Episode One (Pilot)
Episode Title: “Breakaway”
Version: First Draft
Details: Based on the screenplay, “Breakaway,” by George Bellak (Christopher Penfold), and the original pilot script, “Zero-G,” by Gerry and Sylvia Anderson.
Acknowledgements: Space 2059 is based on Space: 1999, created by Gerry and Sylvia Anderson.
Note: WordPress does not support standard script writing layouts, so this version of the script has been edited to work with the WordPress format. As a result, dialogue and actor directions are in different colour to help readers easily differentiate between dialogue and general scene information.
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:
September 09, 2059
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 of the phenomena, the others with information specific to Moonbase Alpha, 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.
Did you hear that?
The signal’s changed. It’s added layers… (Beat). 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.
I’m connecting all of our computers together so we can get some sort of analysis.
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.
There’s definitely a pattern here, Doctor. This isn’t random.
(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, pulling them apart to show multiple wavelengths).
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.
I’m going to listen to the pure signal, without the comm filters. Perhaps the human ear will pick up something the computer can’t.
There’s no dismissing the human factor. Give me that feed too.
Vladimir enters the instructions into his computer.
After approximately ten seconds, his eyes go wide and a strange smile crosses his face. He turns toward Lee, but as he does so his head jerks once or twice, spasmodically. His whole body is momentarily engulfed in one huge shiver, then Vlad’s look of joy-filled wonder becomes one of surprise fast followed by fear. A trickle of blood starts to seep from his ears, oozing out past the earphones. That trickle is quickly accompanied by one from his nose.
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 also twitches and a body-encompassing shiver sweeps through him.
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, blood pooling around his head. As the camera pulls back we can see a patch of red spreading across his groin and a larger pool under his body – every orifice is bleeding out.
Lee manages to rip off his earphones and staggers to the table in the centre of the room. He overrides the data flow and calls up a holographic control interface with multiple options shimmering in a cool blue shade – one of which is an isolation protocol. 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 button hovering in the air. His action as the blue turns to red.
A pleasant, calm and very warm female voice (CenCom) starts to speak as a containment door slams down and similar barriers drop over the windows. Lighting in the room begins to shift into the red spectrum as if the air itself is bleeding.
CENCOM (CENTRAL COMPUTER)
An emergency isolation alert has been triggered from this location.
Containment protocols are now in effect for Research Facility Three.
Your work area is now in a priority one lock down.
Ingress and egress from this room is restricted.
Please remain calm.
All sections of Alpha have been alerted.
Lee collapses to the floor as blood continues to ooze from his ears, nose and eyes.
CenCom continues to repeat the warning message as we…
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.
The camera pans up and starts to slowly move across the surface of Earth as the Moon rises in the background, and behind it, Earth’s new, second moon, named Alpha.
The camera hangs in position for a beat, and then begins a slow dolly across the surface of the planet moving toward Luna.
Land masses, huge bodies of water, clouds and a storm skim by as the moon grows gradually larger on screen. As Earth vanishes, moving away beneath the camera, we move past a larger version of the International Space Station and a larger version of the Tiangong-2.
As the camera reaches Luna, it dollies across the surface, gradually picking up speed. We see craters, at least one Luna town (not quite large enough to be a city), and a few outlying settlements. Then Luna also drops away as the camera dollies toward the Alpha Satellite, visible in the distance.
As we reach the Alpha satellite, the camera dollies across it’s pock-market surface, which is strangely beautiful, reminiscent of Luna but yet different with hues of cobolt blue, charcoal and ash grey, and strange formations formed by the fact it had never orbited a planet until recent years.
After a few moments the camera stops at very familiar Moonbase Alpha, resting in an enormous crater.
Moonbase Alpha is identical to the one seen in the original series, with Eagle Transports taking off and landing.
