Space 2049 Episodes

Space 2049 Episode 1

Episode One (Pilot)
“A Voice in the Wilderness” (Draft One)

Based on the screenplay by George Bellak (Christopher Penfold), and the original pilot script “Zero-G” by Gerry and Sylvia Anderson.

Space 2049 is based on Space: 1999, created by Gerry and Sylvia Anderson.

PLEASE NOTE: WordPress does not support standard script writing layouts, so this reproduction of the script has been edited to work with the WordPress format.  As a result, dialogue and in-action actor directions are in blue to support ease of reading.

TEASER

FADE IN…

1 – INT.  MOONBASE ALPHA, RESEARCH FACILITY C.
The camera pans across a fairly large room – an observatory/research lab.  There is one entrance into the space set opposite a large floor to ceiling reinforced window showing a beautiful view of the Alpha moon landscape and space beyond.

Titles over image:
Moonbase Alpha
Alpha Satellite
(Co-ordinates)
September 09, 2049

In the centre of the room is a large glass table with images projected onto it showing Saturn and Jupiter (both planets are labelled) and the Rhys-Transient 117-J phenomena (also labelled).  Various live readouts flash up as holographic projections as information is updated.  Around the perimeter of the room are work stations with computers and communications equipment on them and mounted above many of those, on the walls, are a series of large screen readouts – some showing the images that are flashing up holographically, the others with information specific to Moonbase Alpha, it’s position in relation to Earth and Luna, and some focusing on various deep space observation projects.

The room has only two people in it, a man in his early 50s – Doctor Lee Russell, and a man in his mid-thirties – Doctor Vladimir Roskov.

Lee is a rugged, tall, handsome looking gentleman with a serious mien.  He has cordless headphones on and is listening to the signals coming from RT117-J.  A small readout on the computer screen on his desk (in shot), shows a series of audio-waves with a label identifying them as being from the phenomena.

Vladimir is almost Lee’s complete opposite.  He is relaxed, casual, short, and perhaps a little too confident for his own good.  He’s attractive in a geeky way, and has a wild mane of untameable hair that looks like someone has tried to get it to look professional… and failed miserably.  Vladimir also has headphones on and is listening to the signals coming from RT117-J.

When in a wide shot, the screens of both men’s computers are in camera.

As the camera pulls back from Lee, to include Vladimir in the shot, the signal readouts on their computer screens and on the monitors around the room that are recording the transmission, change – and a burst of additional information cascades across Lee and Vladimir’s screens as both men’s eyes go wide.

LEE
Did you hear that?

VLADIMIR
The dead would have heard that!  The signal’s changed.  It’s added layers… a lot of layers…

On the large glass table/viewscreen in the centre of the room, the holographic projection zooms in on RT117-J as well as a rotating 3-D representation of the signal.

LEE
I’m slaving all of our computers to analysing… this…

Lee taps in a series of commands, tasking all of the computers in the lab to the mystery unfolding before them.  Every screen in the room begins showing the same flow of data and the undulating visual representation of the signal.

VLADIMIR
There’s definitely a pattern here, Doctor.  This isn’t random.

LEE
(Standing and moving to the main table and peering at the data.  He starts to manipulate the holographic projection of the wave with his fingers).
The additional layers are incredibly dense.  There’s a lot of information packed into them…

Both men put their earphones back in.  Vladimir begins fiddling with the communications equipment on his desk.

VLADIMIR
I’m going to listen to the pure signal, Doctor, without the comm filters.  Perhaps the human ear will pick up something the computer can’t.

LEE
(Smiling).
There’s no dismissing human intuition.  Give me that feed too.

Vladimir enters the instructions into his computer.

After approximately ten seconds, Vladimir’s eyes go wide and a strange smile crosses his face.  He turns toward Lee, but as he does so his head starts to jerk spasmodically.  That tremor quickly spreads through his entire body as Vlad’s look of wonder becomes one of surprise and then fear.  A trickle of blood seeps from his ears, oozing out past the earphones.  That trickle is quickly accompanied by a trickle from his nose, then his eyes.

