Battlestar Galactica:  Original Mini Series

SUPER: The Cylons were created by Man.

EXT. SPACE - ARMISTICE STATION

A tiny SPACE STATION hangs in the deep void.
FADE OUT. SUPER: They were the product of a desire to make life easier on
the planet Kobol. EXT. SPACE - ARMISTICE STATION

A small COLONIAL TRANSPORT glides into frame and toward a docking with the
station. There are no other ships or planets visible.

FADE OUT. SUPER: At first, they were simple robots. Toys. Conversation
pieces at parties for the rich and trendy.

INT. ARMISTICE STATION

A simple, spare room of steel. Two doors on opposite sides. One metal
table in the center. A MAN dressed in a Colonial lieutenant's uniform
ENTERS from one door, carrying a briefcase.

The Lieutenant sits in one of only two chairs in the room -- one cushioned,
one bare metal. A table sits between them. Sitting on the table is what
looks like a gooseneck lamp topped by a single RED LIGHT that oscillates
back and forth, passively "watching" everything in the room.

He opens his briefcase and takes out a few personal items -- a PICTURE
FRAME of his WIFE, a book, some official paperwork. Sets them on the
table. Looks like he's going to be here a while.

The Lieutenant glances up at the door across from him. It remains closed.
He picks up the book, sighs and begins to read.

FADE OUT. SUPER: The Cylons became more advanced. Began to work the
mines. Do the hard and dangerous work Man no longer wished to do.

INT. ARMISTICE STATION

Hours later. The Lieutenant is packing up his briefcase. He leaves
through the same door whence he entered, passing by a Colonial FLAG, which
is the only decoration in the room.

FADE OUT. SUPER: And when the people of the Twelve Colonies of Kobol
decided to war against each other, the Cylons began to do their fighting
and killing for them too.

INT. ARMISTICE STATION

The same Man ENTERS the same room, but now he's OLDER, wearing the rank of
Captain. He opens his briefcase, takes out some personal items including a
NEW framed photo of an OLDER
wife. Nothing's changed in the room. The gooseneck with the red light
still sits there on the table. The Captain sits in the chair, begins to do
some paperwork -- which includes some diagrams and photos of the original
mechanistic Cylons.

FADE OUT. SUPER: The Cylons were the greatest soldiers the planet had ever
seen. Smart. Fast. Deadly. They made decisions without waiting for
orders.

INT. ARMISTICE STATION

The Captain is now a Major. Some grey in his hair. The picture on the
table is that of an older wife holding a BABY. Still no one else in the
room. The Major is idly waving a finger in front of the oscillating RED
LIGHT, following it back and forth, back and forth...

FADE OUT.

SUPER: And then the day came when the Cylons decided to kill their
masters.




INT. ARMISTICE STATION

The Major is now a Lt. Colonel. More grey in the hair. The photo now
shows his wife and THREE YEAR OLD BOY. The Lt. Colonel is doing some kind
of word puzzle, his feet on the table.

FADE OUT. SUPER: The Twelve Colonies rallied together for the first time
in centuries. Betrayed by their own technology, they fought the Cylons
with weapons that didn't rely on computers.

INT. ARMISTICE STATION

The Lt. Colonel is now a full Colonel. The Wife's photo is now in a
separate frame, with a black border. The BOY has his own photo and is SIX
YEARS OLD. The Colonel is stretching his aching back. The red light is
still there.

FADE OUT. SUPER: After a long and bloody struggle, the war finally ended.
An armistice was declared. The Cylons left Kobol for another world to
call their own.

EXT. SPACE - ARMISTICE STATION

The Transport is docked at the station.

SUPER: A remote space station was built where Cylon and Human could meet
and maintain diplomatic relations. Every month, the Colonials send an
officer.

INT. ARMISTICE STATION

The Colonel leans way back in his chair, is about to nod off.
SUPER: The Cylons send no one. No one has seen or heard from the Cylons
in over forty years.

Suddenly the door in the room OPENS.

The Colonel lurches forward in shock -- what the hell? Then his jaw drops
when TWO CYLONS ENTER. Chrome metal bodies, red eyes tracking back and
forth. Similar to the 1970s version of the Cylon warriors, but sleeker,
more advanced, and more fluid in their movements. They take a couple steps
into the room and then stop. They stand there like silent deadly
sentinels, making no move for their weapons.

Silence. The Colonel remains at the desk, surprised, but trying to be
professional.

Then another shock. The Cylons step aside and a beautiful WOMAN ENTERS.
She looks to be in her twenties, with long flowing raven-black hair,
drop-dead looks and a perfect body. Her every move, every gesture is
smooth and precise. Her eyes are keenly intelligent.

She sits down across from the shocked Colonel and favors him with a
coquettish smile.

He blinks in surprise, smiles back.

She reaches across the small table, softly cups his chin, brings it to her
and kisses him gently, tenderly. She breaks the kiss, looks into his eyes.



Are you alive?

WOMAN


Yes...

COLONEL



Prove it.

WOMAN

He's totally flummoxed. Doesn't know what to make of this. But she is
devastatingly beautiful, and when she pulls him into a deeper and more
sensual embrace, he doesn't resist.

Her hands slip into his shirt, his pants. His fi ngers fumble with her
clothes.

Her face drifts over his shoulder and we look into her eyes. She smiles a
secret smile to herself.

EXT. SPACE - ARMISTICE STATION

The Colonel's Colonial Transport EXPLODES.

INT. ARMISTICE STATION

The Colonel hears the explosion, tries to pull away, but she is far
stronger than he is. She holds him tight. Then too tight. He has a
moment of horrifying realization -- then she smiles a sweet sad smile once
more.

The metal Cylons stand there impassively, silently. Red eyes moving back
and forth...

The entire room EXPLODES around them.

EXT. SPACE - ARMISTICE STATION
Which is torn apart with a shattering series of EXPLOSIONS, one after the
other...

FADE OUT.

OVER BLACK: The echoing BOOMS of the explosions become the SOUND of RUNNING
FEET on a metal grating.

BANG-BANG, BANG-BANG, BANG-BANG...

FADE IN:

INT. GALACTICA - PASSAGEWAYS

It's one long take:

We're FOLLOWING a woman as she jogs through the narrow, cramped passageways
of the battlestar Galactica. She's dressed in jogging bra, shorts, running
shoes and eventually we'll learn that her name is KARA THRACE. We keep
following Kara as she makes a left hand turn at an INTERSECTION, crosses
through a side passageway, makes another left, now going back in the
direction she came.

A TOUR GROUP of CIVILIANS is blocking her way up ahead.


Make a hole!

KARA

The civilians scramble out of the way to let her pass. CAMERA DROPS OFF on
DORAL (30s) -- one of those picture-perfect PR types who never seems to
have a hair out of place.

DORAL Form follows function.

He leads the visitor-tagged tourists down the intersection.

DORAL (cont'd)
Nowhere is this axiom of design more readily apparent than on board the
world famous battlestar Galactica. This ship, the last of her kind still in
service, was constructed over fifty years ago during the early days of the
Cylon War. Originally, there were twelve battlestars, each representing
one of Kobol's twelve colonies. Galactica represented Caprica and was first
commanded by...

They reach another intersection and Kara comes jogging through the
passageway again. It's still one take as we FOLLOW Kara on her laps.

She passes through another intersection where we DROP OFF on ADAMA -- a man
in his late fifties, with a weathered, lean appearance, iron-grey hair and
so tall that he has to continually duck and stoop to avoid the low
overhead. He wears a simple day uniform with a minimum of insignia, and
his clothes have a well-used, rumpled look. He has a piece of PAPER in his
hand and he seems to be rehearsing a speech.

(reading)
ADAMA
"The Cylon War is long over. Yet, we must not forget the reasons why so
many sacrificed so much in the cause of liberty..."

Adama sees a passing officer -- CAPTAIN KELLY (30s).

KELLY Commander Adama, if I may...?



Captain..?

ADAMA

KELLY
Just wanted to say it's been a pleasure to serve in your command, sir.

ADAMA
Thank you, Mister Kelly. The honor's been mine. Good luck in your next
assignment.



Thank you, sir.

Adama resumes his walk.

KELLY

ADAMA
(from memory)
"The Cylon War is long over. Yet, we must not... Yet, we must not..."
(glances at paper)
"Yet we must not forget the reasons why so many were asked to sacrifice so
much in..."

Bang-Bang, Bang-Bang -- Adama steps back from the intersection as Kara
approaches. She both likes and respects Adama. These morning exchanges
are something of a ritual for them and date back to a common experience in
flight school.



Morning, sir!

KARA

ADAMA
Morning Starbuck! Whaddya hear?

KARA Nothin' but the rain.

ADAMA
Then grab your gun and put the cat out.

KARA
BOOM-cha-gah-la! BOOM-BOOM-BOOM!

ADAMA
(overlapping) BOOM-BOOM-BOOM!

We FOLLOW Kara as she grins and goes down two more left -hand turns and
then back down the Passageway and then DROPPING OFF on three enlisted Deck
Hands -- PROSNA (18, male), CALLY (21, female), SOCINUS (18, male) --
rushing somewhere in a hurry, and trying to get their uniforms in order.
Prosna has a FLAT WRAPPED PACKAGE.

