Battlestar Galactica: Transcripts: Original Mini Series Script

This is a copy of the original Mini Series transcript that was “leaked” to aintitcoolnews.com to help the old fans accept the new Galactica incarnation. Copies of it were spread out all over the net, including on the old Scifi.com bboard, and at The Battlestar Galactica Fan Club Web Page.

PART ONE

ACT ONE

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.
WOMAN
Are you alive?
COLONEL
Yes…
WOMAN
Prove it.
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 fingers 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.
KARA
Make a hole!
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.
ADAMA
(reading)
“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…?
ADAMA
Captain..?
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.
KELLY
Thank you, sir.
Adama resumes his walk.
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.
KARA
Morning, sir!
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.
GAETA
Morning, sir.
(hands him messages)
Com traffic from the midwatch.
ADAMA
Morning.
(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.
ADAMA
Hm.
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?
GAETA
(grins)
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.
TYROL
‘tention on deck.
Everyone snaps to attention.
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.
TYROL
This way, sir.
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.
TYROL (cont’d)
Present.
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 understanding 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.
ADAMA
She’ll fly!
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.
ADAMA
(softly)
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…
LAURA
Treatment?
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:
VOICE
Excuse me…?
Laura looks at a good-looking teenager standing in the aisle.
BILLY
Secretary Roslin?
LAURA
Yes.
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.
LAURA
That’s fine.
(beat)
It’s a long flight. Hope you don’t mind if I catch some sleep.
BILLY
Not at all.
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…
TIGH
(derisive)
“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?
KARA
After.
TIGH
After. That’s right, it was after.
(tosses in chips)
Thirty and thirty more.
KARA
(casual)
How’s the wife?
The room goes deathly silent. Glances between the other pilots. Tigh freezes for a beat. She’s definitely touched a sensitive and dangerous nerve.
TIGH
(even)
Just fine.
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.
KARA
Is it?
TIGH
No one’s that lucky, Thrace.
KARA
Luck has nothing to do with it.
TIGH
That’s right.
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 slightly 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 gaze 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.
WOMAN
Miss me?
BALTAR
Can’t you tell?
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.
BALTAR
What?
WOMAN
Do you love me?
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 rock 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?
KELLY
(to mic)
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).
LEE
Standing by.
1 — Galactica gets closer.
3 — The Viper gets closer.
4 — Kelly checks some controls.
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.
LEE (cont’d)
(to mic)
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 spacecraft 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.
LEE
Thanks.
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.
KELLY
(relieved)
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.
TYROL
(sour)
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 —
SHARON
Here we go.
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…
TYROL
Shut up.
(beat)
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.
SOCINUS
Frak me.
CALLY
Do I have to?
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.
DUALLA
In or out.
BILLY
What?
DUALLA
(spits)
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.
DUALLA
Lost?
BILLY
Yeah.
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.
BILLY
Sorry.
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.
BILLY
Thanks.
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.
TIGH
Maybe.
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.
ADAMA
(wry)
Now you see why they’re putting me out to pasture.
TIGH
I did wonder.
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.
TIGH
Yes, sir.
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.
CAG (cont’d)
Good morning.
ALL
Morning, sir.
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.
CAG (cont’d)
(to Lee)
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.
LAURA
Yes… Sir?
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?
BILLY
Uh… no…
LAURA
Good.
And just like that, she turns on her heel and heads off. Billy scrambles to catch up. Dualla and Doral trade looks.
DORAL
(shrugs)
Bureaucrats.
INT. READY ROOM
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.
LEE
Hey.
KARA
Hey, Lee. How long’s it been?
LEE
Two years. Not since the…
KARA
Funeral. Yeah.
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?
KARA
The XO.
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.
KARA
You thought it.
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.
LEE (cont’d)
Sorry.
Now Kara hunts for another topic.
KARA
Seen the Old Man yet?
LEE
No.
KARA
But you’re going to, right?
LEE
Not if I can help it.
Her whole attitude suddenly hardens. This is an old argument.
KARA
Frak…
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.
ADAMA
Have a seat.
Adama sits, Lee pointedly doesn’t.
ADAMA (cont’d)
Congratulations on making Captain.
LEE
Thank you, sir.
Silence.
ADAMA
How’s your mother?
LEE
Getting married.
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. Wasn’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?
LEE
(hard)
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?
ADAMA
That’s different…
LEE
(losing it)
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 process, 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.
BALTAR
I’m not.
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.
WOMAN
I doubt that.
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 enigmatic, 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.
ELOSHA
(prelap)
… 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 attendance.
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 just 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.
KARA
(low)
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 Galactica 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