)
          Imagine my frustration.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
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:

<b>                    KELVIN
</b>          What's wrong.

<b>                    RHEYA
</b>          You don't love me.

<b>                    KELVIN
</b>          Stop.

A beat.  She looks down.

<b>                    RHEYA
</b>          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.

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

Calmly:

<b>                    KELVIN
</b>          What are you talking about?

<b>                    RHEYA
</b>          That I am not Rheya.  That Rheya
          died.  Killed herself.  I'm
          different.

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

<b>                    KELVIN
</b>          Who have you been talking to?

<b>                    RHEYA
</b>              (no reason to lie)
          Sartorius.

<b>                    KELVIN
</b>          When?  When I'm asleep?

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

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

<b>                    RHEYA
</b>          I'm just trying to understand
          what's going on.

A beat.

<b>                    RHEYA
</b>          How have you lived the last ten
          years?  Did you love anyone?

A long beat.  Kelvin shakes his head.

<b>                    RHEYA
</b>          Did you think about me?

Another beat.  He nods.  Then:

<b>                    RHEYA
</b>          But we fought.

<b>                    KELVIN
</b>          Yes.  Especially toward the end.

<b>                    RHEYA
</b>          Why did she do it?

<b>                    KELVIN
</b>          You... she said I didn't love her.

<b>                    RHEYA
</b>          Was she right?

<b>                    KELVIN
</b>          No.  I love you.

<b>                    RHEYA
</b>              (reflexive, but genuine)
          I love you, too.

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

<b>                    KELVIN
</b>          Can you sleep?

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

<b>                    KELVIN
</b>          Those are dreams.

She falls asleep.

<b>                                                FADE OUT.
</b>
<b>FADE IN:
</b>
<b>INT.  CONFERENCE ROOM
</b>
Kelvin, Rheya, Sartorius, and Snow.  They are in the middle
of a heated discussion.

<b>                    SNOW
</b>          Gibarian was under enormous --

<b>                    SARTORIUS
</b>          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.

<b>                    KELVIN
</b>          Meaning Man can do whatever the
          fuck it wants?

<b>                    SARTORIUS
</b>          Yes.

<b>                    KELVIN
</b>          That's fantastic.

<b>                    SARTORIUS
</b>          Why did you agree to come here?

A beat.

<b>                    SARTORIUS
</b>          Too tired to answer?

Looks at Rheya, then back to Kelvin.

<b>                    SARTORIUS
</b>          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.

<b>                    RHEYA
</b>              (to Sartorius)
          You're the coward.

<b>                    KELVIN
</b>          Don't debate him; he'll say
          anything.

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

<b>                    SARTORIUS
</b>          Prove it.

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

<b>                    SARTORIUS
</b>          YOU ARE NOT HUMAN!  Try to
          understand that if you can
          understand anything!

Kelvin is within an inch of his face.

<b>                    KELVIN
</b>          Get out of here.

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

<b>                    SARTORIUS
</b>          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.

<b>                    SARTORIUS
</b>          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...

<b>                    SARTORIUS
</b>          It'd be hilarious if it weren't so
          damn sad.

And leaves.

A beat.

<b>                    SNOW
</b>          We didn't even get to hear his new
          ideas.

Snow wanders toward the door.

<b>                    SNOW
</b>          I'm not feeling well.

He passes Kelvin and leaves.

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

<b>                                                  CUT TO:
</b>
<b>EXT.  SOLARIS
</b>
The fog-shrouded surface, shifting and turning like an ocean.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Rheya is asleep.  Kelvin is talking to Snow on the
videophone.

<b>                    SNOW
</b>          We can liquidate the station.  Take
          the Athena back.

<b>                    KELVIN
</b>          No.

<b>                    SNOW
</b>          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.

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

<b>                    SNOW
</b>          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.

<b>                    KELVIN
</b>          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.

<b>                    SNOW
</b>          Perhaps it did.

<b>                    KELVIN
</b>          Human beings can die.