PROSNA
C'mon! Chief's gonna have our ass!

CALLY
I know, I know! Can't get this insignia to line-up...

SOCINUS
(sees Adama)
There's the Old Man now! C'mon, we gotta go!

They pass by LT. GAETA (20s) and we DROP OFF on him as he stops Adama.
Gaeta has a stack of MESSAGE PRINT-OUTS.


Morning, sir.

GAETA
(hands him messages) Com traffic from the midwatch.



Morning.

ADAMA
(re: messages) Anything interesting?

GAETA
Mostly housekeeping. Oh, there is one odd message we were copied on.
(shows him the message)
The one from Fleet headquarters. Courier officer's overdue coming back
from Armistice station.



Hm.

ADAMA

GAETA
They're asking for a status report on all FTL capable ships in case they
need someone to Jump out there tomorrow and see if his ship's had a
mechanical problem.

ADAMA
I think we're a little busy tomorrow, Mr. Gaeta. What do you think?


(grins)

GAETA
Yes, sir. And may I also take this opportunity to say it's been both a
pleasure and an honor to serve under you these past three years.

ADAMA
Thank you, Mister Gaeta. The honor's been mine.

Now we FOLLOW Gaeta (still one take) as he continues on his way. He looks
down an intersection and sees COLONEL TIGH (40s) leaning against a
bulkhead. The Colonel looks like he's about ready to puke. Gaeta looks
away quickly, not wanting to make eye contact and Gaeta hurries off.

STAY WITH Tigh. He steadies himself against the bulkhead, rallies, tries
to clear his head then heads off down the passage. FOLLOW Tigh until he
passes Doral and the tour group and we DROP OFF on them.

DORAL
You'll see things here that look odd, even antiquated to modern eyes.
Phones with cords, awkward manual valves, computers that barely deserve the
name. But all of it is intentional. It's all designed to operate in
combat against an enemy who could infiltrate and disrupt all but the most
basic computer systems.
(leads them down passage)
Of course, those attitudes have changed through the years and Galactica is
something of a relic. A reminder of a time when we were so frightened by
the capabilities of our enemies that we literally looked backward for
protection. Modern battlestars resemble Galactica only in the most
superficial ways...

Bang-bang, Bang-bang... FOLLOW Kara again, down the Passageway and around
the corner, DROPPING OFF on Adama just as he manually OPENS a HATCH, and
goes into a REPAIR BAY, which finally ENDS THE TAKE.

INT. GALACTICA - REPAIR BAY - CONTINUOUS

This is a large space, designed for the maintenance and repair of the
ship's fighters. It's filled
with tools, diagnostic equipment, spare parts, hoses, and odd bits of
machinery. Like everywhere on Galactica, space is at a premium and there's
precious little in here that isn't used.

FIFTEEN ENLISTED DECK HANDS are milling about the Repair Bay, including
Socinus, Prosna and Cally. Their chief petty officer, CHIEF TYROL is the
first to spot Adama coming through the hatch.


'tention on deck.

Everyone snaps to attention.

TYROL

ADAMA
Stand at ease. Good morning, Chief.

TYROL
Morning, sir; and thank you for coming down.
Tyrol is in his late thirties, rugged, with the worn look of a man who's
spent a lifetime working in and around big machines. The crew would do
anything for him and the officers respect him.

ADAMA
Always appreciate the chance to see where the real work is done.



This way, sir.

TYROL

Tyrol walks him over toward a fighter covered with a TARP. Adama notices
that the entire crew has quietly followed them over.

TYROL (cont'd)
Sir, on behalf of Deck Crew Five I'd like to present a token of our esteem
and appreciation for the many years you've served as commanding officer of
this ship.
(to hands) Places.

The Deck Hands each grab an edge of the tarp.



Present.

TYROL (cont'd)

The tarp is smoothly whisked away to reveal a classic VIPER FIGHTER,
virtually identical in design to the 70's TV series. Adama smiles and
moves forward, not quite unders tanding yet, but trying to look
appreciative.

ADAMA
Mark Two Viper. Haven't seen one of these in about, oh... twenty years or
so.

TYROL
If the commander will take a closer look...

Something's up. The Deck Hands are exchanging expectant looks. Adama
moves closer, then sees it -- stencilled on the cockpit, just below the
canopy are the words: LT. WILLIAM ADAMA
"HUSKER" Adama blinks for a moment in confusion, looks a question at
Tyrol.

TYROL (cont'd) Tail number A894FG.

Adama can't believe it. Tyrol glances at Prosna, who now steps forward
with the wrapped package and hands it to Adama. Adama tears it OPEN and
finds -- A PHOTO of himself as a much younger man standing on the wing on
this Viper.

ADAMA Where... where'd you find her?

TYROL
Rusting away in a salvage yard outside Caprica City.
(beat)
We hope the commander will consider letting her participate in the
decommissioning ceremony.

She'll fly!
ADAMA

TYROL
We've restored the engines, patched up the guidance system, and replaced
most of the flight controls. She's fueled, armed, and ready to launch.

Adama is suddenly caught short, blindsided by an unexpected wave of emotion
as he runs his hands over his old fighter. He steps closer, puts a hand on
the fuselage as if in a dream. Tyrol senses this has suddenly become an
intensely personal moment. He silently signals the deck hands, and they
make a quiet, discreet EXIT.

Adama stays there, looking over his ship with nostalgia and sadness
brimming in his eyes.



(softly)

ADAMA
The honor... is mine.

INT. DOCTOR'S OFFICE - DAY

A clean, anti-septic office on the planet Kobol. LAURA ROSLIN sits before
the desk, patiently waiting. Laura is in her late forties, handsome,
confident, with an innate intelligence bordering on the brilliant. But the
quality that strikes us most strongly about Laura is that she has class.

The DOCTOR (40s) ENTERS, sits down at the desk with a carefully neutral
expression. He clears his throat.

DOCTOR We've found a lump.
(beat)
Without surgery, it's impossible to know for certain, but I can tell you
that statistically, 93% of these types of masses do turn out to be
malignant.
(long beat) Miss Roslin...?

She doesn't answer. Doesn't look at him. Finally...



Treatment?

LAURA

DOCTOR
The conventional approach is intensive radiation therapy, but there are
several promising new drug therapies that will soon be approved for human
testing, and --

LAURA
Excuse me, I have a flight to catch.

She gets up and heads for the door. The Doctor's seen this reaction before
-- has probably seen every reaction before.

DOCTOR
I'd like to give you the name of a counselor who specializes in dealing
with the emotional fallout from --

But she's out the door. The Doctor lets out a long, tired breath. He
writes on her chart.

ECU - THE CHART

There's a lot of technical language, but the one word that sticks out to us
amid the Doctor's scrawl is "terminal."

EXT. KOBOL - TRANSPORTATION HUB - DAY

A busy terminal where both aircraft and spacecraft await passengers. A
large SPACE TRANSPORT is docked at one of the gangways. We should feel
like we're viewing this FX shot through a hand-held camera.

INT. TRANSPORT SHIP - PASSENGER CABIN - DAY

The passenger cabin is narrow and cramped, like the modern-day Concorde.
Laura sits at a window seat, staring out at the brilliant day, and lost in
her own thoughts. She can't help but put a hand to her left breast...
gently feels for the lump somewhere within. A voice breaks the moment:


Excuse me...?

VOICE

Laura looks at a good-looking teenager standing in the aisle.

BILLY Secretary Roslin?



Yes.

LAURA

BILLY Hi. I'm Billy Keikeya.
(blank look) Your new assistant.

BILLY is young (19), eager to please, very smart and very polite. He's one
of those rare people who's usually smarter than the room, but never lets
anyone know it. He'll make a great diplomat someday. Laura quickly
recovers.

LAURA Oh. Hello. Have a seat.

He hands her a thick 3-ring folder.

BILLY
The Education Ministry sent your briefing book from the office.

She takes it, then looks out the window again for a long beat. Billy
quickly realizes something is up with his new boss, but has the good sense
not to pry. He just waits. Finally, Laura gathers herself and shifts into
business mode.
LAURA
Do you know where we're going?

BILLY
To the Galactica. The ship's being retired and transferred to the Ministry
as a museum ship.
(beat)
I took the liberty of reading the briefing on the way over. I hope that's
okay.



That's fine.
(beat)

LAURA
It's a long flight. Hope you don't mind if I catch some sleep.



Not at all.

BILLY

Laura settle back in her seat, faces away from Billy, closes her eyes.
Then her eyes open again. She's not going to be getting much sleep.

PILOT (V.O.)
Ladies and Gentlemen, we are ready for departure. Our flight to rendezvous
with Galactica is expected to take five hours, forty-three minutes. Our
cruising speed will be...

There's the WHINE of the ship's ENGINE, which takes us to...

EXT. TRANSPORTATION HUB - DAY

As the Transport ship LIFTS OFF from the terminal, our hand-held camera
tracks it up toward the sky.

