Orphan Black blew us away last year (you may have seen our Season 1 recaps during the hiatus?) with its riveting performances (led by Tatiana Maslany), brilliant storytelling, and intriguing romances (like Sarah/Paul and Cosima/Delphine). Now it's back for Season 2, and so are our weekly episode recaps. Buckle up—we have a feeling it's going to be quite the ride.
It’s raining in Cloneronto. In a full out panic, Sarah sprints down the sidewalk. She’s running so fast, it’s a struggle to keep her hoodie up to hide her face. Skidding to a stop under the awning of a diner, she pulls out the PinkMobile and dials Felix while chanting “pick up, pick up.” Alas, she gets his voicemail. “Leave it for Felix.” Heh. Sarah leaves a message. “Fee. Shit! Fee where are you? They took ‘em. They took Kira and Mrs. S.” Disconnecting, she’s looks to see where she is. She ducks into the conveniently empty diner. The big, bald bruiser of a cook takes one look at her soaking wet, ragged form in his doorway and immediately offers her of coffee. Sarah concedes that she’ll take tea instead. She slides into a booth and checks her lip, which is still bleeding from her fight with Helena. Pulling out the PinkMobile, she checks the short contact list: Alison, Beth, Cosima, Felix, Paul. She calls the first name on the list only to hear the three-toned ring of, “The number you have reached is not in service at this time.” Swearing, she goes down to contact three: Cosima. “The number you have reached is not in service at this time.” Now she frowns at the phone. Once is annoying; twice means something’s wrong. She clicks on the only name left to her and stares at it with frightened indecision for nearly a full minute. Steeling herself, she calls Paul…and her head nearly hits the table when she gets his voicemail. “Paul, what the hell is going on?! Did Rachel just take my family? I need you to call me now.”I’m a tad puzzled here since they were in the elevator together at the end of season one when she got the news from Cosima that they could not deal with the Dyad Institute. Based on that, I expected them to have made plans to meet up later when Sarah went home only for her to find Kira and Mrs. S. gone. Guess not.
Bruiser brings over her tea but refuses the few coins Sarah tosses on the table. “First one’s on the house.” Yeah, he’s dead for sure. Unused to kindness, Sarah flashes him a wary glance, but thanks him sincerely. Alone again, she pulls out the photo of a younger Mrs. S. in a lab coat that Sarah’s birth mother gave her before Helena killed her. She reads the label on the back again: Leda Group July 22, 1977. The PinkMobile rings; it’s Paul’s name on the screen but when Sarah answers, it’s Rachel’s voice on the other end. Rachel is still in the high rise, gazing out over Cloneronto. “There is a painless way to reunite with Siobhan and Kira,” she promises. “Simply surrender yourself.” The camera pans over her slowly to reveal Paul standing a short distance behind her. Interesting. Sarah bangs the table and calls Rachel a bitch. “Me and Kira are not your bloody subjects,” her voice says over the phone as we get a full shot of Rachel’s office, which reveals her henchman standing behind Paul. So he’s not there on his own volition then. “Neither is Siobhan.” Rachel offers to pretend Sarah didn’t run and honor the terms of her original offer. Sarah threatens Rachel if she harms Kira. Unperturbed, Rachel hangs up on her mid threat.
Before Sarah can regroup, the diner door opens to admit two men whose creepiness couldn’t be more telegraphed if they had blinking neon signs around their necks. One of them is even wearing a bolo tie. The other a suit with no tie. They greet Bruiser who asks what he can get the newcomers. BoloTie asks if the eggs are domesticated and Bruiser asks for clarification. “I believe my friend is asking for free-range eggs. Undomesticated,” NoTie clarifies. Bruiser begins to get testy. “No free-range. No free-run. Just normal eggs.” The NoTie catches a glimpse of Sarah while Bruiser is talking and eases down the counter in her direction. BoloTie doesn’t think those types of eggs are normal at all. “Your chickens have been interfered with.” Bruiser notes that they’re not his chickens. “They’re just my eggs.” He gives BoloTie a don’t fuck with me look and moves down the counter. BoloTie stops baiting him and follows his friend to Sarah’s booth. Sarah scrambles to pull her hoodie up but it’s too late. NoTie slides into the booth across from her and smiles. “I bet you ordered up a whole mess of eggs.” She asks who NoTie is and, standing neck to her blocking her escape, BoloTie triumphantly announces that “she’s got the lilt!” NoTie agrees. “This is the one.” Alarmed, Sarah reaches for the gun at her back but NoTie scolds her and with a look instructs BoloTie to take it. Bruiser looks over in time to see BoloTie lean across the booth, crowding into Sarah’s space as he takes her gun. NoTie indicates Sarah should precede them, which is when Bruiser intervenes, shotgun in hand. He softly tells Sarah to ease on out of the booth. As she does, NoTie asks if she’s sure. “We’ve come to take you to Kira,” he reveals. Sarah demands to know where Kira is. In answer, NoTie shoots Bruiser in the head.