The camera slow-zooms into one of these Eagles, approaching the multi-purpose space craft nose first. Panning around it, we are treated to an up-close ‘beauty’ shot showing the vehicle in all it’s glory. As the camera reaches the engine mount it moves around to reveal the powerful blast of energy coming out of the engines, the Eagle suddenly shoots forward, flying toward Luna.
At this point, the title card flashes up:
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.
? as John Koenig
? as Helena Russell
? as Victor Bergman
? as Sandra Benes
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:
Action sequences from the current episode follow with the rest of the cast’s names appearing:
? as Alan Carter
? as Tony Verdeschi
? as Paul Morozov
? as Jaxon Stanna
? as Jayson Koenig
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.
The following credits appear over the opening scene two images:
? as Bhim Chemjong
? as Alibe Badri
? as Commissioner Lana Simmonds
? as Pastor Devon Freeman
? as Commander Myranda Gorsky
? as Jennifer Anders (Koenig)
? 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 dollies past houses and apartments in a well presented, wealthy looking suburb, 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:
United States of America
September 09, 2049
There is a sign out the front that says “West Urban Fundamentalists”.
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 FUNDAMENTALIST CHURCH.
The scene opens on a church interior 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 front of the church has a raised dais. In it’s centre is a giant, stylised cross that appears to be made of a red-gold. To stage right of the cross is a modern band, to stage left a choir. The band is playing an uplifting song, and the choir are singing. In front of the cross, at the front of the dais, is a wooden lectern shaped like two hands praying with a glass top.
Also stage right, on the far side of the band, is a studio quality camera with a cameraman. Directly opposite (also stage left) is an elaborate, throne like chair. Seated in that chair 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, he has a cultured, faint, New-Yorker accent.
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.
(In a sonorous tone, paced and with irregular emphasis on certain words)
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.
We should not listen to science without questioning it, and we should never be too afraid or too timid to challenge these ‘experts’ who tell us that ‘this’ is good for us and ‘that’ is bad for us. For, if we do not challenge them, my brothers and sisters, we invite calamity!
Devon removes a remote control from his pocket and presses a button. Two large screens lower from the ceiling. One behind the band. One behind the choir. He presses another button, and on both screens a gaseous cloud appears, roiling and flashing before a starfield. Saturn can be partially seen in the background.
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 shakes his head, raising his hand to his face where he strokes his chin thoughtfully.
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 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, and then, with his voice rising) Gate? It is the mouth of Hell!
Devon pauses, waiting for his adoring flock to agree with him, which they do. As the hubbub dies down, he continues, his voice quiet.
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, but 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 them from opening this Pandora’s Box…
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 Fundamentalists. 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.
West Urban Fundamentalists 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 Fundamentalists, who claim the United Nations is “making a ‘deal’ with the devil” and that they will, through their actions, unleash Armageddon.
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.
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 continue to spread across social media…
4 – INT. MOONBASE ALPHA, MEDICAL SECTION ICU
The camera catches a blur of movement and it takes a few seconds before we are able to see that we are in the ICU which 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 and hum of instruments.
The Moonbase Alpha ICU is two large linked rooms, joined on the left and right of the dividing wall by an archway. There are ten beds in each room. The beds are a curved “L” shape, that, in an emergency, become a sideways “U” shape thanks to an extendable panel that, when extracted, enables the bed to be completely enclosed with a couple of additional attachments if necessary.
The beds are positioned lengthways along both rooms’ white walls, and along the side of each are various monitors that show the status of the patient.
The extendable section (the top of the sideways “U”) contains various sensors and tools that can be used to support an intensive care patient.
Each bed is it’s own self-contained MRI, isolation chamber and cryo-chamber, where required.
Both Lee and Vladimir are on bases pulled out from the medical alcoves and have breathing tubes in their mouths, their shirts ripped open.
Titles over image:
Medical Section, ICU
September 09, 2049
(Pressing buttons on the diagnostic bed as a technician extracts two cords with pads on them and attaches them to Vladimir’s chest).