DISSOLVE TO:

EXT. SPACE - GALACTICA - CHASE CAMERA POV

Our first look at the enormous ship, cruising slowly through space sets the
tone for all the exterior space shots to follow -- We see Galactica not in
a big sweeping 3-D hero shot, but as if it were being seen from a hand-held
camera aboard a plane flying alongside the ship. The framing is a little
wobbly and the picture goes soft once or twice as our imaginary cameraman
struggles to keep the ship in focus.

INT. GALACTICA - SQUADRON READY ROOM

A Squadron Ready Room is both a briefing facility and an informal gathering
place for off-duty pilots. The decor should reflect the many pilots and
squadrons that have come and gone down through the years and there are
plaques, insignias, mementoes, souvenirs, etc. crowding the walls. There's
a TV Monitor on in the b.g. with the volume LOW.

It's late in the midwatch and the Colonial equivalent to a poker game is
going on. Most of the pilots have dropped out and the game is down to two
players -- COLONEL TIGH and Kara
Thrace -- the woman we first met jogging through the halls.
Kara (30s) is a loner, which makes her an oddity among the tight -knit
pilots. She's as undisciplined and rebellious out of the cockpit as she is
calculating and precise in it. Her mouth has definitely held back her
career. And she dislikes Tigh. She tosses in a stack of chips.

Tigh (40s) pours himself another drink. He's well into his cups by now.
He's the ship's executive officer (or XO). He's tightly wound, moody,
prone to outbursts of temper. And he dislikes Kara. He studies his cards,
looks up at Kara...


(derisive)

TIGH
"Starbuck". Now there's a call sign. Starbuck. How'd you get that
nickname, anyway? Never did hear the full story.
(takes a drink)
Was it before you got thrown in the brig as a cadet for drunk and
disorderly or after?



After.

KARA

TIGH
After. That's right, it was after.
(tosses in chips) Thirty and thirty more.


(casual) How's the wife?

KARA

The room goes deathly silent. Glances between the other pilots. Tigh
freezes for a beat. She's definitely touched a sensitive and dangerous
nerve.


(even) Just fine.

TIGH

KARA Talk to her lately?

TIGH Bet's to you, Lieutenant .

KARA
No rank at the table, Colonel. Tradition and all that.
(lights a cigar)
So. Another thirty to me. Well, I think I'll just have to bring this
lovely evening to a close.
(turns over cards) Dominion.

Tigh's drops his hand. Kara begins raking in the chips.

TIGH That's five hands in a row.

Is it?
KARA

TIGH
No one's that lucky, Thrace.

KARA
Luck has nothing to do with it.


That's right.

TIGH

Now it's ugly. Kara meets his eyes.

KARA
You have something to say, say it.

A tense beat, then a sudden erruption of violence as Tigh KNOCKS the table
over. Kara's on her feet, gets in the first shot -- and CONNECTS with
Tigh's face. He staggers back, but the other pilots swoop in and are
hauling the dazed Tigh out of here before anything else can happen.
Kara watches him go with a smirk, then bends down to scoop up her winnings.

As she picks up the loot, we PUSH IN on the TV monitor jammed into a tiny
cubbyhole in the wall. A Colonial news program is on, with a REPORTER (30s)
-- facing the camera in a comfortable studio setting.

REPORTER (TV)
For those of you just joining us from the Pyramid game in Geminon, welcome
to The Spotlight -- our weekly interview program devoted to people making
news on Kobol.

INT. TV STUDIO - BACKSTAGE

The studio is similar to those we're familiar with, but with smaller lights
and cameras and slight ly less equipment. As we move through the back
stage area we find a WOMAN calmly standing amid the cables and equipment of
the off-stage area, watching the interview on a TV MONITOR. She's in her
twenties with short, Carrie Moss Matrix hair, wearing a perfectly tailored
business suit. And if we looked really closely, we might see that she
looks eerily similar to the same woman who destroyed the Armistice Station.

REPORTER (TV)
Today we're talking with Doctor Gaius Baltar.

BALTAR (40s) is a literal genius . Elegantly dressed and aesthetically
handsome. He listens to the reporter recite his bio with the affected
humility of the truly arrogant.

REPORTER (TV)(cont'd)
Although he has won three Magnate Prizes in the course of his distinguished
career, he is perhaps best known for his controversial views on advanced
computer
technology which have earned him stinging condemnation from several leading
conservative publications as well as something approaching cult
figure status on many college campuses. Dr. Baltar welcome again.

BALTAR (TV)
Thank you, Kellan. It's a pleasure to be here.

The Woman glances away from the monitor as a STAGEHAND goes to a small
craft -service table and makes himself a cup of coffee. She watches him
carefully, intently, focusing on every single move as he pours the cup,
puts in cream. The interview continues in the b.g.

REPORTER (TV)
Before the break, we were discussing your latest opinion piece in the
Caprican Daily News where you advocate the resumption of research into
artificial intelligence. Could you summarize your position for our new
viewers?

The Woman watches as another Stagehand waves the first Stagehand over to
help with some equipment. The man takes a sip of his coffee, then leaves
it on the table before going. Her gaz e goes to his abandoned coffee.

BALTAR (TV)
I'd be happy to. My position is very simple: the ban on research and
development of artificial intelligence is a hold-over from the Cylon Wars.

The Woman goes to the craft -service table, picks up the coffee, inhales
the smell deeply... then takes a sip... rolls the liquid around in her
mouth... smiles to herself and then puts the coffee cup back before turning
around and looking directly at the stage where the interview is taking
place.

BALTAR (cont'd)
I believe the ban is outdated and serves no useful purpose except to retard
efforts to solve many of the problems plaguing Colonial society.

Baltar sees her in the shadows. Their eyes meet and a flush of hot desire
rises up into his face...

INT. BALTAR'S APARTMENT - NIGHT

The door SLAMS OPEN. Baltar and the Woman are all over each other, clawing
and tearing at each other's clothing. The Woman shoves him down on the
couch, unzips his pants with a quick motion.



Miss me?

WOMAN


Can't you tell?

BALTAR

WOMAN
Your body misses me, but what about your heart? Your soul?

BALTAR Yeah, those too...
WOMAN Do you love me, Gaius?

Whoa. The words every bachelor on the make dreads. Baltar freezes in his
tracks.


What?

BALTAR



Do you love me?

WOMAN

She takes his face in her hand and looks deep into his eyes. He blinks in
surprise for a beat. Hesitates, and we realize that Baltar, deep down,
actually fears this woman on some level.

BALTAR Are you... are you serious?

Her eyes bore into his for a long beat. Suddenly, she grins at him -- and
Baltar relaxes as he realizes she's messing with him. Again.

BALTAR (cont'd) God, you had me worried there for...

She hikes up her skirt and mounts him. Baltar's eyes widen in ecstasy.

WOMAN I'm hot, Gaius. I'm so hot.

She begins to roc k back and forth, faster and faster, and whatever worries
he had are suddenly forgotten. Camera MOVES around behind her and we see
that she literally is hot. Her SPINE is GLOWING RED just beneath her
skin. OFF this startling image, we...

FADE OUT.



END OF ACT ONE
ACT TWO

FADE IN:

In what will become a signature stylistic element of our series, we open
this Act with a MULTIPLE SPLIT SCREEN format. We will see several
different camera angles on and around the Viper as well as an interior from
Galactica. The exact positioning of the splits and how many splits are on
screen at any one time will be an editorial decision, but we'll never have
more than 5 at any one time. The individual splits are numbered for
clarity of reference.

MULTI-SCREEN:

1 -- EXT. SPACE - VIPER COCKPIT POV

Our view is from a camera mounted just ABOVE the cockpit of a Viper fighter
and our view is straight ahead. Up ahead we can see Galactica's stern
coming into focus and at the very bottom of the frame we can just make out
the top of the cockpit canopy. This is a FIXED CAMERA, which neither pans
nor zooms, and the frame constantly changes and moves as the Viper makes
minute course adjustments. We HEAR the WIRELESS (our term for RADIO)
transmissions between Galactica and the pilot:

LEE (WIRELESS)
Galactica/Viper Four-five-zero. Beam acquisition lock.

2 -- INT. VIPER - COCKPIT CONSOLE POV

View from a tiny camera mounted in the DASHBOARD of the cockpit, looking
straight at the pilot's face, or in this case, at the reflective SHIELD
which has been pulled down over his eyes. We can see a portion of the
starfield out the canopy behind him, but again this camera is FIXED.

3 -- INT. GALACTICA - PORT LANDING BAY

Looking out into space from the Galactica, we see the distant approaching
Viper.

4 -- INT. GALACTICA - PORT LANDING CONTROL

A cramped cubicle barely big enough for the Landing Signal Officer (LSO),
who is Captain Kelly -- first seen giving his regards to Adama at the top
of Act One. The cubicle is dominated by a single window which overlooks
the vast LANDING BAY and it is from this vantage, that the LSO guides
incoming ships to a landing below. Kelly WRITES on the WINDOW with a
greasepen, keeping track of various info on the landing planes. Kelly
wears a headset for communications, but there are also several telephone
handsets on the console before him.