Lee, also wearing a look of wonder that is shifting to surprise, goes to stand up and rush to his colleagues side but stops as his head does a sudden twitch and then also begins to jerk spasmodically – becoming a violent body wide spasm.

A soundless scream tries to rip it’s way out of Vlad’s mouth as he tears at his earphones.  He falls to his knees, then collapses on the floor shaking and still bleeding.  A patch of red spreads across his groin.

Lee manages to rip his earphones off and staggers to the table in the centre of the room.  He overrides the data flow and calls up a control panel with multiple options – one of which is an isolation option.  He reaches up to wipe the blood from his eyes, then smears it across the table as he leans against it to jab at the holographic isolation button hovering in the air.  His action is greeted by alarms and a calm, pleasant female voice (CenCom), as a containment door slams down and similar barriers drop over the windows.  Lighting in the room begins to strobe in an amber colour.

CENCOM (CENTRAL COMPUTER)
An emergency isolation alert has been triggered from this location.
Containment protocols are now in effect.
Your work area is now in a priority one lockdown.
Ingress and egress from this room is restricted.
Please remain calm.
All sections of Alpha have been alerted.

Lee collapses to the floor, shaking uncontrollably as blood continues to ooze from his ears, nose and eyes.

CenCom continues to repeat the warning message as we…

FADE TO…

MAIN TITLE SEQUENCE
The opening title fanfare is reminiscent of the Season 1 opening titles for the original Space: 1999.  The music is also similar, yet appropriately updated for the 21st Century.

One of the key visuals is:
Camera panning up and across the surface of the Earth to see the Moon rising in the background, and behind the moon Earth’s new second moon, named Alpha.  The camera quickly zooms through space, the surface of Luna flashing by below until we reach the second, smaller moon for a close up of the very familiar Moonbase Alpha .

Moonbase Alpha is identical to the one seen in the original series, with Eagle Transports taking off and landing.  One of the Eagles moves toward camera as a title card flashes up:

SPACE 2049

Then, as with the original series, images of the major stars are shown but as quick intercuts rather than the slower intercuts of Martin Landau and Barbara Bain that were seen in the original season one opening.

Starring
?              as John Koenig

?              as Helena Russell
?              as Victor Bergman
?              as Alan Carter
?              as Sandra Benes
?              as Tony Verdeschi
?              as Paul Moryakov

The last character’s image fades to be replaced with an explosion (the explosion that shoots Alpha out of Earth orbit) and the title card:

‘THIS EPISODE’

Action sequences from the current episode follow with the rest of the cast’s names appearing:

Also Starring
?              as Jaxon Stanna

?              as Bhim Chemjong
?              as Alibe Badri

These are followed by the final title card:

BASED ON SPACE: 1999 CREATED BY GERRY AND SYLVIA ANDERSON.

The last image before fade to black is Alpha hurtling away from Luna and Earth.

FADE IN…

The following credits appear over the opening scene two images:

Guest Starring
?              as Commissioner Lana Simmonds
?              as Pastor Devon Freeman
?              as Commander Myranda Gorsky
?              as Jennifer Anders
?              as Dale Frank
?              as Doctor Lee Russell
?              as Doctor Vladimir Roskov

Followed by the relevant production credits including the writer and director.

2 – EXT. NIGHT.
AN EVERY DAY SUBURBAN AREA.
The camera slowly moves past houses and apartments with well-manicured lawns, toward a modern style church set at the end of a cul de sac surrounded by trees.  The sounds of people singing familiar Bible songs can be heard faintly as the camera draws closer.

Titles over image:
Earth
United States of America
California
September 10, 2049

There is a sign out the front that says “West Urban Unitarianists”.

The camera tracks in through the open doors to see a church full of people starting to sit at the conclusion of the hymn.

2 – INT.  NIGHT.
WEST URBAN UNITARIAN CHURCH.
The church interior is lit by a mix of candles and soft artificial lighting.  Every pew is full.  The congregation is a collection of working and middle class men and women from a variety of different cultural backgrounds.  There are also some children in attendance.

The church is painted in hues of yellow, orange and red, creating a warm but subconsciously ominous feel.  The candle light and carefully arranged artificial light add to the unusual mix of warm and inviting, yet strangely threatening.

