Thu
Aug 22 2013 10:05am

Orphan Black Season 1, Episode 7 Hiatus Rewatch Recap: The Tale of the Tail That Had to be Told

Paul in Orphan Black episode 7

BBC America's sci-fi thriller Orphan Black—and especially Tatiana Maslany's brilliant performances in it—has taken TV critics by storm recently, and we're just as enthralled by Sarah, Paul, Alison, Felix, Helena, Art, Cosima, et al. While the series is on hiatus until April 2014 (sob!), we here at H&H are eager to relive the glory of Season 1 with a hiatus rewatch led by Kiersten Hallie Krum, who also recaps Lost Girl, every Thursday for the next few weeks or so. Won't you join us?!

(Haven't watched the series yet, or looking for a way to watch it again? BBC America has a list of places where you can watch the episodes; plus, Season 1 is now out on Blu-ray/DVD for Region 1.)

Now onto the recap of episode 7, “Parts Developed in an Unusual Manner”...

Sarah is on Skype the VidPhone with Cosima. Paul was called in by Olivier hours earlier now he’s not picking up when she calls. Cosima gets her stash from her bedside table and wonders if this is anything out of the ordinary. Frustrated, Sarah admits she doesn’t know. “There’s nothing normal about any of this, is there?” she wonders, checking her phone again. Cosima rolls a joint and reminds Sarah that this is their new normal. “So, Paul’s a monitor. He reports to Olivier, his handler, right? As long as Paul is on our side, we can start to finally get some answers.” Sarah points out that they don’t know whether or not Paul is on their side. “I mean, what if he’s selling us out right now?”

I’m totally digging Sarah’s outfit, by the way. The red detailed pants. The black draped top. Cosima’s red, lacey tank is great too. Sorry. I’m easily distracted by good costuming.

Sarah plops down in the chair but before her ass can hit the seat, the show cuts right to Paul doing the same thing so that it’s his ass that hits the seat. (And what an ass!) Cool move. He shifts in the chair before Olivier’s black desk (natch). Muted techno music drives the soundtrack. Olivier calmly makes some random notes as he questions Paul about “Beth” and starts eight months ago at the time of Beth’s shooting. Paul reminds Olivier they already covered all this, but the handler ignores him to ask what Paul meant when he first stated that Beth didn’t seem to be herself. Paul adds that at the time, Beth had begun to abuse prescription drugs. “Why are you taping this?” he asks with a long look into the camera. Olivier again ignores him and reminds Paul that he thought Beth’s pill abuse a typical response to her police work stress. He wants to know if Paul thinks differently now. “Her abuse led directly to the civilian shooting. Her decline only got worse from there,” Paul says firmly. He doesn’t yet know that Beth shot Maggie Chen because she was working with Tomas in hunting down the clones. Olivier continues to question Paul about Sarah/Beth while Paul tries to figure out what Olivier knows so he can protect Sarah without giving away that he’s now in the know.

Back in her apartment, Cosima sucks on her joint as Sarah advises her not to get involved with Delphine. Cosima thinks if they’re going to get past their monitors, then they have to engage with them. Sarah: “Yeah, look where that got me.” Cosima: “Into bed with him?” Damn straight. And the kitchen. And the hallway. And the shower…

Sarah rolls her eyes but since it’s the truth, tries another tactic and trots out Alison’s sitch as an example instead. “She smoked her husband with a golf club on a hunch that he was her monitor and now they’re away at a couple’s retreat trying to repair their marriage.” Great way to add the pertinent information that excuses Alison’s absence from the episode without it being an info dump, show. Huzzah.

It’s Cos’s time to roll her eyes. “Okay, I’ll obviously approach Delphine way more logically than that.” By getting her baked, right? Much better plan. Sarah laughs at her, knowing all too well that there is no logic in these situations. Cosima insists that her situation is much different than Sarah’s with Paul. “Right, 'cause you’re such a brilliant scientist,” Sarah scoffs, going over to check her phone again. Cosima counters that it’s because Delphine doesn’t know that Cosima knows Delphine is her handler. Got that? “I’m the one that’s (who’s) monitoring her.” Sarah pleads that Cosima just stay away from Delphine, at least until she finds out if Paul is selling them out. Cosima: “Whatever.”  She tosses her lighter onto her desks and snarks whether Sarah has anything else for them to be paranoid about. Sarah exhales hard. “God I hope not.”

Cut to Helena struggling to wake up amongst her whacky music of discontent and in and out-of-focus shots. Tomas toys with her hair like the good creep he is and squeezes a sponge of water into a bowl. There are several quick cut shots of his face and hers and flashes of his heavy, gold, emblem-encrusted ring, so I’m sure that has absolutely no importance whatsoever. He drips some of the water on Helena’s face. How kind. Guess someone thought she was taking too long to rouse. Helena asks where she is but he shushes her. “You’re getting stronger,” he reassures.

Credits.

Sarah and Fee pull up in the Jag next to Paul’s Range Rover. Sarah downloads Fee that Paul told her Olivier ordered Paul to meet him in an underground club that Olivier owns. She identifies Paul’s car. “What a mess. You know, even if he’s not ratting me out in there, those medical tests could still tell him I’m not Beth.” Fee reminds her Cosima said the medical tests would match, but Sarah thinks Cos is blinded by the science. She BLINDED me with SCIENCE! Fee agrees that this may be the case but from everything he’s found online, it seems valid. He states it plainly: “You and Beth are clones. Therefore your DNA is identical.”

“Identical?!” Art barks. Oh, Art, I have so not missed you at all. The coroner confirms that Jane Doe from the gravel crusher (Katja) and the killer in the bathroom (Helena) have identical DNA. “Same person.” Score one for Fee and Cosima. DeAngelis decides that makes no sense and Art immediately blames someone else and claims that the samples must have been contaminated in the lab. The coroner insists that couldn’t happen on “her watch” so the lieutenant asks for a better explanation. The corner decides that maybe the killer planted “Jane Doe’s” (Katja’s) blood in the bathroom. Art: “What so she just carries around a couple pints of Jane Doe’s blood and just splashes it around?” Asshole. The coroner shoots back that such a scenario is more likely than the idea that the killer walked into her lab and contaminated the samples. Heh. Little does she know. DeAngelis suggests perhaps it was someone with access who doctored the results. Oh reallllyyy? Art shoots her a look of oh yeah are we going there again? Art decides that they’re missing something right from the beginning. “Yeah, IDs!” the lieutenant exclaims. He orders them to comb through the whole “shit pile” again from the beginning “the horse-and-carriage way.” He also wants to know how the facial reconstruction on Katja is coming. “It’s coming! Her face went through a friggin’ gravel crusher,” the coroner reminds him as they exit together.