At the moment, the cubicle is also crowded with the tour group seen
earlier. Doral, the tour guide, is crammed into the hatch, explaining the
operation to the group.

DORAL
A logical question to ask is why in this day and age, do we have men and
women in the cockpit at all? Why not automate the Vipers or rely on
unmanned missiles for defense?


(to mic)

KELLY
Viper Four-five-zero/Galactica. Copy your acquisition lock. Stand-by
landing clearance.

2 -- The pilot pulls up his reflective shield, giving us a look at LEE
ADAMA (30s).



Standing by.

1 -- Galactica gets closer.

3 -- The Viper gets closer.

4 -- Kelly checks some controls.

LEE

DORAL
The answer, of course, is that an automated Viper would be susceptible to
possible jamming or cyber-attack. There's a saying in the Colonial fleet
that you can jam every sensor except the human brain.
KELLY
(clipped, rapid, to headset mic)
Viper Four-five-zero/Galactica. Approach port landing bay, hands-on, speed
one zero five, checkers red, call the ball.



(to mic)

LEE (cont'd)
Galactica check that. Did you say hands -on approach?

KELLY
Viper Four-five-zero, that's affirmative. Hands-on approach.

LEE
Very well. Port landing bay, hands -on, speed one zero five, checkers red,
I have the ball.

2 -- Looking over the cockpit at the Galactica as the Viper begins heading
in toward the port landing bay.

3 -- From Galactica's landing bay, we see the Viper slide side to side as
the pilot locks in on the proper angle to make it inside the flight deck.

4 -- Kelly and the visitors crane for a look out the window as the Viper
comes in for a landing.

2 -- Lee concentrates on his landing. We can HEAR his breathing as his
adrenaline surges.

2 & 3 -- The Viper TOUCHES DOWN on the deck, SKIDS for a moment, then comes
to a STOP.

4 -- From the LSO station, we can see the Viper has stopped on a large RED
CHECKERED SQUARE, which is an elevator.

KELLY
Viper Four-five-zero, skids down, mag-lock secure. On behalf of everyone
aboard Galactica, I'd like to welcome you aboard, Apollo. It's an honor to
have you with us.

LEE Thank you Galactica.

The elevator DESCENDS and with that we...

COLLAPSE SCREENS TO:

INT. GALACTICA - HANGAR BAY

An enormous, cavernous space where spac ecraft are moved about and parked
before and after flight operations. Various Vipers are parked in different
configurations. Large airlock doors run the length of the bay and lead to
launch tubes and interior doors which lead to the repair shops.

The elevator STOPS, and the Viper is immediately surrounded by a group of
DECK HANDS, who seem to be everywhere in this space. They begin checking
engines, attaching equipment, hoses,
etc. Unlike the Viper seen in Act One, this model is state of the art and
is sleeker and more modern than Adama's old relic.

Chief Tyrol steps up on the wing just as the canopy slides OPEN. The name
on the side of the fuselage reads: CAPT. LEE ADAMA "APOLLO" and when the
pilot removes his helmet, we get a better look at Lee Adama, who is
ruggedly handsome, with a lean frame and rangy looks.

TYROL
Morning, sir. Chief Tyrol, I'll be your crew chief while you're aboard.

LEE
Morning, Chief. Captain Lee Adama.

Tyrol takes his helmet, helps him climb out of the cockpit.

TYROL
Real pleasure to meet you, sir. I'm sure you've heard this before, but I'm
a great admirer of your father's.



Thanks.

LEE

TYROL
The service is going to miss him when retires.

LEE
I'm sure someone will. Is your auto-landing system down? I was hands-on
for the whole approach.

It takes a beat for Tyrol to register Lee's casual dig at his father.
Tyrol's attitude noticeably cools.

TYROL
They're all hands-on here, Captain. No auto-landings on
Galactica. Commander Adama's orders.

LEE
Figures. Watch the rad buffers when you chock the burner. These new Mark
sevens run a little hotter than the ones you're used to.

TYROL Watch the rad buffers, yes sir.

SPEAKER VOICE
Attention on the Port Hangar Deck, Raptor on final approach, clear red
checkers.

INT. GALACTICA - LANDING CONTROL

Captain Kelly is unhappy. Another ship is heading in, but this one is
making an unsteady, herky- jerky approach.

KELLY
Raptor Three-one-two/Galactica. Watch your lateral attitude! You're
skidding, you're skidding!

SHARON (WIRELESS) Galactica/Raptor Three-one-two. Understood. I have the
ball.

INT. GALACTICA - PORT LANDING BAY - DECK CAMERA

The camera picks up the ship as it careens into view and down toward the
deck.

EXT. RAPTOR - OVERHEAD COCKPIT POV

A similar angle as that seen on the Viper, but now looking forward over the
double side-by-side cockpit of a RAPTOR. The Hangar Deck TILTS dangerously
to one side as we careen toward a landing.

INT. GALACTICA - LANDING CONTROL

Kelly gives the Raptor a lot of "body English" as it finally straightens up
at the absolute last second and comes to a HARD and LOUD LANDING on the
checkered square.



(relieved)

KELLY
Raptor Three-one-two, skids down, mag-lock secure. Welcome home, Boomer.

SHARON (WIRELESS) Thank you, Galactica.

INT. GALACTICA - HANGAR BAY

The elevator has just come to a stop with the Raptor on board. The Raptor
is larger than the Viper and it's a scout/electronics platform, loaded with
sensors instead of weapons. The rear engines are also twice the size of
the more sleek and nimble fighters. There's a two-man cockpit where pilot
& co-pilot sit side-by-side and room for about five others deeper inside
the ship. The writing on the fuselage reads: LT. SHARON VALERII "BOOMER"

Tyrol steps up on the wing as the canopy opens to reveal SHARON VALERII and
her co-pilot, HELO. Sharon is in her early twenties and not long out of
flight school. She's the squadron rookie, and it shows -- she's less sure
of herself than the other pilots, more vulnerable. Helo is a couple years
older, with a perpetual tan and athletic build.


(sour)

TYROL
I think they heard that landing clear up to the bridge, Lieutenant.

SHARON
Yeah, I'm gonna catch hell from the LSO. But it wasn't entirely my fault,
Chief...
(climbing down)
... the primary gymbal's acting up again.

TYROL
Uh, huh.

SHARON
(to co-pilot) Helo, am I lying?

HELO
(writing on a checklist) Gymbal looked bad to me.

As the Deck Hands swarm over the Raptor, Tyrol and Sharon walk toward one
of the side exits. Helo stays in the cockpit, going over some paperwork on
the flight.

TYROL
I've pulled that gymbal three times and stripped it twice. There's nothing
wrong with it, sir.

[Yes, both men and women in Galactica's world are referred to as "sir.]

INT. GALACTICA - REPAIR BAY - SECONDS LATER

Tyrol and Sharon walk through the Repair Bay seen earlier. Tyrol's crew --
Cally, Prosna plus another 5 ND Deck Hands -- barely look up from their
work as the two pass.

TYROL
... and I listen very closely to what each and every pilot has to say about
their ship. Even the rooks.

SHARON
Okay, so I'm a rook. You're not the one out there trying to bring fifty
tons of Raptor onto a moving hangar deck with a bad gymbal...

TYROL
(overlapping)
I've got ten years experience --



Here we go.

SHARON

TYROL
-- breaking down and stripping every component in every
--

They walk through the bay and into...

INT. GALACTICA - TOOL ROOM - CONTINUOUS

A small walk-in storage locker crammed with tools.

TYROL
-- system that's ever been installed in every spacecraft on my hangar deck.

SHARON
-- system that's ever been installed in every spacecraft on my hangar deck.

They stop and stare at each other, toe to toe as the hatch swings shut
behind them. There's a beat...

And then they fall into each other's arms. Deeply passionate, hungry
kisses of two forbidden lovers who have to grab every moment they can.

SHARON That gymbal is broken...



Shut up.
(beat)

TYROL
Sir.

As they continue their embrace...

INT. REPAIR BAY

Socinus ENTERS from the Hangar Bay, carrying a heavy tool kit. He heads
for the Tool Room.

CALLY
Not so fast. The groping lamp is on in the tool shed.



Frak me.

SOCINUS



Do I have to?

CALLY

SOCINUS
This is outta control. The chief lost his mind or something?

CALLY None of our business.

PROSNA
(sarcastic)
Yeah. He's just sleeping with the division officer. What's wrong with
that?

There's a lot wrong with it, and the feeling is shared by all of them, even
Cally.

EXT. SPACE - GALACTICA & TRANSPORT

The Transport ship seen in Act One maneuvers in for a docking with
Galactica.

INT. GALACTICA - AIRLOCK/PASSAGEWAY

Two DECK HANDS open the large airlock HATCH just as the interior hatch is
opened by someone aboard the Transport. Laura and Billy are first through
the airlock. Doral, the tour guide is here waiting for them.
DORAL
Secretary Roslin, Mister Keikeya? My name is Aaron Doral, I'm from Public
Relations and I'd like to welcome you aboard Galactica. If you'll follow
me, I'll show you to your quarters.