<b>                    SNOW
</b>          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.

<b>INT.  KELVIN'S ROOM - EARLIER
</b>
Quick glimpses of Rheya.  In several of them she is in
repose, thinking, as if to illustrate Snow's point.

<b>INT.  KELVIN'S ROOM
</b>
Back to Kelvin, thinking.

<b>                    KELVIN
</b>          They come when you sleep.

<b>                    SNOW
</b>          That's right.  And we all have to
          sleep, eventually.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin on the bed with Rheya.  Their eyes are closed.

We think they are asleep until:

<b>                    RHEYA
</b>          You don't want me.

<b>                    KELVIN
</b>          Rheya.

<b>                    RHEYA
</b>          That's what you were saying.  I
          heard what you were saying.

<b>                    KELVIN
</b>          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.

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

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>          But that's what happened before.

<b>                    KELVIN
</b>          Not this time.

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

<b>                    RHEYA
</b>          Do you want to stay here?

<b>                    KELVIN
</b>          Do you?

<b>                    RHEYA
</b>          If you're here.

They kiss again...

<b>                                             DISSOLVE TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
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:

<b>                    KELVIN
</b>          Gibarian.

<b>                    GIBARIAN
</b>          Leave the light off.

A beat.  Kelvin tries to get his bearings.

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

He smiles, looking at Kelvin.

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

<b>                    KELVIN
</b>          What do you want?

<b>                    GIBARIAN
</b>          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.

<b>                    KELVIN
</b>          Can it work?

<b>                    GIBARIAN
</b>          It can.  Ordinary matter, like
          ours?  Not affected.  Everything
          else, disintegrates.

Kelvin registers this.

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

<b>                    KELVIN
</b>          I can trust Rheya.

<b>                    GIBARIAN
</b>          You'll end up like me.

<b>                    KELVIN
</b>          You're not Gibarian...

<b>                    GIBARIAN
</b>          No?  Who am I, then?

<b>                    KELVIN
</b>          A puppet.

<b>                    GIBARIAN
</b>          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.

<b>KELVIN
</b>
wakes up, gulping air.  Rheya, startled:

<b>                    RHEYA
</b>          What's wrong?

<b>                    KELVIN
</b>          Gibarian.  He was here.

<b>                    RHEYA
</b>          You said he was dead.

<b>                    KELVIN
</b>          He is.  But he was here...

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

<b>                    KELVIN
</b>          He spoke to me.

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

<b>INT.  LAB
</b>
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.  

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin, thinking.  He gives Rheya some pills to take.  She
just looks at them.

<b>                    KELVIN
</b>          Are you going to take them?

She nods and takes them.

<b>                    RHEYA
</b>          What's happening to us?

<b>                    KELVIN
</b>          It's all right.

<b>                    RHEYA
</b>          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.

<b>                    KELVIN
</b>          I love you.

<b>                    RHEYA
</b>          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.

<b>                    KELVIN
</b>          That won't happen again.  We're
          different.

<b>                    RHEYA
</b>          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.

<b>                    RHEYA
</b>          How could it be so cruel?  How
          could it torture us like this?

<b>                    KELVIN
</b>          I don't think it knows it's
          torturing us.  It's just watching.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin and Rheya, in bed.  She looks despondent.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  LAB
</b>
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.

<b>INT.  CORRIDOR
</b>
Kelvin is carrying Rheya.  Snow sticks his head out of a
passing room.

<b>                    SNOW
</b>          What happened?

<b>                    KELVIN
</b>          She drank liquid oxygen.

<b>INT.  KELVIN'S ROOM
</b>
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.

<b>                    KELVIN
</b>          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.

<b>                    SNOW
</b>          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.

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

<b>                    KELVIN
</b>          Get out --

<b>                    SNOW
</b>          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.

<b>                    SNOW
</b>          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:

<b>                    SNOW
</b>          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.

<b>                    RHEYA
</b>          What am I?  Why can't I die?

She turns away.