Art calls DeAngelis on her “someone with access” jibe. “Beth would never tamper with evidence!” he swears. Beth’s dead, baby. Beth’s dead. DeAngelis dials back her accusation but reminds Art that he had questions about Sarah/Beth’s run in with the killer. Rather than answer, Art decides the lieutenant is right and they should start from square one with open minds. “Let’s see what we can find.”

Back at the club, Fee and Sarah watch as people arrive. Fee recognizes them as Cyber-Goths. “That’s interesting. I know those people.” Of course you do. Sarah sighs heavily and decides she’s done waiting. “I need to know what Paul’s up to. I’m going in.” Fee stops her. “You can’t go in there with your recognizable mug.” Sarah’s expression is all oh yeah, forgot about that bit. Fee preens and deliberately opens up him mobile makeup kit as he reminds Sarah that Clubland is his world. Sarah eyes the eyeliner with amusement. “You carry that around with you?” she drawls. Fee: “Maybe.” Hee.

Sarah and Felix in Orphan Black 1x07Glammed up, Fee enters the club where the gatekeeper tells him “Neolution” is a private club. “I know,” Fee quips, “but you looked so lonely.” Gatekeeper: “Not even a little.” The door to the club opens and a tall, super slender woman with white blond hair and an augmented eye enters the vestibule. “Oh good. You look a little more important,” Fee greets her. Okay, it’s the same actress who played the warden in the episode-I-wish-I-could-gouge-out-of-brain of Lost Girl.  Gotta say, I much prefer said actress in this role.

Fee stutters as he gets a good look at her augmented eye, which makes her smirk. “I’ve come all the way from Brixton to party at Neolution before I die,” Fee announces. She’s about to refuse him when Fee drops Olivier’s name. Augmenta (what? I need a name for this woman until somebody deigns to ID her!) quips that if Fee’s dying, then he never heard of Neolutionism. “Oh,” Fee deadpans. “There’s an ism.”

In the club proper, people are getting their freak on and how. “Augmentation?” Fee shouts to Augmenta as she leads him through. “Self-directed evolution? I’m intrigued.” He asks if everyone there is a Neolutionist and Augmenta allows that no, not everyone is. “We’ve got techno-progressives, body mod, bio-hackers…” Fee asks whether Augmenta’s eye is a permanent adjustment. She says it will be one day. “I’ve got other enhancements.” Fee: “Riiiiight.” He looks around at all the pretty, underdressed people. “Well, a philosophy so…physical, makes for a very handsome tribe.” He asks whether Olivier is enhanced as well and Augmenta laughs. “Darling, you have no idea.”

Downstairs, Olivier asks when the last time Paul and Beth were sexually intimate. Well, there was this kitchen counter… Paul pauses before each answer as if taking a second to evaluate the reason for the question and the harm in telling the truth. “Three days ago.” Olivier: “Who initiated it?” Again, Paul pauses before answering. “She did.” Olivier wants to know how Paul would “characterize” it. Paul takes a longer pause here and then crosses his arms. The detail of his arm muscles are so defined, the cloth of his shirt molds to it. Oy. There’s a palpable vibe of satisfied male but also one of I’m not giving you a play by play, man. Paul’s not sure he understands the question (yeah he does). Unruffled, Olivier clarifies. “Would you describe the intercourse as intimate? Aggressive? Perfunctory? Sensual?” Paul narrows his eyes. Olivier’s words would be border-line prurient if not for their matter-of-fact academic delivery. “I would say passionate,” Paul answers with a hint of insult. Olivier notes that Beth is generally a “cold fish” according to his notes from Paul’s past reports.

Paul again tells Olivier that it’s hard for him to help if he doesn’t know what’s going on. Olivier explains that all the psychological tests, physical exams and social metrics are not for Beth alone. “The problem with clandestine ops,” the handler continues, “is that information and security rarely go hand-in-hand. Which is why I’ve been told rather late that someone is killing our subjects.” Ah yeah, that maybe something Sarah didn’t quite get around to uploading you on, Paul. Whoops.

Tomas asks why Helena didn’t kill the imposter (Sarah) and Helena quietly says that Sarah is different from the others. She thinks she and Sarah have a connection. Tomas insists that their “connection” is nothing. “Just one of your fingernail clippings like the rest of them.” Nice. “She said I am not the original,” Helena relates. “That we are all the same.” Poor Helena. She believes it too, and it’s shaken her entire world view. Tomas violently knocks the cup of water from her hands. He cups her face in his palm and though she turns into it, Helena cowers. “How could you believe such a thing?” Tomas asks. Toldja. She asks his forgiveness in a whisper the way a beaten child pleads with her abusive parent. Tomas cradles her against his chest, forgiveness given now that she agrees with him again.

At the club, Fee is getting down on the floor when he spots Paul. Fee tails him out the doo but Paul’s grabs him up, demanding to know why Fee is following him. Fee: “I thought you might want a blow job.” Sarah hurries up to get between them. “He’s with me, okay? He’s my brother.” Paul swears at the sight of her. “I’m sorry. I was worried,” she offers without hesitation. Notice she doesn’t say she was worried about whether he was selling her out, because, while valid, her main concern was Paul. He won’t discuss it right there outside the club though, where anyone could see them (duh). “Meet me at home,” he says and points at Fee. “Don’t bring him.”