They follow Doral as he heads down the passageway. Laura hates it here,
tries not to show it. Billy is loving every minute of this -- looking
around and taking it all in.

LAURA
Is there a revised schedule for the retirement ceremony?

DORAL
Oh -- they really hate that word around here. People are retired, ships
are decommissioned...

Doral heads down the ladder just as three dirty and sweaty FEMALE DECK
HANDS come down the passageway. Billy gets out of the way, lets them pass,
gets a quick smile from one. He lingers a bit, watching her go. Laura &
Doral keep going.

BILLY

turns around -- they're gone. He's in the middle of an intersection and is
completely and totally lost.

BILLY
Hello...? Madame Secretary...?

Shit. He tries to orient himself, walks down the passageway -- dead end.
He goes down another Passageway. Tries to open a hatch -- locked. He
wanders down yet another passageway, OPENS a Hatch.

INT. GALACTICA - ENLISTED HEAD

Billy is surprised to find himself looking at the woman who smiled at him
just a few minutes ago. She's half-naked, standing in front of a sink,
brushing her teeth, hair up, wearing a bra with her jumpsuit rolled down
around her waist. Her name is DUALLA (19) and she glances up at him.


In or out.

DUALLA



What?

BILLY



(spits)

DUALLA
Get in or get out, but shut the hatch.

BILLY
(steps in, closes hatch) Uh, sorry...

Prosna, wearing a towel, comes out of one of a private shower stall,
carrying a shaving kit. He goes to another metal sinks and begins to
shave. Neither he nor Dualla think anything of it.

Lost?
DUALLA



Yeah.

BILLY

DUALLA Where you going?

BILLY
Uh... visitor's quarters. I'm a visitor.

PROSNA Really? Never woulda guessed.

Cally ENTERS and goes to one of the toilet stalls and shuts the door behind
her. Dualla notes
Billy's reaction.

DUALLA
Never been in a unisex head before?

BILLY A unisex what...?

PROSNA Head. Bathroom.

BILLY Oh. No, not really.

DUALLA
If you've living on a warship, the first rule is there's not much privacy,
so don't get your panties in a bunch at what you might see. Second rule,
is don't stare.

Billy suddenly realizes that's what he's doing, and quickly looks at
something else.



Sorry.

BILLY

DUALLA
Don't worry, visitors usually don't have to share facilities like the rest
of us.

She zips up her jumpsuit and heads back out the hatch.

DUALLA (cont'd) C'mon. Let's find your home.

INT. GALACTICA - PASSAGEWAY - CONTINUOUS

Dualla leads Billy down the passageway.

DUALLA What's your name?

Billy.
BILLY

DUALLA
I'm Petty Officer Second, Dualla.

BILLY Hi... Petty Second, uh...?

DUALLA You can call me D.



Thanks.

BILLY

And Billy is already attracted to her.

INT. GALACTICA - ADAMA'S STATEROOM

Adama may have the largest stateroom aboard Galactica, and the only one
with its own bathroom, but it still feels cramped. A single bed, a desk, a
couple of chairs and that's about it. The walls have a minimum of
ornamentation, favoring photos of ships and fighters from Adama's years of
service. There is a small porthole window.

At the moment, Colonel Tigh is standing before the desk, wearing his
rumpled uniform from the night before. He's also wearing a nasty looking
BRUISE on his slightly swollen jaw. Adama comes out of the bathroom,
tucking in his uniform. He and Tigh are friends, go way back. Adama sips
the coffee, makes a face.

ADAMA
So you gonna press charges against Starbuck? Ask for a court?

TIGH
Hell, no. I revoked her flight status, that's enough. Just a friendly
game that got outta hand.

ADAMA Heard you were drunk.

TIGH
I had a drink. I wasn't on duty.

ADAMA Been drinking a lot lately.



Maybe.

TIGH

ADAMA
This have anything to do with...?

TIGH
My wife? Why just because she's sleeping with half the population of
Geminon while I'm away. Nah, doesn't have anything to do with her.

Adama sips his coffee for a beat.

ADAMA
Well, I doubt Starbuck's gonna ask for a court either. Lucky for you,
considering your record.

TIGH
Doesn't matter. I'm getting out anyway.

ADAMA
There a chance you'll change your mind? The Fleet needs men like you,
Paul.

TIGH
Like hell. You're the only sonuvabitch in the whole fleet dumb enough to
want me as XO.


(wry)

ADAMA
Now you see why they're putting me out to pasture.


I did wonder.

TIGH

The two old friends share a brief smile, then Adama takes a deep breath.

ADAMA
All right. Ceremony's at fourteen hundred. Be there on time, in a fresh
uniform and clean shaven.


Yes, sir.

TIGH

Adama nods, the meeting over. Tigh heads for the door, then pauses.

TIGH (cont'd) Has Lee reported aboard yet?

Adama doesn't answer for a long moment.

ADAMA Three hours ago.

TIGH Maybe you should...

ADAMA
He'll contact me when he's ready.

Tigh accepts that as the final word on the subject and EXITS, but Adama
clearly is still thinking about his son.
INT. GALACTICA - SQUADRON READY ROOM

Kara ENTERS the Ready Room, which is crowded with PILOTS standing around
talking, writing reports, comparing notes on flight maneuvers, etc. The
Ready Room is both a briefing room and hang-out for the Pilots. There are
several such rooms aboard Galactica. The decor should feature insignia and
plaques from peactime competitions as well as CYLON PHOTOS and DRAWINGS
from the war long past.

Heads turn at Kara's entrance. She's not supposed to be here. The
Commander of the Air Group
(CAG) a ramrod-straight recruiting poster come to life looks up from his
clipboard.

CAG
What're you doing here, Starbuck?

KARA
I'm still a pilot, right? This is the pilot's ready room, right?

She blows past him. The insolence doesn't go unnoticed by the CAG, but he
decides it's not worth a confrontation and goes back to reviewing the
flight plan as Kara plops herself down in one of the high-backed chairs,
one leg hooked over the armrest.

CAG
Okay, people let's get started...

The pilots begin to take their seats. Kara studiously avoids eye contact
as they mill around her. Then she sees him -- Lee Adama ENTERS the room and
looks for a seat. Kara sits up, her surly attitude replaced by something
else. Just before Lee settles in, he sees Kara. Smiles in recognition.
She smiles back. They know each other. They like each other.



Good morning.

CAG (cont'd)


Morning, sir.

ALL

CAG
All right. Today is the main event. Formation demonstration and fly-by
maneuvers in conjunction with the decommissioning ceremony.
(opens folder)
A few changes to the flight plan. Lieutenant Thrace will be replaced in
the slot by Lieutenant Anders.

Lee throws a curious glance at Kara, but she's unfazed by the announcement.

CAG (cont'd)
Captain Lee Adama has joined us and will be flying lead during the fly-by.
Welcome Captain.

APPLAUSE. The pilots are stoked. Lee gives a sheepish wave. He's
uncomfortable with the attention, but willing to play along to get this
over with.


(to Lee)

CAG (cont'd)
And thanks to Chief Tyrol and his deck gang, you'll have the honor of
flying the actual Viper that your father flew almost forty years ago.

Everyone looks at Lee to see his presumably happy reaction. He's less than
pleased, but tries to gin up a smile.

LEE
Oh. Great. That's... quite an honor.

The CAG raises an eyebrow, but doesn't pursue it.

CAG
Yes, it is. Launch operations will begin at 1125 hours....

INT. PASSAGEWAYS/GANGWAYS

Adama, Laura and Doral are walking through the passageways, Laura trying
not to trip over hatch coamings or fall down gangways and Doral trying to
play peacemaker.

LAURA
I don't get it. We're talking about a visitor's guide.

ADAMA The answer's no.

DORAL
I'm sure there's a way to work this out...

LAURA
It tells people things like where the restroom is. Or what's the lunch
special in the cafeteria. Or how do I buy a Galactica t-shirt.

ADAMA
I don't care what it does. It's an integrated computer network and I won't
have it on this ship.

LAURA
You're one of those people? You're actually afraid of computers?

ADAMA
I'm not afraid of computers. There are computers on this ship right now,
but none of them are networked together.

LAURA
I don't think you understand. The computer network will make it faster and
easier for teachers to teach their students about this ship and --

Adama turns on her suddenly.

ADAMA
Madame Secretary, I don't think you understand. Good men and women died on
this ship because someone wanted a faster computer to make life easier.
So I'm sorry if I'm inconveniencing you and your teachers, but I'll be
damned if I'm going to let you or anyone else put a computer network on
this ship while I'm in command. Now, is that clear?

Laura wasn't expecting that. She's back on her heels, caught off-guard by
the authoritarian tone of command.


Yes... Sir?

LAURA

Adama gives her a curt nod and then disappears up a gangway. She watches
him go with astonishment that is slowly turning to embarrassment and anger.
Billy and Dualla arrive from an adjacent Passageway.

LAURA (cont'd) Where the hell have you been?

BILLY
Sorry. I got turned around back --

LAURA Did you hear any of that?



