SOLARIS Page #10

Synopsis: The Solaris mission has established a base on a planet that appears to host some kind of intelligence, but the details are hazy and very secret. After the mysterious demise of one of the three scientists on the base, the main character is sent out to replace him. He finds the station run-down and the two remaining scientists cold and secretive. When he also encounters his wife who has been dead for ten years, he begins to appreciate the baffling nature of the alien intelligence.
Genre: Drama, Mystery, Sci-Fi
Director(s): Andrei Tarkovsky
Production: Kino International
  2 wins & 4 nominations.
 
IMDB:
8.1
Metacritic:
90
Rotten Tomatoes:
96%
PG
Year:
1972
167 min
6,148 Views


KELVIN:

What do you want?

GIBARIAN:

You're being tricked. Sartorius

picked a fight with you to avoid

telling you about his idea for

getting rid of the visitors. He's

figured out they're made of

subatomic particles called

neutrinos, and he's going to create

a negative neutrino field. Twenty

four hours a day, until they're

back on Earth.

KELVIN:

Can it work?

GIBARIAN:

It can. Ordinary matter, like

ours? Not affected. Everything

else, disintegrates.

Kelvin registers this.

GIBARIAN:

What I'm saying is: Don't trust

anyone. Find yourself a weapon of

some sort.

KELVIN:

I can trust Rheya.

GIBARIAN:

You'll end up like me.

KELVIN:

You're not Gibarian...

GIBARIAN:

No? Who am I, then?

KELVIN:

A puppet.

GIBARIAN:

And you're not? Maybe you're my

puppet. But like all puppets, you

think you're actually human. It's

The Puppet's Dream. Wondering if

they're human!

Gibarian smiles.

KELVIN:

wakes up, gulping air. Rheya, startled:

RHEYA:

What's wrong?

KELVIN:

Gibarian. He was here.

RHEYA:

You said he was dead.

KELVIN:

He is. But he was here...

He moves to the chair, looking for some residue of Gibarian,

some proof. Finding none:

KELVIN:

He spoke to me.

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

INT. LAB

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

body.

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

with him.

CUT TO:

INT. KELVIN'S ROOM

Kelvin, thinking. He gives Rheya some pills to take. She

just looks at them.

KELVIN:

Are you going to take them?

She nods and takes them.

RHEYA:

What's happening to us?

KELVIN:

It's all right.

RHEYA:

Please don't lie. I told you

before, I don't know how I came to

be here. Whatever you think you

can't say to me, I need to hear you

say it.

KELVIN:

I love you.

RHEYA:

Don't. I'm the one at risk here.

If we're playing out what happened

before, I won't survive.

He goes to her.

KELVIN:

That won't happen again. We're

different.

RHEYA:

How can I tell? You've seen both

of me. I only know what you're

like here. You're all I know.

There is no "You" from before.

She sits, frustrated. Sad.

RHEYA:

How could it be so cruel? How

could it torture us like this?

KELVIN:

I don't think it knows it's

torturing us. It's just watching.

CUT TO:

INT. KELVIN'S ROOM

Kelvin and Rheya, in bed. She looks despondent.

CUT TO:

INT. KELVIN'S ROOM

Kelvin is asleep. Alone.

After a long period of silence, we hear the faint sound of an

instrument of some sort hitting the ground. After another

beat, Kelvin awakens. He notices that he is alone, and

something tells him that's not a good sign.

CUT TO:

INT. LAB

Rheya is on the ground, convulsing. Beside her is a SMALL

STEEL DRUM, which is spilling a strange-looking LIQUID that

solidifies and vaporizes with a smoky hiss.

Kelvin moves to Rheya and is startled to see that half of her

face and throat are burned away -- not melted as in a fire,

but merely eaten cleanly away. He picks her up.

INT. CORRIDOR

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

passing room.

SNOW:

What happened?

KELVIN:

She drank liquid oxygen.

INT. KELVIN'S ROOM

Kelvin puts Rheya on the bed. Her face and throat have

returned to normal, but she is not breathing. Kelvin goes

and puts his head to her chest, but doesn't hear what he

hoped to hear. He stands, still looking at her. Snow seems

very detached.

An uncomfortably long moment as we realize she is actually

not going to wake up.

KELVIN:

She's dead.

Snow says nothing.

Then:

Her finger twitches.

Barely noticeable at first, but growing in intensity. Kelvin

sees it, and goes to her. She is starting to shake a little,

as though cold.

SNOW:

She'll come back, don't worry. But

then what? My theory is she can

only live here, that she will die

if she leaves this ship.

Kelvin is still looking at Rheya, who is shaking a little

harder; it's feeling like a seizure now.

SNOW:

Why do you think she hasn't

suggested that? It's the most

obvious solution: Escape. She

knows she can't leave here --

KELVIN:

Get out --

SNOW:

Oh, this one you love? What about

the first one, the one you f***ed

and then put into a rocket and

blasted into space? You didn't

love her?

Rheya is shaking much harder now, Kelvin tries to hold her

still, but she's too strong. He stands, reluctantly, and

watches her.

SNOW:

What happens if she comes back? Is

that polygamy? And even if you

could take her home, how would you

get her through? You think they're

not going to notice her?

Rheya is shaking violently now, as if a rippling rhythmic

force were coursing through her. Snow, as he looks

dispassionately on the two of them:

SNOW:

I never get used to them, these...

"Resurrections".

He leaves.

Rheya continues her process of "waking up" -- it's violent,

even sexual. She spasms to a peak of some sort, and then

slowly returns to normal.

Kelvin puts his hand on her forehead.

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

It takes her a moment to realize she shouldn't be seeing him;

she shouldn't be seeing anything. She should be dead.

She begins to cry.

Rate this script:4.2 / 10 votes

Fridrikh Gorenshtein

Fridrikh Gorenshtein was a Soviet/Russian author and screenwriter. His works primarily deal with Stalinism, anti-Semitism, and the philosophical-religious view of a peaceful coexistence between Jews and Christians. more…

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