The front of the church has a raised dais.  In it’s centre is a giant, stylised cross that appears to be made of gold.  On either side of the cross is a mix of orchestra/band and choir.  In front of the cross, at the front of the dais, is a lectern shaped like two hands praying with a glass top.  The hands also appear to be made of gold.

On one side of the choir (stage right) is a studio quality camera with cameraman, directly opposite (stage left) is a chair.  Seated there is Devon Freeman, a handsome, designer-suited man of an indeterminate age – he appears to be in his mid-forties but is actually in his mid-fifties (thank you botox).  When he speaks, there’s a slight southern accent – though it is ‘affected’ rather than genuine.

Devon stands and walks to the lectern.  All eyes focus on him and the room goes still.  It is obvious his congregation adores him.

Devon oozes charisma and plays his audience like a seasoned performer.  He is poised, and everything from his suit to his too-white smile is perfect.  He takes his time before speaking, letting his eyes travel over the congregation.

DEVON
(In a sonorous tone)
Humanity has lost it’s humility.  (Beat)  We are too eager to embrace the unknown.  Too eager to tread where angels themselves fear to go.  The people in ‘control’, our governments, the corporations, are too consumed with the next ‘new’ thing, and too dismissive of God and the welfare of our eternal souls.  (Beat)  They are too ready to throw away what we have in the eternal search for what we want, when we should be looking inward and trying our hardest to hear God’s voice, that we may understand what He wants.

Devon walks slowly across the stage in front of his congregation, locking eyes with as many of them as he can.

DEVON (Continued)
We should not listen to science without questioning it, and we should never be too afraid or too timid to challenge these scientists and doctors and business owners and politicians who tell us that ‘this’ is good for us and ‘that’ is bad for us.  If we do not challenge them, we invite calamity.

Devon depresses a button on a small remote he is carrying and an image of a roiling cloud of space gasses and energy appears next to him on the stage.

DEVON (Continued)
Our latest fascination is this cloud – this ‘phenomena’… they call the ‘Rhys-Transient 117-J’, that appeared near Saturn earlier this year.  To science it is a wondrous thing.  To our politicians and business people it is exploitable.  To us, to Godly men and women… what is it?

Devon stops and opens his arms wide, as if to encompass his congregation and take them into his confidence.  Despite having an audience of over 100 people, it is intended as an act of intimacy.

DEVON (Continued)
It is emitting a signal, and the international scientific community wants us to make contact with whatever is sending that signal.  These scientists have sent unmanned probes to investigate this ‘object’, watching it, taking photos of it, and now, we have learned, from good, Godly men and women who work within the dry and spiritually bereft halls of science, that their superiors want to send a probe into it, to poke at the heart of the beast.  But their risk-taking does not stop there!  After the probe, they intend to send people from the Alpha Moonbase into it, and through what they are now convinced is a ‘gate’.  (Beat)  Gate!  It is the mouth of Hell!

Devon pauses and crosses his hands across his chest, assuming a defiant stance as his audience reacts with the shock he had hoped for.  Uncrossing his arms, he looks to the heavens and raises his arms.  His voice goes quiet.

DEVON (Continued)
I have listened for God’s guidance on this, and in listening have heard and felt God’s will.  This ‘beast’ should not be provoked.  We should not tamper with this ‘gate’.  It is not a wondrous mystery… it is a test.  A temptation.  It is a gateway that could unleash all of the denizens of Hell on us.  (Beat)  God’s word is clear on this, my brothers and sisters.  (Beat)  We, as God’s chosen, must oppose this foolhardy move by our governments!  If they cannot hear God’s word, then we must make sure His will is known.  We must do what we can to prevent the scientists and politicians from opening this Pandora’s Box…

CUT TO

3 – INT.  THE BROADCAST AREA OF A NEWSROOM.
The broadcast set is a large oval area with an over sized chunk of white plastic and glass as a desk, in the centre.  Behind the desk are curved screens that televise stories, data and other points of information relevant to whatever topic is being discussed.

The set is decorated in gentle blue tones, with a hint of complimentary green and gold.