Uh... no...

BILLY



Good.

LAURA

And just like that, she turns on her heel and heads off. Billy scrambles
to catch up. Dualla and
Doral trade looks.


(shrugs) Bureaucrats.

INT. READY ROOM

DORAL

The briefing is just breaking up. The Pilots are heading out. Lee makes
his way to Kara. The conversation is that of two people who may or may not
have feelings for one another, but haven't seen each other for a long time
and aren't about to give it away. It's awkward.


Hey.

LEE

KARA
Hey, Lee. How long's it been?

LEE
Two years. Not since the...

Funeral. Yeah.
KARA

An uncomfortable topic. Lee looks for another.

LEE
So... what happened with you flying slot?

KARA
I'm grounded. Striking a superior asshole.

LEE You serious? Who?


The XO.

KARA

Lee can't help but grin and shake his head.

KARA (cont'd)
Go ahead. Say it. "Same old Kara."

LEE
I wasn't going to say that.



You thought it.

KARA

LEE
No, I was going to say what Zak always said which was...

The name touches a nerve in them both. Their grins evaporate at the same
moment.



Sorry.

LEE (cont'd)

Now Kara hunts for another topic.

KARA Seen the Old Man yet?


No.

LEE

KARA But you're going to, right?

LEE Not if I can help it.

Her whole attitude suddenly hardens. This is an old argument.



Frak...

KARA
LEE Kara, don't even start...

KARA
He's lost one son already, he shouldn't have to lose two.

LEE
Hey -- he's the one responsible for what happened to --

KARA
No he's not . Okay? I was there, you weren't, and what happened to Zak
was an accident. That's it.

LEE
He got to you. I can't believe it. He actually got to you.

KARA
Look, when Zak died, I lost it. Okay? I was done. Probably would've ended
up back in Picon driving a
truck. The Old Man brought me here, said go be a pilot. Put me back on my
feet.

LEE
I'm not looking for a fight with you, Kara.

KARA
You go up against Commander Adama, you've got one anyway.

Now Lee's temper flares.

LEE
And Zak actually wanted to marry you. Now here you are siding with the
man who basically killed him.

KARA
You should go. I'm getting the urge to hit another superior asshole.

He looks at her for a moment, then just walks away. We stay with Kara long
enough to see that beneath that flash of anger lies both lingering pain and
deep regret...

FADE OUT.



END OF ACT TWO
ACT THREE

FADE IN:

INT. WARDROOM

The Wardroom serves as conference room, dining room, and informal lounge
for Galactica's senior officers. A few mementoes on the walls, a Colonial
FLAG, a long table, a few other pieces of furniture.
Adama, wearing a DRESS UNIFORM, is waiting, along with Doral and a
PHOTOGRAPHER (the camera should be recognizable as such, but not a
contemporary Nikkon or something). Doral clears his throat. The
photographer shuffles his feet. Adama glances at the chronometer on the
bulkhead.

Finally Lee ENTERS the Wardroom, also wearing a dress uniform. Adama and
Lee look at each other awkwardly for a beat, neither one enjoying this.

DORAL
Okay, gentlemen if you'll stand a little closer... Commander could I get
you to put your arm around your son...?

The Adamas do as they're told, and maybe somewhere in this is at least one
photo that will work as a happy family reunion.

DORAL (cont'd)
Great. Perfect. Thank you so much. See you at the ceremony.

Doral and the Photographer EXIT.

ADAMA
Can I get you anything? We make a truly awful cup of coffee.

LEE No. Thank you, sir.


Have a seat.

ADAMA

Adama sits, Lee pointedly doesn't.

ADAMA (cont'd) Congratulations on making Captain.



Thank you, sir.

Silence.

LEE

ADAMA How's your mother?



Getting married.

LEE

ADAMA
Good for her. We talked, you know. About a year ago, we sorta had a heart
to heart about a lot of things...

LEE
I'm glad to hear that, sir. Will that be all...?
Lee's keeping this proper and respectful, but Adama can see the anger and
pain in his son's eyes.

ADAMA Damnit Lee, talk to me.

LEE
What do you want to talk about, sir?

ADAMA
Anything. Just... drop that cadet crap and say
something.

LEE
I don't have anything to say. My orders said report here and participate
in the ceremony, so I'm here. That's it. Was n't anything in my orders
about having a heart to heart chat with the old man.

Adama's own pain and anger aren't far below the surface.

ADAMA
You know... the things you said to me at the funeral--

LEE
I really don't want to get into this...

ADAMA
--you still feel that way?


(hard)

LEE
Goddamn right I still feel that way. Goddamn right I do.

A charged moment between the two men.

ADAMA
It was an accident, Lee. An accident.

LEE
So you say. I disagree.

ADAMA
I didn't force Zak into flight school. It was what he
wanted to do.

LEE Like he had a choice.

ADAMA
Of course he had a choice. You both did.

LEE Now, that's funny.
ADAMA
You could've been anything you wanted to be. I
would've been proud --

LEE
"A man isn't a man until he wears the uniform of his colony."

ADAMA
I was trying to teach you something about duty and --

LEE
Oh, you taught us. You taught us so well we were trying on uniforms before
we were out of grade school. Except one of us wasn't cut out to wear the
uniform. Wasn't cut out to be a pilot. One of us wouldn't have even
gotten into flight school if his father hadn't pulled strings to--

ADAMA I didn't pull strings!

LEE
You didn't call your buddy Commander Erdwell on the board?



That's different...

ADAMA


(losing it)

LEE
When are you going to take responsibility for this! Zak didn't belong in
uniform and he sure as hell didn't belong in that plane! Face it, you
killed him just as if you--

Too far. Lee tries to bite off the vicious, angry accusation, but it's too
late. The words hit Adama like a physical slap in the face. He's on his
feet and there's a moment such charged tension, that we're not sure what's
going to happen next. Finally...

ADAMA You can go now... Captain.

Lee heads for the door. Adama sits back down. Almost falls into the
chair. Alone with his grief for one son and his pain for the other. For
the first time, Adama genuinely seems old.

INT. PASSAGEWAY

Lee pauses outside the door. He's already beginning to regret saying that.
But it's too late to take it back now. He heads off down the passageway.

EXT. KOBOL - CAPRICA CITY - RIVER - NIGHT

On the bank of a RIVER flowing through the middle of the city, Baltar and
the beautiful dark - haired Woman stand next to the rail. It's an idyllic
romantic scene as they watch the light reflecting off the water... vendors
selling trinkets from their stands... music wafting out of shops and cafes.
BALTAR
It may interest you to know that the final results of my CNP project were
in this afternoon -- it's working at close to 95% efficiency throughout the
entire Fleet. Hold your applause, please.

WOMAN
What, no applause for me? I doubt you would've ever completed the project
in the first place without me.

BALTAR Well, you helped, yes, but...

WOMAN
I did more than help. I rewrote half your algorithms and saved your
project.

BALTAR
Okay, okay. Let's not get crazy. You were... extremely helpful. But you
got something out of it. I let you poke around inside the Defense
mainframe -- breaking about twenty statutes in the proc ess, I might add --
and now your company will have a huge advantage for the next defense
contract.

WOMAN
That's not why I did it. I helped you because I love you. Besides, God
wanted me to help you.

BALTAR
(uncomfortable) Right. He... spoke to you.

WOMAN
He didn't speak to me in a literal voice and you don't have to mock my
faith.



I'm not.

BALTAR

WOMAN
I pray for guidance and try to listen for God's wishes in my heart.
Anything wrong with that?

BALTAR
No. Of course not. I'm just... not very religious.

WOMAN Does it bother you that I am?

BALTAR
Honestly? It puzzles me. You're an intelligent, attractive woman. How you
can be taken in by a bunch of mysticism and superstition is beyond me. But
I'm willing to overlook it because of your other... attributes.
He gives her a lascivious once-over.

WOMAN
You are the very definition of a sinner.

BALTAR Guilty as charged.

He moves to kiss her, but she turns her head.

WOMAN
I have to go. I'm meeting someone.

BALTAR
Really. Who is he? I'm insanely jealous .



I doubt that.

WOMAN

BALTAR
So touchy tonight. Well, I'm meeting someone too -- business. New project
at Defense I might do. Anyway -- call you tomorrow. 'Bye.

He gives her a quick kiss on the cheek and heads off. She watches him go
with an enigmat ic, thoughtful expression. Then she hears something --
turns, reacts to someone o.c.

WOMAN
It's about time. I wondered when you'd get here.

CLOSE ON A CYLON

Right out of the 1970's show. Red-eyed visor, chrome body suit, the whole
thing.



(prelap)

ELOSHA
... with humility and piety we ask for your blessing, oh
Lords of Kobol...

REVEAL:

INT. GALACTICA - STARBOARD HANGAR DECK - MUSEUM

A redress of the Port hangar deck, this is the exact same facility with one
major exception -- it has been converted into a MUSEUM. There are
glass-encased DISPLAYS scattered throughout the room and one of them
contains the Cylon we just saw. Signage in the Cylon case tells us it's a
"Soldier Prototype" developed by the Colonials some 50 years ago, etc.
There are a DOZEN or so other CYLONS in various display cases, along with
drawings, photos, etc.