(Bhim depresses a button and Vladimir’s torso arches).
Nothing, Doctor…. and his brain function is continuing to deteriorate.
(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).
(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!
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.
(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).
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.
Did the Horanzapine work?
No. We’re losing him, Doctor.
(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.
He’s slipping again, doctor.
(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).
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.
Nothing… heart’s stopped… no brain function…
(Slapping at the control interface then stopping, a look of honest dismay on his face).
Nothing. (Beat) We’ve lost him.
(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.
You don’t know what that will do.
(Mild aggitation, a touch of resignation).
Lee is fading the exact same way Doctor Roskov did. (Beat) 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.
(Moving back to Helena’s side).
We’re set Doctor.
We’re losing him…
(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.
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.
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.
(Relief evident in his voice).
(Looks at Helena, a look of incredulity crossing his face).
I can’t believe that worked.
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.
Can we see you, Doctor?
Helena nods as she strips off her scrubs and places them in a nearby wall bin.
Of course, Commander. My office.
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 mildly amused by everyone in her court room.
Felicity is a beautiful woman in her early forties with a shock of dark hair. She is 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 her beautiful face is anything but attractive, and is almost sneering.
(A touch exasperated)
(Clearning her throat)
Ms Anvar, please.
(Sucking in her cheeks and taking a deep breath)
Ms Anvar. You are a successful business woman, your husband is a successful scientist and a respected astronaut. While I accept your desire to divorce your husband because he is expecting a posting to the Luna colony in the coming months, I don’t accept your rationale for financial support.
(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 a chunk of rock orbiting our planet.
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.
From the information I have here, Ms Anvar is welcome to join her husband on either Luna.
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.
It’s the middle of the 21st Century, Miss Jones. Communication between the moon and Earth is just like picking up a phone and calling someone overseas. Add to that the fact there are now daily civilian shuttle runs between both moons and both space stations, Ms Anvar could run her businesses from orbit without issue.
I… (Beat). I won’t.
(Gentle and with a pleading tone)
(Turning to John)
I can’t, John. I won’t live off-world. I’m not giving up everything I have here… everything I have built here on Earth, to keep supporting your career. (Beat, continues with a touch of regret in her voice). The planet might be a mess, but it’s my home. I’m sorry. It’s a deal breaker.
There is a long pause as all parties consider Felicity’s unexpected comment. John looks sad, angry, resigned, while his soon to be ex-wife looks resolute but almost regretful.
Ms Anvers, Miss Jones, the divorce is granted. Financial restitution is not. (Beat). This case is adjourned.
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.
I guess this is it.
We’ve been drifting away from each other for years, Flick. Why couldn’t you just… why couldn’t we just talk? Did we need to go through that? Did Jayson and Peter need that? (Beat). Despite all our ups and downs, we’ve always been able to talk.
(Lowering her head, then looking back up at John – there is no anger or recrimination in her voice or her eyes, only a deep sadness)
I know. (Long beat as Felicity looks around her despairingly. After a moment she decided to walk down the footpath a few meters as John follows). You’re taking one of my sons away from me, John.
(Shocked and even a little wounded)
I would never do that, Flick. (Beat). Jayson chose to enter the training program without any encouragement from me.
I know. I know. He idolises you, John. Of course he was going to follow you into space.
You would never have lost him, Flick.
He’s always going to be in danger, John. Even on Luna. It’s orbit is a lot more stable than the Alpha satellite, and the Luna colony isn’t as fragile as either space station, but it’s still space. It’s still one big yawning chasm of nothingness but radiation and instant death if something goes wrong.
Do you want me to talk to him?
You know, I thought about asking you to resign your commission a number of times, but I know you, Johnny. I know you would’ve done it for me, and I know you would have grown to resent me for asking. (Beat). Even worse, I knew that if I asked I’d be ripping out a part of your soul… a part of you that makes you, you. (Beat). It’s the same for Jayson. Besides (she laughs without any humour), Jayson would hate me if I did anything to stop him from obtaining his dream.