Back at the gulag, Tomas bathes Helena’s feet as he tells her the task is now more difficult, “since the real Beth Childs killed our friend, Maggie Chen.” Helena: “The copies, they’re harder to find.” Tomas suggests they might use “the imposter” (Sarah) and Helena unwisely admits that she’d like to see Sarah again. Tomas grabs Helena by the hair and she starts to hyperventilate. Tomas tells her that “it” will say anything to justify “its” existence. Helena promises to be strong. Tomas: “The path to the shepherd is through the sheep.” He stands and passes over a razor blade. What a loving father. “Find the imposter,” he instructs. “Bleed it for what it knows then kill it.” He leaves her to her self-abasement and the music goes all squirrely as she cuts into herself, finding a release there that nothing else in her life offers.

An exterior shot of a shipping boat gives us the outside appearance of Helena’s gulag. She exits the boat as Tomas whispers sweet-nothings in her ear. “You are the original. You are the light.” It’s a far cry from Clear Eyes. Full Hearts. Can’t Lose. Helena repeats his mantra and steps back into the light, reinvigorated for her mission.

At the condo, Paul wants to go over what Sarah knows. “There’s nine of you,” he states. “No!” Sarah objects strongly. “There’s only one of me, just like there was only one of Beth.” You tell him, honey. Though I think, having had sex now with you and Beth, he’s pretty much up to speed on the individuality thing. Hang on. It’s morning now and Sarah is lacing up her boots. Guess they’ve been up all night then hashing this out rather than doing…other things, yeah? Damn.

Paul quickly corrects that is not what he meant. He perches on the table and crosses his arms. Sarah confirms that Beth figured out there were nine of “us so far. I’ve only met Alison.” So she’s not ready to expose Cosima to him yet. Interesting. Paul wants to know who else besides Fee knows about it all. Sarah insists Alison is the only other person in the know. Paul wants to know about Donnie and Sarah explains that Alison has been with him since high school. “He’s not her monitor.” It’s a very combative conversation. Paul is very demanding, but he’s still trying to make sense of this as an operative and ultimately I think still looking to get all the information so he can best protect Sarah and whoever else she’s got caught up in this mess. Sarah is defensive because she is protecting everyone she’s got caught up in this mess and she’s still not entirely sure whether or not to trust Paul. “You don’t know that,” he says. “Don’t lie to me Sarah.”

Sarah’s had enough of the interrogation and stalks right up into his space to ask what’s going on. “Is Olivier on to us or what?” Paul reveals with attitude that Olivier told him someone is killing the subjects. “You know anything about that?” he sneers with an obnoxious one-shoulder shrug. Sarah lies to his face and denies any knowledge of Helena or her agenda. Paul almost believes her. She’s that good at deception but he’s also that good at uncovering deception, which is why he pinged on her from the beginning…once all the hot sex was over. He tells her Olivier instructed him just to watch “Beth” closely, “protect her; make sure she’s not aware.” Sarah paces. “Aware of what?” Paul stands up, arms still crossed, and talks though a clenched jaw. “Of me. Of us. This is high-level shit, Sarah. An illegal human-cloning trial. Aren’t you the least bit worried that someone might be trying to kill you?” Sarah admits she is, “but at least it’s not you,” she adds after an assessing pause.

Paul sighs and his shoulders relax slightly. Ah, that explains a lot. “And I still need to see my daughter,” Sarah says emotionally. Much more gently, Paul tells her to take his Rover and puts his keys in her hands. Sarah is immediately suspicious all over again. Paul: “In case someone is tailing you, all right? My job is to keep you safe. At least let me do that.” With a wary look, Sarah takes the keys and goes to get the Rover in the underground garage. Because what you want to do when a Crazy Clone is stalking you is be alone in an underground garage…  

Before Sarah can get into the Rover, Helena’s reflection superimposes next to hers in the window. Helena’s bleached blond head in down so we can’t see her face and that’s totally a cheat because the actress is Maslany’s double, but I’ll allow it because it’s all done so bloody well that it works seamlessly. “Shit!” Sarah exclaims, whirling around. Helena puts her empty hands out to hold Sarah off and promises that she’s not there to hurt her. “I have an offer for you. But we must talk. And eat. Let’s have lunch.” Sure, why not?

Helena in Orphan Black episode 7As “I’ve Got You, Babe,” plays, Helena loudly sucks down some red Jell-O. The diner’s table is strewn with cleared plates. Apparently, Helena decided to try one of everything. Given that Tomas only gave her water, I imagine she’s been starved most of her life. “I dreamed we were friends,” she tells Sarah who immediately counters that they are not friends. Helena tilts her head and studies her spoon as she shrugs.”We will be,” she says with confidence. “I’ve seen it.”

Sarah wonders if “they” feed Helena, wherever it is that she goes when she’s not hunting and killing her clone sisters. Helena ignores her to pet the wall. “This is a nice restaurant, isn’t it?” she decides. Oh honey, you break my heart when you say things like that. What a number “they” did on you. Sarah snarks that it got five stars but the reference goes right over Helena’s head. She pours more sugar on her Jell-O and observes that Sarah knows her name but she still doesn’t know Sarah’s. “This friendship isn’t there yet,” Sarah says definitively. She asks if Helena is Russian and Crazy Clone corrects that she grew up in a convent in the Ukraine. Five stars there for sure. Sarah blinks. “Ukrainian nuns?” She leans in close to Helena. “Is that who made you kill Katja Obinger and the others?” Helena says instead they saved her from abandonment. She belches and excuses herself with the dazed rote response of a child. Sarah flops back in the booth.

Helena announces that she wants her knife back.  Sarah remembers the “flying fish blade” all too well. “You got a thing for wings, dontcha?” Helena sucks on her spoon and announces that she’s supposed to kill Sarah too. I just realized the music has long since bled out and not even Helena’s squirrelly theme is playing as though being with Sarah grounds her in reality and centers her. “But you let me live,” Helena notes and, in a shaky voice, Sarah suggests that they call it even. “We’ll go our separate ways.” Helena: “We will never be separate.”

She slides down in the booth and shoves her boot between Sarah’s legs under the table. “Tell me the names of the others and I will spare you,” she says baldly. Sarah grunts and then jabs a knife against Helena’s leg. “You move your foot or I’ll stab you again,” she threatens. Helena’s eyes go wide and she leans over to look under the table at the knife in Sarah’s hand. It is not the fish knife. As Sarah and then Helena glances around to see if anyone is taking notice of them, we get a long shot of them from down the diner aisle including what’s going on beneath the table. Helena is more amused than afraid but she cautiously shoves herself back up in the booth, pulling her leg back with her.