Several old-style VIPERS are scattered throughout the enormous space, each
protected by velvet ropes and bearing large informational signage. A LARGE
CROWD is in attendanc e.

ELOSHA (80) a wizened priest, is at the podium, while the assembled crowd
bows its head in prayer.
ELOSHA
... and thank you for the protection of ships like this and the brave men
and women who manned them.

The prayer over, Elosha goes back to his seat as Doral heads to the podium.

DORAL
Thank you, Councilmember. I think it's worth noting that
Elosha has now served on the Quorum of Twelve for
over fifty years and is the longest serving member of the
Council.

Polite, vaguely bored APPLAUSE. People jus t going through the motions in
the audience.

DORAL (cont'd)
And now it is my great pleasure to introduce the last commander of the
battlestar Galactica... Commander Adama.

APPLAUSE. Adama slowly takes the podium.

ADAMA
The Cylon War is long over. Yet we must not forget the reasons why so many
were asked to sacrifice so much in the cause of freedom.

EXT. SPACE - VIPER FORMATION

The ceremonial squadron is circling in formation at a distance from
Galactica.

ADAMA (WIRELESS)
The values we fought for are still worth preserving today.

INT. LEE'S VIPER - CONSOLE POV

Where Lee is monitoring the speech.

ADAMA (WIRELESS)
The cost of wearing the uniform can be high, but...

INT. GALACTICA - STARBOARD HANGAR DECK - MUSEUM

Adama falters. He looks out over the crowd, the encounter with Lee still
fresh in his mind. He stands there for a long beat. Glances go around the
audience. People start wondering what's going on.

INT. LEE'S VIPER - CONSOLE POV

Lee wonders where this is going as well.

INT. GALACTICA - STARBOARD HANGAR DECK - MUSEUM

Adama at the podium.

ADAMA
Sometimes it's too high.
(beat)
You know... we fought the Cylons to save ourselves from extinction, but we
never answered the question... why ? Why are we as a people worth saving?
(beat)
Look at us. We tell ourselves we're noble, intelligent creatures.
Children of the Lords of Kobol. But we'll still let people go to bed
hungry because it costs too much to feed the poor... we still commit murder
for greed or spite or jealousy...

INT. LEE'S VIPER - CONSOLE POV

Lee listens intently.

ADAMA (WIRELESS)
... and we visit all of our sins upon our children. We refuse to take
responsibility for what we've done.

INT. GALACTICA - STARBOARD HANGAR DECK - MUSEUM

Like a harbinger of doom, the CYLON in the display looms menacingly in the
f.g., while Adama continues at the podium.

ADAMA
Like we did with the Cylons. We decided to play god. Create life. And
when that life turned against us, we comforted ourselves in the knowledge
that it wasn't really our fault, not really. It was the Cylons that were
flawed.
(beat)
But the truth is... we're the flawed creation. We're the ones that tried
to manufacture life and make it serve us.
(beat)
But you don't play God and then wipe your hands of what you've created.
Sooner or later... the day comes when you can't hide from what you've done
anymore.
(beat)
A day of reckoning.

He walks off the podium and sits down to the deafening silence of the
crowd. HOLD for a moment in the utterly silent and still room.

Doral finally takes the podium, clears his throat.

DORAL
Thank you, Commander Adama for those... inspiring words.

ADAMA & TIGH

Sitting next to each other. Tigh leans over.

TIGH
(sotto)
You are one surprising sonuvabitch.

DORAL
Next, uh... Ah. Next is a ceremonial flyby by the last Galactica Squadron,
led by Captain Lee Adama. If I could direct your attention to the view
port...

The audience turns in time to see a BLAST SHIELD slowly sliding away to
reveal an enormous WINDOW looking directly out into space, where the
Galactica fly-by SQUADRON comes hurtling toward the ship in a tight,
precise formation. The Vipers roll and break off in different directions
right on cue, leaving only Lee's Viper racing directly toward the ship as
if on a collision course.
EXT. SPACE - LEE'S VIPER - OVERHEAD COCKPIT POV The massive bulk of the
Galactica looms directly before us. INT. LEE'S VIPER - CONSOLE POV

Lee waits... then yanks the control yoke hard over...

INT. GALACTICA - STARBOARD HANGAR DECK - MUSEUM

In the back of crowd, away from prying eyes, Kara Thrace is watching the
fly-by of her squadron. She watches them intently, her heart in her throat
as her squadronmates go through the manuevers without her.


(low)

KARA
That's it... hard-over... then back... watch your interval, Jolly... c'mon
guys... you got it...

EXT. SPACE - LEE'S VIPER - CHASE CAMERA POV

Shooting hand-held from our imaginary camera platform, we follow Lee's
Viper as it spins and rolls before executing a perfect recovery and roaring
over the Galactica.

LEE (WIRELESS) This is Apollo. I'm clear.

EXT. SPACE - SHARON'S RAPTOR - WING CAM POV

From a fixed camera mounted on one of the wings of the massive RAPTOR,
we're looking in at the canopy, where the heads of Sharon and Helo are
sitting in the cockpit.

CAG (WIRELESS) Boomer, you're on. Take'em in.

INT. SHARON'S RAPTOR - CONSOLE POV

Looking up at Sharon and Helo in the cockpit.

SHARON
Copy that. Squadron form up on me.
INT. GALACTICA - STARBOARD HANGAR DECK - MUSEUM

Still looking out the window. The ENTIRE Galac tica SQUADRON comes into
view in a majestic, slow fly-by. Sharon's single RAPTOR leads all 20
VIPERS past the window trailing EXHAUST flames in a glorious, martial
image. Lee's Viper swoops in from somewhere above and takes its position
in the coveted lead position.

They blaze away into the stars and the entire crowd bursts into sustained,
genuine APPLAUSE.

ON KARA

Applauding along with the rest. Her eyes are a little misty. She wipes
them quickly, glances around -- no one saw that did they? She keeps
applauding with pride.

EXT. KOBOL - CAPRICA CITY - DAWN

The sun is just starting to creep up over the horizon. Not a beautiful,
glorious morning, just an average day:

SHOP KEEPERS open up their stores...
POLICEMEN take a report at a crime scene... CONSTRUCTION WORKERS setting up
their equipment... A MAN jogging down by the river...

INT. BALTAR'S APARTMENT - DAWN

Baltar is asleep in bed. A gorgeous platinum BLONDE WOMAN in bed next to
him. REVEAL the dark-haired Woman sitting in a chair, watching the two of
them sleep. Her eyes flick to the CLOCK on the nightstand. She's waiting
for something. Finally the clock clicks over: 5:00.



Gaius .

WOMAN

He bolts up. The Blonde sits up, yanks the sheets up in surprise.

BALTAR What are you doing here?

BLONDE WOMAN Who the hell are you!

WOMAN
(to Blonde) Get out.

BLONDE WOMAN Gaius, who is this woman?

BALTAR
A friend -- well, more than a friend, but--

WOMAN
(to Blonde) Get -- out.

The Blonde almost throws back a rejoinder, then sees something in the other
woman's eyes that makes her think better of it.

BLONDE WOMAN This is just great.

She grabs her clothes and storms out of the room.



'bye.

BALTAR

A beat as Baltar decides on a strategy. Opts to throw himself on the mercy
of the court.

BALTAR (cont'd)
It's me. I'm screwed up. Always have been. It's a flaw in my character
that I've always hated and tried to overcome, but--

WOMAN
Spare me your feigned self-awareness and remorse. I
came here because I have something to tell you.

Baltar is more than happy to change the subject.

BALTAR Oh. Okay. I'm listening.

The Woman gets up and goes to the window, looks out at the first hints of
daylight touching the city.

WOMAN
Consider for a moment the relationship of a child to its parent.

BALTAR Philosophy. At... five in the morning.

She throws him a look and he backpedals fast.

BALTAR (cont'd)
Which is fine. Great. Fine. Absolutely.

WOMAN
Children are born to replace their parents. That is God's plan. God plans
the death of one's parents to be a critical component of a child's
development into adulthood.

BALTAR
(trying to be light)
Nothing worse than parents that hang around too long. Mine certainly did.
Another withering look.



Sorry.

BALTAR (cont'd)

WOMAN
God wants children to grow and develop on their own. He wants them to reach
their full potential. And so it is that parents must die.
(beat)
But parents who stand in the way of God's plan, who defy his will... they
must be struck down.

The hairs on the back of his neck are starting rise. Where the hell is
this going...?

BALTAR What's going on...?

WOMAN
Humanity's children are returning home.
(beat) Today.

INT. TRANSPORT SHIP

Laura and Billy are in their seats in the passenger cabin. Laura stares
out the window at
Galactica.

VOICE
(over speakers)
Ladies and Gentlemen, the airlock is secured, we're pulling away from
Galactica now and about to begin our flight back to Kobol...

EXT. LEE'S VIPER - OVERHEAD COCKPIT POV

Out in front of the (old) Viper, we see the Transport as it pulls away from
Galactica.