<b>                    RHEYA
</b>          I'm not Rheya.  You're always known
          that.

<b>                    KELVIN
</b>          Rheya --

<b>                    RHEYA
</b>          Don't call me that.

He turns her over.

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

<b>                    RHEYA
</b>          I'm disgusting.

<b>                    KELVIN
</b>          No.

<b>                    RHEYA
</b>          You're lying.  I'm not human.

<b>                    KELVIN
</b>          Rheya, I am not going back.  I'm
          staying here with you.

<b>                    RHEYA
</b>          Then you'll die.

<b>                    KELVIN
</b>          I want every second I can get with
          you.

A beat.

<b>                    RHEYA
</b>          What will I do, if you die?

He doesn't know.

<b>                                                  CUT TO:
</b>
<b>EXT.  SOLARIS
</b>
Turning slowly.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin and Rheya, in bed.

<b>                    RHEYA
</b>          Do you think I can get pregnant
          here?

A long beat.

<b>                    KELVIN
</b>          We'll know soon enough.

<b>INSERT:
</b>
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:

<b>                    RHEYA
</b>          I can't be a mother.

She pulls back.

<b>                    KELVIN
</b>          That's good to know.

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - DAY
</b>
Kelvin, as he packs to leave Rheya.

<b>                    RHEYA
</b>          Don't do this.  I am literally
          begging you not to do this.  Chris.

<b>                    KELVIN
</b>          You should have told me.

<b>                    RHEYA
</b>          It wouldn't have made any
          difference.

<b>                    KELVIN
</b>          Thank you.

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

<b>                    KELVIN
</b>          Neither did I.

<b>                    RHEYA
</b>          You never said you wanted one.

<b>                    KELVIN
</b>          I never said I didn't.

<b>                    RHEYA
</b>          Chris --

<b>                    KELVIN
</b>          I can't stay here.

<b>                    RHEYA
</b>          Chris, please.  Chris, I'm serious. 
          I won't make it.

<b>                    KELVIN
</b>          Then you won't make it.

He leaves, brushing past her.

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - DAY
</b>
Rheya, unconscious, on the kitchen floor.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
A long, held shot of Rheya, crying.  She is curled up,
retreating into herself.  Kelvin is trying to console her.

<b>                    KELVIN
</b>          I came back.  You have to know
          that.  I came back that night.

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - DAY
</b>
Rheya on the kitchen floor, the note in her hand.

Kelvin is kneeling over her.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin and Rheya.  She is sobbing, but somewhat calmer.

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

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin, asleep.

<b>                                                  CUT TO:
</b>
<b>GIBARIAN
</b>
As we saw him before, sitting in the chair.  But we didn't
hear him say this before:

<b>                    GIBARIAN
</b>          If they succeed, you'll never see
          her again.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
In the immediate aftermath of her suicide attempt with the
liquid oxygen:

<b>                    RHEYA
</b>          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.

<b>                    RHEYA
</b>          Don't --

<b>INT.  APARTMENT - DAY
</b>
Rheya, as Kelvin brushes past her on his way out.  She looks
desperate.

<b>INT.  KELVIN'S ROOM
</b>
Rheya and Kelvin.

<b>                    RHEYA
</b>          What do I have to do to stop it?

<b>                    KELVIN
</b>          I want you here.

<b>                    RHEYA
</b>          You're lying.

<b>                    KELVIN
</b>          You exist here.  I keep telling
          you.

<b>                    RHEYA
</b>          That's impossible.  I'm not Rheya.

<b>                    KELVIN
</b>          Who are you, then?

<b>                    RHEYA
</b>          I... I am Rheya.  But I am not the
          woman you loved ten years ago.

<b>                    KELVIN
</b>          Yes, you are --

<b>                    RHEYA
</b>          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?

<b>                    KELVIN
</b>          Yes.  I told you.  It was exactly
          like mine.

<b>                    RHEYA
</b>          But then I would be dead now.

A beat.

<b>                    KELVIN
</b>          Is that really what you want?

