Adama relates this new, horrible Cain story to Tigh in a conversation we don't see, and Tigh heads straight to the Tool Room to get Pegasus XO Fisk drunk some more. I'll mention again that I love Tigh in this episode. I think mainly because he's used too often as a tool for the plot, like Donna Moss -- the character that says, "What does that mean?" so that Josh or Bartlet can tell her (us) what the thing means. In Tigh's case, that accounts for most of the "What the hell?" all the time. It's a credit to the actor that he delivers them all so differently and freshly that you might never notice, if it wasen't your job to write down what these people say. Which I realize -- and I do apologize -- is a lot like the time I pointed out to my dad that Whoopi Goldberg has no eyebrows, and twenty years later he's still calling to curse at me because it's like all you can think about when she's onscreen and it gets really distracting. (Also, Marcia Gay Harden's nostrils are really, really asymmetrical, as long as I'm on the subject.) So but Tigh's totally on point in this episode, and he's got Fisk good and drunk, and at this point, this is all it takes: "So. Laird's ship was the Scylla." And he's off! "Scylla was a civilian transport, and like many other ships we found a week after the attack, we ripped out all the important parts, FTL drives and weapons and personnel, left the rest to float aimlessly and starve or get carved up by Raider fire, and the people we wanted that refused to leave -- including Laird -- we threatened to shoot their families, their wives and husbands and kids, and out of fifteen of these, we ended up putting two families against the bulkhead and shooting them dead." Tigh is so freaked out that he gasps a fairly blasphemous, or at least somewhat inaccurate "Sweet mother of Artemis!" and some other versions of the big OMG, but I mean...I'm not going to say that's cool, but it's a die slow/die fast situation, so I don't know if the shot families actually got the shit end of that particular vile stick.
Apollo enters the Pegasus CAG office, praying that he doesn't come off smarmy or whiny. And he doesn't! "A CAG's work is never done," he smiles, and Starbuck...oh, Starbuck. I don't think she meets his eyes this entire scene. Well played, Sackhoff. Starbuck: "Hi? How ya...doing?" He does a fair job of sweet no-offense: "You mean apart from being, uh, demoted? Finding myself working for one of my pilots? Great! Never better." Without looking into his eyes, she'd never know he's trying to get her over it, but that's the entire problem with these two: when he's conciliatory, she's defensive, and when she's flirty-friendly, he's scared to death. Jumpy. Starbuck: "You...know I had nothing to do with that, right?" He's like, totally, duh, look at me please, but whatever: "Never thought you did. I just checked on Helo and Tyrol. They're hanging tight for now." Starbuck and Apollo simultaneously switch emotional corners: "Help me plan this op. I've been staring at this roster..." And his response: "You wanna just carry on? As if nothing's happened?" But they've also traded SOP corners, too: "Lee, she's in command. What do you want to do? There's nothing we can do." Like you can talk sense to Apollo when his sense of justice and protocol are offended. Or, for that matter, like you can talk sense to Starbuck when her feelings -- in this case, for the Caprica Resistance, of which Apollo knows little -- are on the line. I really do appreciate what Starbuck's going through here, because it's happening on multiple fronts. She's like one of those "shows high potential" kids that always fucks up until some smart teacher gives her the opportunity of responsibility. Her demeanor, behavior and even appearance are more tip-top than we've ever seen, and though she's clearly scared to death of the idea, she's willing to demonstrate that she's capable and up to the challenge, even as it's tearing her allegiance in two. And like she says: there's fully two Basestars, a bajillion Raiders, and a mysterious vessel on the line. Just play along.