The Different Versions of the Battlestar Galactica Pilot Episode

In the Versions section is a list of every known variant of the pilot episode, including the main two versions under discussion in this document -- the network or television version (TV), and the home video version (HV). Both versions are commercially available today on DVD -- the TV is available on The Complete Epic Series DVD package, which was released in 2003. The HV is available as the widescreen standalone DVD of the pilot, which was released in 1999, and later in 2003.

In the Missing Scenes section, is a title for all eleven missing scenes. Inside the parenthesis is the time of the segment in the TV. Where present, the second number represents the shortened version of the same scene in the HV. When each missing scene is inserted into the HV, it expands to about 2h20, or three minutes longer than the TV.

In the Deleted Scenes section, is a title for each cut scene. Inside the parenthesis is the duration of that cut. In one case, the second number represents a replacement scene in the TV used to bridge two cut scenes and a misplaced scene. There are about 90 seconds worth of cut material, in two separate scenes. The unedited versions of these scenes are in the HV.

In the Other Differences Section is a list of whatever could not be classified as either a deletion or a missing scene. These include dialog inadvertently deleted from the HV soundtrack, untranslated Ovion dialog in the TV, and the theme music played over the end credits.

Periodically discussed in this document is a copy of the three-hour screenplay "Saga of a Star World," last revised May 8, 1978 (Prod. #50201, formerly #85245). Other known versions include the following: August 30 1977, September 14 1977, Februrary 27 1978, March 2 1978, March 28 1978, March 31 1978, April 6 1978. An earlier version of the script (September 14) features Skyler as Apollo, Lyra as Serina, and Boxey as an orphan unrelated to Lyra.

The pilot episode was released theatrically internationally (outside the USA) in July 1978, and on US television on 17 September 1978, and later theatrically in the United States in May 1979.

There is at least one significant difference between this version and the CV - the Cassiopeia/Starbuck love scene in the Viper launch tube. A few weeks before her interview in US Magazine (October 17, 1978) Laurette Spang received an urgent call to reshoot this scene with Starbuck. Maren Jensen commented on this scene in Starlog #19 (February 1979). "In the first episode, I steam Starbuck and Cassiopeia while they're kissing away in the launching area. Well, originally, they were writhing away on the floor and all you saw was Starbuck's bare back. They really toned that bit down." The remake, demanded by ABC, features a fully clothed Starbuck, and this is the scene as shown here and in all subsequent versions of the pilot.

ABC also demanded a career change. From the sexy "socialator", Cassiopeia became a med-tech (nurse) in the rest of the series. "All of a sudden I'm dressed from head to toe. Before that, my outfits were slashed almost to my hips, I had four-inch heels and things wrapped around my legs, very sexy." One letter writer in Fantastic Films #9 (July 1979) also claimed that Dr. Wilker's lines were redubbed, changing "droid" to "drone", to avoid confusion with Star Wars.

LaserDisc Number: 602
Catalogue Number: 19-007
Year: 1979
Category: Movie Group (Genre): Sci-Fi
Length: 123 Release
Date: 1980
Availability Status: Out of print
Video Standard: NTSC
Sound Encoding: Analog Analog Left: Mono
Pressing Plant: DiscoVision
Disc Size: 12
Number of Sides: 5
Disc Format: CAV
Picture Format: Video
Aspect Ratio: 1.33:1

Several years ago, I saw the movie's extended version (with Serina, with the Starbuck/Athena behind-the-locker scenes, etc.) which WAS released by MCA/Universal. I was a FOOL not to offer $50.00 to the kid for his copy (he wasn't that much of a BSG fan), I always thought that I could just find it in a video store -- NOT! The tape we're looking for has TWO considerable differences from the shorter, disappointing version, heretofore referred to as "DV". The first is the most obvious. It has PURPLE siding on the tape case, not BLUE. In fact, it's the same color purple used on the Mission Galactica: The Cylon Attack debacle. The other thing is that the DV is listed at being exactly (and only) 2 hours and 5 minutes in length. This is about the standard length of a T-120 video tape, and MCA proabably didn't want to spend the money on bizarre-length tapes for a movie that didn't do too terribly well for an extended period of time. This is why, unfortunately, that the DV is so commonly found in stores. The length listing should be noticably longer on the extended version (like maybe 2h 30m, or thereabouts.) Good luck to everyone interested. I haven't seen a copy of the extended version in about 4 or 5 years, and I suspect it will be EXTREMELY difficult, if not impossible, to find.

The pilot for Galactica, including the special effects footage was shot on flat 35mm which has an aspect ratio of 1.33:1. When it was released theatrically, the top and bottom of the frame were masked off to make it a 1.85:1 aspect ratio.