The dead Bruiser falls on the counter and the force of his fall onto the shotgun fires it into BoloTie’s chest. BoloTie flies back across the booth’s table in slow motion, chest a bloody mess. Literally. Sarah is up and running in the next instant, grunting with fear as she streaks to the back of the diner in search of a back door. Calling her name, NoTie pursues without urgency, confident she has nowhere to go. “Sarah!” he calls as she locks herself in a closet bathroom. “Nowhere to run!” Sarah scours the room for an escape and finally pings on a water-weakened spot beneath a small grate on the wall. “We’re your best option,” NoTie calls through the door. Sarah blocks the door with the mop bucket then grabs a fire extinguisher and uses it to pound at the spot on the wall. NoTie bangs on the door. Sarah slams through the wall. Dropping the extinguisher, she kicks at the wall to make the small hole larger. Fed up, NoTie kicks the door in just as Sarah wriggles through the hole. He grabs her legs; whimpering, Sarah kicks him in the face and runs away down the alley.
Hunting for Fee, Sarah enters a gay club called Thumpers. One guy who I thought was Fee at first is in an American flag tank. She finds a bare-chested Felix, but for an opened leather vest, ensconced on a lounge wrapped around a gaggle of men as he tells them they should be extra sweet to him that night. “Holy shit, hi!” he laughs when Sarah slaps him on the leg. “Where have you been?!” she accuses, dragging him from the man pile. “Bloody hell, what?” he snaps back. “What are you doing? Is this why you haven’t answered your phone?” Fee: “Yeah, because I was in the midst of a five-way!” Ha! “We have an emergency and you’re high!” Sarah accuses. “Yeah!” Fee happily agrees. “You are kidding me! What are you wearing?!” she yells, turning him to display the firm buns framed in his assless chaps. He asks her what’s going on. “They took Kira!”
At the bar, Sarah explains that Mrs. S.’s truck and purse were still out the house and the place was trashed, “like they’d been dragged out.” Trying to get his high head, now adored with a cheeky Marlon Brando biker hat, around the sitch, Fee tries to get Sarah to back up but she’s too focused on the need to go and do. Fee wants to know how they don’t know it’s not Helena again but Sarah is dead certain she’s gone. The PinkMobile rings, startling Felix, who clues in that if the other PinkMobiles have been disconnected, then why isn’t Sarah’s? “Probably because they’re tracking that stupid pink burner.” Sarah agrees but answers it anyway. It’s Paul, and Sarah snarkily asks who else is listening. “You know my situation,” Paul says in his Batman voice. Sarah insists on speaking to Mrs. S. Paul looks at Henchman who slowly shakes his head. Paul tells Sarah she’ll have to come in for that. “I don’t see a better choice, Sarah.” She agrees to meet Paul, but only Paul, and tells him to wait for her call before she hangs up and drops the phone into a passing waiter’s top hat. “She’s smarter than you think,” Paul tells Henchman with smug pride. “Do one thing more to help her,” Henchmen goads quietly, “so I can put a bullet in your head.” And that answers the “is Paul under duress?” question. Paul subjects Henchman to a patented hate stare.
Back at the club, Fee insists Sarah cannot meet Paul. She agrees that she isn’t going to meet him in person. Spying an untended mobile, she pushes Fee until he bumps into its owner and covered by his apologetic confusion, she does a snatch ‘n grab on it. Fugued out on his high, Fee aimlessly pulls on his coat until Sarah takes him in hand. “Get your shit together, you silly tit,” she chides as she pulls the jacket on him. “I need you to make a side trip for me, yeah?”
Up in Felix’s Fun Flat (FFF), Delphine tenderly takes a blood sample from Cosima’s arm. They’re knee to knee on Fee’s bed, which I’m sure he’ll love given his response to Sarah and Paul making use of it. Delphine wants Cosima to come to the Dyad event. Cos invites Delphine to think about what she’s asking Cosima to do. “We can negotiate your position but you need to start talking to Leekie,” Delphine insists, somewhat naïvely. “We need the Dyad now.” Cosima pings on her use of “we.” Somewhat put out that Cosima still questions her loyalty, Delphine nonetheless corrects that it’s Cosima who needs the Dyad, “If you are sick.” She removes the now filled vial from the needle in Cosima’s arm and replaces it with an empty one. Delphine thinks if Cosima plays nice with the Dyad Institute then, “our relationship can be whatever we want. We have leverage.” Cosima is incredulous that Delphine would think so while she still works for Leekie. “On your behalf to protect you,” Delphine insists with earnest. Cosima firmly insists the samples are not to go to the Dyad. “And you can’t tell them that we know about the patent either. I do my own research first. This is my biology. It’s my decision. Okay?” Delphine agrees that Cosima is right about this. She stores the last vial and removes the needle from Cos’s arm. Relieved, Cosima presses her forehead into Delphine’s shoulder and Delphine embraces her.
