Plot
A large unknown ship appears on Galactica's DRADIS. After a tense moment, the ship is identified as the Battlestar Pegasus, a Colonial vessel previously believed destroyed in the Cylon attack on the Colonies. Cain boards Galactica with an armed escort and welcomes the crew "back to the Colonial Fleet." Cain relates to Adama and President Laura Roslin how she ordered a risky maneuver to escape the initial Cylon attack on the Twelve Colonies. Adama recognizes Cain as his superior, but Cain promises not to interfere with Galactica's internal affairs.
Cain declines to resupply the fleet's civilian ships and integrates the battlestars' crews, transferring Apollo and Starbuck to Pegasus over Commander Adama's objections. Cain's executive officer, Colonel Jack Fisk, tells Colonel Saul Tigh how Cain shot his predecessor for refusing an order. Fisk claims his story is a joke, but Tigh believes it is true and relates the story to Adama. Adama reiterates his willingness to follow Cain, to both Roslin and Tigh, and insists that Apollo and Starbuck obey their transfer orders.
Baltar visits Gina, a Number Six copy held prisoner aboard Pegasus. He and Head Six are horrified to discover that the Pegasus crew has systematically tortured and raped Gina. Baltar attempts to establish a rapport with Gina by providing food and confessing to his involvement with another Six copy on Caprica.
Helo and Tyrol rescue Sharon from imminent rape by a Pegasus interrogator but accidentally kill the interrogator in the process. Cain denies Adama's request that Helo and Tyrol be given a jury court-martial and sentences them both to death for murder and treason. Adama demands that Cain return them to Galactica and orders Vipers to escort a Marine assault team to Pegasus. Cain refuses and sends the Pegasus Vipers to intercept Galactica's.
Read more about this topic: Pegasus (Battlestar Galactica)
Famous quotes containing the word plot:
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
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—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
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Plots, true or false, are necessary things,
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