I don't know what you're talking about, Mr. Brooks. Miss Hamilton, I am afraid that you are in a lot of trouble! WELLINGTON: As you can see, it reproduces Starla's image by painting a picture of her consisting of lines. Five hundred and twenty-five lines, to be exact. One on top of the next, starting at the top of the picture and working down, so the lines have reproduced the light and dark areas of Starla's face. There, there they are. And one of your reporters is responsible for them. Wellington, what are you doing with this equipment? Explaining it. You said to do that. I did not say to ruin it. Ruin it? Who ruined it? You did. An $80,000 color camera, they took it apart. Every last screw. Jamie, what is the meaning of this? Well... Where are all the pieces? Where did you hide the camera? It's right here. Nonsense. The pieces were all over the place. Yes, but... But you seemed so upset, we decided to put it back together. STARLA: We all did. There was a number four. We forgot a piece. Here it is. JAMIE: Well, it looks like you've found your camera. There's no way on Earth that this can be the same camera. Could I see that? That is camera four. Is there a chance that some of your men might have been doing maintenance on it? I suppose so. The alternative is that these children took it apart and put it back together again all by themselves. Now, is that what you're suggesting? I think we owe Miss Hamilton and the children a big apology. No, that's okay. Mistakes happen. Jamie, now I understand why you were so anxious to cover the camp story. But who are these kids? I met them covering the pollution story at Paradise Valley. They're orphans, and when you said camp for the underprivileged... Okay, Jamie. Maybe this'll give them a nice day's outing. Who knows, you might even be able to tie the two stories together. I'd like to really see Billy Eheres' camp survive. And this angle, I like it. The orphans, the underprivileged kids. Hal, I want you to shoot me some great shots of those kids. I'll put it on the 6:00 news on the human interest segment. You got it, Chief, I'll make them a household item. I want big faces, big faces of the kids. Lots of close-ups, lots of action. Oh, Lord. Okay, Dillon, according to Lieutenant Nash we're supposed to check our orders with the computron readouts: All readouts are affirmative: Computron places us on vector point 1060: Prepare to transfer to automatic feed: Preparing for transfer: Here we go: I wonder what Xavier has in store for us this time: Let's find out: TRO Y: Something's wrong: We're losing power: DILLON: Power decrease on all levels: I don't have anything on malfunction status: Unless our warning indicators themselves must be malfunctioning: The computron should have taken over our flight pattern as programmed: Maybe Dr: Zee made a mistake: No, that's impossible: Troy? Prepare to switch back to manual control: Ready: Manual control, now: So much for that: If she won't respond to automatic override, she should revert to manual: The function guard mechanism must not be working: I'd better contact the Galactica and report our disposition: Maybe they can tell us what's going on: TRO Y: This is Galactica probe one on special mission: ADAMA: Galactica here: Go ahead, Captain Troy: TRO Y: The computron programmed by Dr: Zee is malfunctioning: Malfunctioning computron? To what are you referring? Dillon and I made contact with Lieutenant Nash as ordered: We've embarked in his Viper: That's impossible. Lieutenant Nash is standing right here beside me. Troy, there's only one other person who could have delivered a Viper to us: Xavier: ADAMA: Obviously you're in some sort of trap: (RADIO STATIC) Commander, come in: (RADIO STATIC) Captain Troy? Troy? Dillon? Dispatch a recon immediately. Yes, Commander. DILLON:
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