(Nods, sadness warring with frustration)
Me too. (Looks down at her hands and rubs them for a moment, many emotions doing battle on her face). Take care of our son.
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.
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.
Helena… what happened?
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.
I’m so sorry, Helena.
(Smiling softly at Tony)
Lee and I were divorced a long time ago, Tony.
But you two are still close.
(Dipping her head slightly)
Yes. We are.
Do I need to put the entire base on alert?
(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.
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.
(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.
I’ll be there in a few minutes.
Miranda thumbs the commlink off.
They’re going to be worried this will effect their precious mission to the anomaly.
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.
Preaching to the converted, Doctor.
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.
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 of the planet with the moon and Alpha satellite and the two space stations in orbit.
A holographic projection of Commissioner Lana Simmonds is waiting for Gorski and Tony as they enter the office.
Ah, Commander Gorski. Excellent. (Acknowledging Tony Verdeschi). Lieutenant.
Tony nods back at the Commissioner’s hologram as Miranda Gorski reattaches her commlock to her belt.
What can we do for you, Commissioner?
(An edge of frustration to her voice)
You can explain to me why we aren’t receiving any information on the signals coming from RT117-J? All communications from Alpha’s labs have ceased.
Gorski lowers her head for a moment.
I’m sorry, Commissioner, we haven’t had a moment to update you – or anyone – on our situation.
Gorski takes a seat behind her desk, signalling to Tony to sit also.
Approximately an hour ago, Doctor Lee Russell and his colleague, Doctor Vladimir Roskov, triggered Alpha’s isolation protocols. (Beat) They were listening to the signal, trying to understand the various layers, when something in the signal – to the best of our understanding – caused both of them to convulse. (Beat) Doctor Roskov died during the incident and Doctor Russell is still in ICU.
Simmonds considers the information for a few moments as Gorski stares the hologram down. Tony shifts uncomfortably in his seat as the silence drags on for a few moments.
(The expressions crossing Simmonds’ face make it clear she is unhappy and when she speaks, there is a subtle hint of mounting rage in her tone)
Commander, regardless of how stressed you may have felt during that incident, you should have notified me immediately.
(Matching her tone to Simmonds’)
A man died, Commissioner. The ex-husband of one of my command staff is in a coma. We had a lockdown protocol initiated by our computer. (Beat) My first duty was to the safety of the people under my command, and visitors to this base.
On that, Commander, we disagree. (Beat) Nothing can be allowed to get in the way of our probe launch, or our timetable for a crewed flight into the anomaly. The backers for both missions have invested millions, to a total of billions of dollars into these two projects. You were assigned to the Alpha moonbase to make sure both launches happened without incident, and to ensure the required research protocols were followed in the lead up to those launches, to satisfy the egg-heads on Earth.
(Her voice cold)
I realise that, Commissioner.
Then why are you failing me miserably?!
Both Gorski and Tony look momentarily shocked as Commissioner Simmonds calms herself.
I will report this back to the oversight committee and contact you at a later date.
The image of Simmonds motions with a remote control, and the hologram disappears. Miranda sits back in her chair and lets out a long, slow breath.
Politicians. (Beat) You’re not second guessing yourself, Commander?
Not even remotely. If a similar event were to happen right now, I would play it the exact same way.
What do you think Simmonds is going to do?
She’ll replace me. She did it before when things weren’t going well at the Luna Colony, and she’ll do it now. She’ll get some lackey she can control and I’ll be reassigned.
She wouldn’t dare. You’ve been with this project since the anomaly appeared.
Lana Simmonds knows that I won’t play games with people’s lives, and that I don’t care about time frames. Tony, I’ll be replaced within the week.
Did the producers of Blade Runner 2049 steal your date?
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!!