Helena picks up a pen and carefully blocks out a number onto a napkin. She tells Sarah she has until midnight to tell Helena the names of the other clones. “Call this number,” she orders, passing over the napkin, “or you die first.” She slides out of the booth with a flat “bye-bye” and Sarah warily watches as Helena pulls the hood up over her head and leaves. She pauses outside the window, still chewing as she’s taken a pancake with her. Heh. Lifting up the flap of the hood, she stares at Sarah with a sense of amusement. Sarah stares back, decidedly not amused, and then Helena ambles away.

Art studies the paper fortune teller and the rest of the evidence from the murders. DeAngelis joins him and drops a box of additional information on the table complaining that “Beth’s” paperwork is a mess. “The fingerprint results aren’t even in here.” Art relates that they ran them and they were a match. DeAngelis points out that even if there was no match, the results should still be in the file and they would be if Sarah hadn’t deleted them. Art repeats how the lieutenant told them to recheck everything and suggests they have forensics pull “the hand” and take fresh prints to be processed all over again. Your tax dollars at work, folks! DeAngelis is cheerful. “Oh we’re going to the morgue?” Art: “Thought you’d like that.” DeAngelis: “Sweet.” Heh. She’s more his partner than Beth or even Sarah/Beth has even been.

Over in his office below Neolution, Olivier plays with his stuffed raccoon and honestly, I really wish that was a euphemism but it so isn’t. I think he’s adding wings to the taxidermied rodent. Oy. Leekie rings him on the cell to say Olivier has a problem. Back in the hotel, Leekie is reading over Sarah/Beth’s medical reports. Olivier wonders why that’s a problem. “She’s not Beth,” Leekie says, though he doesn’t sound overly worried about it. Neither does Olivier as he asks which one she is if she isn’t Beth. Leekie says it’s none of Olivier’s concern he just needs to bring not-Beth in.

Sarah exits the diner already on the phone updating Cosima. “She wants your names by midnight or I’m first on her hit list.” She swears she’s not going to give Cosima up, but Cos wonders if maybe Sarah should. “Not to Helena; to Olivier.” Cut to Cos’ apartment. She’s dress in a tight, black body stocking slip and trying on and discarding a variety of clothing options like she’s getting ready for a date. Oh, I like the blue! Sarah is shocked. “You the one who said if your blind subject became self aware, you’d terminate.” Apparently, in light of her new experiences with Doctor Headroom, Cosima is beginning to rethink that. “Great, she’s got a new hypothesis,” Sarah mutters. Heh. I dig the my sister is so annoying vibe they’re now rocking together.

Cos thinks that their creators, “whoever they are, have a tremendous investment in us, right?” She thinks they’d try to protect the clones from Helena. Cos strips off the blue dress while she says this. Sarah notes that “they” already know Helena is trying to “whack” her Clone Sisters. She reaches Paul’s Rover to find a parking ticket on the windshield. Heh. Nice reality note there, show. She tells Cosima that Paul said his instructions even in light of all the whacking were just more of the same. “Observe your lab rat, keep her stupid.” I think she’s paraphrasing a bit there, but okay.

Cosima shrugs into a plum frock and asks if Sarah’s heard of the futurist, Doctor Aldous Leekie. “He’s the poster boy for this movement called “Neolution”. That majorly pings for Sarah. “Olivier owns a club called Neolution.” That makes Cosima pause. “Felix says it’s a bunch of bio-hack, body-mod freaks. Uh, Olivier’s supposed to have a tail.” What was that again? A tail? Um…

Cosima is a little intrigued to hear about the tail. “Well, tail or no tail, they have a philosophy.” She explains how she and Delphine went to Doctor Headroom’s lecture. “Cosima, you agreed to stay away from Delphine!” Sarah interrupts. Cosima shoots back that she never agreed to that, “You just told me to.” See? Sisters vibe. “You’re gonna end up strapped to a gurney, with doctors giving you the probe.” I’m pretty sure if anyone gives Cos the probe, it’ll be Delphine. Cosima gives up on the plum dress and plops down on her bed as she reminds Sarah that she probably has already been probed. “Can we please just get back to Helena?” Frustrated, Sarah sneers that Cos should stay out of her end and she’ll stay out of Cosima’s. She disconnects at tosses the phone into the passenger seat. “Bitch.” Cosima throws her PinkMoblie onto the bed. “Bitch.” Ha!

Cosima stretches back and spreads her hands across her forehead just as there’s a knock at the door. Her eyes go wide—“Shit!” —and in that moment looks so much like Alison, it’s freaky. I mean, yes, I know the same woman is planning both roles but this is one Clone Sister having the same mannerisms as the other Clone Sister, not an actress forgetting for a moment which mannerism she gave to which character. Notice I didn’t say she looked like Sarah.

She goes and checks her body stocking in the mirror then opens the door to Delphine. She apologizes for being early but Cosima quickly corrects that she’s the one who’s late. “I’m kind of always late so I’m…always sorry.” Heh. They both chuckle cutely and Cos hurries off to finish getting dressed.

At the condo, Paul comes out of the bathroom freshly showered in a navy robe. Yum. He goes to his dresser drawer but instead of taking out a shirt, removes his gun and points it at Olivier who is sitting on the couch, patiently waiting for Paul. Augmenta stands just behind the door to Paul’s bedroom, which puts her behind Paul. That’s not at all meant as a threat, right?