Jennifer Anders, a female newsreader in her early to mid 30s, sits behind the desk.  Projected behind her are the words “Protesters Disrupt UNSEA Announcement”.  Under the static headline are images of a protest by the West Urban Unitarians.  Pastor Freeman can be seen frozen on another screen.

Jennifer is attractive, with red hair and a fair complexion.  She is wearing a serious but faintly world-weary expression.

A camera and various behind the scenes technicians can be seen in shot as our camera zooms in to focus solely on Jennifer.

When Jennifer speaks, the images projected behind her change accordingly.

JENNIFER ANDERS
West Urban Unitarians have again marred another announcement from the United Nations Space Exploration Agency today, as the UNSEA’s Chief Executive Officer announced the oganisation’s intention to launch a probe into the mystery object that appeared on telescopes near Saturn six months ago.  The UNSEA have also announced their intention to follow that launch with a manned mission early next year.  This has further angered the West Urban Unitarians, who claim the United Nations is “making a ‘deal’ with the devil”.

In the images behind Jennifer, the schematics of the probe appear, along with stock footage of Moonbase Alpha and her command personnel.  The last image seen is the probe being tended to by a variety of technicians in one of Alpha’s Eagle bays.

JENNIFER (Continued)
Equipped with the latest fusion drives, the Intrepid IV probe will take approximately 110 days to reach the phenomena, where it will penetrate the object’s event horizon and hopefully show us what’s on the other side.  As more information comes to light about the ‘cloud’, theories and conspiracies abound – with the West Urban Unitarians declaring it to be a ‘gateway’ to hell that will unleash Armageddon should we enter it…

CUT TO

4 – INT.  MOONBASE ALPHA, MEDICAL SECTION ICU
The ICU is a hive of frantic activity.  Doctors Bhim (Ben) Chemjong and Helena Russell are flanked by nurses and medical technicians as they work on the blood splattered bodies of Vladimir Roskov and Lee Russell.

Typical medical sounds can be heard – the bleeping of machinery, the hum of instruments and the soft hiss of compression injection equipment.

The ICU is a large white room, larger than in the original Space: 1999.  It contains twenty beds.  The beds are a fixed unit, white in colour, and are shaped like a sideways ‘U’.  The top of the ‘U’ is retractable and made of a transparent material.  Spaced along the transparent top are slim circular white pads that are active sensors.  The sensors scan the occupant and project full diagnostic information onto the transparent surface.  On the side of the ‘U’, where it merges with the white aluminium like material, is a smart touch screen that can call up medical information and provide cross-referencing information from a variety of different databases.  The touch screen can also distribute medications once the tubes that come out of the inside side of the ‘U’, are attached.

Screens are placed above each bed, providing basic information that a doctor, nurse or technician might need when doing their rounds – heart beat, brain wave function, blood oxygenation, etc.

The med lab has a number of screens and stations set against the wall, with no free standing equipment as was often seen in the original series.

Both Lee and Vladimir have breathing tubes in their mouths, with their shirts ripped open.

Titles over image:
Moonbase Alpha
Alpha Satellite
Medical Section, ICU
September 10, 2049

BHIM
(Pressing buttons on the diagnostic bed as a technician extracts two cords with pads on them and attaches them to Vladimir’s chest).
Clear!
(Bhim depresses a button and Vladimir’s torso arches).

TECHNICIAN ONE
Nothing, Doctor…. and his brain function is continuing to deteriorate.

BHIM
(Furiosly pressing buttons again as a series of needles come out of the bed and inject Vladimir).
Injecting 20CCs of Horanzapine… (Beat). I’m going to up the charge on the pads, let’s see if we can’t fix both head and heart here.  (Beat)  Clear!
(Bhim depresses the same button as before, and Vladimir’s torso arches again).

TECHNICIAN TWO
(Reading from the screen above the bed).
The Horanzapine isn’t stabilising whatever it is that’s happening to his brain… it’s… it’s like a total cascade failure… everything’s dropping, Doctor… neurotransmitters are just firing sporadically and stopping, one after another!

