Sickbay, where Roslin's just finished her first round of "doloxan" treatment. You only have to see her face, the nausea and pain and grief, to know what we mean when we say that. "Ugh! Talk about the cure being worse than the disease," she says, trying to stay brave; he suggests bringing along a book or paperwork, next time. "It'll help keep your mind off of it, and it'll also help keep your blood pressure down." Knowing Laura, the paperwork would probably be a list of the people whose deaths rest firmly on her shoulders, or people she's planning on airlocking, or a list of other possible ways she can offer to fuck Bill Adama that will sail over his crazy old head. None of which are particularly calming. He excuses himself gruffly -- "I do have some other patients" -- and leaves her to it. As soon as she's waved him off indulgently, she rolls over onto her side, hurting everywhere at once. "Oh, Gods..."
Back in the Opera House. Roslin and Sharon chase Hera through the halls again, and down to the Great Hall, where Caprica grabs her again -- and is joined by Gaius. They are lit up, beautiful, bathed in light. They enter the Great Hall together, closing the doors behind them. Laura wakes up screaming -- across sickbay, Sharon and Hera are screaming too. A scream like something being born. Cottle shouts, as Hera screams: "You're both freaking out at the same time?" Roslin makes her way across the clinic, dragging her drip stand along with her, locking eyes with Sharon: this isn't the first time. Sharon was part of her dream, of course. But then, Laura was part of Sharon's dream, too. "We need a moment. Take this off. Get this off me, please." Cottle wants desperately to understand; he's not alone. I think this -- whatever this is, this return to Kobol and the End of Line -- is the real mystery. I think the music, even Earth, are tangential, part of, working alongside. It's just too effed up and hearkens back to too many places and memories at once; it ties the human and Cylon together with blood, it involves everybody that ever crossed that line before now, including Gaius. Before the song.
Roslin enters Caprica's cell, Athena following behind, and tells the Marines to scoot. "We'll be fine. Shut the door." Roslin looks down at Caprica, so imposing even now, and apologizes to her for the shackles. Caprica's noncommittal but wants this woman's love: who wouldn't? (Besides I guess stupid old Bill, I mean.) "Were you with us a moment ago? In the lobby of the Opera House?" Caprica looks more unsettled than any Six has a right to be: it's fairly unbalancing merely to see. "I'll take that as a yes, by the look on your face." Sharon admits she and Hera were there too; Caprica protests that it shouldn't be possible. Cylon psychology is based on projection, not shared tripped-out freak-ins. Athena's like, "I'm a commissioned officer in the Colonial Fleet married to a nine-foot-tall slampiece from Caprica, large as life and twice as natural, with whom I have a preposterous child. Six impossible things before breakfast, lady." Roslin asks Caprica straight up if she was trying to get to Hera, and Caprica just shakes her head. God and children. "I just knew that I had to protect her with my life."