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.
This post contains SPOILERS for all aired episodes of Orphan Black, including last night’s Season 2, episode 2, “Governed by Sound Reason and True Religion.” Enjoy!
Helena lies unconscious in a hospital bed while a nurse details her arrival to a uniformed cop. Their voices are hazy, as though Helena hears them through the fog of her coma. “Eastern European accent and scarification?” he asks. “Angel wings,” the nurse clarifies. She also notes that Helena has no I.D. but hands over the contents of her pockets. “Sugar packs and lollipops?” the cop queries. Just be glad she didn’t stick some globs of Jello in there too. “Shot point blank in the chest and she just walks in? How is she even alive?” That is the question indeed. Helena takes this moment to gasp back into consciousness as her heartbeat accelerates to a crazy level, even for CrazyClone. The nurses sedate her.
Meanwhile, Art has pulled up the fish symbol of the Proletheans on his laptop. On the table next to him is a black and white 8x10 of a rancher who’s even wearing a cowboy hat. Art asks Sarah what the Proletheans want with Kira. “I don’t know, Art,” she admits with exasperation. “Everybody’s after us.” There’s a knock and Sarah opens the door to a now sober Felix. He immediately and earnestly assures Sarah they’re going to find Kira, which is exactly the bulwarking she needs. “Hello, Arthur,” he calls as they get back to the business at hand. Art merely checks Fee over his shoulder and rolls his eyes. “I can’t believe you let a cop into Clone Club,” Felix moans. Yeah, we’re all having problems with that one. Art declares that he’s over it. He picks up the 8x10 B&W. “Finally this whole shit show’s starting to make sense.” As shit shows do. Twitchy, Sarah joins him and, looking at the photo, asks how they find the religious freaks who they now think have Kira. Fee’s phone rings with a jaunty electronic tune. Both Sarah and Art look at him with accusation. Really? Checking the screen, Fee idly notes that the call comes from out of town. Art tells Sarah the Proletarians have a number of branches, “we just got to figure out which one.” Fee answers the phone: “Kira?”
Sarah freaks out and snatches the phone from Fee. “Mommy, I’m not supposed to call.” Sarah is thrilled she did, even if Kira doesn’t know where she is. The scene cuts to Kira who is huddled tent-like under an orange blanket. “I’m scared. There’s a weird man here.” Said weird man, presumably, suddenly disconnects the phone Kira is on. Sarah freaks out. Weird man slowly hangs up the phone as Kira rolls her eyes. Say, it’s character actor Julian Richings! Love that guy!
Art uses his super duper home laptop to trace the call to Green Acres Motel. Well, green acres is the place to be. Sarah immediately wants to go. “Whoa,” Felix warns. “It could be a trap.” Art’s face creases into lines that say give me a break as he holsters his gun. “She’s going with me,” he duhs. Super cop! “Yeah, it could still be a trap,” Fee repeats, unimpressed. Sarah quietly urges him to stop as she grabs her jacket. Fee insists they wait just a minute and pulls out four new ClonePhones, lime green ones this time. “I’ll get these ones to Cosima and Alison,” he says handing one over to Sarah who sighs with relief at the sight of them. “Numbers are already stored in there; this one’s for me,” he adds, holding up the fourth. Guess Art doesn’t get one. She thanks him sincerely and vows that when they’re back together, they’re leaving. “Yeah, Costa Rica. I’ve heard that one before,” he cats back. Sarah steps back to him. “Hey. I need you to keep telling me we can make it.” He promises they can. They head out the door Art holds open for them. He rolls his eyes and follows. I think Art knows how badly they’re deluding themselves here.
Aynsley’s funeral is in full swing, complete with an oversized Sears portrait of her center stage. Dolled up in funeral chic, Alison sits next to Donnie as the minister prattles on about Aynsley’s warmth, devotion to family and community, the Ice Queens, her community theatre performances, her love for book club, “or as Ainsley called it, ‘full contact reading’.” Bet she read erotica then. Alison looks around the room, but all she gets are hate stares from Stepford Wife, Cherry. Maybe Paul’s been giving lessons? At the reception Cherry bitches to Meera about how Alison dared to show up after banging Aynsley’s husband, Chad, in the minivan and then assaulting Aynsley in the middle of the street afterwards. Together in the guest book line and hearing every word, Donnie tells Alison he wouldn’t blame her if she drank right now, but Alison insists she’s staying clearheaded “indefinitely.” Her giggling kids run over, funeral flowers in hand, which horrifies Alison. Donnie gently takes over and, with apologies to the minister, helps the kids replace the flowers, leaving Alison with all their coats. Alison frets in place, which is when Sarah Stubs from the community theatre troupe comes over to commiserate. Alison admits the play is really saving her life at the moment. “You lost a friend,” Sarah says, “and they shouldn’t be treating you like this.” Alison thanks her and endures Sarah’s hug. “See you at rehearsal,” she whispers with false enthusiasm. As Sarah leaves, the phone in Donnie’s coat pocket vibrates. Puzzled, Alison pulls it out and reads the series of text messages on the screen. She makes her own choices. Placate her. Come outside. Call ASAP—urgent. Alison returns the phone to Donnie’s coat pocket just as a waiter appears with a tray of wine glasses. With a wild glance toward her husband, Alison snatches a glass and gulps the wine down. Good to the last drop, Alison! Donnie returns with the kids; she passes over the coats. All buttoned up again, they leave with Alison staring after Donnie with the shattering realization that Donnie has been her monitor all along.
