Editing Someone to Watch Over Me
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* On another night, Kara listens to Slick play again. She applauds his work, and offers him a mix of praise and criticism. She perceives the music as conveying a sense of loss, of trying to catch someone who is moving away too fast. | * On another night, Kara listens to Slick play again. She applauds his work, and offers him a mix of praise and criticism. She perceives the music as conveying a sense of loss, of trying to catch someone who is moving away too fast. | ||
* Tyrol asks for help from the Five to save Boomer from execution. They refuse, with Ellen Tigh telling him that they will not set themselves up as gods for the rebel Cylons. | * Tyrol asks for help from the Five to save Boomer from execution. They refuse, with Ellen Tigh telling him that they will not set themselves up as gods for the rebel Cylons. | ||
* Later, Tyrol visits Boomer again. She tells him that the house in her projection was a "secret retreat" that she built in her mind and visited on a daily basis after being shot by [[Cally]]. The two talk about the extensive plans they had made for building the house; Boomer calls the Chief's planning "obsessive," but he describes them as "thorough." He reaches through the wire mesh, and Boomer places her hand to the glass. Tyrol looks around the house, appreciates it and Boomer's company--and then finds signs of a child, | * Later, Tyrol visits Boomer again. She tells him that the house in her projection was a "secret retreat" that she built in her mind and visited on a daily basis after being shot by [[Cally]]. The two talk about the extensive plans they had made for building the house; Boomer calls the Chief's planning "obsessive," but he describes them as "thorough." He reaches through the wire mesh, and Boomer places her hand to the glass. Tyrol looks around the house, appreciates it and Boomer's company--and then finds signs of a child, their daughter. He goes into their child's room and sits with her. Outside the projection, he laughs and cries happily. | ||
* Back in the bar, Slick announces that the first movement is finished. He starts the second, with Kara accusing him of stealing material from Nomion's 3rd Sonata. She sits with Slick, talking about her father teaching her to play the piano and her pleasant memories of the experience, particularly a song that made her "happy and sad at the same time." | * Back in the bar, Slick announces that the first movement is finished. He starts the second, with Kara accusing him of stealing material from Nomion's 3rd Sonata. She sits with Slick, talking about her father teaching her to play the piano and her pleasant memories of the experience, particularly a song that made her "happy and sad at the same time." | ||