Over at Bailey Downs McMansion Central, someone knocks on Alison’s back door. She makes her way down the steps and frowns at the door. “What the Dickens?” Snort. She opens the door to Fee who sizes her up and down. In the craft room now, he paces while Alison processes the update. “Rachel took Kira? She can’t do that! We agreed to a code of conduct.” Fee plays with an orange measuring tape and loudly reminds her Sarah didn’t sign the deal. Alison shushes him and Fee apologizes. “I was supposed to ask you something,” he mutters, “but I just…oh! Can we borrow a gun?” Alison rolls her eyes at the idea that she’s become the go-to girl for guns. Fee plays with her hands to assure her otherwise but gets caught up in the bouncy bouncy nature of the balls of her thumbs and Alison finally clues in and accuses Felix of being high. “I didn’t know there was going to be a huge emergency, did I?” She shushes him again and reminds him her children are sleeping. Besides, she doesn’t keep guns in the house anymore but at the range in her locker. Fee asks her to fetch one but Alison chides that Sarah can’t go around shooting people with guns registered to Alison, especially not when she’s getting her family back in order. She’s also sworn off pills and booze and is instead doing a musical. “Oh my God, not Cats,” Felix begs, horrified. Ha!
Donnie knocks on the door and calls through it for Alison who rushes Felix into the corner right before Donnie opens the door wearing his trademark undershirt and a pair of tighty blackies. When he asks what she’s doing, Alison dissembles that she’s running lines, “for the play, obviously,” she scoffs. “At 4 AM?” Donnie counters. Behind the opened door, Fee stands ramrod straight, fists clenched to his mouth. Hee. Alison rubs her temple, strained by having to deal with her tool of a husband. “I’m not in control of the Muse, Donnie,” she says. He questions the Muse excuse but agrees with her assertion that he wouldn’t understand and follows her instruction to go back to bed. “Don’t be long,” he snipes. Fee giggles and prances with relief at their near escape as Alison finally notices what he’s not wearing. She offers that she might be able to get a “firearm” for Sarah, unregistered. “I have a friend,” she says, taking down her address book from a shelf. “Let’s call him Ramon.” Fee has a sobering moment. “You know a gun dealer named Ramon?” Alison corrects that Ramon is a gun enthusiast. “He has many jobs; he’s very hard working.” She instructs Fee to have Sarah meet her at the Glendale Community Theatre at four. Throughout both their exchanges, Fee keeps trying to pet Alison’s shoulders to feel up her soft robe and she keeps brushing him away with warning gestures. It’s a trip of a dance they do underneath all the conversation.
Rachel is conducting business over breakfast in German. Behind her, Paul stares stoically out the window. Another phone rings while she speaks. “Ja die meisten der patente wurden direkt nach der entscheidung des Supreme Court eingereicht werden. Ja, sicher.” Henchman refills her OJ as she finishes.“Vielen dank, Herr Schlessinger.” Translation: Yes, most of the patents were filed immediately after the decision of the Supreme Court. Yeah, sure. Thank you, Mr. Schlessinger. As she disconnects, Henchman gives Paul the nod and he answers the still ringing mobile. “Here’s how this is going to work,” Sarah tells him without preamble. Cut to a bridge in Cloneronto where Paul waits. A skateboarder slides up and demands twenty bucks before handing over a mobile. “Can’t trust anyone these days,” he quips in greeting. Sarah admits she knew they'd be all over Paul and he warns she has about 30 seconds. Now that no one is listening in, Sarah expects Paul to tell her where Kira and Mrs. S. are being kept. But Paul doesn’t know anything except the message Rachel instructed him to give Sarah. “Tomorrow morning she’s getting on a private plane with Kira. You can be on that plane with them or not.” Sarah can’t believe that they’re using a child as leverage and Paul admits he can’t tell her what to do. “But tonight there’s a big event at the Dyad. Rachel will be there.” Sarah asks what else he can tell her and Paul informs her that Rachel is well insulated. “Daniel hardly ever leaves her side.” A black SUV pulls into the lot behind Sarah with a screech. “But now he’s tasked with bringing you back. He’s coming after you,” Paul concludes. Daniel gets out of the SUV and approaches the young woman with long, dark, curly hair who’s on her mobile with her back to him. He pulls her around by the shoulder—it’s not Sarah. The girl skateboarder grins at Daniel. “She’s says ‘up yours’.” Over at a different bridge, Sarah gets away again.
Sarah hops on a bus. She asks a preteen boy if she can borrow his phone. “Can I touch your boob?” he negotiates. Sarah scowls at him and snatches the phone from his hand with an extra swat for the back of his head. “Cheeky.” She calls Cosima; I guess by calling Fee who is back at FFF smoking a joint with Cos. Cosima explains the event at the Dyad is a glitzy corporate do. “I don’t see what a gun is going to do.” She frowns at Felix and shakes her head. What is Sarah thinking? “She’s planning on gate crashing,” Fee explains. Sarah hears him and counters that she doesn’t have a plan, “yet.” She asks Cos where Delphine went and Cos explains she’s at the Dyad getting ready and that she wants Cosima to go to the event. Cosima wonders if she should. “I smell lesbians in my bed last night,” Fee accuses. Cosima refuses to apologize for her heart, “but I promise both you guys that I’m not gonna get fooled again.” She offers to talk to them but Sarah urges her to sit tight. “I’ll feel better when I have a gun.” Cosima sighs heavily. “This is totally crazy,” she tells Fee. Yup. Pretty much.