A large pickup truck pulls up to a ranch house. Inside the barn, the rancher from Art’s black and white photo walks down the aisle and tells “Mark,” aka NoTie, that he was right to save Helena. “Helena is the twin sister of the mother,” Rancher adds as he joins Mark in the cow stall. Mark tells him it was real close. Rancher goes on to direct Mark with handling the cow as he puts on and lubricates one of those long plastic gloves that vets use to reach inside large animals. He does so with the cow and has Mark hand him the insemination tube. “The rest is up to the Lord,” he announces afterwards. “We just helped Him along a little bit.” Mark: “Amen, Pastor.” So we know a couple things about Rancher already (though none of them are his name): 1. He’s a rancher, 2. He knows something about artificial insemination, and couples that with a Judeo-Christian faith of some nature 3. He’s also a pastor, handily mixing medicine and faith. Rancher tells Mark they’re going to likewise need help getting Helena out of the hospital. As Rancher and Mark finish with the cow, a newly-arrived woman asks “Henrik” if she’s to be making up another bed for the night or not. Henrik tells “Bonnie” that it’s entirely up to Mark who, with some trepidation, claims he’ll do his best. Henrik slaps him on the shoulder. “You know we love you like a son, right? You’re the only one we trust with all this.” Which doesn’t mean they won’t kill you if you fail. Mark doesn’t look as emboldened by this information as one might expect. Perhaps because he knows they won’t hesitate to kill him if he fails.
At the Dyad Institute, Cosima and Delphine meet with Doctor Leekie. Cosima denies having anything to do with Sarah’s impersonation of her at the Dyad event the night before. “What, you’re accusing me of colluding with Sarah to—I’m sorry—to shit-kick Rachel? I don’t know—why I would do that?” You can tell she really enjoyed pointing out how Sarah took Rachel out. Also, she’s not letting Delphine in on all the Clone Club schemes, which is interesting. Delphine defends that Sarah’s a con artist and fooled “us” too, gesturing to Cosima. “Did she?” Doctor Leekie muses with an unfriendly look for Delphine. In return, she points out how it was his pass card that Sarah stole. “Really?” Cosima chuckles. “Mmm hmm,” Delphine confirms. Doctor Leekie catches Cosima’s amused eye and she immediately sobers. “I’m sorry. None of us ever trusted her,” she offers. Doctor Leekie warns that Rachel takes insult “very personally.” He maintains that if Cosima wants to help Sarah, she’d best do so from her position at the Dyad. “I, for one, would like to avoid a war,” he chuckles. Too late, bub. Delphine adds her own incentive. “I just want to make crazy science with you in our new lab.” Is that what the kids are calling it these days? Cosima smiles, but ducks her head to hide how conflicted she is about it all.
Art and Sarah arrive at the Green Acres Motel—it really is the place to be! He checks with the manager and learns that a young girl matching Kira’s description and some guy left about an hour earlier. Key in hand, they go to the room to search for a lead. Sarah pings on the fact that Siobhan wasn’t with Kira and Julian Richings. They search the motel room and Sarah finds a drawing of Kira’s underneath the orange blanket that pictures Kira in a field with trees, flowers, and fluffy clouds. Art looks out the window and recognizes the man walking with the motel manager. “That’s Daniel, Rachel’s bloody Doberman,” Sarah realizes. Art is keen to have another conversation with the man who spirited Sarah out of interrogation right before she spilled everything to Art in Season 1’s finale. He tells Sarah to stay put while he goes and rustles Daniel, slamming him up against a car and patting him down. Not like that! Sarah spies a piece of Kira’s clothing on the banister outside that leads her down the back stairs where she finds a sock. Daniel is masquerading as a private dick, not that far a stretch really, and warns Art he’s going to professionally regret harassing him. Daniel: “We know where you live.” Art: “Why do I doubt that?” Daniel: “We know where you work.” Art: “Yeah? Come by again.” Heh. “You’re a very bright man, detective,” Daniel smarms. Art demands to know what he’s doing there.
With a wary eye on Art and Daniel, Sarah follows the clues into the laundry room and out the back door to a garage with a single car. Creeping around the car, she peers into the open trunk, which is empty…for the moment. A black-gloved hand covers her mouth from behind. “If you want to see Kira,” Julian Richings says, “you’d better shut up and get in.”
