SOLARIS Page #9

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


INT. CONFERENCE ROOM

Kelvin, Rheya, Sartorius, and Snow. They are in the middle

of a heated discussion.

SNOW:

Gibarian was under enormous --

SARTORIUS:

Gibarian was helpless. It's very

simple:
Man created the science

that resulted in the discovery of

Solaris, and the ship that brought

us here.

KELVIN:

Meaning Man can do whatever the

f*** it wants?

SARTORIUS:

Yes.

KELVIN:

That's fantastic.

SARTORIUS:

Why did you agree to come here?

A beat.

SARTORIUS:

Too tired to answer?

Looks at Rheya, then back to Kelvin.

SARTORIUS:

I'll bet. Is this what they sent

you here to do? You've lost it,

you've gone native.

Kelvin moves toward him. Sartorius just lets him come.

RHEYA:

(to Sartorius)

You're the coward.

KELVIN:

Don't debate him; he'll say

anything.

RHEYA:

(still, to Sartorius)

I'm just as human as you. I see, I

hear, I touch, and I feel just like

you do.

SARTORIUS:

Prove it.

RHEYA:

These "guests" are a part of you,

of your subconscious. Chris loves

me.

SARTORIUS:

YOU ARE NOT HUMAN! Try to

understand that if you can

understand anything!

Kelvin is within an inch of his face.

KELVIN:

Get out of here.

Slowly, carefully, Sartorius grasps Kelvin by the shoulders.

Then he leans in and whispers in Kelvin's ear:

SARTORIUS:

Rheya is dead. She's a copy. A

facsimile. And she's seducing you

all over again. You're sick. You

think of f***ing her as research

for humanity. It's just f***ing.

Kelvin backs away.

SARTORIUS:

There's nothing grandiose about it.

You've jumped out of a plane and

you're trying to sew a parachute

together while you fall.

Sartorius turns...

SARTORIUS:

It'd be hilarious if it weren't so

damn sad.

And leaves.

A beat.

SNOW:

We didn't even get to hear his new

ideas.

Snow wanders toward the door.

SNOW:

I'm not feeling well.

He passes Kelvin and leaves.

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

CUT TO:

EXT. SOLARIS

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

CUT TO:

INT. KELVIN'S ROOM

Rheya is asleep. Kelvin is talking to Snow on the

videophone.

SNOW:

We can liquidate the station. Take

the Athena back.

KELVIN:

No.

SNOW:

Of course, when we return, we'll be

regarded as lunatics if we tell the

truth.

(shrugs)

We'll chalk it up to isolation,

collective derangement.

KELVIN:

I've never heard you express any

desire to leave before now. Why

now?

SNOW:

Well, I think we're reaching the

point of diminishing returns here,

right? Certainly it's learning

more about us than we'll ever learn

about it.

KELVIN:

But why is it doing what it's

doing? Given it's resources, it

could have done anything.

Presented me with your double, and

you with mine.

SNOW:

Perhaps it did.

KELVIN:

Human beings can die.

SNOW:

But they are human. They certainly

become human with incredible speed.

First they're like they were in our

memory, but then they fill in on

their own. DNA doesn't determine

the hundreds of trillions of

connections that occur in the

brain, it's not dense enough. They

build up with experience.

INT. KELVIN'S ROOM - EARLIER

Quick glimpses of Rheya. In several of them she is in

repose, thinking, as if to illustrate Snow's point.

INT. KELVIN'S ROOM

Back to Kelvin, thinking.

KELVIN:

They come when you sleep.

SNOW:

That's right. And we all have to

sleep, eventually.

CUT TO:

INT. KELVIN'S ROOM

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

We think they are asleep until:

RHEYA:

You don't want me.

KELVIN:

Rheya.

RHEYA:

That's what you were saying. I

heard what you were saying.

KELVIN:

For a reason that neither of us

understand, you are forced to stay

near me. That's all I know right

now.

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

anyway.

RHEYA:

I have these strange thoughts, I

don't know where they come from.

(beat)

I can't explain it.

KELVIN:

Neither can I. Not any of it.

There's no reference point for

what's going on; it's never

happened before. It's a clean

break in the fabric of the

Universe; a gap. There is nothing

to do but experience it, moment-to-

moment, and not let it destroy us.

RHEYA:

But that's what happened before.

KELVIN:

Not this time.

He kisses her. She wants to believe him, so she says

nothing. Then:

RHEYA:

Do you want to stay here?

KELVIN:

Do you?

RHEYA:

If you're here.

They kiss again...

DISSOLVE TO:

INT. KELVIN'S ROOM

Kelvin is asleep. Rheya is next to him.

Offscreen, we hear the door open.

Someone walks quietly (though not surreptitiously) through

the frame and sits.

After a long beat, Kelvin bolts upright, his mind struggling

to clear. When it does:

KELVIN:

Gibarian.

GIBARIAN:

Leave the light off.

A beat. Kelvin tries to get his bearings.

GIBARIAN:

I wish you'd come a little sooner.

I might not have had to kill

myself.

He smiles, looking at Kelvin.

GIBARIAN:

You think you're dreaming me, like

you dream her. Understand

something:
I am the real Gibarian.

Just a new incarnation.

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…

All Fridrikh Gorenshtein scripts | Fridrikh Gorenshtein Scripts

0 fans

Submitted by aviv on November 15, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "SOLARIS" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/solaris_633>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    SOLARIS

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of "action lines" in a screenplay?
    A To outline the character arcs
    B To provide character dialogue
    C To describe the setting, actions, and characters
    D To list the plot points