Olivier quietly asks where “Beth” is.  Paul stashes the gun in his robe’s pocket and asks how Olivier got into the condo. Olivier used his key and he reminds Paul that “they” bought the condo for Paul so he’d appear to Beth as not only being smokin’ hot but also moderately successful. He asks where Paul’s “subject” is again and Paul claims she’s with Christine. Do we know Christine? I don’t think I know Christine. Olivier rebukes that Paul was supposed to keep a close eye on Beth. “Girl’s lunch,” Paul quickly retorts. “Couldn’t force the issue.” Olivier calls Augmenta Astrid’s name (finally a name!) and she slowly walks out from behind Paul. I guess that’s Olivier’s way of telling Paul he believes him. “You subject’s not who we think she is,” Olivier reveals. “She’s an imposter.” He turns the picture frame he’s been holding around to reveal a photo of an embracing Beth and Paul. Paul grins easily in the shot, but Beth nearly burrows into him with a look on her face of despairing love as if she knows she loves him much more than he will ever love her. Paul says he just saw “Beth” a few hours ago. “It wasn’t her,” Olivier says definitively, laying the picture face down on the couch beside him. Paul asks if this is some kind of test, which is exactly what he said to Sarah when he forced her to reveal who she really was.

Olivier gets up from the couch and prowls over to Paul. “The person killing our subjects looks exactly like Beth,” he explains. “You mean, like a twin,” Paul supplies. “Yes Paul, like a twin,” Olivier patronizes. Paul is totally playing Olivier, feeding him the lines he himself worked his way through in that first honest confrontation with Sarah after he figured out she wasn’t Beth. Olivier thinks he has the upper hand when in fact Paul is milking his handler for any intelligence he might have that could harm or help Sarah. Olivier orders Paul to get dressed. You can totally disregard that order, Paul. Really.

Later that night, Helena breaks into dark and empty condo. Much like Sarah did in the season premier she makes her way into the kitchen and stares at a picture of a grinning Paul.

At Mrs. S.’s, Kira and Sarah sit at the piano as Kira plays Ba Ba Black Sheep. Sarah stares off into the distance, miles away, likely working through the cluster in which she’s currently embroiled. In the background, Fee sits at the table flipping through a magazine, standing sentinel for his sister and niece. Kira notices her mom is not really there and calls her name when waving her hand in front of Sarah’s eyes doesn’t work. Sarah comes back to her present surroundings and apologizes. She tells Kira that her playing was really good .Fee joins them and notes that at least Kira didn’t get Sarah’s tin ear and Sarah playfully tells her daughter that she wasn’t any good at the piano. Siobhan arrives in time to hear this and corrects that Sarah just didn’t work hard enough at it. Fee bumps Sarah out of the way so he can teach Kira some Queen. Kira chirps that Uncle Felix wasn’t bad. Mrs. S.: “He was a different kind of bad.” Felix blows her an air kiss. Mrs. S. smiles and passes the photo album in her hands to Sarah who quietly asks what it is. “Mostly me,” Siobhan admits the softly adds. “Some of you.”

Helena continues to prowl through Beth’s house, much the same way Sarah once did, but instead of a beer, she pulls a rotisserie chicken from the fridge and starts gnawing on it. She smells Sarah’s pillow and then lies down on the bed cradling it.

Siobhan explains that England was burning in the 1980s. “Maggie Thatcher firing on all barrels at Ireland. The Falklands.  She sacked social security, went after immigrants, the poor, the unions.” She unfolds and old newspaper clipping whose headline screams RIOTERS SET BRIXTON ABLAZE and asks Sarah what she remembers about Brixton and Siobhan’s people there. Sarah remembers that there was always all women around and kids would come and go, “wards of the state.” Siobhan clarifies that the kids weren’t all ward of the state. “We were a safe house.” She hands Sarah a glass of whiskey. On the coffee table before them is the same Wade Marsh brand of whiskey Paul doctored with Beth’s pills in the last episode. Not the same bottle, the same brand. I don’t think for a moment that isn’t deliberate. Siobhan explains that she and some of her friends worked in social services and helped women and children, refugees, deportees, radicals on the run, “that kind of thing.”

Sarah flips the pages and Siobhan points out the picture of a young black man, “Carlton,” whom Sarah remembers. “Sometimes his pipeline would bring in a child in the black, a child to hide,” she explains. She nods at Sarah and confirms that she was one of those children. Sarah asks why they needed to hide her. “We didn’t ask what we didn’t need to know,” Siobhan answers. “I had a chance to legitimize a child so I became your legal guardian.” Why this child, Siobhan? Why that time? Her last contact with Carlton was right before he was about to be arrested. “He warned me, he begged me, to move you away, to hide you deeper. So,” she looks over at Fee, “I left everyone I knew and I brought you and Felix here.” A mother now herself, Sarah would move heaven and earth to protect Kira. For the first time, she finally gets the depth of Siobhan’s love for her. Felix, listening in from the piano bench, is also moved by this revelation of their past. Siobhan, tense from having shared so much that she’s held so secret for so long, exhales heavily and drinks from the glass of whiskey.

Cosima and Delphine in Orphan Black 1.07Delphine and Cosima are having dinner on the upper floor of a restaurant. Delphine decides she should have broken up with her boyfriend when she left Paris and Cos agrees that cold turkey is the only way to go. Apparently Delphine’s fictitious boyfriend was supposed to follow her in a month but she’s now changed her mind. “Oh my God, you’re the asshole!” Cosima whispers facetiously.  Delphine agrees that she is the cold-turkey asshole.

Downstairs, the hostess greets Doctor Leekie. Delphine glances over and points him out to Cosima. “Should we invite him?” Cosima sits back in her chair and does a lot of shrugging but she really does not want to have Leekie intrude on her seduction of Delphine. “You’re single now,” she finally implies and Delphine quickly laughs that Leekie is too old for her. Bet she didn’t tell him that when she banged him in his hotel room. “But his mind is sexy,” Cosima says and with that Delphine agrees. She goes to get Leekie and Cosima stares after her with suspicion.

In the morgue, Cute Colin helps the coroner get out the remaining pieces of Katja for DeAngelis and Art. Jeez, have a party why don’t you. Cute Colin takes out the hand and passes it over to the corner. He reminds Art and DeAngelis that they already checked out the prints. “We’re looking at the whole chain again,” Art tells him. The coroner uses a tool to straighten out Katja’s rigor mortis fingers and DeAngelis practically wets herself. “Check that out. A finger-straightener.” Heh. They joke about how she’s in the wrong department as the coroner prints the hand. Conversationally, DeAngelis asks Cute Colin if he’s ever seen a postmortem spasm. Art rolls his eyes.