Julian Richings stops somewhere along a deserted country road and opens the trunk. Oh, it’s an El Dorado. Bless. “This is your stop,” he tells a blinking Sarah, who’s blinded by the sudden shock of sunlight. “If you don’t get too stroppy I’ll help you out.” Heh. She doesn’t and he does. She demands to know where her daughter is, but Julian Richings only promises that someone will be along. He smiles as he slowly unhinges a knife. At the sight of the knife, Sarah kicks him in the balls and goes off on him. “Where is she, you piece of shit?!”Hands pull her back from doing more damage and lift her away. “Stop,” Mrs S. hisses in Sarah’s ear. "Mrs. S.!”
Sarah is gobsmacked to see her foster mother, who has a large rifle complete with scope strapped across her back like a revolutionary. “What the bloody hell? Bloody hell!” Sarah shouts, scooting back from Mrs. S. as best she can with her hands still bound by zip chord. She winds up between the two adults. “I’m sorry, Benjamin, you didn’t sign up for that,” Mrs. S. apologizes. Benjamin roughly grabs Sarah’s wrists and cuts through the chord as he agrees he certainly didn’t. Sarah again demands to know what the hell is going on and Siobhan tells her to relax that Kira is fine. “What he’s not a Prolethean?!” Sarah shouts. Siobhan and Benjamin laugh. “No chicken, you just passed through an airlock,” Siobhan explains. She adds that when Kira called Sarah, Siobhan knew Sarah would come and bring her troubles with her. Benjamin hands over the ClonePhone and says how it was ringing so he took out the batteries. Siobhan thanks him and wishes him safe travel home. “You too, S.!” he calls as he gets into the El Dorado and leaves. Yeah, that’s not the last we see of him. No way.
Siobhan gets right to the point and asks what happened between Sarah and Amelia. “I’m not telling you shite until I see Kira,” Sarah sneers. Unruffled, Siobhan suggests they get a move on as it’s quite a hike. She moves to do so leaving a shaken Sarah to call after her. “Who’s side are you on, S.?!” Siobhan casually turns back to her foster child. “Yours, love. It’s always been yours.” Sarah isn’t sure at this point whether or not to believe her, but she has no choice but to follow.
Doctor Leekie leads Cosima and Delphine to their new lab. He admits the old wing lacks luster but is where the most sensitive research takes place. “Like when you were sterilizing lunatics in the 30s?” Cosima quips. Doctor Leekie chuckles that all that was before his time. “She’s being cheeky again,” Delphine interjects, “she knows the Dyad was built on vaccines.” Cosima concedes. “Yes, polio, Spanish influenza…” Doctor Leekie says how they were manufactured right there then shipped all over the world to save millions of lives. He leads them into an area sectioned off into cell-like labs. “Oh, so this is where you keep the clones,” Cosima snarks. Doctor Leekie admits Cosima is part of a high-security program and Delphine adds that most restricted projects are compartmentalized. Cosima: “Right, so smart people won’t know what they’re working on.” Doctor Leekie points out that Cosima will know, however. “You’re working on yourself.”
Cosima keys in the code and leads the way into the Cold War-esque lab. “I was right; it’s Clone Jail. You know if I wanted an obsolete lab, I could just go to a community college.” Delphine promises they’ll customize it and Doctor Leekie pontificates at how Cosima will have endless opportunities by working at the Dyad. “Just last week I emailed a vaccine to a colleague in Delhi who then recreated it on a 3-D biological printer!” Cos has to admit that is completely amazing. Delphine teases her with the ideas of what they could build in that lab together. Doctor Leekie encourages her to make a list of equipment and personnel. “Just blue-sky it. Together.”
At the community theatre, rehearsal of Blood Ties continues. On stage, Alison metas that no one likes the touch of dead bodies, “But I was really hoping you’d help me clean up the blood!” The cast pretends reluctance and then Sarah Stubs joins “Shelia” downstage and vows to help her. The music swells as she and Alison lock fingers and swear that they are blood buds to the end. “It is written in our hearts. We will be together till the day that death takes us apart.” They turn their heads toward the “audience” and the cast joins in as they break into a jaunty tune with a marching beat. “Now we must heed the call cleaning the brains off the wall.” Sarah Stubbs and Alison have a solo: “The task may be unpleasant, but it’s ours.” And back with the full cast: “Try not to complain as your scrubbing out the stain. This is di-di-dirty work! Dirty work!” Alison struggles to focus and remember her steps and lines. They move into a repeat of last week’s chorus: “We will sing, sing, sing away the hours. Shout till our throats are sore…” It’s here that Alison misses her blocking entirely and goes in the wrong direction with her “sweeping” motion, which knocks her cast mate to the floor. “Sorry! Fiddlesticks!” Alison calls to Alexander the Director. “Left. Right? Left, left, right. Right?” Ha. She wants to do it again but instead Alexander the Director breaks for five. “And I mean five. Carter? No more sobbing.” Ha!