Alison checks her face in the visor mirror before getting out of her minivan to meet Ramon in the EconoMart parking lot. He offers her a buffet of choices in the pharmaceutical realm, handily stored in his trunk. “Something between A and Z?” Alison politely refuses, since she’s actually taking a break. This spurs Ramon to offer his lower drawer of natural options, but again Alison refuses. “I have a friend who needs a piece…maker.” Ha! Ramon is titillated. “Mrs. Hendrix!” he exclaims. Alison smirks with pleasure. Ramon offers his nice selection to her, all clean, and suggests the black matte 45 revolver as being “bad ass.” But Alison spies her favorite, a lady grip. Ramon is taken aback for a moment by her choice of the 9 MM. “Hot. Practical.” Alison hums. The lady knows her guns. He bags up the gun and Alison thanks him. “So how’s your mother?” Snort.
Delphine arrives at the Dyad Institute. Over the web cam, Cosima tells someone that one subject is showing fresh symptoms and asks him to take a closer look at the blood work. “You mean the one with some kind of synthetic sequence you refuse to explain?”asks Cosima’s lab partner from the University of Minnesota from S1E5. He reminds Cosima she told him to erase the data. She tells him she’s sending over a new sample. Meanwhile, Delphine attaches her ID and goes inside the belly of the beast. She doesn’t get far before a minion calls her name. “Doctor Leekie asked me to escort you upstairs as soon as you arrived.” Once along with him inside his lab, Delphine confronts Doctor Leekie and demands to know if there’s something going on that she should know about. Doctor Leekie ignores her to flatly ask where Cosima is. “Exactly where we want her. Here in town considering your employment offer.” He warns her to be careful when playing for the other team. Delphine shoots back that Cosima is scared of them given what she’s seen of how they’ve persecuted Sarah. “Sarah is not your subject,” he reminds her between clenched teeth. “You’re a eugenicist, Doctor Cormier. Is that a dirty word for you as a scientist?” Delphine doesn’t hesitate to deny this. Doctor Leekie wants Cosima there with them starting that night and Delphine does too. “324B21 is showing the same respiratory symptoms as the other two,” she reveals. Ah, she’s referred to Cosima by her identification number. Cold, lady. Is she playing Doctor Leekie or is this really Delphine’s agenda? The news of Cosima’s illness has clearly shocked Doctor Leekie. Delphine hands over one of the vials of blood despite Cosima expressly telling her not to. “Congratulations,” she says flatly. “I’m invested. Which I’m sure is what you wanted.” She leaves him without another word. Doctor Leekie stares at the vial of blood, mind churning.
Over at the Glendale Community Theatre, Alison checks her lady grip as the other actors do warm-up exercises. The director calls the group into a circle where he talks about them moving onto the main stage in three days. Say, it’s Alex Karzis who played Damber on this last season of Lost Girl. Everyone mourns Ainsley for a moment but with a “the show must go on!” reminder, Director names Kelsey to the role of Laura. Alison objects because she’s already playing the role of Laura. Director reminds her that Alison understudied Ainsley and as such will be taking over the role of Sheila. “You want me to be the lead?!” Alison exclaims, tearing up with joy. I should’ve killed Ainsley sooner! Next to her, Sarah Stubs makes priceless expressions of earnest glee. Sarah takes Alison’s hands in hers. “You can do this,” she emotionally encourages. “Show them, hmm? Shine.” Director suggests they all shine up on stage. “Let’s pick it up from the point where everyone helps Sheila clean up from the unfortunate death!” They all take their places; Alison grabs Sheila’s mop. At the count of four, cheery music plays and the cast begins to sing. And we will sing, sing, sing away the hours. Shout till our throats are sore. And we will raise our voices to the heavens. God Himself will hear our mighty roar. Detective Art suddenly appears in the small windows of the theatre doors.And we will wipe, wipe, wipe away the plasma. Scrub off every stain. Here Alison sings her solo: “Since I cannot control my asthma I’ll stand by to entertain!” She ends by triumphantly raising her inhaler for a fake puff. Art rolls his eyes. DYING.
Incidentally, outside of Alison, Sarah, and Director, the rest of the group here is the real cast of the real Toronto musical Blood Ties, which Alison’s troupe is rehearsing. This means “We will wipe, wipe, wipe away the plasma” is an actual line from the score, which just delights me beyond description. Man, I love this crazy show.
