Chapter Text
Andrei Tarkovsky, inspired by the movie "Stalker"
On an abandoned field overgrown with dried grass, there are three women: a representative of the broad masses of ordinary workers, a saleswoman Rose, armed with a brick — the weapon of the proletariat, a doctor Marta and a secretary-clerk Donna, an intermediate link between the people and the intelligentsia.
MARTHA: You were talking about the meaning of... our... life... the selflessness of art…
ROSE (surprised): Who was talking?
MARTHA (not listening to her): Let's say music… It is also the least connected with reality, and if it is connected, then it is ideologically, mechanically, with an empty sound…
ROSE (defensively): Not all people listen to Justin Bieber.
MARTHA: I meant metaphorically.
DONNA: But we recently had a case in Chiswick…
Blackout.
Donna plucks a stunted daisy from the field and tears off the petals, trying to read fortune: if she will get married this year.
A strange sound of unknown origin is heard, which remains unknown until the end of the movie.
A fine rain begins to fall.
MARTHA: It's getting close to midnight, but the Doctor is still not here. Maybe there is no Doctor, like the Bermuda Triangle. But I have so many questions about the meaning of life.
ROSE: Personally, I just want to benefit humanity.
They both look at Donna expectantly.
DONNA: I don't give a damn about humanity. In all of your humanity, I'm only interested in one person—me, that is. Am I worth anything, or am I just as much shit as some of the others.
ROSE (indignantly): Who are you referring to?
MARTHA (distantly): What a bitch. I meant metaphorically.
A gust of wind snatches the stripped daisy from Donna's hands, the flower rolls across the field for ten minutes.
The characteristic sound of the TARDIS materializing, painted with peeling gray paint, is heard.
The Doctor appears, shaved bald, and looks sternly at the assembled women.
THE DOCTOR (gloomily): Let's go.
A twenty-minute plan of outer space follows, in which nothing happens.
Then the Doctor's tired voice is heard.
THE DOCTOR: But I have to warn you. This journey is not for everyone.
DONNA: Are you warning us NOW, spaceman?
MARTHA: The search for truth. It's hiding, and you're looking for it everywhere, digging here and there.
ROSE (looking at the Doctor): Well... well, do you want me to go with you? There? Do you want to?
DONNA: I can't see anything. Is this some kind of joke? I wish I'd stayed in Chiswick and eaten damn chips in front of the telly.
This is followed by a twenty-minute plan of a gray, dreary planet, on which stones are scattered in an artistic mess.
Everyone finds themselves in front of the entrance to the Room: a shabby door, a massive rusty lock, a poorly painted inscription "Do not get in, it will kill you".
A twenty-minute plan of the door, then everyone turns and looks at the camera, at the viewer.
THE DOCTOR: Are you ready?
MARTHA: Apparently, there should be a principle... never commit irreversible actions.
ROSE: You know I'll go to the edge of the universe with you.
DONNA: Is this a dangerous path or a safe one?
THE DOCTOR: In the Zone, in general, the direct path is not the most ... safe. The longer the road, the safer it is.
DONNA: So is this a straight path or a long one?
THE DOCTOR: The Zone is... a very complex system of... traps of sorts.. and they are all deadly! I don't know what happens here in the absence of a human, but as soon as people appear here, everything here starts moving.
DONNA: Well, thanks for nothing, then!
During the subsequent slide of the camera in the dark, the Doctor's voiceover monologue about the meaning of life and helping humanity sounds.
MARTHA: I realized it was pointless to go to the Zone. We have to decide everything for ourselves.
ROSE: Do you love me or not? That's all I wanted to know!
THE DOCTOR: Well, metaphorically speaking...
ROSE: Oh, forget it.
DONNA: Still can’t see bloody anything, spaceman!
The sound of a brick cracking on the head is heard.
Titles.
End.
Jim Jarmusch, inspired by the movie "Dead Man"
Black and white image.
A boat is sailing along the river, in which Two people sit for an hour and a half.
We don't see the face of one of them. The face of the second one is painted with concentric circles and poems by William Blake, written in Mayan hieroglyphs.
THE INVISIBLE MAN: What's your name?
VISIBLE: My name is the Doctor.
THE INVISIBLE MAN: Excuse me?
VISIBLE: I'm the Doctor. I am the Time Lord. I am from the planet Gallifrey in the constellation Casterborus. I am nine hundred and three years old, and I am the one who will save the lives of you and six billion people on the planet below us. You have a problem with that?
THE INVISIBLE MAN (after prolonged reflection): It's just us here.
Neil Young's music is playing.
Titles.
End.