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 9, “Unconscious Selection”...
An ambulance races for the hospital. Inside, the paramedics report Kira’s condition to the emergency room as Sarah cries over her daughter and a distraught Siobhan holds up the rear door. The doctor’s rush Kira to triage, Sarah and Siobhan begging her all the way to stay with them. The nurse bars the women from the triage room and Siobhan is forced to restrain a hysterical Sarah. She smacks the door as Siobhan tearful implores her to let the doctors do their job.
The doctors work frantically to save Kira. One nurse says the OR is being prepped. In the waiting room, Felix has arrived to join the women. He gets up to pace, revealing Siobhan who is staring off into space. Sarah is wrecked. “I should’ve known Helena would find us.” This startles Siobhan back to the present. “I should’ve stopped her,” Sarah self-castigates. Siobhan immediately goes to comfort Sarah. “I won’t have you blaming yourself. You did not bring this on.” Fee frets and tries to reassure Sarah that Kira will be okay. “She has to be.” A suddenly very sober Alison tentatively joins them and offers to get coffee. All this vomiting of emotional distress makes her uncomfortable even as she can’t help but empathize. Naturally, her default mechanism is to fall back on the niceties of social interaction: food and coffee.
Sarah shoots her a look and Fee wearily takes Alison aside. “I know you mean well, it’s just…” Alison already knows. “I’m in the way,” she says matter-of-fact and Fee just as easily agrees. They sit quietly together and wait. The fact that Fee has developed a completely different relationship with a Clone Sister than the one he has with his actual sister is just lovely. Alison whispers that she can’t help but feel that it’s her daughter in the surgical theatre. Fee sincerely suggests that Alison should go home and get some sleep. “I can’t go home, Felix,” Alison says earnestly. “I assaulted my monitor. I’m gonna get black bagged like Sarah and…carted away to God knows where.” They gaze at Sarah and Siobhan for a moment. Fee offers Alison his place. A more authentic demonstration of Fee’s acceptance of Alison could not be made. He puts the flat keys in her hand and squeezes it. Alison, recognizing what he’s offered her, thanks him. He promises to call if they hear anything about Kira. Alison gets up and carefully approaches Sarah and Siobhan. I don’t think Siobhan is even in her body at the moment and Sarah doesn’t even know Alison’s there. Her entire being yearns toward Kira. To her credit, Alison doesn’t force the issue but quietly leaves.
In the triage room, a nurse ultrasounds Kira’s belly while the doctor looks at her x-rays and another nurse checks her rather heart rate and blood pressure. The nurse calls the doctor over to look at the ultrasound images. Both medical professionals are shocked at what they see.
Outside, Sarah is barely holding it together. When the doctor emerges from the triage room, she leaps to her feet. “It looks like Kira is going to be okay,” the doctor says with no small sense of wonder. Still in shock, Sarah can’t really process. “What does ‘looks like’ mean?” The doctor explains that while Kira is still sedated, all of her vitals are responding and they’ve found no internal bleeding or head trauma. “I think she’s going to be fine,” he finishes with a relieved chuckled. Sarah can’t believe it. “She was run right over,” she cries. “I saw it.” The doctor says then Kira is a very lucky girl. Fee embraces Sarah as she finally breaks down. Siobhan, Sarah, and Felix all cry together as they look through the glass doors at the completely unharmed Kira.
Back home in Kira’s bedroom, Sarah stands guard over her groggy daughter. “Mommy, she looks like you,” Kira murmurs. “She looks like Mommy.” Sarah promises to keep Kira safe from Helena. Over at the floating gulag, Helena tosses and turns on the cot and literally beats herself up for what happened to Kira. “There was a girl, a little girl,” she moans to Tomas who sits in the chair next to the cot. With his natural grace and sensitivity, Tomas orders Helena to pull herself together. “Sarah is a mother,” Helena confesses. Tomas dismisses this as ridiculous. “Not possible.” In the next moment, he realizes the ramifications if it’s true. He yanks Kira’s letter from Helena’s clutch. She sits up as he reads it. “The girl was hit by a car because of me,” she realizes.
Sarah joins Siobhan and Fee downstairs and confirms that Kira’s asleep. Siobhan gently asks if Sarah’s thanking her lucky stars. “I don’t believe in miracles,” she says flatly. Fee tries to reassure Sarah that Kira got lucky just like the doctor said. But Sarah was there; she knows better. No one comes back from the kind of hit that Kira took. Siobhan advises Sarah to count her blessings. “Move on to your worries.” This at least Sarah can get behind. “Yeah, Helena’s got to go.”