Out in the cop car, DeAngelis pulls Alison’s ID up on the laptop as Art exits the building and gets in the car. “Alison Hendrix is in a musical,” he relates. “What? What musical?” DeAngelis asks as she peers at the theatre. “It ain’t Cats,” Art snarks. HA! That was a terrific payoff for Felix’s Cats quip, not that his delivery of it alone wasn’t enough. “I think she’s playing the lead.” DeAngelis ticks off what they know. “Beth’s dead. German’s dead. Sarah Manning gets sprung on the cusp of confessing and we’re left with Alison Hendrix, model citizen and thespian,” she sneers. If you only knew. But then Angie spies something and lowers her aviators in shock as Sarah strolls down the street toward them, headed to collect her gun from Alison. “Shit! We’re not supposed to be on this thing, Angie,” Art frets. Angie waves him off and gets out of the car to hassle Sarah. “Hey, long time no see!” Sarah tries to run but slams straight into Art who warns her not to run. Angie throws Sarah up against the car and pats her down. Naturally, this is when Alison emerges with the gun in search of Sarah. She spies Sarah pinned to the hood of the car before either Art or Angie notice her and hastily hides behind a pillar. As Angie cuffs Sarah, Alison ducks back into the theatre unnoticed.
Art and Angie hustle a cuffed Sarah across the lot. Angie wants to know how Sarah knows Alison. Sarah ignores Angie to tell Art again that “they” killed someone right in front of her. Angie demands she speak to her and asks what Sarah is to Beth. “We don’t know. That’s the whole point.” Angie doesn’t believe her. Sarah doesn’t care. Art takes her to his side of the car to stash Sarah in the back. From Sarah’s description, Art recognizes the diner homicide two other cops caught that morning. Angie does too and bets that Sarah also knows. “Those are the people behind it, the same ones that got me out of jail,” Sarah says. Angie laughs that she’s making it all up and Sarah invites Angie to arrest her then, but knows that they can’t. Art puts her in the car anyway so they can all three go check Sarah’s story out. Nifty.
Back at the Dyad Institute, Doctor Leekie quietly rehearses his speech for the big event. Rachel leads Paul way into Leekie’s office and notes what a fortunate position Paul now finds himself in. By the look on his face, Paul doesn’t find it fortunate at all. “You’re the only one who seems to know what makes Sarah tick.” Paul has no comment for that and opens the door for her instead. Rachel tells Leekie she needs his office for business that evening. “It’s the Koreas. Both of them.” Leekie congratulates her on the coup. Rachel asks Paul if he’s ever been to Taiwan. He hasn’t, nor does he speak Mandarin. “Pity. Pack a bag; we leave Tuesday.” Paul leaves to do so without objection. “Good luck, Paul,” Leekie calls after him with some sympathy. Rachel strides over to help Leekie fasten up his tux. “Keeping him up close and personal?” Leekie asks. “Of course,” Rachel sighs. “Rachel, did you seriously kidnap Sarah’s people?!” Rachel shoots him a chiding look as she ties his bow tie. She suggests the less he knows about it, the better. “The child may be a biological gold mine, but so is her mother!” Leekie exclaims. Rachel is confident that Daniel will recover Sarah, but Leekie wonders if that’s even necessary. “Yes. And not your concern. We have a big evening and you need to be on point.” Leekie reluctantly concedes she’s right. He ambles back to the windows, muttering, “To combine is to create; to engineer, divine.” Rachel flatly praises that he’ll do wonderfully.
Art pulls up at the diner and prompts Angie to go check out the scene. “She probably dropped those bodies herself,” Angie gripes, but she goes. Sarah takes her moment to tell Art that “they” have her daughter. Angie gets the skinny from the detective on the case who complains the federals have already taken over. Inside, the partner tells the how line cook George Hudson, aka Bruiser, took a 45 to the sixth chakra while the as-yet-unprocessed cowboy got the shotgun in the stomach. “Which chakra is that?” the first detective snarks. “Somewhere between the third and the fourth,” the partner answers seriously as he gestures toward those areas on himself. Ha! One of the techs bags something that I’m sure is important but damned if I can figure it out. First Detective tells Angie they have a possible eye witness. “Tea drinker. Digs out a wall and escapes out the back.” Unhappy but not really surprised at the info, Angie thanks them and returns to Art.
Art offers to put out an Amber Alert on Kira but Sarah knows the Dyad Institute is too powerful and begs him to let her go. Art knows she was about to tell him everything before the lawyer got her out of custody. “What this really is.” Sarah promises he doesn’t want to know everything. Over her shoulder, she sees an agitated Angie slam out of the diner. “You don’t want Angie to know anything,” she adds. Angie knocks on Art’s window and relates that the feds took over the case but nothing more. Art asks which feds took over. “I didn’t get an acronym,” Angie snaps. Ha! Art sighs and thinks on his options and then unlocks the doors. “Seriously?” Angie asks eyebrows up. Art reminds her they’re off the case because it doesn’t exist. “You want to walk her in there and hand her over, you go right ahead.”Angie scowls, but she doesn’t want this coming back on her any more than Art does. She pulls Sarah out from the back seat and removes the cuffs. Sarah thanks Art and Angie laughs without humor. “Thank you? You miss us? You miss Beth’s life, you little grifter?” Sarah tells her to piss off and stalks away, hoodie up. “She almost trusts me, Angie,” Art says when Sarah’s gone.