TECHNICIAN ONE
(Shouting).
Heart failure… kidney failure… he’s flatlining!

The camera swings over to Helena’s fight to save Lee’s life as Commander Myranda Gorski runs into the room with Tony Verdeschi.

Both look flustered, shocked, and are out of breath.

They stop, take in what is happening, and back up against the wall of the ICU to stay out of everyone’s way.  They watch anxiously as the Medical Section staff fight to save both scientists’ lives.

HELENA
(Calm, though her eyes and the quirk of her mouth show the stress she is under).
30CCs of Metrazine… (Beat).  Monitor his brain function while I prep for defrib.  (Beat).  Charging.  Stand clear.
(As the inbuilt needles retract from Lee’s body, his torso arches as the shock from the pads attached to his chest restart his heart).

TECHNICIAN THREE
He’s responding.  (Beat).  Sluggish, but his heart is responding and… (Double checks the readouts) his neurotransmitters seem to be firing in a standard sequence.

HELENA
(To Bhim).
Did the Horanzapine work?

BHIM
No.  We’re losing him, Doctor.

HELENA
(To Bhim, as she continues to calmly program the computer).
It’s unirthodox, but try Metrazine.  Now.  Then increase voltage on the defrib to maximum.

TECHNICIAN FOUR
He’s slipping again, doctor.

HELENA
(Blinks rapidly, as if fighting off tears).
No Lee.  Come on!
(She hits a series of controls, and more needles come out of the bed to inject Lee).
Come on!

A pitched tone pierces through the chaos.  It’s a sound anyone who has watched a medical show knows – the sound of death.

A technician (Technician One) joins Bhim at the control console on the bed as both push frantically at various instruments.

TECHNICIAN TWO
Nothing… heart’s stopped… no brain function…

BHIM
(Slapping at the control interface then stopping, a look of honest dismay on his face).
Nothing.  (Beat)  We’ve lost him.

HELENA
(Watching Bhim for a second, then making a decision that seems to be confronting).
We’re going to put Lee in cryogenic suspension.

Bhim moves to Helena’s side.

BHIM
You don’t know what that will do.

HELENA
(Mild aggitation, a touch of resignation).
Lee is fading the exact same way Doctor Roskov did… we don’t have a choice.  If I can stop this cascade and give us some breathing room, we might find a way to save him.

Bhim pauses and quickly nods.  He rushes from Helena’s side to grab a long white plank like object that’s one of another nineteen set into a far wall.  The plank is the same colour and material as the bed.  Bhim rushes back to Lee’s bed and clicks it on.  There are touch controls on the plank and he depresses three to cause a transparent quarter arch to shoot out and connect with the other part of the arch.  Two technicians get a front and end piece to close the entire bed in a transparent half tube.  Bhim pushes a button on the plank and a flash of blue erupts along the seals of the added partitions to completely seal the unit.

BHIM
(Moving back to Helena’s side).
We’re set Doctor.

TECHNICIAN THREE
(Voice raised).
We’re losing him…

HELENA
(Setting her face in a mask of professional indifference).
Activating the unit… stand clear.  In three… two… one…

The lighting inside the medical unit shifts from white to blue as gases rush in and swirl around Lee Russell.

TECHNICIAN FOUR
Activating life support systems.  (Beat)  Brain function still active but sporadic… readings stabalising.  Heart… slowing… respiration (Beat) slowing.

The gasses stop swirling and a very faint sheen, like water, covers Lee Russell.

TECHNICIAN FOUR
Inserting feeding tubes and waste extraction now.

In the bed, we can see a thick needle embed itself in Lee’s side, quickly followed by another two which go into his body.

BHIM
(Relief evident in his voice).
He’s stable.
(Looks at Helena, a look of incredulity crossing his face).
I can’t believe that worked.

HELENA
It was a risk.  (Beat)  Bhim… (she glances at Myranda Gorski and Tony Verdeschi) please set up alerts, and move Doctor Roskov’s body to the morgue.  I’ll do the autopsy as soon as I can.  (Turns to Technician Three).  Please prep Doctor Roskov.

The Technician nods as people move to prep Doctor Roskov and organise for Lee’s ongoing care.