Delphine invites Leekie to join her and Cosima. She points Cos out upstairs who is watching and she and Leekie exchange half-hearted waves. Cosima turns away from them and pouts. She’s not missing the convenience of Leekie showing up exactly where she is and definitely does not like having to share Delphine. Joined by the good doctor, Cosima goes right for his jugular and announces that her dissertation is on epigenetic influence on clone cells. Leekie doesn’t flinch but exhorts that it’s a fascinating field. He asks if either of them are aware of the work being done at the Dyad institute. “On immunology, yeah,” Cosima confirms. Leekie explains that they created a pluripotent stem cell line from human baby teeth. Delphine starts to reply, likely with more pre-planned conversation about how wonderful Dyad and Doctor Leekie are, but Cosima knocks her off the reservation by taking control of the situation. She attacks and points out that he’s perfected a number of proprietary cloning techniques, “in bacteria, amphibians, insects, human skin grafts. And you’re patenting transgenic embryonic stem cells?” Leekie admits that they hope to do that once they get the necessary approvals, “but that is not public knowledge,” he chides playfully. Cosima laughs too and reveals that she did some digging and then just guessed. Correctly as it turns out. Everyone laughs and realigns their expectations of their opponent. Delphine fondly searches for a word to describe Cosima. Leekie supplies “cheeky” and isn’t too pleased about it. He knows he’s been out-maneuvered tonight. “That’s why I like her,” Delphine adds. Cosima preens.

In Olivier’s office beneath Neolution, Paul is getting the news that Beth is dead. “Why?” he asks. Olivier says he can’t answer that. Paul asks who Sarah is and all Olivier can tell him is that Sarah comes from Europe. Paul is putting all these pieces in with what he already knows from Sarah. “So, did this imposter kill Beth?” Olivier says that’s what they suspect and that she’s killed other subjects. “Yet Paul, she still seems to share your bed.” Paul doesn’t know what to say about that. “To me, she’s still Beth.” Regardless of what Paul thinks, Olivier still needs him to bring Sarah to the club. “Where in Europe?” Paul asks. Olivier doesn’t think it matters. “It’s a big place,” Paul points out. “England, Spain, what?” He’s hungry for anything he can learn about Sarah. “Whether I believe you or not,” Olivier says ignoring this, “loyalty is proven in the moment, after all.” He lays out pictures of Paul in combat uniform, ending with one of a bloody Paul on his knees and under guard. “And loyalty has its rewards.” Paul’s face goes hard as he looks between the photos and Olivier. “I know what I did, Olivier,” he says. Olivier promises that if Paul helps make “this right, Afghanistan goes away. You’re free of your debt to us. You get your life back, Paul.” Paul agrees but glares at Olivier. “Can I get my phone back?” he asks in his Batman voice.

At the restaurant, Leekie suggests both women apply to the Dyad Institute. Delphine takes her cue but Cosima demurs that she’s just a geek girl from Berkeley. Leekie smarms that he can tell Cosima has a unique perspective. “You could be on the cover of Scientific American.” Cosima drops her smile and leans forward to call him on his bullshit. “Scientific American doesn’t put scientists on the cover.” Her point here is that if she was on the cover of the magazine it would be as the subject, not the scientist. Leekie counters with the cliché that every rule needs to be broken and he and Cosima eye duel for a few seconds while Delphine very careful stays out of the line of fire and sips her wine.

Sarah and Fee prepared to leave Mrs. S.’s Siobhan’s hands over the photo album and says she understands if Sarah has to go back into her past in order to move forward. “Just tell me. It may still be dangerous.” Glancing over at where Kira plays with Fee, Sarah quietly admits she thinks so too. Mrs. S. vows that she can keep Kira safe just as she once did Sarah. Moved and grateful and finally understanding just how lucky she was to land with Siobhan as a child, Sarah spontaneously embraces her. They hold one another for a poignant moment one Felix is all too relieved and interested to see.

Olivier pulls a chair around to sit right across from Paul. Astrid silently stands behind Paul and, once Olivier is settled, hands Paul his Blackberry. Olivier orders Paul to put it on speaker.

At Mrs. S.’s Kira begs Sarah for one more story. She picks Kira up to take her to bed when her phone rings. “Monkey-swing to Felix,” she sing-songs and lightly tosses Kira over. Frowning at the read out, she cautiously answers the phone as she stares up the stairs at Fee and Kira. “Hello Beth,” Paul says. He stares straight at Olivier the whole time he’s speaking to her. Sarah pauses as she processes his deliberate use of Beth’s name. “What’s up?” Paul: “Not much.” Oh yeah, everything’s just duckie. He says he needs her to do something for him. “They know you’re not Beth,” he growls in his Batman voice and openly glares at Olivier who smiles slightly. Knew it. “Run!” Paul leaps up to choke Olivier but as they struggle, Astrid pops the cap off a hypodermic needle, slides up behind Paul, and jabs him in the back of the neck. Together, the two Neolutionists lower a dazed Paul back into the chair. Sarah stares at her now silent phone and frets.

Sarah and Fee pull up in front of Neolution in Paul’s Range Rover. Fee insists that he gets it. “Black-Ops Paul just proved he’s down with you for real, but he also said run.” But Sarah can’t just leave Paul to his fate. “It’s probably my fault he’s in there in the first place.” Fee wants to know how Sarah knows Paul is still at Neolution and Sarah says she doesn’t but she has to try. “So what are you going to do? Take Cosima’s bad advice and fess up to Olivier?” But Sarah has an even worse idea than that.

Back at the condo, Helena is hoovering her way through a bowl of cereal with Paul’s picture propped up in front of her for company. “How was your day, Paul?” she asks the photo. So that’s three Clone Sisters now who have had a jones for Paul. Wow. They really chose him well, didn’t they? “Yes,” Helena decides. “I also had a pleasant day. I went working and shopping.” It’s almost like she in a language emersion class. “Ou est la bibliothèque?” Her phone rings. “Pardon me. It’s work,” she says to Paul’s picture.