Back at FFF, Fee refuses to let Sarah turn herself over to the Neolutionists, but Sarah doesn’t know what else to do at this point. “If Rachel’s got Kira on a plane, I have to be with her.” Cosima steps in to remind Sarah that Delphine put her on the guest list at the Dyad event. “I can go in there and, like, demand that Rachel let them go.” Sarah and Fee both scoff simultaneously in the exact same manner. Snort. “Rachel doesn’t take demands, Cosima. That’s why I needed the bloody gun.” The words are hardly out of her mouth before someone’s knocking at the door. All three of them instantly go on alert. “Anybody in the house?!” a voice calls through the door. “It’s Ramon!” Of course Ramon does house calls! Fee opens the door to Ramon who’s holding a box of perennials. “Delivery from of Mrs. Hendrix.” Fee takes one look at the flowers. “Well those are so Alison,” he declares. Ramon whispers that it’s what’s inside the arrangement that counts. He looks Fee up and down. “Huh? Am I wrong, sailor?” Amused, Fee looks over his shoulder, which gives Ramon his first look at Cosima and Sarah who are, of course, identical to Mrs. Hendrix. “Whoa.” Cosima gives him this adorable finger wave while Sarah merely scowls. With Ramon gone, Sarah reads the card and then digs into the posies and pulls out the Lady Grip. Fee dials up Alison on the laptop as Cosima quietly if earnestly again asks Sarah what good the gun is going to do. “Alison, you know some very strange people.” He turns the laptop so the camera shows the flowers to Alison. “Oh they look nice!” she chirps. She apologizes for not coming in person. “I have scads of costumes to alter.” Sarah mockingly thanks her for the card too. “Are you making fun of me? I made that!” Alison objects. Sarah admits that it’s good to see Alison. “We love you, Alison,” Fee singsongs as he and Sarah plop down on the couch while, coughing, Cosima tends the flowers in Fee’s art corner. Alison futzes with her sewing while Sarah twitches in place as if sitting still is wasting time she could use to chase after Kira. Alison she says how she’d normally tell them not to do anything rash, “but rash seems to be a genetic trait, so…” She stares directly into the camera at Sarah. “Go get Kira.” Agitated, Sarah nods. Cosima insists that “now is the time to resist our predisposition to impulsive behavior. We need a plan.” I love how they each have reached the point where they’re able acknowledge and appreciate that, despite how different they are, they absolutely share some character traits, just as though they were natural sisters rather than science experiments with the same DNA. Character growth FTW! “You don’t have a plan,” Alison scolds with a disappointed tilt of her head. “No, the plan seems to be a bit of an issue,” Fee admits. Sarah objects that she knows where Rachel is and that’s enough. Cosima stalks back over and demands to know what Sarah expects to do. “Walk right into the Dyad and just start shooting people?” Actually, Sarah’s okay with that plan. Alison immediately objects that she doesn’t want to know anything more. “Leave me out of it. Plausible deniability.” Sarah agrees. Alison says she has to be at Sarah Stubbs for a fitting and to run lines at 9 PM. “Break a leg, Sarah.” She shuts her laptop on Sarah’s repeated thanks.
Left to their own devices, Sarah confirms with Cosima that the Dyad do is a BFD. “Big Pharma. Big Agro. VIPs. Security.” Cosima means to warn Sarah off, but she’s encouraged by the news as it means Rachel et al will be distracted. Fee realizes Sarah’s finally pinged on an actual plan. “Okay, what you want to do?” Sarah mulls over Alison’s claim to plausible deniability. “Oh no,” Cosima moans. Sarah decides it’s easiest to give Rachel what she wants. “Me. Just not the way she’s expecting it.” Cosima’s figured it out too and asks that even if she agrees with “what I think you’re thinking, how do you get to Rachel with Daniel in the way?” Sarah sighs heavily. “Alison’s not gonna like it,” she warns.
Over at the Dyad, Paul’s phone rings. Sarah tells him she wants to speak to “her,” but it’s Daniel who takes the phone from Paul. “Hi Sarah, it’s Daniel,” he says all casual like. “I speak for Rachel.” I highly doubt anyone speaks for Rachel but Rachel. Paul pins Daniel with the hate stare while Rachel keeps a keen gaze on Paul from the corner of her eye. Sarah says she’s ready to make a deal face to face. “Well, Rachel’s a very busy woman, but if you tell me where you are, I’ll bring you to her.” Daniel and Paul stare one another down, both knowing Daniel is lying. Sarah agrees and tells him she’ll meet him at 9 PM and will be driving a red minivan.