<b>                    RHEYA
</b>          I want to stop taking those pills.

<b>                    KELVIN
</b>          I wish you wouldn't.

<b>                    RHEYA
</b>          They do something to me.  It's hard
          to think straight.

<b>                    KELVIN
</b>          I think they help.

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

<b>                    KELVIN
</b>          You have to remember that I love
          you, that's all that matters --

<b>                    RHEYA
</b>          I can't --

<b>                    KELVIN
</b>          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.

<b>                    RHEYA
</b>          Am I really her?

<b>                    KELVIN
</b>          I don't know anymore.  All I see is
          you.

They kiss.

<b>                    KELVIN
</b>          Stay with me.
              (beat)
          Stay with me.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin is asleep.  Rheya is next to him.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin is on the videophone to Snow.

<b>                    KELVIN
</b>          She knows everything.  She knows
          who she is.

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

<b>                    KELVIN
</b>          No.

A beat.

<b>                    SNOW
</b>          What do you want?

<b>                    KELVIN
</b>          I want you to get Sartorius to
          abandon his plan.

<b>                    SNOW
</b>              (feigning innocence)
          What plan?

<b>                    KELVIN
</b>          Just get him to stop.

<b>                    SNOW
</b>          What do you want to do, leave the
          station with her?

<b>                    KELVIN
</b>          Yes.

<b>                    SNOW
</b>          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...

<b>                    KELVIN
</b>          Her oxygen would have run out.

<b>                    SNOW
</b>          Maybe she doesn't need any.  Should
          we check?

Kelvin just stares at him.

<b>                    SNOW
</b>          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.

<b>                    KELVIN
</b>          Into what?

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

<b>                    KELVIN
</b>          I love her.

<b>                    SNOW
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
He is playing back a message sent by Sartorius.

<b>                    SARTORIUS
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
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.

<b>                    RHEYA
</b>          What are you taking?

<b>                    KELVIN
</b>          A sleeping pill.  Do you want
          yours?

<b>INT.  APARTMENT - DAY
</b>
Rheya, on the kitchen floor.  The bottle of sleeping pills
just beyond her hand.

<b>BACK ON THE PROMETHEUS
</b>
Kelvin looks at Rheya.  She shakes her head; she doesn't want
the pills.  Kelvin comes and sits beside her.

<b>                    KELVIN
</b>          What does it want?

<b>                    RHEYA
</b>          I don't know.  Something. 
          Anything.

She goes to a portal and stares out at Solaris.

<b>                    RHEYA
</b>          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?

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Snow on the videophone to Kelvin.  Rheya is asleep in the
background.

<b>                    SNOW
</b>          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...

<b>                                                  CUT TO:
</b>
<b>GIBARIAN
</b>
On his suicide tape:

<b>                    GIBARIAN
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Rheya and Kelvin.

<b>                    RHEYA
</b>          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?

<b>                    KELVIN
</b>          Please.  Don't.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin is asleep.  Rheya is crying beside him.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin asleep, alone.  Rheya is in the corridor, talking to
someone.

<b>KELVIN
</b>
wakes up.  Rheya is beside him, asleep.

<b>                                                  CUT TO:
</b>
<b>EXT.  SOLARIS
</b>
Turning, slowly.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin, in a fever, eyes open but glazed.

Rheya is putting a compress on his forehead.

<b>KELVIN'S POV
</b>
Of the room.

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

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S CABIN (EARTH)
</b>
Kelvin sits in a chair, looking at:

<b>THE LABRADOR
</b>
Sitting in the same position as it was on the Prometheus.

<b>KELVIN
</b>
Breathes a sigh of relief at being home.  Everything seems
slowed down, somehow.

<b>                    KELVIN (V.O.)
</b>          I though I was home.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
On the Prometheus.  Kelvin is in bed, feverish.

<b>                    KELVIN (V.O.)
</b>          I thought it was over.

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

<b>KELVIN
</b>
Wakes up again.  Rheya is asleep beside him.