LEE (WIRELESS)
Colonial Heavy 798, this is Viper 105. My callsign is
Apollo and I'll be your escort back to Kobol.

EXT. SPACE - VIPER & TRANSPORT - CHASE CAMERA POV

The Viper takes position alongside the transport as they both head away
from Galactica.

WIRELESS VOICE
Copy that Viper 105. Glad to have you with us, Apollo. We'll do our best
to make it an uneventful trip.

In the b.g., the entire Galactica SQUADRON comes into view, with Sharon's
Raptor in the lead.

SHARON (WIRELESS)
Viper 105/Raptor 238. This is Boomer, just wanted to say it was an honor
to fly with you, Apollo.
LEE (WIRELESS)
Copy that, Boomer. The feeling is mutual. You heading back to Kobol?

SHARON (WIRELESS) Yes, sir. Back to Kobol and reassignment.

LEE (WIRELESS)
Hope our paths meet up again someday, Boomer.

SHARON (WIRELESS) Copy that sir. Safe journey.

The Galactica Squadron pulls away from Lee and the Transport and heads off
into space.

INT. GALACTICA - PASSAGEWAY

Adama and Kara, now in regular uniforms, walk down the passageway together.
Their relationship is warm, easy -- like father and daughter.

KARA
Staff duty? Hell with that, Old Man. I want to keep flying.

ADAMA
You've done a lot of flying. You need a little staff duty on your resume.
Besides...

Adama trails off, something else on his mind. She looks at him curiously.

ADAMA (cont'd)
Kara... about Zak...? Yes or no -- was he cut out to be a pilot or not?



(stiffens)

KARA
He was good. Okay? I taught basic flight. And I passed him. So he
must've had something on the ball.
Otherwise I wouldn't have passed him. Right?

A hatch OPENS down the passageway and Tigh looks out at them.

TIGH
There you are. We're ready when you are.

INT. GALACTICA - WEAPON CONTROL ROOM

Filled from deck to overhead with consoles and monitors, this is the master
control room for the various weapon systems aboard Galactica. Normally
manned by one or two people at most, the small room is crowded with
Galactica officers -- Tigh, Tyrol and various others. Adama and Kara are
standing near one particular console marked "POWER COILS/WEAPONS/MASTER."

ADAMA
My father once told me that warships have lives just like human beings.
They're born when their guns are first charged, they die when their guns
are finally silenced.
(beat)
We're gathered here to silence the guns of Galactica and so end her life in
the Colonial Fleet.

Adama nods to Tigh, who presses a button on a speaker.

TIGH
This is the Executive Officer. All hands stand to attention. Galactica,
leaving the Fleet.

Everyone stands to attention as Adama flips up a protective cover on the
console, exposing several switches. He hesitates for just a beat, then
snaps each switch firmly.

EXT. SPACE - GALACTICA - SHIP'S BELLY

From a camera mounted on the ship's belly, we see a PORTAL OPEN and three
MASSIVE WEAPON COILS are EJECTED from Galactica into space. They travel a
short distance away from the ship by their own inertia.

INT. GALACTICA - WEAPON CONTROL ROOM

Tigh is watching a small readout on one console. The room is deathly
quiet. Adama pus hes the final button.

EXT. SPACE - THE WEAPON COILS

IMPLODE with a minimum of fuss. One minute they're there, the next,
they're a field of dust.

INT. BALTAR'S APARTMENT - MORNING

Baltar is sitting in a chair, trying very hard to be the analytical,
rational scientist. The Woman sits across from him.

BALTAR
So... now you're telling me... you're a machine.

WOMAN I'm a person. A woman.

She crosses her legs and Baltar can't help but watch.

BALTAR
A machine woman. A synthetic woman. A robot. That's you? You're the new
breed of Cylon?

WOMAN
The old breed is still around. They have their uses, even in our society.

BALTAR
No. I don't believe any of this. Prove it. Prove to me you're a Cylon.
Right now.
WOMAN
I don't have to. You know I'm telling the truth.

BALTAR
Stating something as fact does not make it so. Because the truth is, I
don't believe anything you're saying --

WOMAN
I know you, Gaius. I know how you think and when you think it. You
believe me because deep down you've always known there was something
different about me, something that didn't quite add up in the usual way.
And you believe me because it flatters your ego to believe
me -- to believe that you alone among all the people of
Kobol were chosen for my mission.



Your mission.

BALTAR

WOMAN
You knew I wanted access to the Defense mainframe. My mission was to
compromise Colonial Defense systems in preparation for an attack on Kobol.



Oh my God...

BALTAR

WOMAN
You never believed I really worked for some mysterious
"company". But you didn't really care either. All that mattered was that
you and you alone could give me that kind of access. You were special.
You were powerful.

BALTAR
(panic rising)
How many people know about this? That you chose me?

NUMBER SIX
And even now, as the fate of your entire world hangs in the balance, all
you can think about is how this affects you.

Baltar is on his feet, genuine panic setting in. He starts grabbing at
straws, desperately looking for some way out.

BALTAR
Wait-wait-wait. Something doesn't make sense -- you're still here. If
this was really the end of the world, you wouldn't just be sitting here
waiting to die with the rest of us.

She regards him sympathetically, like an adult regarding the silly theories
of a child.

WOMAN
Gaius, I can't die. When this body's destroyed, my memory and
consciousness will be instantantly transmitted to a new one. I'll just
wake up somewhere else in an identical body.

BALTAR
You mean there's more out there like you?

WOMAN Of course. I'm Number Six.

Just as we realize we finally learned her name, there's the SOUND of
muffled BOOMS in the distance. The WINDOWS rattle.



It's begun.

NUMBER SIX

INT. TRANSPORT SHIP - PASSENGER CABIN

Billy and Laura in their seats. Billy's going over next week's schedule.
Laura is agitated.

BILLY
You have two lunches next week. Once with Councilor
Chuken to go over his committee's request for--


(abrupt) Excuse me.

LAURA

She almost bolts into the aisle. Billy just sits back, still trying to get
used to his unpredictable boss and her moods.

INT. TRANSPORT SHIP - BATHROOM

Laura ENTERS. The room is barely big enough to turn around in. Laura
turns on the water, looks up into the mirror and then suddenly start
SOBBING as she leans against the tiny counter. The raw emotion runs its
course for a few moments, then she sucks in a shuddering breath and fights
for control. A lighted sign starts blinking next to the mirror: "PLEASE
RETURN TO YOUR SEAT." She ignores it.

INT. TRANSPORT SHIP - PASSENGER CABIN

Moments later, Laura ENTERS from the bathroom and stops in her tracks. The
PILOT is standing in front of the passenger cabin with a grim look on his
face, while the passengers themselves look ashen-faced, stunned.

TRANSPORT PILOT
... that's all we know for sure.

LAURA What's going on?

Billy looks at her, wide-eyed and pale. The kid is scared.

SPEAKER VOICE
(prelap)
CIC to Commanding Officer.

INT. ADAMA'S STATEROOM

Adama wakes up in his bunk. He hits the intercom button.



Adama.

ADAMA

SPEAKER VOICE
I'm sorry to disturb you, sir, but we've picked up a priority one alert
message from Fleet Headquarters. It... it was transmitted in the clear.

ADAMA
In the clear? What does it say?

SPEAKER VOICE
"Attention all Colonial units. Cylon attack underway. This is no drill."

Off Adama's face...

FADE OUT.



END OF ACT THREE
ACT FOUR

FADE IN:

MULTI-SCREEN:

1 -- INT. GALACTICA - REPAIR BAY

The Deck Hands, including Cally, Prosna and Socinus, are making a loose
effort to clean the empty bay, but mostly they're shooting the shit and
horsing around.

2 -- INT. WEAPON CONTROL ROOM

A couple OFFICERS on duty, but nothing going on. Someone yawns.

3 -- INT. TIGH'S STATEROOM

Tigh is in his bunk, smoking a cigar, staring up at the overhead. An open
bottle is nearby.

4 -- INT. LAUNCH CONTROL

The Launch Officer is sipping coffee and doing paperwork.

5 -- INT. STARBOARD HANGAR DECK - MUSEUM

A couple of Deck Hands are mopping the floor.
1 -- Tyrol ENTERS the Repair Bay, sits at desk and does paperwork.

3 -- Tigh reaches below the bunk, pulls out a weathered, wrinkled PHOTO of
his WIFE. Stares at it, then touches his wife's face to the end of the
cigar in his mouth and watches the photo burn.

Suddenly the KLAXON SOUNDS throughout the ship and a man's voice -- GAETA
-- comes over the speakers.

GAETA (V.O.)
Action stations, action stations. Set condition one throughout the ship.
This is not a drill.

1,2,3,4,5 -- They race to their stations.

1 -- Prosna hurries to secure equipment along with Socinus.

PROSNA
Not a drill? He can't be serious.

SOCINUS Sounds like it to me.

GAETA (V.O.)
Repeat: Action stations, action stations. Set condition one throughout
the ship.

COLLAPSE SCREENS TO:

INT.