He calls Alison down to the floor to lead her in some breathing redirection exercises. He presses his hand to her belly just under her breasts. “That is you breathing very high. That’s anxiety residue.” He leans over her back and pushes his hand on her butt. “You want to breathe from here. From the sacrum. From the sacrum to the diaphragm and out.” Alison: “I’m not sure that’s my sacrum.” HA! He directs her to breathe loudly and runs his fingers up and down her chest several times, barely missing her breasts. “Excuse me?” Felix says pointedly as he arrives. “Oh, thank God!” Alison exclaims. She introduces her acting couch to the cast and crew. Alexander holds out his hand and introduces himself. “Yes, I’ve seen where that hand has been,” Felix replies with a big smile. Alison leads him off to a separate room where she updates him that she was wrong and Donnie is her monitor, not Aynsley. Felix doesn’t think Donnie’s vague text messages prove anything. “You have a history of jumping to monitor conclusions!” HA!
Alison tells Felix that Aynsley is dead. That’s right, he doesn’t know yet! “There was an accident with her garbage disposal. Her scarf got caught and,” she sits down and starts to cry, “she choked to death!” She admits she was there. “I watched it happen, Felix. I didn’t do anything about it!” she sobs. He tries to calm her down. “Are you joking?!” Heh. That stops the tears as she reminds him she thought Aynsley was her monitor, “we all did!” but that it was Donnie all along. “I killed Aynsley!” she cries. Fee soothes that she didn’t but Alison insists she did. “Well…I mean, not really. Just like, hardly,” he allows. She begs him not to tell Sarah or anyone else and freaks out over the idea of going to jail. Fee assures her she’s not going to jail, barely hitching his step when Alison whips out a nip bottle of booze and slugs from it. “We just need to prove that Donnie’s really your monitor.” She wants to know how they do that and as Fee takes the nip and drinks, she reminds him how Donnie’s “bamboozled” her for years. “He’s very good at being evil!” The idea of Donnie of all men being evil is highly amusing. Felix agrees and while she opens another bottle, he decides they need to set a trap. “Give him some monitorish information and see if he acts like a monitor.” Alison wordlessly agrees. “Okay,” Fee continues. “You got any ideas or do you just want to keep on drinking?” Alison slugs some more booze. “I think I need to keep drinking for a while and then I’ll have an idea.” When did Alison become a writer?
Back in the woods, Sarah admits that she made things worse and wonders why Mrs. S. didn’t call her. Siobhan snaps that she couldn’t trust the phones and already there was more than one person watching the house. “I knew someone was coming so I tossed the place and made it look like an abduction to confuse the issue. I put Kira first!” I admit that scenario that never occurred to me. Sarah is offended by the implication that she didn’t. Siobhan doesn’t answer her as they’ve arrived at their destination, and it’s one that’s familiar to Sarah too. A large man stands at the top of a long set of stone steps. “This is where we landed when we left the UK,” Siobhan reminds her. At the top, the man welcomes Sarah back and Siobhan prompts that this is Barry. “The birdwatchers,” Sarah says, finally catching up. That’s a lovely callback to how when she met with Siobhan to negotiate terms for visiting Kira in Season 1, Mrs. S. was bird watching, a hobby she raised Sarah on. She now reveals that the birdwatchers are her old network. So was she training Sarah all this time on how to recognize birds so she’d know how to contact and communicate with Siobhan’s old network? Hmm. “They helped us disappear once; they’re helping again,” Siobhan says matter of fact. They’re greeted by an older woman who Sarah remembers as Brenda. “Such a beauty and all grown up,” Brenda coos. “I wouldn’t say either,” Siobhan cautions. Sarah shoots her an exasperated look but it’s forgotten instantly as Kira cries, “Mummy!” and runs over. Sarah snatches her up and Mother and daughter are finally reunited. Sarah asks if she’s all right and Kira nods but something in her face makes Sarah ask if Kira is sure. She nods again. Siobhan calls for them to come inside. “I know I could use a drink.”
Angie is at Art’s apartment. She chides him for not answering his phone to quash the rumors about getting suspended. Art notes the union rep is handling it. When Angie refuses a drink, he merely pours it into his glass. He tells her about crossing paths with Daniel and she concludes he’s the one trying to get Art suspended now. “I got something that could help.” Angie pulls out her phone and shows him the picture of Helena from the hospital that the uniform cop snapped while she was out of it. “That’s like, what? Number 5?” Art warns her not to “go there” and to drop the whole thing. Angie doesn’t like that Art is getting screwed over it all. “And what about justice for Beth?” He yells at her to leave it alone. “You’re not going there!” “I’m not going there,” she repeats. He rolls his eyes. She is totally going there.