Answering the phone, she reminds Sarah that’s almost midnight. “Do you have names for me?” Sarah says she does, “Olivier.” Helena frowns and knocks Paul’s picture face down. “That’s not the name of a sheep.” Sarah: “A sheep?” Helena: “Baaaaaaaa.” HAHAHA!! Sarah tells her that Olivier is more important than a sheep. “He’s a shepherd.” She wants Helena to come and meet her at Neolution. Helena chews on her spoon but smiles.

At the club, Fee and Sarah try to get in the same way Fee got out, but the door is locked from the outside. Fee tells her he saw Paul come up that way from the basement. “I know that Olivier’s office has got to be down there.” Fortunately, the door opens to expel a couple and Sarah hurries to catch it. Breathless, she tells Fee to call Art and tell him everything if she’s not back in 15 minutes, “and make sure Kira’s safe.” Fee agrees without hesitation. “Sarah!” he calls her back. “Just don’t die, because your first funeral was just agonizing enough.”

Beautiful people gyrate in the club. Underneath, Sarah shows up on the security cams as she hurries down the stairs and into the basement. She pulls her hood up when she sees the cameras. I guess it’s a makes-you-invisible hood. Sarah roams a few brick and mortar hallways until Astrid finally finds her.

Paul in Orphan Black 1.07Paul is tied to the chair as Olivier beats him about the face. Cheating! He demands to know for whom Paul is working. Paul groggily denies he’s working for anyone. “Then why protect her? I told you she was a killer. Was she that good? ” Oh, asshole! Astrid slides the door open announces she has “Beth” to see Olivier. He looks up with this hilarious expression of what was that now? Astrid pushes the door open farther to reveal Sarah. Paul squirms in his seat but can’t see Sarah due to being tied to the chair.

Sarah gets right in Olivier’s face. Astrid hands over the fish knife Sarah had on her. “I told you to run,” Paul says frantically as though she might still make a break for it even now. “Yeah, I don’t do run,” Sarah retorts. This is the second time Sarah, once a grifter and loner out mainly for herself has made the conscious decision not to run when running is what she’s been doing all her life. First time it was for her Clone Sisters. This time it’s for Paul. Just as he proved he’s truly on her side, Sarah just showed Paul she’s in it with him. Paul is frustrated by her stubbornness even as he gets it. Plus, he’s seriously doped up. Olivier dismisses Astrid (unwisely) as she and Sarah stare one anther down and Paul twitches in the chair.

Outside, Fee waits impatiently in the Rover. A pair of clubbers come out of nowhere, startling him. Downstairs, Olivier leaves a message for Leekie to call him as soon as he can. Sarah eases up next to Paul and lays her hand on his shoulder while keeping her attention on Olivier. She steps up next to the chair and Paul, unable to move anything else, leans his forehead into Sarah’s belly. Sarah turns her back on Olivier and strokes the back of Paul’s head. I love this moment. It’s a quick second in the midst of serious shit that adds a physical connection to the commitment they just made to one another. Paul looks up at her with just naked emotion on his face. Olivier smarms that he’s never seen “one of you in the flesh” in all the years he’s worked for Neolution. “You’re even more beautiful in person.” I’m not sure if he’s seeing Sarah here as a woman or as a clone and thus a beautiful example of the ethos of Neolution.

With a shade of his Batman voice, Paul tells her Olivier thinks Sarah is the Clone Killer. Sarah scoffs at this. Olivier claims they have medical evidence that she isn’t Beth. “How can they tell that if we’re genetically identical?” Sarah wonders. Olivier excuses that he’s not a scientist but Sarah doesn’t care as he’s still got the wrong clone. “The one whose killing us is blonde, she’s Ukrainian, she’s a religious nut.” Olivier pays no attention but merely goes on that Sarah has created a new brand of fratricide. Sarah again denies being the killer as Olivier gets in her space and calls her exquisite. Sarah retreats before him. “What do you people want?” Olivier: “The future.” Sarah scoffs at Neolution’s self-directed evolution shtick. “You want to grow a tail, that’s your business.”

Olivier is pleased that Sarah knows about his “modest enhancement.” Paul sneers at Olivier’s ass. “You’ve got a tail?” His delivery cracks me up. I like drugged Paul! Olivier goes on about how the fact that he has a tail millions of years after humans shed it reminds him of what they can achieve. He strokes Sarah’s hair. She flinches. He asks if she’d like to see his tail and she knocks his arm away and recoils in disgust. Olivier takes his jacket off anyway, tossing it over Paul’s leg as though he nothing more than a clothes horse. He explains the tail came via an Argentinean bio-hack. “Blood flow. Nerve endings. Warm to the touch.” Sarah squirms with disgust and a little curiosity I think. “But it’s merely performance art, compared to you,” he adds as he unbuckles his belt. “You are our greatest achievement.”

Fortunately, his phone rings before he can do much more stripping. As he moves back to the desk, Sarah returns to Paul side and yanks the jacket from his leg. Paul leans his forehead against her arm, needing that connection again. We are in such deep shit. At the hotel, Leekie pops some Alka Seltzer after the dinner with Delphine and Cosima. Is that thanks to the food or did Cosima give you regurge? Olivier crows that he’s got the killer and, after a pregnant pause, Leekie orders he get Sarah ready to travel. “I’ll be there in the morning.”

Astrid puts a hood over Sarah’s head, zips cuffs her hands, and leads her back down the basement corridor. Still tied to the chair, Paul watches her progression on the security monitors behind Olivier’s desk. In one screen, Helena is pictured entering the club with the hood up on her jacket to hide her face. Somehow, Paul and Olivier miss this, transfixed as they are at watching Astrid and Sarah. Olivier notes that Sarah is irresistible. He understands why Paul did this. “If I was in your position, I’d fall in love with her too.” Paul looks behind Olivier to watch as Helena knocks Astrid out.

Sarah hyperventilates under the hood that Helena has not yet removed. “Hello friend,” Helena croons. “Do you want to be saved?” Sarah orders Helena to untie her, but first Helena wants the name of another sheep. She chokes Sarah through the hood until she agrees to give her a name. Again, totally plausible and organic plot reason for the hood to remain on Sarah that also serves as a mechanism by which to have two clones in the scene at the same time.