Angie tells Art she has a dozen reasons with which she can bring Sarah/Beth back in the station for interrogation. “Look we got three sets of matching prints. Jumper looks just like her. And we’ve got a smooth little rent boy who’s connected to them both.” Art knows she’s right. “Here we got Jane Doe, the one who started it all,” Angie adds, holding up Beth’s head shot up against the image of the partial facial reconstruction. “Bet you a hundred bucks I know what she’s gonna look like when Beckworth is done with the reconstruction.” Art argues that she has no charge that would stick to Beth yet. “Obstruction?” Angie argues back. “This all ties back to Beth’s shooting. She could be protecting the killer!” Art shushes her as the lieutenant comes over to ask how they’re doing but also because the last place he wants to go is back to Beth’s shooting of Maggie Chen that he helped to cover up. Art asks the lieutenant to give them till the end of the day and Angie backs him up…for the moment. Once he moves on, Art fires back at Angie, asking if she expects him to throw his ex-partner under the bus. “If I’m wrong about this, you’ll be the last partner I’ll ever have.” But Angie is done taking Art’s excuses and finally comes out and asks if Sarah/Beth has something on him. Art gives her a complicated look, smug, confident, and a little insulted, but he doesn’t answer her, merely repeats the end of day deadline.
On the floating gulag, Helena spirals while Tomas fumes over Kira’s letter to Sarah. He growls that if it’s true that Sarah is Kira’s natural mother, how could Helena have let her go? “The child is innocent,” Helena says with conviction. “I did what I was told; I used Sarah to get to the others.” Tomas shouts, “Then where are the others?!” and throws Kira’s letter to the ground. Helena scrambles for it while Tomas again asks why Sarah is still alive. “That man, Olivier! I took off his beast tail for you,” Helena shouts back. Tomas hisses that Helena did that to get Doctor Leekie’s attention. “That child will be valuable to them.” Helena’s phone rings and she and Tomas struggle for control of it, but Helena loses. Knowing Sarah’s calling (she's probably the only number in the phone), Helena lunges for it again, but Tomas holds it out of reach. “Tell her to come here,” he orders. Helena shakes her head and Tomas shouts, “Tell her!” He connects the call and Sarah calls out Helena’s name.
“Is Kira all right?” Helena asks, getting right to what matters to her most. Sarah says she’ll only tell Helena in person. “Where are you?” Helena grasps Tomas’s wrist to keep the phone one last second. “It was an accident,” she tells Sarah. Tomas again orders Helena to tell Sarah to come to the floating gulag. But Helena has had enough of her master. She slaps the phone out of his hand and across the room. Helena scrambles after it but Tomas is faster, bigger, and healthier. He knocks her back hard. Sarah can hear all the scrambling through the phone but she has no idea what’s actually happening. Chocking it up to more of Helena’s crazy, she disconnects.
Paul and Doctor Headroom have returned to the condo. Leekie compliments the place as being perfect for a young couple. With arms crossed, Paul perches on the back of the couch and waits. Leekie laughs over the photo of Paul and Beth that Olivier had handled when he and Astrid invaded. “Very convincing.” Less convincing was the lie that Olivier told at Paul’s instruction. “What lie?” Paul asks flatly. Leekie picks up another picture of Beth and Paul in happier days as he reveals that someone tampered with the security footage at Club Neolution. Even so, he knows there were two clones at the club that night. Paul is in full Batman mode, which alone gives Leekie all the confirmation he needs. “I’ve searched for the lost clone, Helena, for years.” Leekie calls her his white whale. Charming. “But she’s feral. She couldn’t fool you. Impersonate Beth…under this roof…in that bed. But Sarah Manning could.” Paul knows the gig is up.
At Felix’s Fun Flat, Alison is in full soccer mom mode. While elevator muzik plays over the soundtrack, she goes into full Monica-mode, cleaning and disinfecting the flat from top to bottom. Fee returns just as she’s finishing the hovering and is less than pleased. Alison asks if it’s true that Kira is going to be okay. “Yeah, miraculous recovery,” Fee tosses off as he takes in the changes to his flat. “Ah, where’s the—ah…” he makes a motion as though holding a joint. Alison quickly assures him his drug paraphernalia is in a drawer. “So is the paraphernalia that was by your bed.”
“Did you wash that too?” Fee deadpans. Alison shoots him a look. She totally washed that too. Declining to (verbally) answer, Alison explains that her children are at her mother’s as she, Alison, is a danger to them and so she was thinking she could use FFF as a base while she searches for an apartment. While she talks, Fee collapses face down on the (clean) couch. “No!” Fee moans. Alison carries on cleaning as she natters about how Donnie’s staying away from the house for a few days and she needs to go by and pick up stuff. Fee pulls the blanket over his face and finally concedes to her staying at FFF for one night, “just don’t wake me on your way back in.” Gonna get pretty crowded there if Paul and Sarah come back.
Alison pauses and then quietly pleads for Felix to go back to the suburbs with her. “I’m a pariah. I can’t go back there on my own. I need you to be my wing man.” Fee gapes at her. “Are you bloody serious?!” Alison takes his hand in hers. “Please?” she says, plaintive and sincere. Fee studies her for a moment. I just love the development of their relationship, especially when I remember it began with Alison holding a gun on Fee in her back yard and threatening to shoot him. You’ve come a long way, baby. Both of you. “I need to change,” Felix finally declares. “Fetch me something gay.” Ha!