The practice of shooting a film intended for theatrical release in 1.33:1 and matting it in the theater is common. For example, Back to the Future was done this way. The only difference with BTTF was that the special effects were delivered in a 1.66:1 aspect ratio. In the standard LaserDisc version, you get more 'actor' picture with cropped special effects footage and in the widescreen version, the actor footage is matted (the same as in the theater) but you get all of the special effects. (If anyone wants to split hairs, even the special effects for BTTF were slightly matted in the theater since they were 1.66:1 and the film was shown in 1.85:1.)

So, the bottom line is that for Galactica there was more visible on the home screen than the big screen. If the DVD is any type of wide screen, 16:9 or otherwise, it will mean a loss of image.

And later on July 12, 1999:

The MCA home video version (for clarity, the 1985 home video release) shows more picture data on the top and bottom. For example, the frames showing the Cylon Tanker in Warbook show the graphic in its entirety, however, the DVD crops both the nose and tail. The examples are endless since the matting is consistent throughout. The only way you won't see the above results is if your television or monitor is misadjusted and you are losing significant picture due to overscan.

It's also worth mentioning that in my comparison this time, I also noted that the right side of the DVD and video are even while there is a bit more data on the left side of the DVD. Don't get me wrong here, if I'm going to watch one, it will be the DVD. However, I stand by my assessment that the DVD is cropped top to bottom in comparison to the video version.

The standalone DVD was rereleased in 2003 to coincide with the release of The Complete Epic Series DVD package.

II. Missing Scenes from the BSG Pilot Home Video

A good number of Serina's scenes were filmed but never shown, including this missing scene. Jane Seymour discussed them in an interview in Starlog #40:

First of all, that two-hour movie for TV was shot and reshot, and in the end it no longer resembled the original script at all. When I accepted the role I was handled a script in which my character was similar in some ways in strength to Jane Fonda's character in The China Syndrome. I was playing a news media reporter who was announcing that everything was being destroyed. She went through traumas there, trying to fight for the rights of the people who were surviving and then realizing half-way through the film that she had the equivalent of galactic cancer. None of this was shown in the final version [my emphasis]. They just turned this into a hardware kind of thing.

I had a wonderful role, and I played the whole thing like a woman who was dying. Then they called up my agent (I had died, mind you, in the film) and said they would like me to do the series. He said: 'Well, she is not doing the series. I told you just one two-hour episode, and that's it. Besides, her character is dead.' They said, 'Well, she's not dead.' 'How can she not be dead?' he replied. 'She wandered around looking sick through most of the movie. She was always seeing doctors and talking about who she would leave child to.'

They assured us Serina hadn't died; so we went off to see the film. I absolutely could not believe it. They had cut out every scene I had ever talked in. They had all the other characters talking to me and saying things. And they cut to moments when I wasn't looking so pained. My character made no sense at all. I couldn't believe what they had done. There were things happening to me that I had never seen.

Having Serina's character as a regular cast member may have been their plan all along. An early version of "Gun on Ice Planet Zero," entitled "Crossfire" (November 1977), by John Ireland, features Lyra, the character that evolved into Serina, as a member of the Council of the Twelve. Yet the May 8, 1978 script matches Seymour's descriptions, as well as the first Marvel comic adapation, where Lyra [Serina], knowing she would soon die, wanted Apollo to take care of Boxey. One wonders if the producers added these scenes for the benefit of Seymour, who expected only to be in the pilot episode. The lost Serina cancer storyline footage resurfaced as bonuses on The Complete Epic Series DVD package in 2003.

The inclusion of this particular missing scene in the TV may be directly related to Seymour's decision to appear in the second two-hour episode of the series, "Lost Planet of the Gods." It would be her last Galactica appearance, as her character died in the second part of the episode. Words in italics indicate scenes and dialog common to both versions.

Space shot -- three battlestars are in the background. The scene switches to the main bridge.

Omega: Commander, the long-range scanner picks up wave after wave of small ships heading towards all inner planets.

The Galactica veers away from the fleet. Starbuck, Boomer and Greenbean watch in their Vipers.

Starbuck: Hey, Boomer.
Boomer: I see it. Starbuck: Where's she going?
Boomer: Don't ask me. The Commander's calling the shots.
Greenbean: Hey you guys. What's going on? The Galactica's pulling out.
Starbuck: There's got to be a good reason.

The scene then switches back to Galactica's main bridge.

Omega: The electronic jamming has stopped.
Apollo: They're clearing the air for their electronic guidance systems.
Tigh: That means the attack is under way.
Omega: No sir. We're picking up long range video satellite sygnals. Everything looks perfectly normal at home. We have a civil broadcast transmission coming up here shortly.
Tigh: Perhaps we're in time, Commander.