MYRANDA
(Concerned).
Can we see you, Doctor?

Helena nods as she strips off her scrubs and places them in a nearby wall bin.

HELENA
Of course, Commander.  My office.

CUT TO

5 – INT.  EARTH, UNITED STATES OF AMERICA.  A COURT ROOM.
A modern, yet still somehow old fashioned room, in the style of a standard court room.

Standing before the judge, who is positioned behind an old wooden desk on a dais, is Commander John Koenig in full dress uniform, and his now ex-wife, Felicity Koenig, nee Anvar, with her lawyer, Annabel Jones.

There is no one representing John.

The judge, the Honourable Nelly Travis, is an aged, attractive, African-American woman who looks slightly annoyed at everyone in her court room.

Felicity is a beautiful woman in her early forties with a shock of dark hair.  She’s dressed in a designer pants suit.

Annabel Jones is frighteningly attractive, late twenties woman who looks like she just stepped out of an episode of America’s Next Supermodel.  The expression on beautiful face is anything but beautiful, and is almost sneering.

NELLY
(A touch exasperated)
Mrs Koenig…

FELICITY
(Clearning her throat)
Ms Anvar, please.

NELLY
(Sucking in her cheeks and taking a deep breath)
Ms Anvar.  You are a successful business woman, your husband is a successful scientist and astronaut.  While I accept your desire to divorce your husband because he is expecting a posting to either Luna or Alpha in the coming months, I don’t accept your rationale for financial support.

ANNABEL
(Clearing her throat)
Your Honour, the plaintiff has every right to seek restitution.  She entered into this marriage, essentially a contract, in good will, expecting to have her husband by her side, not 380,000 kilometers away on what is essentially another planet.

NELLY
Miss Jones, Commander Koenig was an astronaut when Ms Anvar married him.  He’s still an astronaut, but, if anything, his situation has improved.  He is no longer required to go on long-term missions to the International Space Station.  He’s now in management roles, overseeing teams of people, on a fixed assignment.  There is now stability where, only a couple of years ago, there was not.

The judge runs her finger across a tablet on her desk a few times, skimming notes.

NELLY (Continued)
From the information I have here, Ms Anvar is welcome to join her husband on either Luna or Alpha.

ANNABEL
My client has significant business interests here on Earth… she can’t uproot her entire life and live on the moon, or on the Alpha satellite.

NELLY
It’s the middle of the 21st Century, Miss Jones.  Communications between the moon and Earth, and Alpha and Earth, are just like picking up a phone and calling someone overseas.  Add to that the fact there are now regular daily civilian shuttle runs between both moons and the Earth, Ms Anvar could easily run her businesses from either location.

FELICITY
I can’t.  (Beat).  I won’t.

ANNABEL
(Hissed)
Felicity…

JOHN
Flick… please…

FELICITY
(Turning to John)
I can’t, John.  I won’t live on either moon.  I’m not giving up everything I have here… everything I have built here on Earth to keep supporting your career.  (Beat).  It’s a deal breaker.

There is a long pause as all parties consider Felicity’s outburst.  John looks sad, angry, resigned, while his soon to be ex-wife looks resolute but almost regretful.

NELLY
Ms Anvers, Miss Jones, the divorce is granted.  Financial restitution is not.  (Beat).  This case is adjourned.

CUT TO

6 – EXT.  EARTH, UNITED STATES OF AMERICA.  OUTSIDE A DOWNTOWN COURT HOUSE IN HOUSTON, TEXAS.
The camera starts on a wide shot, showing a typical Texan street largely unchanged and unaffected by the date.

Cars, slightly sleeker than those we’re used to, zip by, and people walk the streets in fashion choices not that dissimilar from 2017.

As the camera zooms in, we see John and Felicity.  They’re standing a few meters apart.  Annabel is shaking hands with Felicity.  It becomes a quick hug and Annabel walks away, ignoring John.

Felicity turns to her now ex-husband.

FELICITY
I guess this is it.

JOHN
(Frustrated)
We’ve been drifting away from each other for years, Flick.  Why couldn’t you just… why couldn’t we just talk.  Do you want me to resign my commission?