Cosima and Sarah chat on their PinkMobiles. Cosima is in the lab so her part of the convo is whispered. Sarah is folding clothes in Kira’s room, so she does much the same. Cosima is extremely relieved to hear of Kira’s recovery. Sarah wonders if Kira might be different because she’s Sarah’s daughter. Cosima admits it’s a possibility that Sarah could’ve passed some of her genetic modifications down to her daughter. Like what? “I don’t know,” Cosima answers. “Lizards re-grow limbs.” “Cosima, Kira’s not a lizard,” Sarah retorts. Cosima dials back but points out that it’s not magic. “It’s just stem cells.” She tells Sarah about the lab tech who’s sequencing both Katja and Cosima’s DNA to see if the illness Katja was suffering from when she died is genetic. Cosima offers to have the tech compare Sarah and Kira’s DNA strands as well. Sarah declines. “I’m not giving you our genetic material. You’d probably hand it over to Delphine.” Cosima protests that she’s just doing what they agreed on, following the science. “I worry about scientists more than science,” Sarah admits.
The doorbell to Mrs. S.’s house rings and Sarah’s head jerks up in response. She disconnects with Cosima and hurries down the stairs to cut Siobhan off at the pass. Mrs. S. is intrigued and hangs around to see Paul arrive. He’s brought coloring books and puzzles for Kira. Aw. Clearly, they’ve been in contact if not in the same place. Sarah introduces Paul and Siobhan to each other. They shake hands and Paul is so extremely a polite, clean cut, successful alpha male, Siobhan is a tad taken aback. So very much not like the men Sarah’s usually brought home, when she’s brought them home that is. “She knows everything,” Sarah tells Paul off-handedly. “Well, not everything,” Siobhan says dryly with an appreciative, if surprised, arched look at Paul. “Clearly.” Sarah’s a little proud to present Paul to her foster mom, I think. She knows he’ll easily pass Mrs. S.’s muster, both her public face and her hides-radicals-from-The-Man subversive face. Paul gets down to business right away though, cautioning them not to hold the bad news he bears against him. “Doctor Leekie knows who you are, Sarah.”
Helena fights Tomas as he drags and shoves her through the floating gulag. “Let me go! Let me go!” He strips the jacket from her and bodily lifts her up to throw her inside an animal cage. Helena can’t get to the door before Tomas chains it shut. She sobs brokenly and clutches the bars of her cage, shaking the door. “I gave you everything!” Tomas laments as Helena grunts and clutches for him. “A reason for living and in return…weakness.” Helena begs him to let her out. “If you protect this forgery,” he says ignoring her and slams his hand against the cage door to thrust her backward, “you’re no better that they are.” Helena completely loses her shit, screaming at him wordlessly and basically behaving exactly like he’s treating her—like a feral animal. “You’re no better than they are!” he shouts again as she wails and sobs and uselessly bangs away at her prison.
Ye gods. No wonder she’s bat shit crazy. Poor Helena. The whole nature vs. nurture study being done in this show is just—well, it’s heartbreaking, really.
Back at Siobhan’s, Sarah and Paul are discussing what to do about Leekie. Sarah’s surprised Doctor Headroom wants to meet with her. “He says he wants to make a deal,” Paul informs her. “He knows you’re aware and in contact with each other.” Sarah wants to know where the not-so-good doctor got his information. “Did Cosima give me up?” I guess she’s updated him about Cosima now too probably in their first post-Neolution chat. Paul thinks this is an opportunity for Sarah. She grimaces. “You sound exactly like her,” she accuses. Paul admits that he doesn’t trust Leekie either, “but the genie’s out of the bottle. For them too. Your interests have aligned; you could get answers.” Sarah thinks she could also get black bagged and abducted. Paul suggests there may be a way to meet with Leekie safely. “On your terms.” Sarah thinks about it.
At the university, Cosima’s Lab Tech Guy has finished sequencing and analyzing more than 4000 base pairs from each of the two samples Cosima gave him. He gives a science-y explanation that basically means the DNA sequences of Cosima and Katja are not, in fact, identical. “That’s—that’s crazy,” she murmurs. Lab Tech Guy asks what she’s looking for; he knows it’s not respiratory disease. Delphine arrives before Cosima has to fabricate an answer and she introduces the French woman to “Scott.” The women make plans for Delphine to come over later
and have sex and then they kiss, which catapults Scott into his first sexual experience right there in the lab.