On deck, the command staff are watching the monitor as Serina begins her news report from Caprica.

Serina: Preparations continue through the night here at the Caprica Presidium. We can see at the moment it is somewhat deserted, but with the new dawn it will be full of Capricans coming here, eagerly and joyfully, to usher in a new era, the era of peace. So far, details of the armistice meeting going on at this very moment on the Star Kobol, are not coming in as we had hoped for. It seems that this is due to unusual electrical interferences which are blocking out all interstellar communcations. However, as soon as they are available, we will be showing you the first pictures of something that has been described as the most signficant event in history.

As Serina continues here report, the Cylons begin their attack on Caprica.

Serina: Oh, my God! It's a tremendous explosion... Are we getting this on the camera... People are running everywhere and they... are running in all different directions. Ladies and gentlemen... It's terrible! They're bombing the city...

Boxey is seen running with the crowd down the stairs. Serina, with microphone in her hand, shouts "Boxey!"

At this point the television pilot and the home video converge.

Stabuck: Anybody here?
Athena: Oh... Starbuck!

Athena, caught undressing, hides behind her locker door.

Starbuck: Oh... They're looking for you. I came to apologize for how I treated you. It's just... I've seen so many guys from my squadron... burned up. I guess I was looking to take it out on somebody. I wish it hadn't been you.
Athena: It wasn't important, Starbuck. I don't know what is.
Starbuck: Look, I'm sorry about Zac, and your mother.
Athena: Starbuck, you don't have to say anything.
Starbuck: Zac pulled my patrol.
Athena: He wanted to go!
Starbuck: Athena, this is a time for sticking together. Maybe we could talk about things.
Athena: Us, you mean.
Starbuck: Well, I guess it is a little overdue.
Athena: Starbuck, I don't know. I don't think any of us have any kind of future any more.
Starbuck: Don't say that. Thing's are going to be all right. Look, if we can handle what we've just been through, we can handle anything.
Athena: Later, maybe. But things are so fresh in my mind.
Starbuck: Athena, I said I was sorry.
Athena: Starbuck, I don't want to care about anybody, but especially you. Zac couldn't wait to get out there, get all shot up. And you, you're worse than Zac.
Starbuck: I think of it as an obligation.
Athena: No you don't. You like to pretend that they're out there dragging you by your boot straps, but you really can't wait to get up there in that machine of yours.
Starbuck: Well, I guess we see things differently.
Athena: I guess we do. Starbuck: I said what I came to say.

Adama: And just what did you think you were doing volunteering for a mission like that? Sire Uri must be laughing up his sleeve.
Apollo: What's worrying you more, the mission or your being made to look foolish by Uri? I'm sorry, I know better than that, but there was no choice. You didn't seem to have a viable plan. It was his way or mine.
Adama: Now you see. He's got us doing it. Turning one against the other. If Uri weren't such a prima donna I'd say let him lead. But we must not allow ourselves be fractioned off, there are so few of us left. A single voice is imperative.
Apollo: But not his! He's only interested in himself. I don't understand how he ever got elected to the Council of the Twelve. And you voted for him.
Adama: You should have known him back in the renaissance days of Caprica. He was one of the best, a builder, an architect of dreams. Now he just sits and decays himself with drink and remembrance. No wonder our world fell apart.
Apollo: Looking back is contagious. Decay and corruption go hand in hand with defeatism and lack of action. Uri moved in because you failed to act, to have alternatives to his plan.
Adama: I believe it is sometimes prudent to steer away from the flames once you've been badly burnt.
Apollo: And I'd say you'd better look around more carefully. You're nursing wounds while we're still in the fire.

Apollo: We can't aford to stay in any one place for too long.
Boxey: Why? Why do these people want to hurt us. What did we do to them?
Apollo: It's not what we did to them. It's what they fear we could do. You see, they're not like us. They're machines created by living creatures a long, long time ago.
Boxey: If they're machines, why don't we just turn them off?
Apollo: Boy, I wish we could. But these machines aren't all that simple. You see, some machines are so advanced that they can function better than a lot of living creatures.
Boxey: They're not smarter.
Apollo: In some ways they are. They're programmed to think a lot faster than than we do. On the other hand, they're not as individual. We can do a little more of the unexpected. It's about the only advantage we have.
Boxey: Why did we make them?
Apollo: We didn't. Another race did, a race of reptiles called Cylons. After a while the Cylons discovered humans were the most practical form of creature in this system. So they copied our bodies, but they built them bigger and stronger than we are. And they can exchange parts so they can live forever.
Boxey: Maybe the Cylons who created these machines could turn them off.
Apollo: There are no more real Cylons. They died off thousands of yahrens ago, leaving behind a race of super-machines, but we still call them Cylons.
Boxey: Will that happen to us too? Will our drones and machines take over?
Apollo: We are very careful not to make our drones quite that intelligent or independent -- present company excepted, Muffit.