Cut to the hospital where Angie is having the nurse lead her to the “Jane Doe” only Helena isn’t there as Mark has managed to get her into a wheelchair and is wheeling her out of the hospital. “Who are you?” she mumbles. “Family,” he replies.
At the ranch, Bonnie hands “Gracie” a covered plate and asks if she nervous. Gracie doesn’t think it’s usual, but Bonnie assures that they seems as strange to “them as they do to us” and tells Gracie to do as her Father tells her. Gracie takes the tray down to the barn where Henrik and Mark wait. There are a lot of people on the ranch, doing laundry (the women) and collecting food (the men). So it’s like that. Mark shyly greets Gracie while Henrik looks into the large manila folder he’s holding. Mark clearly has a thing for her. Gracie ignores him but asks her father if “it” will eat. Henrik says of course “she” will and that she needs their care and they need her trust. He leads her up the outside stairs as Mark takes up guard at the base of them.
Upstairs, Tomas kneels at Helena’s beside and beats himself across the back with his belt buckle. He apologies when Gracie and Henrik discover him. “It’s an old custom,” he offers as he puts his shirt back on. Helena’s all tricked out with medical apparatus. Gracie puts the tray down and, horrified, she hurries out of the room, but stops in the doorway to listen in nonetheless. Tomas is overly grateful for Henrik’s rescue of him and Helena. “I found myself praying for her soul.” Henrik doesn’t think that too crazy. “Abominations have no soul,” Tomas reminds him. He doesn’t want to mistake the bullet missing Helena’s heart as a miracle. Henrik counters that it is a miracle. He pulls out the x-rays and puts them on a nearby light board. “Your charge is a genetic anomaly. She’s a mirror; her internal organs are all reversed.” He tells the shocked Tomas that the condition sometimes occurs with identical twins. “Kind of a yin/yang sort of thing.” He puts a stethoscope to Helena’s chest to prove to Tomas that her heart is on the right side. Helena is a Time Lord? No, wait, Time Lords have two hearts. Phew!
Tomas is horrified. “This is surely the mark of corruption.” Henrik disagrees. “See I steered my faith through science at MIT and what I see here is God opening a whole new door.” Tomas counters that what Henrik sees is not what Helena is. “Your New Order should appreciate that this wretch is not merely an affront, she is the war for the future of creation.” No pressure though. Henrik can’t argue with that at least and tells Tomas that he and Helena are both welcome at the ranch for as long as it takes her to recover. Or for him to kill Tomas. Whichever comes first.
Siobhan and Sarah walk Kira up through the house. Sarah points out memories as they come to her, like the place where Felix bashed his head opened. “Thanks to his foster sister who was helping him down the stairs head first,” Siobhan chimes in. Sarah: “He asked for it.” Heh. Brenda is in the room making up the bed for Kira. “We don’t get many through these days but we can still kit out an army if we had to,” she quips. Kira tells Sarah that Mrs. S. told her she has Sarah’s old bed. Sarah points out where she and Felix carved their names into the headboard. SM & FD FOREVER. Aww. Kira sits next to her on the bed as Siobhan and Sarah exchange long mother/daughter/mother looks.
Donnie is on the elliptical in the basement as Alison pretends to talk to “Marjorie” on the phone. She swears she “can’t today”. On the other end of the phone line, back at FFF, Felix advises her to make it sound dire, “oh and mention Sarah. They’re all obsessed with Sarah.” He’s wearing his painting apron and as he turns for more paint, his bare bum is revealed as he’s nekkid under the apron. As that’s twice in as many episodes, I’m instituting a new drink meme for every time Felix flashes his bum. Drink! “No, not even an emergency!” Alison replies. “I can’t talk to Sarah. I can’t!” Donnie definitely pings in on that. “Now set the hook,” Fee advises. She does and disconnects. At FFF, Fee reveals he’s painting his client Teddy, who is right there posing for him nekkid with a wooden egg held between his legs. “Looking good, Teddy,” Fee praises. “Do you need a stretch?”
Alison tells Donnie it’s absolutely essential that she go out. She goes to Aynsley’s tombstone and waits. Donnie, never the stealthiest guy, creeps up behind a tree nearby. He’s on the phone with Doctor Leekie and carrying a pair of small binoculars. “You said to call if she had contact with a Sarah someone, right?” Doctor Leekie emphasizes he’s looking for Sarah Manning, but it’s Sarah Stubbs who arrives to greet Alison. “Oh, honey, look at you, you’re shaking.” She embraces Alison who thanks her for coming by on such short notice. That’s actually a bloody clever move, a little Sarah diversion, a variation on the clone impersonation theme. How cool would it be if turns out Sarah Stubbs is another monitor? Donnie relates to Doctor Leekie that it’s Sarah Stubbs, not Manning, a woman who’s in the play with Alison, which is about the time Sarah notices Donnie ineptly lurking behind the tree and points him out to Alison. This is all the confirmation she needs that her husband is her monitor. Donnie scampers off to duck behind a large tombstone. He describes Sarah Stubbs to Doctor Leekie who orders him to stop talking. “That’s not the right Sarah.” Donnie asks what he’s supposed to do now. “Hang up, Donnie,” Doctor Leekie growls and hangs up.
