Lee caresses him, holds him to his chest like a pelican. Holds his father like a baby.
"It's gonna be okay. It's gonna be okay. I'll take care of it."
He kisses his father, blessing him.
"I'll take care of it."
He is a man.
THE LAST THING IS A BULLET
Lee marches straight into the airlock, professional clip-clop, and punches the hell out of Saul Tigh. Maybe last time you were the interrogator, and I was the prisoner: at the Trial, Bill disowned Lee for breaking Saul, and now Lee will kill Saul for breaking his father. For forcing him to live through that. "You motherfrakker. Who are the others?" Saul looks him in the eye, sad. "Where's the old man?" he asks, worried. "Right where you put him," Lee spits. He's not wrong.
Lee gets a call from Three and heads into the control room; he stares through the window at Saul in the spotlights. This is what it was like for Tory, watching Cally wake. "This is the President," he says, and Three taunts. As is right and just in war. "Mr. President, you're running out of time." Lee explains that actually, Three's out of time, and it's best to just listen. "If you harm another one of my people, you so much as blacken one of their eyes, and I flush Saul Tigh out of a launch tube."
Three considers her imperative and commits a patented Cylon about-face: "...We have no wish for further bloodshed. May I speak with the Admiral?" No. Lee's a man now. "You have ten minutes to release my people or you can kiss one of your precious Final Five goodbye," he spits, and hangs up. Over the intercom, he explains. "You want to save the Fleet? I need the others, and I need them now." Escalation, using the only leverage he has.
Will he trade Earth for the lives of the people on that ship? Honestly, do you think he can do that? Tory doesn't, but somehow that seemed to come off as yet more proof that sexually active and beautiful women are all crazy assholes and whores. Hostage stuff, terrorism like they're both doing now, makes no sense to me at all. So if Three kills Laura, and he tosses all three of them out an airlock, what then? War. No matter what, all you see is death. Maybe there's something I'm not getting. Maybe it's just an awkward third-act justification for the rest of the episode -- which I mean, talk about needing narrative justification -- with a lot of that Weddle/Thompson running around and yelling they like so much, so it doesn't actually need to make sense or be particularly subtle. Maybe it's some kind of metaphor or something about how war is stupid. Because this ... seems really stupid.