Gaius whispers into Six's ear a piece of verse originally composed for Lee's suicide moment, in which the cast would have been standing with him in the water as he floated between the worlds. "Life is short. But the next one's not. Let your heart drift, and your soul will get caught." Six turns to Baltar, born again: "I love you, Gaius. My heart and soul are yours." Their eyes don't look away, truly connecting for the first time in the episode, as the digging equipment gets closer. Gaius: "You know why they wanted you to work with Sharon? So you'd lose your mind. They're gonna box you, darling." Six twitches. "Just like they're going to box Sharon." Six speaks aloud: "We're dangerous." This is pretty much where things get gay, dialogue-wise. "Sharon and I. We're celebrities in a culture based on unity." Biers gives this the "feh," but Six is not done, turning to Sharon: "Our voices count. More than hers. More than others'." And back to Biers, who's wishing she had an airlock handy. "We're 'two heroes of the Cylon,' right? Two heroes with different perspectives on the war." Anders is like, "Lady, my leg hurts!" Nothing's gonna stop the emotionless exposition train, once it's running: "Perspectives based by our love of two human beings. That's why she wanted me to work with you -- so that you'd tell me that Gaius was still alive. She wanted me to lose my mind."
Biers is like, "Yes, but not exactly," and hops on the train too, gun in hand: "No, you're corrupted by your experiences. You're a waste." There are various "gimme a break" faces as everybody looks around at everybody else. Gaius whispers to Six, again coaching her on basic shit in rhyming couplets: "Believe the lies. Ignore the truth. Listen to me. I will show you the proof. Speak from your heart. Say the things that you know to be true." Six addresses Sharon only, speaking from her sweet, scary little robotic heart: "Jealousy, murder, vengeance...They're all sins in the eyes of God. That's what you and I know. That's what they don't want to hear." Boomer takes over as the train's engineer, delivering the hardest lines of all: "Because then they'd have to rethink what they're doing. They'd have to consider that maybe the slaughter of mankind was a mistake!" It's kind of angrifying that probably my favorite moment in the series, when everything switches and starts going backwards, toward unity, toward reconciliation, toward a break in the Cylon line, toward the twenty-first century war, is expressed so poorly. There's another crash above, and Biers ducks some falling crap and anvils. Anders dives for his gun, grabs it, and takes two shots at Biers. She drops, dodging the bullets, and Sharon knocks the gun out of Anders's hands. Biers dives for it and turns it on him. There's an awesome angle here -- is that a fisheye? I don't know anything about anything -- the gun even bigger than before, in the foreground, and Biers's crazy, maniacal face far, far away. She's so awesomely crazy right now. Smiling wildly, she takes aim, and yells hysterically, "God loves me!" Six rises behind her from nowhere, as she's done so many times on Galactica, this time bearing a monstrous chunk of cement, which she drops directly on Biers's head. "See you again soon," she yells archly. Biers turns, and Six slams the rock into the top of her head, killing her.