Sarah hovers over Kira to kiss her goodbye. When she turns, it’s to find Siobhan lounging in the doorway watching. Sarah asks Siobhan to tell Kira that she’ll be right back. “Are you going to be okay here?” For answer, Siobhan pulls her shotgun into view, already loaded and ready for clone. “Don’t you worry about Helena,” she assures Sarah. Sarah smiles and admits she forgot about the shotgun. Siobhan: “One of the great things about this country: Hunting’s not just for the rich.” That line in her Irish accent always makes me think of the movie Far and Away. Sarah takes one more look back at the sleeping Kira and then hurries down the stairs, pulling Beth’s ringing mobile from her pocket along the way. Sarah/Beth tells Art that she’s busy, but Art obnoxiously replies that “Pilates can wait. We need to talk. Off the record this time. No one else.” He tells her it’s her last chance and she agrees to meet him.
Fee and Alison let themselves into her house, Fee griping about how he gets crow’s feet when he doesn’t get enough sleep. Alison promises to have him back on his couch in a jiff, but stops short when she sees her husband, her reverend, her mother-in-law, Meera and her husband, Cherry and her husband, and Aynsley all waiting for her in her den. As the reverend spouts some claptrap, Alison realizes they’ve gathered to give her an intervention. “This is bullshit!” Ha! Felix immediately intervenes by introducing himself. “Gay friend.” “Acting coach,” Alison says right after him. The reverend hurries to say that’s perfectly fine with them. “Which one?” Fee asks and what makes that quip gold is that he genuine means it. The reverend invites Alison and Felix to join the group. Fee is beginning to enjoy this and perches on the bottom step as Alison takes the chair set out for her.
There’s more claptrap from the reverend about how all Alison’s friends have put aside their hurt to come talk to her…about their hurt. Donnie starts by saying the pills and drinking are getting out of hand and have to stop. All the bobble heads in the room nod along with him. Donnie goes on about how the constant criticism and abuse has been very hard for him to bear. The reverend encourages him to be specific. “You hit me with a golf club,” Donnie whines. “You burned my chest with hot glue. It still hurts in the shower, Alison!” Heh. Alison starts to reply, but the reverend cuts her off to say it’s more important for her to listen at the moment. Now it’s Aynsley’s turn to bitch about Alison ruining her marriage by taking advantage of Chad before threatening and assaulting Aynsley in the street. “But I think what really hurts is that you turned your back on our friendship.” Oh please. Donnie says it’s not just about them but also about their kids
and the secret group of fringe scientists to whom he is indebted and for whom he spies on you. “Do you really want to break up our family?” This hits Alison right where she lives. Crying, she runs from the room and up the stairs, Fee right behind her.
At the gravel quarry where so much of it all began, Sarah pulls the Jag up inverse to Art’s car. She tells him she has two minutes. “That’s all I get for two years by your side.” He pulls out Felix’s mug shot but Sarah pleads ignorance of his identity. Art informs her Felix is her look-alike Sarah Manning’s foster brother. “You visited his place a few weeks back with seventy-five grand in your trunk, the day I stopped you from skipping town!” Oh, that’s when he’d been at Fee’s place before. Now I geddit. He concludes that it’s all coming back to the Maggie Chen shooting, in which he is complicit. “You don’t wanna go there, Art,” Sarah warns. “You put the phone in Maggie Chen’s hand. You helped me make it look like it was an accident.” Art claims he was trying to help his partner at the time and then again asserts that it’s Sarah/Beth’s last chance to come clean with him. Sarah takes a moment and then puts the car in reverse. “We do what we gotta do,” she says to him. Art’s expression goes hard; that is not what he expected to hear. He genuinely expected her to tell him everything because he demanded she do so and then she went and called his bluff.
In the floating gulag, Helena is throwing everything she has at breaking the lock on her cage to no avail. She spies a large fishing hook on the far wall. Pulling off her belt, she swings it toward the wall to try and catch the hook.
Sarah drives onto a construction site and up to the mobile office. “Sarah, you were right; I was wrong,” Cosima says on the other end of the PinkMobile as Sarah gets out of the Jag. “Okay, what have you done with Cosima cause this definitely isn’t her,” Sarah snarks. Cosima miserably confesses that “they” can tell the Clone Sisters apart by their DNA. “That’s how they knew you weren’t Beth.” Sarah: “So we’re not genetically identical?” Cosima admits that they should be, “but there’s a synthetic sequence. I don’t know what it is exactly, but it’s like a bar code, maybe? Maybe a way to differentiate us.” Sarah agrees it explains how Olivier knew she wasn’t Beth, “but it does not explain how Leekie knew my name.” Cosima is shocked to hear that Leekie knows who Sarah is. “Yeah, and he’s knows we’re in contact. Did you say something to Delphine?” Cosima quickly denies sharing anything with her new lover. “Cause they’re one step closer to Kira,” Sarah adds with heat.