Cut to Alison pulling up to the curb in her red minivan. She gets out but as she retrieves her stuff from the cab, two Dyad drones jump her. She fights them off pretty successfully, even maces one and manages to get her rape whistle up and blowing before the second one wrestles her into the SUV, dodging her mace all the way. Inside the SUV, Daniel frowns at Alison and then becomes alarmed when he recognizes they snatched the wrong clone. “Who the hell are you?!”Alison demands. “This is unacceptable! I need to talk to Doctor Leekie right away!” Daniel assures her that’s not necessary and that they made a mistake. “It won’t happen again,” he assures her as he opens the door so she can get out.
At the Dyad Institute, the party is in full swing. Doctor Leekie glad hands a donor and then takes a picture with him. The donor and the photographer just happened to be Graeme Mason and John Fawcett, the creators and showrunners of Orphan Black. Hey, it’s spot-the-producers time! Wrapped up in her red coat and clearly uncomfortable, Cosima eases her way through the crows. She stops and looks out over the room, filled with Dyad groupies. She lowers her glasses—it’s Sarah made up to look like Cosima, sloppy dreadlocks, glasses, red coat and all, so she can impersonate Cosima at the party and get to Rachel. She looks out over the enemy. “Shite.”
She spies Paul as he leads the Koreas to Rachel. Correctly deducing him to be the man to follow, Sarah pursues. She switches the gun from her bag to her coat pocket and watches as Paul leads the way down a set of stairs. Fixated on Paul, Sarah neglects to notice Delphine as she passes by. Delphine calls Cosima’s name. “You came,” she says warmly and kisses Sarah/Cosima. Delphine promises that Cosima won’t regret showing up. Elated, she calls out for Doctor Leekie. “Look who it is!” Sarah tries to pull free, but Delphine insists. Doctor Leekie joins them. “Mon adversaire,” he teases as Sarah/Cosima giggles uncomfortably. He admits to having less faith than Delphine that Cosima would come. Sarah tests her American accent and says her presence doesn’t mean she’s going to sign their contract. Doctor Leekie calls it a starting point and insists it’s all up to Cosima. Sarah takes the opportunity to demand a private lab on Cosima’s behalf. Heh. Taken aback by “Cosima’s” demand, Delphine crosses her arms and loses the smile. Sarah/Cosima picks up on her distress, but merely smiles more as she starts to have fun. An announcement comes over the speakers warning that Doctor Leekie’s speech is about to begin. Recognizing his cue, Leekie takes Sarah/Cosima’s hands in his and assures her she has a bright future ahead of her. “This is the best place you could be right now.” Sarah embraces Leekie so she can slip his access card from his pocket, but whether by intent or accident, her accent also slips as she thanks him. Leekie frowns, but it’s unclear whether it’s over the uncharacteristic hug or the accent faux pas. He chuckles as she pats him on the back and leaves them to go give his speech.
As soon as he’s gone, Delphine accuses her of being Sarah. “Yes, nice to meet you too,” Sarah sneers. Delphine wonders if Cosima knows of what Sarah’s doing and Sarah admits that depends on whether or not she gets caught. She demands to know where Kira and Siobhan are and tells Delphine how Rachel kidnapped her family, but Delphine has no idea where to find them. “I’ve never even seen Rachel.” Sarah threatens that if Delphine wants to keep Cosima out of this, she’ll tell Sarah where to find Rachel. Delphine knows that there’s serious business happening behind the scenes right now and her guess is that Rachel would use Leekie’s wing to conduct it, which just happens to be down the same stairway where Paul recently went. “It’s impossible to get down there. You need a specific swipe card for the tenth floor,” Delphine warns. “Like this,” Sarah taunts, holding up Leekie’s card. “You’re going to get yourself killed!” Delphine calls after her, voice descending to a whisper as Sarah stalks off before she’s finished. Delphine stares after her and is startled when a security person appears at her elbow to escort her to the podium. This indicates that Delphine, like Paul, is constantly watched.
Doctor Leekie takes the podium. Things learned from Leekie’s speech: the cornerstone of the original Dyad Institute was set there in 1918. Worldwide, the majority of biotech research is funded by private capital and the Dyad Institute itself is a global conglomerate, which includes an office in Vatican City. “The Age of Biotechnology is upon us. It is the moral responsibility of visionaries like us to continue healing, feeding, and fueling the future of humanity.”
While Leekie speaks, Sarah descends the stairs and uses Leekie’s swipe card to enter the tenth floor. Paul leads the Korea contingent into Leekie’s office where Rachel ceremoniously greets them and exchanges gifts. Sarah walks down the hall, and even wearing Cosima’s hair and coat, she still swaggers like Sarah. More mad genius work from Tatiana Maslany.
