Kobol. Six leads Baltar toward the big vine-covered archway we keep seeing. Baltar says, "I know this place." Six says, "Of course you do," and tells him to go inside. Baltar passes through the archway and looks at...well, some more ruins and plants.
But of course, in Baltar's head, it's something else. In fact, it's the opera house. He enters the cavernous lobby as an orchestra plays on the soundtrack. This seems like a good time to mention that I'm getting a cold or something, which makes Baltar's headspace even more surreal than usual. The low-angled, swirling camera isn't helping. Ooof. Baltar sees Six standing at the doorway to the theater, and takes her hand. As they walk down past the rows of empty seats, Baltar whispers that he doesn't understand. Six says, "Life has a melody, Gaius. A rhythm of notes that become your existence once played in harmony with God's plan. It's time to do your part and realize your destiny." I see. Baltar asks what his destiny is. Six tells him -- like, duh -- that he is "the guardian and protector of the new generation of God's children." She says that the first member of their family will arrive soon, and that it's time for him to make his choice. As they come closer to the stage, Baltar desperately repeats that he doesn't understand what she means. We go to a long shot as Six leads Baltar up onto the stage and says, "Come, see the face of the shape of things to come." The stage is flooded with light, and Six and Baltar are just dark silhouettes against the light, and it feels very Kubrick to me. Then we go to a reverse shot as Six takes both of Baltar's hands in hers and they walk up to a glowing white crib on the stage. They stare down into it, and Six asks, "Isn't she beautiful, Gaius?" Baltar gasps with wonder and then turns to Six and kisses her. Uh oh, the camera is swirling again.
Tigh and Roslin stand in the brig as Adama enters. Another soldier slides one of the cells open, and the Prez steps into it. The cell is closed, and Adama gives the Prez a little glare before exiting. He's just practicing for the glare he's going to give Apollo in a minute.
Boomer and Racetrack enter CIC, and a soldier shakes Boomer's hand and congratulates her. We pan around and see Apollo standing between two marines with his hands bound, waiting for his dad. Gaeta walks up to Boomer and congratulates her as well, and the camera slides down briefly but doesn't show us if Gaeta's shaking her hand or doing something else. I don't mean something dirty. Although I guess that's a possibility, too. Boomer sees Apollo and asks what's going on. Gaeta says, "A lot happened while you were gone." Heh. He returns to his post as Adama and Tigh enter. Adama stops to give Apollo a particularly nasty glare. Apollo's "Yeah, whatever" expression is priceless. Adama moves on, and then Tigh passes close by Apollo, and then Apollo does half an eye-roll and I giggle. Adama stands in front of Boomer and Racetrack. He congratulates them formally and notes that they carried out their mission "despite any personal misgivings you may or may not have had." Behind him, the camera focuses on Apollo, and then he lowers his head. Adama adds that he's very proud of them. He shakes Racetrack's hand, and then Boomer extends her hand as she thanks him, and shoots Adama. It really is a brilliant fakeout because my head was too busy with "Man, Adama has a gift for twisting the knife," and then: bang. So everyone jumps, including me, and we go into slow motion as Adama falls back against the center console. The sound fades out as Apollo shouts and rushes forward. Boomer advances toward Adama.