Donnie looks up and is startled to see Alison right beside him. He fumbles through an excuse. “Honey, you haven’t even cried yet. I knew you were coming here to see Aynsley. I was worried.” In a tight voice, Alison wonders if he was worried she might hurt herself or one of the family. Donnie insists he was just worried in general like. Alison quietly invites him to join her and Sarah. Donnie glances at Sarah who is still at Aynsley’s tombstone. She grins and cheerily waves at him. HA! Donnie tells Alison to be with her friend, apologizes, says he loves her, and leaves. Alison bites the inside of her bottom lip to keep from killing him.
Kira swings on a swing set in the yard while Siobhan and Sarah talk it out. Sarah wants to know what Mrs. S. planned to do with Kira before she showed up. Siobhan takes out the passports and tickets to London she procured. “London is where this all started.” Sarah thinks they’re for her and Kira and gets pissed when she sees the adult passport is for Siobhan. “When it’s safe I’ll organize to bring you,” Siobhan promises. “There are people in the UK I haven’t seen in a long time. People with answers.” Sarah exclaims that Kira is her daughter, which causes Siobhan to take the gloves off. “And your next move it what, exactly, because so far you’ve done a piss poor job of keeping her safe!” Sarah snaps that Siobhan means it’s all her fault. “No,” Siobhan returns. “No. But it is your reality. And my care of Kira has always been bulletproof, has-it-not?”she bites out for emphasis.
Sarah pulls out the photo Amelia gave her and holds it up before Siobhan. She asks what it is and reads the back. “Project Leda?” She takes in Sarah’s expectant expression. “Well you clearly know something I don’t.” Behind them, Kira stops swinging unnoticed and watches them closely. Sarah relates how Amelia gave that to her. “She warned me about you as she died of a stab wound from Helena.” Siobhan’s face falls to hear the news. “She put you with these people,” Sarah says. “I’m very sorry, Sarah, but I swear to you, I don’t know who they are.” By the look of it, Sarah doesn’t quite believe her.
Night’s fallen and Brenda, Barry, Siobhan, and Sarah are in the kitchen finishing dinner while Kira lies on the floor nearby, drawing. Barry pours more wine as Brenda admits it’s nice to feed a proper pack again. For a moment, I wonder if there’s about to been an Orphan Black/Bitten crossover, but the moment passes. They toast safe travels and reminisce about when Brenda cooked for a strike kitchen with practically nothing and Siobhan clean machine guns. “What kind of strikers need machine guns?” Sarah asks. Siobhan explains how she was on Guns for Funds, “running weapons to finance freedom. It made a lot of sense at the time.” There’s so much about this underground set up and tucked away “safe” house that reminds me of Children of Men. No way these two aren’t playing Mrs. S.
Brenda agrees it wasn’t particularly effective but it was good times, “then we lost Jamie,” Barry’s dad. “There’s always a high price to pay for righting wrongs,” Siobhan warns with a pointed glance for Sarah. She means more than the distant past here. She’s trying to pre-load her defense to Sarah for the revelations yet to come, I think. Sarah is not unaware.
Back at Clone Jail, Cosima roams the lab as Delphine makes up The List. Cosima wonders if the extractor fan even works. It doesn’t. Delphine brushes it off as something they can get fixed. Cos gets in close. “You making up a shopping list for me?” she flirts. Delphine flirts back that she is. Cosima chuckles, but backs off before they kiss to designate a chill zone in the back of the room, “with like a Persian rug and a really nice leather couch.” “Hang on,” Delphine interrupts, “does a gene chip system make a 2-channel array moot?” Cosima is entertained by the whole “moot” thing. She sidles back over to Delphine. “You’re so cute.”
They’re canoodling is interrupted by someone keying themselves into the lab. “So much for security,” Cosima mumbles. She freezes in her tracks when she sees another woman with her face. “Hello. Rachel Duncan,” Rachel introduces herself flatly. “You sure are,” Cosima quips baldly. “I’m Cosima,” she continues as Rachel removes files from her bag with deliberate movements. “The real Cosima, not the one who kicked your ass or whatever,” she finishes, twitchy with her glasses as Rachel turns a cold, shocked look on her. “Gotta love concealer.” Rachel can’t believe Cosima had the nerve to bring it up to her face. “I hear you’re very clever,” she gibes. “Yeah? I was ‘clever’ when I was, like, six,” Cosima returns, undaunted. Realizing she’ll get nowhere with Cos, Rachel aims for a weaker target. “Doctor Cormier, now that we’ve met you’ll need to sign another confidentiality agreement. Would you leave us please.” It’s not a request and Delphine hurries to comply.