<b>                                                  CUT TO:
</b>
<b>INT.  TRAIN
</b>
Rheya, the first day she and Kelvin saw each other.

<b>                                                  CUT TO:
</b>
<b>EXT.  STREET CORNER - DAY
</b>
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.

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM
</b>
Kelvin in bed, on the Prometheus.  Still feverish.

Rheya is mopping his brow.

<b>INT.  KELVIN'S CABIN (EARTH)
</b>
Kelvin in bed, feverish.

Rheya is there, wiping his forehead.

<b>INT.  KELVIN'S ROOM
</b>
On the Prometheus.  Kelvin looks over to Rheya.

<b>                    KELVIN
</b>          Where did you go before?

<b>                    RHEYA
</b>          When?

<b>                    KELVIN
</b>          Last night.  You were talking to
          someone in the corridor.

<b>                    RHEYA
</b>          You must have been dreaming.

She begins to cry.

<b>                    KELVIN
</b>          What's the matter?

She just shakes her head.

<b>                    KELVIN
</b>          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.

<b>KELVIN
</b>
Sweating.  Struggling.  Beyond fear.

<b>                    KELVIN (V.O.)
</b>          I'm losing my mind.
              (beat)
          I'm breaking apart.

<b>INT.  CABIN - DAY
</b>
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.

<b>INT.  KELVIN'S ROOM (PROMETHEUS)
</b>
Kelvin, transfixed.

<b>                    KELVIN (V.O.)
</b>          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.

<b>INT.  CORRIDOR
</b>
Behind Kelvin as he somehow keeps moving.

We hold a long time, and then:

<b>                                                  CUT TO:
</b>
<b>BLACK.
</b>
Count to ten.  Then:

<b>                                                  CUT TO:
</b>
<b>EXT.  STREET
</b>
Kelvin moving down a crowded sidewalk, in slow motion.

<b>                    KELVIN (V.O.)
</b>          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.

<b>                                                  CUT TO:
</b>
<b>INT.  TRAIN - DAY
</b>
Kelvin, traveling home from the city.

<b>                                                  CUT TO:
</b>
<b>EXT.  KELVIN'S CABIN - DAY
</b>
Kelvin returns.  He stops and looks around before entering
his front door.

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

<b>KEVIN'S POV
</b>
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.

<b>KELVIN
</b>
Looking from the doorway, notes this.  He doesn't seem
surprised, though.

<b>                    KELVIN (V.O.)
</b>          I don't believe it will happen.

<b>INT.  KELVIN'S CABIN - NIGHT
</b>
Kelvin, in his bed, awake.

<b>                    KELVIN (V.O.)
</b>          But I will wait, anyway.

<b>                                                  CUT TO:
</b>
<b>BLACK.
</b>
Count to five.  Then:

<b>                                                  CUT TO:
</b>
<b>INT.  KELVIN'S ROOM (PROMETHEUS)
</b>
Kelvin is in his bed, still feverish.

<b>                    KELVIN (V.O.)
</b>          I thought it was over.

He looks around the room.  He is alone.

A flashing light on his computer demands attention.

<b>ON THE COMPUTER
</b>
A video message from Rheya.

<b>                    RHEYA
</b>          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.

<b>                    RHEYA
</b>          I know that you loved me, Chris.  I
          know that.
              (beat)
          I love you.

Kelvin breaks down.

<b>                                                  CUT TO:
</b>
<b>INT.  APARTMENT - DAY
</b>
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.

<b>INT.  PARTY - NIGHT
</b>
The first night.  Again, Kelvin leans into Rheya's ear and
whispers.  This time we hear what he says:

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

<b>INT.  APARTMENT - DAY
</b>
Kevin holding Rheya.

The note on the floor.

The rain-streaked window.

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

Kelvin wipes the hair from her face.

<b>                    KELVIN (V.O.)
</b>          You killed her!

<b>                    SARTORIUS (V.O.)
</b>          Not her.  It.