Cosima immediately goes for her secret research stash as she assures Sarah that she would never say anything about her Clone Sister or her daughter. “You are the first one of us to ever even have a child. There’s not even taxonomy in the offspring of a clone.” Sarah looks through the blinds at the SUV headed her way as she tells Cosima she finally got what she wanted, “cause I’m about to meet Leekie.” This stops Cosima in her tracks so hard, she has to sit down. She urges Sarah to give him a chance. “You might be surprised. They care about us. They, they, they have to.” Sarah has a different plan. “Yeah, I was thinking of putting a gun to his head.” They disconnect and Cosima shakes her head at her intransient Clone Sister and then turns to her research, which includes a clipping of Dolly the cloned sheep. Nice.
Paul helps a blindfolded Doctor Leekie from the Range Rover and into the office, needlessly apologizing for the precautions as Leekie completely understands. Once inside, Sarah looks at Leekie and then impatiently gestures for Paul to remove the blindfold. Leekie’s expression upon laying eyes on Sarah is one of a father finally finding his long-lost, beloved daughter. I have to wonder if he was the Y chromosome in the Clone Sisters original Petri dish. Sarah, meanwhile, looks like she’s confronting Voldemort.
Sarah and Doctor Leekie sit across from one another while Paul leans against the wall behind the doctor, keeping guard. Leekie notes that Sarah has already gleaned how this works. “There are many questions that I can’t answer.” Sarah thinks that’s not good enough. Leekie understands her frustrations but like Paul and Olivier, he insists he knows only his part. I call bullshit on that, and Sarah seems to think the same. “So what is your part?” Sarah demands. Leekie explains that he oversees data collection and quantifies the clones well being. He reaches out to stroke her hair. Sarah violently recoils but shoots an “I’m okay” look at Paul who’s already shifting to intercept. But Leekie makes no more moves in her direction. “I look out for you,” he adds. “Not me,” Sarah vows. There’s pride there at having escaped his notice for so long but also accusation that she’d been lost and left to fend for herself for that time too while her other Clone Sisters were placed in outwardly stable homes. “No,” Leekie agrees with affection. “Somehow you got away.” Sarah swears at his attitude and demands he just tell her why. “What is this all about?!”
Leekie offers that they can go much further than that but first have to come to an agreement about Helena. “The common enemy.” Paul interjects that Olivier told him Helena mentioned Tomas. “Who’s that?” That’s one of the few questions Doctor Headroom can actually answer. “Tomas opposes us. Science in general. They’re religious extremists. Prolethians they call themselves,” he mocks. “Right,” Sarah scoffs. “’Neolutionist’ is way better.” Heh. Leekie explains that one of the Prolethian agents infiltrated their project. Sarah correctly guesses that this was Maggie Chen, the woman Beth shot and killed. Leekie reveals she and Tomas found Helena in the convent, “then trained the clone to kill clones.” He chuckles. “Brilliant, really.”
“That’s brilliant,” Sarah repeats with disgust. “Great.” So Tomas didn’t stick Helena in the convent in the first place, which means someone else stole her from the Neolutionists…and presumably Sarah too. With difficulty, Sarah asks if Leekie wants her to kill Helena, but he quickly objects that they don’t want to harm Helena at all. “We want you to bring her in so we can de-program her.” ‘Cause that always works out well. “You do this,” he tells Sarah, “and we can move forward with a new understanding. You and your friends will be free to live as you choose—no monitors,” he promises. Sarah doesn’t believe him. “You’re gonna give us lives?” Leekie chuckles that they always had lives. “They haven’t been directed; just observed. Except in your case,” he tacks on. “And Helena’s,” she reminds him. Leekie objects that Helena’s been under “their” care, “which is far, far worse than ours.” Having seen the cage, I have to agree with him there. He urges her to bring Helena in, “we’ll get her the help she needs.” Paul comes back into focus, his attention fixed on Sarah. Sarah stares at Leekie, not believing a word that comes out of his mouth.
Cosima is visibly upset when Delphine knocks, enters, greets Cosima in French, and then tilts her head back for a passionate kiss. Delphine goes on about having brought promised truffles. The shot shifts to show Cosima’s laptop screen on which is a professional picture of several lab-coat wearing scientists. Delphine asks if Cosima is okay. “Are you?” Cosima asks, not at all friendly. Delphine finally picks up on Cosima’s unhappy vibe. Cosima swings the screen around to show Delphine the picture that includes herself and Doctor Leekie. J’accuse! She calls out the differences between the last name Delphine gave her and the one in the picture. “You’ve already got your doctorate in immunology, don’t you?”
Delphine is so sorry. “I’m so stupid!” Cosima counters. “You knew this whole time,” Delphine says, and it’s not a question. Cosima confirms that she knew about the false transcript Delphine “accidentally” left behind and the fake boyfriend in Paris, “pretending you didn’t know who Doctor Leekie was. I knew it was bullshit, but I still thought you were on my side. I wanted to trust you.” Delphine protests that Cosima can trust her. “You told Leekie that I know these girls!” Cosima cries. Delphine hurries around the desk and falls to her knees before Cosima, clutching her hands when she tries to pull away. “I had to—he says you’re in danger!” “Of what?!” Cosima shouts back. “You don’t know, do you?” Delphine quietly admits she doesn’t. “Then you’re the real danger, Delphine,” Cosima decides if more quietly.