“So,” Rachel drawls after Delphine is gone. “You’re gay.” Cosima smiles tightly. “My sexuality is not the most interesting thing about me.” Rachel can only agree with that. “How are you feeling?” she asks. It’s the first question she asks that’s genuine and not a ploy. It’s also the first question Cosima doesn’t know how to answer. Rachel doesn’t wait but holds out the results of Cosima’s last medical tests that she had done at her university GP two weeks earlier. The blood tests show that Cosima has a high lymphocyte count along with high CRP and ESR. “You are aware of Katja Obinger’s undiagnosed condition, yes?” Cosima agrees that she is. Rachel hands over the data on Katja, “redacted to the pertinent information.” She believes it’s in all their best interests to eliminate genetic predisposition. Cosima presses that she should then be allowed to examine the original genome. “Oh that’s not possible,” Rachel calmly objects. Cosima wants to know why not. “I assure you, the original DNA was robust,” Rachel promises proudly. “We believe our issues stem from the cloning procedure.” Delphine is apparently scheduling Cosima for an MRI. Rachel has one more thing she’d like Cosima to “engage with.” It’s what little they know of Sarah Manning’s upbringing and environment. She hands over Sarah’s sequenced genome too. “I want you to tell me why she’s different than we are.” Cosima knows Rachel really wants to know why Sarah is the only one of them able to have a child. Rachel smiles and sniffs but doesn’t confirm, merely invites Cosima to make herself at home and leaves.
Back at the farmhouse, Barry’s phone rings. Brenda tells him to take it outside and when Sarah asks why, explains it’s to keep any one of them from having all the pieces. “It’s just the way it’s done, love,” Siobhan soothes. Sarah isn’t mollified. Kira wanders over and Sarah asks if she wants a “kip” before they leave. Siobhan thinks a nap is a good idea. “We’ve a really long trip ahead.” She snags Sarah’s arm as she passes. “Any goodbyes are just for now, okay?” Sarah nods and goes to take Kira upstairs, but on the way up, she slips her Clone Phone from Siobhan’s jacket pocket which is hanging on the coat rack. In the bedroom, Kira asks if she should put on her PJs. Sarah keeps watch on Barry out the window and says that depends on what she has to tell her mum. “What’s wrong?” Kira wants to know what Sarah showed Mrs. S. when they were outside earlier. Sarah holds up the picture and Kira recognizes it as Amelia’s. “S saw it when she was snooping in her stuff,” she says. Sarah asks why Mrs. S. was snooping in Amelia’s stuff but Kira only shrugs. “Mrs. S. has lots of secrets,” Sarah whispers to her daughter. “Some of them are good, yeah?” Kira whispers back. “Maybe, but I don’t think so.” Sarah takes a moment. “We should go.” Kira nods in agreement. “Yeah.” I love that kid. She’s freaky with her preternatural grasp on things, but her relationship with Sarah is so great. Sarah doesn’t dismiss things she says because she’s a child and Kira trusts Sarah above all others no matter what mistakes she’s made. They’re a team.
Downstairs, Barry rejoins Brenda and Siobhan and announces that they’re on hold. Immediately on alert, Siobhan says if there’s trouble, she’s needs to know. Brenda prompts her son as to whether or not there’s trouble. “I’m to make a call in an hour,” he says to Siobhan. Brenda shrugs it off as the usual delays but Siobhan isn’t buying it. Upstairs, Sarah and Kira skulk out of the house and into Barry’s truck where he’s left the keys in the ignition. Inside, Siobhan paces and finally tells Barry she wants to talk to the driver. He refuses. Siobhan tells Brenda if they delay, they’ll be in daylight on the route with the most cameras. Barry snaps that they’ll change the route then. Brenda gestures for him to give her the phone and they’ll get it sorted out. Siobhan objects, more sharply this time, that she’d rather review it personally. Sarah struggles to get the truck started and inside the house, they finally hear her efforts. Barry grabs his rifle and runs out but when Siobhan tries to follow, Brenda pulls a gun on her and yells at her to stop. “Hands!” Slowly, Siobhan turns around and raises her hands.
Barry runs outside just as Sarah manages to get the engine to turn over. Barry charges and Kira screams while Sarah yells for her to get down.
Inside, Siobhan asks what Brenda is doing. “For God’s sake, she’s just a little girl!” Brenda sneers that they were all little girls once. “Not like this one,” Siobhan returns with conviction. She’s managed to make Brenda curious. “Meaning what? Exactly?” she asks, sidling closer. “It means,” Siobhan begins. Instead of finishing, she grabs up Brenda and slams her face down on the dining table. She pins one of Brenda’s hands to the table with the steak fork and the other with the steak knife and then, without sparing another look for the shrieking woman, heads outside to save her daughter.