<b>                                                  CUT TO:
</b>
<b>INT.  PROMETHEUS
</b>
Kelvin, furious, is talking through a slit in Sartorius'
door.

<b>                    KELVIN
</b>          You murdered her!

<b>                    SARTORIUS
</b>          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.

<b>                    KELVIN
</b>          She'll come back.

<b>                    SARTORIUS
</b>          No, she won't.

<b>                    KELVIN
</b>          Why would you let her to do that?

<b>                    SARTORIUS
</b>          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.

<b>                    KELVIN
</b>          You fucking bastard...

<b>                    SARTORIUS
</b>          Whose side are you on?

Kelvin moves away.

<b>                                                  CUT TO:
</b>
<b>EXT.  SOLARIS
</b>
Still turning, slowly.

But something about its appearance is different.

<b>INT.  PROMETHEUS
</b>
Complete chaos.

Kelvin is chasing Sartorius to the flight deck.

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

<b>                    KELVIN
</b>          How quickly?

<b>                    SARTORIUS
</b>          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.

<b>INT.  FLIGHT DECK
</b>
Kelvin and Sartorius get the ship ready for take off.

<b>                    KELVIN
</b>          Where's Snow?  Did you call him?

<b>                    SARTORIUS
</b>          Yes.

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

<b>                    KELVIN
</b>              (via intercom)
          Snow!  We need you up here.

Snow doesn't reply.

<b>                    KELVIN
</b>          Snow!

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

<b>                    KELVIN
</b>          What's wrong with you?  We need
          your help.

<b>                    SNOW
</b>          I won't be making the trip.

<b>                    SARTORIUS
</b>          Snow, get up here, now.

<b>                    SNOW
</b>          I'm not Snow.

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

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

<b>                    SARTORIUS
</b>          Fuck me.  I knew it.

<b>                    KELVIN
</b>          When did this happen?

<b>                    SNOW
</b>          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.

<b>                    KELVIN
</b>          Jesus...

<b>                    SNOW
</b>          But I can't leave with you.  I
          won't make it.

<b>                    KELVIN
</b>          Maybe you can.

<b>                    SARTORIUS
</b>          You want it coming back with us?

<b>                    SNOW
</b>          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.

<b>                    SARTORIUS
</b>          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.

<b>                                                  CUT TO:
</b>
<b>EXT.  SPACE
</b>
Silence.

The Prometheus moves away from Solaris.

<b>CLOSER ON SOLARIS
</b>
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.

<b>                                                  CUT TO:
</b>
<b>EXT.  STREET CORNER - DAY
</b>
Kelvin, back on Earth.  Silent and still.  And the rain
continues.

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

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

Kelvin begins to walk.

<b>                    KELVIN (V.O.)
</b>          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.

<b>INT.  TRAIN - DAY
</b>
Kelvin taking the train to the suburbs.

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

<b>EXT.  ROAD - DAY
</b>
Kelvin makes his way toward his cabin.  As he nears, his
LABRODOR recognizes him and approaches.

Kelvin pats the dog's coat.

<b>                    KELVIN (V.O.)
</b>          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.

<b>EXT.  CABIN - DAY
</b>
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.

<b>RHEYA
</b>
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.

<b>KELVIN
</b>
Opens the door.  He cannot speak.

<b>RHEYA
</b>
Rises and moves toward him.

They embrace.

He breathes her in.  She squeezes him.

After a long beat:

<b>                    KELVIN
</b>          How can you be here...

<b>                    RHEYA
</b>              (whispering)
          Shhhh.  Just stay with me.
              (beat)
          Stay with me.  Everything is
          forgiven.  Everything.

She sways with him, gently.  His body relaxes.

<b>                    KELVIN
</b>          I love you.

<b>EXT.  CABIN - DAY
</b>
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.

<b>                                                FADE OUT.
</b>






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	<td><h1>Solaris</h1><br><br>
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How many crew have survived when Kelvin arrives?
How many crew have survived when Kelvin arrives ?
Two
Two
Two
Two