At Alison’s house, the Stepford Wives and Felix have gathered outside the bathroom in which Alison has sequestered herself. Cherry raps on the door and announces that Alison is only making things worse. Alison cries out that she only wants to talk to Felix. Each of the SWs gets a different expression on her face—Cherry is annoyed and confused, Meera rolls her eyes, and Aynsley is just pissed—while Felix smugly swans his way between them and enters the room. He slams the door in their curious faces and Alison quickly locks it. “This is all Aynsley,” she whispers to Fee. She thinks it all part of her monitor’s experiments. “Yes, how do clones react when ritually humiliated by friends and loved ones?” Fee drawls as he perches on the edge of the tub. Alison sighs and grabs for the pill bottle on the sink counter but Fee stops her. “Sharesies?” Hee. They pop mood stabilizers together and Alison gives him a weak, watery smile.
Miserable, Alison suggests that maybe all of her friends and family are monitors. Fee thinks the reverend might be all right. “Actually, he’s kind of sexy. Man of the cloth and all that.” Alison starts to cry as she asks Felix what she’s going to do about all this. Fee reaches for her hands and leans in. “Put your chin up,” he advises. “Be a woman. This is Backstabbing 101.” Alison whispers that she can’t go back out there. “Of course you can,” Fee counters. “You’re gonna face the music. Eat some humble pie. Hug it out. Play possum. Aynsley’s gonna think she’s won, and you are gonna live to fight another day.” Jeez, how many mixed clichés can we get in one phrase? They stare at each other, now a forged unit, and nod their heads in tandem. Deliberately, Alison gets to her feet and checks her appearance in the mirror. “Can you help me get my face on?” Fee stands behind her a gives her a chiding look in the mirror. “With pleasure,” he says sincerely.
At the train station, Art is finally walking the route along the tracks to where his partner met her death. He turns in place, puzzling the sitch, and catches sight of the security camera. DUH.
Back on her floating gulag, Helena finally manages to snag the fishing hook with her belt. It clangs to the floor, dislodging the belt, and Helena grunts and kicks at her cage in frustration. Across the room, her mobile starts to ring. Looping the belt, Helena now uses it to try to snag the phone.
At Mrs. S.’s an annoyed Sarah disconnects the call. “Helena still won’t answer,” she tells Siobhan. Mrs. S. asks if Sarah intends to turn Helena over to Doctor Leekie but Sarah hasn’t decided. “I don’t know what he’s really gonna do with her, do I?” Siobhan wonders if it matters considering Helena came after Kira. “Yeah, my gut says put a bullet in her myself,” Sarah says passionately. “But you don’t understand what it’s like. I look at Helena and I see me.” Siobhan firmly tells Sarah that she doesn’t owe Helena anything, then switches gears to convey that she got in touch with her people back in England about where Sarah is really from. “They’re scared. As if something is going on over there too.” Oh, that doesn’t sound ominous or anything.
Cosima sniffles as she packs her suitcase. Also crying, Delphine begs Cosima to tell her where she’s going. “Why? So you can tell Leekie?” Cosima snaps. “What else did you tell him?” Delphine insists she only gave Leekie the seven names of the other clones. “Nothing about… Kira.” That brings Cosima’s head up and around with a look of betrayal. “She’s an anomaly, you know that?” Delphine says a bit combative. Cosima emotionally tells Delphine that she can use Cos, “that’s fine, but don’t go near that little girl.” Delphine vows that she didn’t and she won’t. Cosima screams for her to get out. Delphine begs for Cosima to listen to one last thing. “I didn’t mean to fall for you. I wasn’t supposed to. But I have.” Cosima cries how she could possibly believe that now. “Because you feel it!” Delphine cries. “This is not a lie; it’s not possible. You know I’ve never been with a woman before.” Cosima goes mean. “Yeah, it showed.” Delphine’s face falls. She’s now convinced nothing she says is going to make any difference. She leaves without another word and Cosima finally breaks down, sobbing
Back at the train depot, Art gets a look at the security tape from the night Beth jumped to her death. He identifies Beth on the track and then sees punk Sarah approach her. The feed clearly shows Sarah’s face right before Beth turns and jumps in front of the train. Art watches as Sarah strides over and snatches up Beth’s purse. A hard look comes over his face as he finally puts it all together and realizes his partner has been dead for weeks and Sarah’s been playing him all this while.
Helena finally manages to snag the chair with her belt and knock it over so that her jacket is within reach. She yanks out the phone and dials. Sarah lies in Kira’s bed, cradling her daughter as she sleeps. The ringing phone wakes her. “Sarah!” Helena calls desperately, rattling her cage. “You are the only one I can really turn to.”