Rachel addresses the Koreas in steady, structured sentences, pauses for the translator at the end of every phrase. “The recent Supreme Court decision characterizing the legal status of natural versus synthetic DNA was the successful result of our lobbying strategies. We are proceeding with the next tranche of patent claims.” The Koreas are very happy with this news. I’m very happy with how they managed to organically weave in the real-life Supreme Court decision that came out just as season one was ending without clobbering everyone with anvils. Clever show.
Sarah peers around the hall corner as Rachel smugly smiles at Paul just before he leads the now happy Koreas away. She watches Paul leave and then sheds Cosima’s coat and takes the Lady Grip in hand. Bracing herself, she enters the office. “Good,” Rachel drawls, unsurprised. “You made it.” Sarah shudders once. “I want my daughter.” Rachel agrees and asserts that they want Sarah to be with Kira, “but my people found your foster mother’s house overturned. They were gone when we got there.” Sarah is convinced Rachel is lying and she agrees that she lied to get Sarah there, “but we don’t have them.” Sarah still isn’t buying it. “Kira’s here and I want to see her now.” Rachel shakes her head at Sarah. “You’re not going to shoot me, Sarah,” she sneers wearily. Immediately, Sarah shoots the plant right behind Rachel.
Shaken but good, Rachel’s veneer finally cracks. “You don’t have her, you’re dead!” Sarah shouts as Rachel trembles and cowers. Rachel’s tries to pull herself together. “There are other forces vying for our fate, Sarah. We’ll get Kira back, together.” Sarah studies her for one moment more and then cold cocks Rachel across the face. She follows Rachel down to the ground and we get that great promo shot of the two of them face to face as Sarah presses the gun into Rachel’s far cheek. “Nobody lays hands on me,” Rachel snarls. “You don’t own us,” Sarah hisses. She presses the gun so hard, it turns Rachel’s head and it seems she’s seconds away from pulling the trigger.
“Sarah, put it down,” Paul says, cocking his gun. Sarah considers him without looking and then pulls back from the brink and removes the gun from Rachel’s face. Rachel smug smile returns. Slowly Sarah rises up to her knees. Hit her again! Sarah cold cocks Rachel again, knocking her out. YES! Quickly, Sarah gets to her feet and turns the gun on Paul. His chin jerks like a silent warning. Come on, Sarah. “Where’s Kira!” Sarah shouts. Paul repeats that the Dyad doesn’t have Kira. He’s speaking very slow and deliberate knowing Sarah’s one wrong word away from shooting him. “They were playing me too. Now lower the gun.” Without moving the gun, Sarah asks if he’s Rachel’s bodyguard now. “It’s you they want,” Paul insists, which doesn’t actually answer the question. “It is over, Sarah.” He orders her to turn around. Uncertain whether or not to trust him, Sarah nonetheless lowers the gun and turns around. Paul slowly approaches, but when he reaches for the gun, Sarah jerks free and slams her elbow into his face.
Shaking, she aims the gun at him again, torn between being prepared for him to attack her in turn and not being able to believe he’d attack her in turn. “In the face,” Paul quips without humor. His gun remains lowered. Sarah’s stance easy. “Sorry,” she says softly. Paul wipes blood from his lip and glances at the unconscious Rachel. “Go,” he tells Sarah. “I’ll figure out something to tell them.” Sarah goes. Paul turns to watch her leave.
Art arrives at his apartment, but before he even gets in the door, Sarah arrives. “You are like a bad smell!” Ha. Sarah admits she didn’t know where else to go. He opens the door, silently inviting her in. Inside, he pours her a drink while Sarah lifts a black and white photo from the open file on his table. “Maggie Chen?” Art doesn’t reply and Sarah notes that he’s only pouring one drink. “I want it straight up,” he says as she puts Maggie Chen’s file away. Sarah sighs heavily and then admits that the Dyad people weren’t the ones who snatched Kira, that somebody else has her daughter. But, to Sarah’s shock, Art already knows this. “The feds are calling the diner thing domestic terrorism. The cowboy that took the shotgun blast was a religious extremist like Maggie Chen. A prolethean.” Sarah realizes these are Helena’s people and Art invites her to begin with that. “Who is Helena?” Sarah takes another sip of scotch and asks one last time if Art is sure he wants to know what this is all about. Art grimaces. “I guess we’ll find out.”
Hard, discordant music plays as a pair of combat boots stumble down a hallway. Blood drips on the floor. Holy shit, it’s Helena. She’s covered in blood, but she’s alive. Hell, Kira got pancaked by a car and went home that same night barely scathed. Makes sense Helena would survive a point blank gun shot. She barely makes it to the nurses’ desk. “Excuse me,” she wheezes to the shocked nurse. “My sestra shot me.” She drops to the floor as the trauma team goes to work. Behind her, NoTie saunters down the hall in her wake, his thumbs hooked into a silver belt buckle that’s etched with the symbol of a fish.
In a random, cheesy hotel room, someone roughly brushes Kira’s hair, then forcibly poses her on the edge of the bed and takes her picture. “Look at the camera,” a man orders. Snap.
Next week: “Governed by Sound Reason and True Religion”