On Colonial One, a pretty and quiet young woman named Maya is holding the real Hera: "She's so beautiful. I don't know how to thank you. When I lost my baby, I didn't know how I could go on." Cottle is warm and sweet as ever: "Well, I'm glad things worked out for you and this little girl." Maya can't believe anybody would give up "this little angel," and Cottle and Roslin look at each other meaningfully. Tory steps up: "You understand, Maya, that this adoption requires absolute secrecy. The mother is a Pegasus officer, and must remain anonymous. For political and religious reasons." Maya gives her word, and Roslin smiles creepily and faux-sweetly. "Maya, you won't mind if I drop in occasionally?" With a syringe? And a smile? And I'm not actually asking? Laura steps forward and touches the child's head for a moment, and then pulls back like fire. It's a well-done but very creepy moment. Cottle watches Laura fake being a human being for Maya's sake, and whisper: "Go." Once she's gone, Laura turns to Cottle. "Thank you. I know how awful this was for you. But trust me, it was imperative." Close-up on him not feeling great about things. Roslin: "As far as the Cylons know, this child no longer exists. That is a good, good thing." Echoes of the "must, must" at the end of her abortion speech. She's not even trying to convince Cottle -- he doesn't register. He looks away, and we wonder together: how far down does this lady need to go, before she hits? I may not approve of her lately, but I still love her, and I don't want her to actually have to eat the amount of shit she's going to get for this ongoing hubris orgy.
Anders wakes up from the boot to the head, down below, and goes searching for his gun. The three ladies sit on debris, watching him. Biers smiles and holds up his gun: "Is this what you're looking for?" She tosses it to the ground: "You can have it. Here." Sharon's aghast, but Biers is confident. "[I'm] just making it easy for him to get what he wants." Remember when I said Cylons were never cruel? I didn't know all there was to know about D'Anna Biers, when I said that. I also, though, didn't know that I would love it. "Come on," she goads. "I'll give you a head start." This is cruelty. Anders thanks Biers politely, but says he's cool where he is. There's crashing above, and Biers turns her glittering eyes and smile on him again: "Hey, they're coming for us. And you. They'll be very interested in you." It's like how Amanda Woodward was only scary on Melrose Place until she became important enough to have a soul, and then the Scary Bitch Goddess mantle flew through the night and landed on Kimberly Shaw. We know Six too well to be scared of her completely anymore -- we've seen too much of her spirit and her love -- and so now there's Biers, twice as scary and just as mesmerizing. Sharon's like, "Leave him alone. God!," and Biers snaps on her: "Sharon. You're a hero of the Cylon...Now you're just a broken machine who thinks she's a human." Six is angry; Sharon's kind of destroyed by the accuracy. Biers gets all "This is an intervention and we love you" with her: "But you're not a human, Sharon, and you never will be." Sharon speaks before she thinks. "Yeah, well, at least I'm not a murderer." Everybody in the room is like, "Say what?" She continues: "I have a conscience. And I know the difference between right and wrong." Six swallows; Biers laughs: "A murderer is exactly what you are." We flash back to the shooting of Adama. Six is sad some more.