In the foreground, Paul primes his weapon (unfortunately, not a euphemism) and Sarah shoots it an unfriendly look—the gun, not Paul. Siobhan asks how Sarah knows it’s not a trap. “She was convincing.” Paul puts the gun in his coat pocket. He too thinks it’s a trap and now that Sarah knows where Helena is, she should give Helena over to Leekie. Siobhan agrees with him. “And then what?” Sarah asks. “We’re partners with Leekie and then he’s gonna find out about Kira.” She cuts them both off by admitting she doesn’t know how she’s going to play it. “Just give me a minute,” she says, and heads back upstairs to Kira who’s now awake. “It wasn’t Helena’s fault,” Kira says. Sarah: “What?” Kira explains that she went outside to play with Helena. Sarah asks if Helena told Kira to say that but the little girl says no. “She’s dangerous,” Sarah says in a hard voice. “She’s sick in the head and it makes her want to hurt us.” Kira believes that Helena just needs Sarah’s help. “I’m sorry, Kira, but I don’t think anybody can help Helena now.” Kira does not like hearing that. Sarah slowly goes back downstairs. Glancing around, she notices that neither Paul nor Siobhan are in the parlor. She slips the gun from Paul’s coat, snags her jacket, and slides out of the house without alerting them.
At Alison’s, Meera is helpful going over how she and her children saw Alison shagging Chad in the van. Aynsley takes up the thread by saying how she wishes Alison could just understand how much damage she’s caused. “I mean, we all trusted you.” Alison acknowledges that Aynsley is responsible for this intervention. “You called all these people and told them everything.” “I’m doing this to help you,” Aynsley dramatically insists. “And I thank you,” Alison says. Aynsley and Donnie both smile, mistakenly believing that Alison is coming to her senses. “For scrutinizing every detail of my life since the day I moved into this fishbowl,” Alison adds and Fee starts to proudly grin. “You have pried and snooped and gossiped about me like I was your own personal laboratory subject.” Getting angry again, Alison asks how Aynsley would like it if she turned the other woman’s life inside out. “If I told all these people that Chad, your husband, slept with the spin class instructor long before me. Or that he acts that way because you BLEW THE ROOFER AT THE CABIN!!”
The suburbanites are all delightfully shocked. The reverend tries to get them back on blaming Alison for everything, but she’s had enough. “No more words!” she shouts. Donnie finally grows a pair and throws everybody out, including his mother. Cherry’s husband pats Alison’s shoulder as he leaves. A humiliated Aynsley is the last to go. “This was your olive branch,” she hisses at Alison. “But you’ve torched it! Huge mistake.” After she exits, Alison takes a deep breath and then flips around to Felix. “That went very well,” he compliments. “I think it went well,” she agrees in a similar casual tone. Hee.
Sarah has arrived at the floating gulag with her Hood of Invisibility up and ready to conceal. She makes her way into the bowels of the gulag and then draws Paul’s gun. She locates Helena in her cage without too much difficulty. “You came. How’s Kira?” Helena asks as Sarah silently approaches to stare at her Crazy Clone Sister. Sarah vows that Helena is never going to see Kira again and Helena swears that she’d never hurt the child. Sarah genuinely wishes she could believe Helena, but then gets to her feet and aims Paul’s gun at her. It shakes in her hand; she’s never killed anyone and now she’s effectively preparing to shoot herself. Defeated now that her only hope has failed her (Help me, Obi Clone Kenobi!), Helena drops her head so the gun barrel presses right against her forehead. “Do it,” she says flatly.
Sarah can’t. “You care,” Helena murmurs as Sarah stalks about the room in frustration. “No, I don’t,” Sarah disagrees even as she gets the key to free her. “Stay back, don’t try any shit,” she warns. She kicks the door for added measure to push Helena back before unlocking the padlock. Sarah keeps the gun on her as Helena crawls out of the cage. “You are all I have now,” Helena tells her. She cautiously approaches. Sarah backs away and then sets her feet. Helena slowly embraces her. Sarah doesn’t hug her back but neither is she unmoved by the tragic creature. She knows she just gained one more Clone Sister to protect. What the hell am I going to do now? “I love you,” Helena cries as she holds Sarah. Sarah stands rigid in her embrace.
Tomas opens the door. Helena immediately snatches the gun from Sarah’s hand, shoves Sarah behind her, and aims the pistol at Tomas. That, more than anything, shows how Helena’s convictions have changed. Tomas and Sarah dance back and forth from foot to foot while an increasingly desperate Helena swings the gun between them. Tomas acknowledges Sarah. “You cannot harm her child!” Helena shouts. Tomas dissembles that he has no intention of harming Kira. “The child is innocent,” he says, deliberately using Helena’s earlier words to deceive her he’s on her side. He reminds Helena that she is the light, she is the original. “You know what that means. The child is rightfully your daughter.” Oh, this guy is good.