Olivier holds the fish knife against Paul’s throat and whines that Paul made a fool of him. I think the tail took care of that for you, pal. “You made a fatal error, Paul. You trusted the wrong person.” Paul does not seem to be too worried. He again looks over Olivier’s shoulder at the security screen. This time Olivier follows his direction to see Astrid sprawl face down on the ground and Sarah sitting alone still hooded and with her hands tied. Olivier hurries off as Paul frowns at the screen, worried.

Olivier bursts into the room where Astrid and Sarah are, fish knife in hand, but when he removes the hood, he reveals Helena. He holds the knife up at her face and asks who she is. “I want to see your tail,” Helena says as though it’s obvious. She knocks Olivier about, smacks him face down on the table, and holds the knife to his throat. “Now show me the tail,” she orders. “Slowly.” Olivier fumbles to lower his trousers far enough to reveal the tail. Not as much fun when you’re the one being victimized by it, is it?

Olivier's tail in Orphan Black 1x07Oh, the tail. A prosthetic achievement, no question, but ugh. It flops around like the back end of a parasite. Helena: “How is this possible? Did you lie with a beast?” Ha! Olivier pleads for his life, begging for Helena to let him help her. “You’re a miracle.” Helena tells him she has a message for his master from Tomas. She grabs the squiggling tail in her hand and cuts it off. Olivier screams as blood spurts from the remaining base of the tail. Oh, seriously gross!

Paul is watches all of this on the security feed. He looks over to another screen in time to see Sarah running back toward the office now wearing Helena’s jacket. She runs up to him and Paul gapes at her. She looks up at the screens and realizes what he’s witnessed. “I guess there’s a few things I should’ve told you.” Paul: “You think?” Heh.

Outside, Fee has hit his fifteen minute mark and then some I should imagine. He pulls out Art’s business card and makes an anonymous call. “I need to talk to you about Beth Childs.” As he’s about to spill the beans to Art, Sarah bangs on the passenger window, a weakened Paul draped around her. “Wrong number,” he tells Art and disconnects. Inside the club, Helena, fish knife in hand, has an apoplectic fit dances among the Neolutionists.

Back at Felix’s Fun Flat, Sarah, Fee and Paul debrief over booze. Such a good idea. Paul repeats that Sarah had to give Helena a name and Sarah says she didn’t have a choice. “I gave her mine. I told her who I was.” Fee objects. “Psst! She’s got a thing for me,” Sarah says looking at Paul. Paul sets his glass down, gently takes Sarah’s hand, and looks at her with all that naked emotion on display again. She’s not the only one. Startled, Sarah looks at their joined hands and then at Paul. Fee, seeing what’s what, decides he’s going to go get drunk by himself at Bobby’s Bar. Paul and Sarah pay him almost no mind. “We can’t go back to the townhouse,” Paul tells her quietly. “It’s not safe; they’ll be looking for us.” But Sarah has had enough of the planning and not-running and strategizing and the double and triple lives. At the moment, the only thing she wants is Paul. Fee leaves them to it as Sarah steps into Paul and kisses him. This is the first time they’ve been intimate since Paul figured out she wasn’t Beth. This is Sarah and Paul for the first time together.

Cosima stares at the Dyad business card as she pours some red wine. Delphine sidles out from the bedroom so I’m gonna guess she was in the toilet. Delphine suggests that working for Doctor Leekie would be the opportunity of a lifetime for Cosima, but Cos already knows this. Delphine doesn’t understand why then Cosima is being so coy. “Don’t you think it’s time we admit what this is really about?” Cos asks. She leans in and kisses a stunned Delphine who, after a moment, pulls back although with a genuine smile. Cos frets that she made a huge mistake, but Delphine insists that’s not the case and rather that she has to go. She hurries out and Cosima stews.

At the cop shop, Art decides to go home and tells DeAngelis to go too. But she calls him back as the fingerprint results finally come through on Beth. “Who’s Sarah Manning?” she wonders as Sarah’s mug shot pops up on her computer screen. Art’s sneer is back in place. “And why the hell does she look like Beth?”

End credits.

Next week: “Entangled Bank”

 


Kiersten Hallie Krum writes smart, sharp & sexy romantic suspense. Find her snarking her way across social media as @kierstenkrum and on her web site and blog at www.kierstenkrum.com.

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2 comments
LondynNow
1. LondynNow
Another fabulous episode and fabulous recap/review. Only 3 episodes left :(
So many wonderful big and small moments in episode 7. I mean that lunch alone is worth the price of admission (and Helena's pitiful assessment of what makes a "nice" restaurant so neatly encapsulates her whole being. And pouring the sugar on the jello. And the face Tatiana pulls after eating the sugar-topped jello. And the "working and shopping" exchange with Paul's snapshot.).
Two big things I thought showed how much Sarah has grown and changed in just the last few episodes, both of which you mentioned. Telling Paul so readily that she'd doesn't "do run." Running- from responsibility, poor choices, the authorities - had been her life until quite recently. And when she decided not to run the first time, with Alison's money, that was something she struggled with and was a last moment pull back. But this time she doesn't even hesitate. The other is when she reaches out to Siobhan and hugs her. How many years do you think it had been since Sarah had last done that? Had she ever? To me, this was different than a couple episodes prior when Sarah touched S' hand, not just because of the scale of the action but because the hug wasn't followed by an "I need your help..." kind of statement or to get anything in particular from Siobhan. It wasn't at all calculated in my view. She simply finally understood the enormity of what S had done and sacrificed for her. Because she's finally trying to do the same, to be that person, for Kira. It was a well earned moment, and all the more moving for it.
And how much did I love Fee (of a "different kind of bad") at the club and telling Sarah not to die, and teaching Kira to play Queen? So, so much.
Kiersten Hallie Krum
2. Kiersten
@LondynNow - that's it exactly. I love how well the relationships evolve on this show without every moment having to be action or over blown drama. You can see on Siobhan's face how much that embrace means to her and you can tell Sarah is finally coming into her own and growing up in a way she never has before. Part of that is being "good enough" for Kira, part is coming to understand Siobhan, part is seeing herself (and not herself) in her Clone Sisters, and part what's happening with Paul. Fee it the one constant that grows with her since he's been her touchpoint most of her life
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