Barry aims the gun at Sarah and orders her to get out or Kira will get hurt. When she doesn’t move, he runs around to the driver’s window. Sarah locks the door and struggles to get the old truck into gear. “Open this door!” Barry demands. “Sarah, I can’t let you go!” He breaks the window with the gun butt and tries to wrench Sarah out through it. Sarah bites his arm and whacks him in the head with his own metal lunchbox. Barry recoils with pain and frustration. There’s this one moment where it’s clear he can’t believe she hit him with his own lunchbox and then his eyes go wide as a gunshot sounds. Barry drops to the ground, dead. Sarah looks over to the house where Siobhan stands in the glow of the headlight with her rifle.
Sarah urges Kira to stay down out of sight as she stares at her foster mother, unsure of Mrs. S.’s next move. Slowly, Sarah drives the truck forward and Siobhan gets out of the way so it can pass. Once sure Sarah and Kira are away, out in the unknown where she can neither help nor harm them, Siobhan’s head whips back toward the house. She returns to the dining room and Brenda. Deliberately, she chambers another round. “Not my boy,” Brenda pleads, trembling with pain. “Not. My boy.” Siobhan very carefully takes the seat across the table from her. “Could you just tell me why after all we’ve been through together. Why?” Brenda does. “A lifetime of bluster about change and justice while we starved for our troubles.” Crying, Siobhan asks who got to her. “I found God,” Brenda says bitterly. “It turns out the Lord has deep pockets.” Siobhan realizes with horror that Brenda sold them to the Proletheans. Brenda demands to know who the cursed children are who Siobhan brought into their lives. “They’re Project Leda,” Siobhan replies easily. Oh ho! So she was a part of it all along! Amelia was right! Sneaky Mrs. S.! “I don’t know what that is,” Brenda admits. “Good,” Siobhan replies. Without another word, she shoots her.
Next morning, bags packed, over-sized Jackie O sunglasses in place, Fee waits for Sarah in an alley. His Clone Phone rings: it’s Alison having a breakdown over wine in her craft room. “Donnie took the Sarah bait. My husband is my monitor.” She needs Fee to come and get her out of there right away before she snaps. Of course he can’t do that. “I’m leaving town for a while.” He tells her he’s going with Kira and Sarah and while he wants to tell her where, it’s not safe to know. Alison hyperventilates. “Even my own clones think I’m useless!” That there is the line of the night. Felix assures her that’s not true as Sarah and Kira pull up in Barry’s truck. “You have a musical to focus on!” Alison shouts that she killed Aynsley. “Aynsley wore a scarf in the kitchen!” he snaps back. Nope, that’s the line of the night. He instantly tells her to hold on a sec, which is almost as funny as his delivery of that scarf line. He greets Kira and tosses his things in the back of the truck. Climbing into the cab, he apologizes to Alison but claims he has to go. Alison is crying now. Felix tells her to call Cosima, not to tip off Donnie, and to play possum. “I’m sorry Alison, but I’ve really got to go. I’m sorry.” He disconnects. Sarah archly asks how “Auntie Alison” is making out. Cut to Alison tossing a pill in her mouth and washing it down with Chablis. “You have got enough to worry about right now,” Fee tells Sarah. He asks Kira if she’s excited for their big adventure. “I don’t know,” she moans. Sarah chirps that it’s going to be brilliant. “Absolutely,” Fee deadpans. “I can’t wait. Are we there yet?”
At the ranch, Henrik leads Tomas into the barn as he explains that they have 140 acres supporting 40 souls. “God smiles on you,” Tomas says. Henrik allows that farmers pray more than most, “but not worth the breath without hard work and basic biology. Agosciences.” Tomas waves off the farming explanation and Henrik changes the subject. Behind them, Bonnie remains in the opened barn doorway. Henrik notes that Helena’s been with Tomas for some time. Tomas confirms it’s been since Helena was twelve as they pass Mark who is unraveling the hose that’s connected to what I think is a captive bolt pistol. Henrik enters a stall with two young calves and wonders if, seeing as how Helena is a twin of a fertile clone, maybe Helena can conceive a child too. Does he mean to fertilize Helena? Unnoticed, Bonnie closes the barn door. Tomas thinks any conception by Helena is impossible. “She defective and dangerous. Any child of her would be a monster.” Mark unspools the hose as Henrik concedes that Tomas knows Helena best. “You know, a wise man once said, ‘Science without religion is lame. Religion without science is blind.’” Tomas notes that Einstein didn’t believe in God. Mark holds the captive bolt pistol up to the back of Tomas’ head and fires, punching a hole through his head. Henrik removes his hat and both Mark and Bonnie close their eyes as they take a moment for the newly departed. Henrik puts his hat back on and looks at Mark with cold satisfaction. “It’s a brand new day.”
Next week: “Mingling Its Own Nature With It”
ETA 4/27/14: This post has been updated.