Sarah screams that he’s lying. “Helena, there’s no original! I told you, we’re the same. Neither of us is original.” Tomas orders Helena to put the gun down. “Go and bring the child home. To her real mother!” Sarah tries again to reach her Clone Sister. “You know that connection you feel? I feel it too. It’s us.” Tomas hisses that Sarah will say anything to save herself. “He locked you in a cage!” Sarah shouts tearfully. “He lied to you your entire life! He’s gonna do that to Kira. He’s gonna hurt Kira the way he hurt you!”
Helena lowers the gun and turns to look at Tomas who smiles all avuncular. “You made me this way,” she says quietly. Sarah carefully slips the gun from Helena’s hand. The minute she does, Helena lunges for Tomas, beating him and taking him to the ground. She hogs ties his hands between his knees and starts to put out his eyes with her thumbs when Sarah cold cocks her. Sarah locks the bleeding Tomas in Helena’s cage. Helena rolls on the floor behind her, hands bound with a zip chord. “I know what you are,” Tomas hisses to Sarah. “Yeah, I’m the one with the keys,” Sarah retorts without missing a beat. “Maybe I’ll give them to Doctor Leekie.” She grabs up Helena’s jacket and bundles her groaning Clone Sister up to help her leave the floating gulag for good.
Sarah sits in the car back at the construction site as Helena calls her name over and over, pleading from where Sarah stuck her…in the trunk of the Jag. Heh. Siobhan rings and asks where Sarah is. “About to give Helena to Leekie. He knows who I am; he’s going to find out about Kira sooner or later.” Siobhan counters that instead Sarah has to get back to her place and bring Helena with her. She’ll explain why when they’ve arrived. As she hangs up, we can see someone else sitting across from Mrs. S. in her parlor. Sarah pulls away…just as Paul arrives with Leekie in the Rover. This time, Doctor Headroom isn’t blindfolded and he gets out of the car and hurries into the mobile office without any oversight from Paul who is instead looking around for Sarah.
At the cop shop, Angie has all the evidence spread out on the tables in the murder room. The lieutenant enters and notes that Angie wanted to see him. “Yeah,” she says, exhaling hard. “It’s about Beth Childs.
Leekie comes out of the office. Paul apologizes. “She said she’d be here.” Leekie nods and makes a call. On the top floor of an office building downtown, a woman stands in the darkened office staring out at the city. Leekie reveals that Helena didn’t show. “Blood is thicker than you think, Aldous,” she concludes without any emotion. Her image is hazily reflected in the window, but bears a strikingly familiar resemblance.
The lieutenant swears as he compares Beth and Sarah’s headshots. He asks how long Art has been sitting on the connection and Angie admits it’s only been a couple of days. Art arrives at that moment. “Really, Angela?” he accuses. She jerks her head but is firm in her conviction that she did the right thing. “You said at the end of the day,” she reminds him. The lieutenant tells Art that they’re going to get an arrest warrant for Beth Childs. “Lieutenant, Beth is dead,” Art informs them. “You need an arrest warrant for Sarah Manning.”
Sarah arrives back at Mrs. S.’s, who immediately asks after Helena’s whereabouts. “I tied her up in the back of the trunk,” Sarah says matter-of-fact. She wants to know what’s going on. Siobhan looks over into the parlor then gently tugs Sarah around to introduce her to Amelia, a lovely black woman whose cornrows are bound up in a colorful scarf. “Look at you,” Amelia says breathlessly in a melodic African accent. “Sarah.” Amelia pauses to get a hold of emotions. “I’m your birth mother,” she reveals baldly. It’s Sarah’s turn to be overwhelmed while Amelia admits she’s probably not what Sarah expected. “I kind of gave up expecting,” Sarah says flatly. Amelia apologizes for the manner of her reveal but she got word Sarah was looking for her and had to leave Cape Town in a hurry as she was being watched. “After all this time, they found me again.”
Settled on the couch, Amelia relates to Sarah and Siobhan how she was only 22 and new to England when a wealthy couple asked her to be their surrogate. It was a legal arrangement, all expenses paid, “but something was off. The medical tests were extensive. And I overheard the couple talking to the doctor about a child unfettered by tradition. An advanced…” she struggles for the right word, “evolution of some kind.” Sarah supplies ‘Neolution’ and Amelia excitedly agrees that was the word they used. “But they weren’t a couple at all,” she explains, “They were scientists. The child I carried wasn’t meant for them. I realized the life inside me was in danger. So I ran. I hid. And gave birth to the two of you in secret.” Sarah flinches hard. “The two of us?” Turns out Amelia had twins and, knowing she couldn’t possibly keep them, she gave the children away. One to the state and one to the church. The truth comes crashing down on Sarah. “Helena?”
Next week season finale: “Endless Forms Most Beautiful”