Muffit lets out a mechanical bark. Apollo humorously adds:

Apollo: As a matter of fact we'd better have this drone checked. I think he's been listening awfully closely.

Starbuck: Me and my big mouth.
Apollo: At least we know the secret of Carillon.
Starbuck: Do we? What's the connection between the casino and all this?
Apollo: Let's get out of here, then figure that one out.

Boxey and Muffit appear out of the elevator, as the Cylon attacks them. Apollo shouts:

Apollo: Run, Boxey, Run!

As they run through the coridor, shooting Cylons, Starbuck and Apollo look at the Tylium ceiling. Starbuck remarks:

Starbuck: Apollo, are you thinking what I'm thinking.
Apollo: With all this Tylium, we're setting fire to the biggest bomb in the universe.
Starbuck: I guess it's a little late to talk to these fellas.

Not much later, after the pair rescues Cassiopeia from the Ovions, Apollo tells Starbuck to aim for the ceiling rather than shooting the pursuing Cylons. There doesn't seem to be much thought in the decision to set fire to the Tylium that eventually destroyed Carillon and the Imperious Leader's base ship, which was probably the producer's motivation to alter this scene. Here is the complete scene as shown in the TV:

Starbuck: Me and my big mouth.
Apollo: At least we know the secret of Carillon. Let's get out of here.
Starbuck: Wait, you go.
Apollo: What are you talking about?
Starbuck: We still don't know the connection between the casino and this mining operation? For all we know, they could be supplying half the fuel for the Cylon empire. We just can't leave it fully operational.
Apollo: We've got out entire population up on top -- that includes women and children.
Starbuck: Well, you get up there and warn them. I won't do anything until you've had a chance to get away.
Apollo: What can you do by yourself?
Starbuck: This whole planet is loaded with Tylium. If I can ignite it with my lasers it will blow the entire planet apart.
Apollo: Starbuck, I can't lose you down here, you'll never get out alive.
Starbuck: You don't have a choice.
Apollo: Starbuck, I had to leave Zac behind, I can't leave you too. You go up, I'll set fire to the Tylium.
Starbuck: Apollo, by the time we get to arguing about this it will...
Apollo: Shhhhh... Somebody's coming.

Boxey and Muffit appear out of the elevator, as the Cylon attacks them. Apollo shouts:

Apollo: Run, Boxey, Run!

Two lines, spoken by Starbuck and Apollo in the HV, were dubbed out in this version. As they run through the coridor, shooting Cylons, Starbuck remarks:

Starbuck: I guess it's a little late to talk to these fellas.

In the TV, the act is clearly premeditated, for the purpose of crippling Cylon fuel resources and protecting the fleet population. Starbuck's statement about blowing the planet apart makes his later statement -- that if they don't stop the Cylons "we're going to go back and live on that rock," confusing and contradictory. Did Starbuck know that planet was going to blow up or didn't he?

Adama: What is the purpose of this special council?
Anton: Adama, I'm afraid I must ask you to respect the order of business until called upon by this chair. I think councillor Uri has a measure to propose. Thank you.
Uri: My brothers. The hasty attempt to outrun the Cylons spawned in the midnight of desperation, seems foolhardy in the light of day. I propose instead, we now attempt appealing for justice and mercy.
Adama: Justice? Justice from the Cylons? Is that what you actually said? Gentleman, they've told us they would not stop until every human had been exterminated. Now why should we they believe we are now willing to accept that which we have always found unacceptable? To live under Cylon rule?

IV. Other Differences Between the Two Versions

Adama: Sir, did Count Baltar suggest that our forces sit here totally defenceless?

Boomer: They're heading for the Atlantia. I've got him on the left.
Starbuck: I've got him on the right. The main attack is on the President's ship.

Before returning to the Rising Star upper deck sequence, there is an additional 8 seconds showing the Rising Star in space, with the Galactica theme music. This section is not in the home video, and was included to indicate a return to the Rising Star scenes.

Imperious Leader: What kind of warship?
Serpentine: A battlestar, called Galactica.

Anton: ... they laid mines to make passage impossible.
Adama: ...it would be impossible for a fleet of cumbersome ships to even attempt to go through that narrow passage.

Ovion: The humans are in full attendance.
Cylon: How many warriors?
Ovion: We have counted over 200.
Cylon: Nearly their full complement of warriors. See that they remain entertained until the end. Then they will be yours in the lower chambers.