FELICITY
(Lowering her head, then looking back up at John)
You wouldn’t be the man I fell in love with if you did, Johnny.  (Beat).  Thing is, I’m not 24 anymore.  I’m 44.  Things change.  People change.  (Beat).  People fall out of love.

JOHN
(A touch of anger tinges his frustration)
Our love died a long time ago, but we had a friendship.  Companionship.  We were there for each other.  (Beat).  This should have ended differently!

FELICITY
(Smiling, a little regret flickering in her eyes)
Maybe.  (Beat).  I’m sorry, Johnny.

Felicity takes a step closer to John and leans in, gently kissing him on the cheek.  John doesn’t react.  He doesn’t move toward her, doesn’t move away from her, but just stands there as if her touch has turned him to stone.

Felicity walks away and John stares after her for a few beats.

JOHN
Good bye, Flick.  (Beat).  I wish I was going to miss you.

FADE TO

7 – INT. MOONBASE ALPHA, MEDICAL SECTION, DOCTOR HELENA RUSSELL’S OFFICE.
Helena’s office is surprisingly personal.  The walls are white, the same as the ICU and the rest of medlab, but there are a number of plants, personal photos and small artifacts that have deep personal meaning to the Doctor, decorating the space.

Helena is sitting on a couch at the front end of the room, by the door.  Commander Gorski and Tony Verdeschi are in armchairs facing the couch.  Helena’s desk is off to the side, at the back of the room, in front of an expansive window that looks out on Alpha’s sterile but strangely beautiful landscape – so similar to the moon we all know and love, but in darker, more haunting shades.

GORSKI
Helena… what happened?

HELENA
I won’t know for certain until I perform an autopsy, but it would seem the signal Lee and Doctor Roskov were listening to has somehow overloaded their neo-cortex.  (Beat).  That’s just a guess.  It’s unlikely to be anything else, but life in space is still relatively knew, for all of us.

TONY
I’m so sorry, Helena.

HELENA
(Smiling softly at Tony)
Lee and I were divorced a long time ago, Tony.

TONY
(Blushing)
But you two are still close.

HELENA
(Dipping her head slightly)
Yes.  We are.

GORSKI
Do I need to put the entire base on alert?

HELENA
(Thinking for a moment)
I don’t think so, but I would reroute all arriving transports to Luna until I can be certain this is the result of the signal, and not some unknown pathogen or radiation spike.

GORSKI
(Nodding)
Done.

The sound of a communications signal interrupts the meeting.  Miranda takes out her commlink, similar to the original seen in the 1970s series, and depresses a button.

GORSKI
Gorski here.

SANDRA
(Over the comm)
I’m sorry to interrupt, Commander, but I have the head of the NSEA Appropriations Committee on hold.  She wants to speak with you.

Miranda gives Helena and Tony a knowing look.

GORSKI
I’ll be there in a few minutes.

Miranda tumbs the commlink off.

GORSKI (Continued)
They’re going to be worried this will effect their precious mission to the anomaly.

HELENA
Miranda… if this was the result of the signal Lee and Doctor Roskov were listening to – and that’s the only unknown variable in all of this – then the mission can’t go ahead!  Imagine what that anomaly might be capable of at closer ranges!

GORSKI
Preaching to the converted, Doc.

TONY
You want me to come?

Miranda Gorski stands and nods.  Both officers leave the Doctor’s office, as Helena leans back on the couch and rubs her forehead.

CUT TO

8 – INT. MOONBASE ALPHA, COMMAND SECTION, COMMANDER MIRANDA GORSKI’S OFFICE.
Commander Gorski’s office is essentially identical to Commander Koenig’s office from the first season of the original Space: 1999.  Some of the not so great 1970s style plastic chairs are absent, and replaced with more ergonomic and appropriate seating, and the large model of the Earth is now a rotating holographic projection.

John Koenig's Office

 

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2 thoughts on “Space 2049 Episodes

    • Lol! I’ll admit it irked me a wee bit. If they even did a Google search to see how many 2049s were out there!
      As an aside – really looking forward to that film!!

      Like

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