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 3, “Mingling Its Own Nature with It.” Enjoy!
Out in the middle of a field, Sarah and Fee wake up in the truck Sarah stole from the birdwatchers. She checks if he’s all right and, when Fee snarks about how much he adores camping, reminds him it’s less camping and more sleeping in a truck. “I slept in a flatdeck. In my world, that’s known as camping,” he insists while Sarah pops a squat. “Otherwise known as ‘homeless in the country’.” He checks over his shoulder before asking how much of the last night’s bloodbath Kira saw. Sarah assures him Kira didn’t see Mrs. S. take the shot at Barry Birdwatcher. “Our dear old mum’s a dead eye with the rifle,” he muses with disbelief. “Just makes me queasy.” Sarah solemnly relates how cold Siobhan was when she took the shot, “like she’d done it before.” Pretty sure that’s a given. Fee thinks it’s all crazy. “It’s Mrs. S.! She makes tea and…taught me piano.” He hops off the back of the truck and straight into a cow pie. This sets Sarah off laughing like a loon while Felix epically freaks and that all wakes Kira who sleepily asks what’s funny. “Uncle Felix camping is funny,” Sarah says warmly. “We need to get to civilization,” Fee declares.
Daniel arrives at Underground Cottage and discovers dead Barry Birdwatcher on the front stoop and dead Brenda Birdwatcher in the dining room with a bunch of flies to keep her company. Dude is really good at tracking. He pokes at some papers on the desk but ducks out the back when the big ass Prolethian truck pulls into the drive. Mark and Henrik are not overly surprised to find Barry and Brenda dead. Using a tarp, they drag Barry out of the way while Daniel watches, unseen, and then together mull over Brenda in the dining room. Mark apologizes for putting his faith in the birdwatchers but Henrik allows that no one said it was going to be easy and now they’ll just have to work with what they’ve been given. “Helena,” Mark clarifies and Henrik grunts in agreement. “Light ‘em up,” he orders. Mark douses the place with gasoline, including Brenda, and the men hurry to leave while Daniel watches all. As the Prolethians pull away, Daniel holds up the small square of paper he took from Brenda’s desk: a leftover passport photo of Kira.
In small-town Canada, Kira asks when they’re going to get breakfast. Sarah promises it'll be soon while Felix bitches that he would’ve happily taken them to the last diner they passed if Sarah hadn’t thrown his credit card out the window. “Because they might track us,” Kira says with solemn insight. Sarah and Fee exchange freaked out looks. Kira is darling, but her instinct and comprehension are borderline preternatural. Though if Cosima was “clever” at the age of six, and Kira is now eight, there’s an argument here that the genius itself is in the genes and manifests in each clone in different ways…and, it would correspond, in their miracle offspring.
Inside the general store, country music plays as Felix roams the frozen foods area. Kira enters the store alone. The store owner greets her all friendly, “hey, kiddo,” but keeps an eye on her in the security mirror. Kira very badly palms a bag of candy so that the store owner sees her do it without looking as though it was done so that the store owner saw her do it. She stole casual. He catches her up at the door and kindly tries to get her to give it back. Sarah enters and plays the hot young mom scolding her precocious child for shoplifting a bag of candy. It’s all a distraction for Fee to life a loaf of bread and some borderline real food and scamper out the door. Not being as aw shucks as he appears, the store owner pings onto Fee’s quick exit, but Sarah pays for the candy and hustles Kira out before the now suspicious store owner can put two and two together and come up with clone.
Back in the city, Art returns from the gym to find Angie waiting in the hall outside his apartment. “Got something that might tempt you out of obscurity,” she taunts. He gives her A Look but opens the door for her. “Let me guess: you went to the hospital after I told you not to.” She surely did. “And guess what? That Shakira-haired lookalike? Gone. Poof. Surveillance shows some guy wheeling her out.” She admits though that there’s no ID on either one of them, “yet.” This sets Art off into Angry Art mode, which oddly enough looks a lot like Asshole Art mode. He demands she sit down. “No, I think I’ll stand, Art,” Angie replies, not at all intimidated. He tightly reminds her that he told her to let it go. Don’t hold it back anymore, Art. “If you don’t, I’ll go to Hardcastle myself and tell him you’re still after it.” This would’ve been the perfect place to reveal either Art or Angie’s last name to be McCormick. “You know you’re letting down two partners now, right?” Angie scoffs. “Me and Beth.”
In the woods, Felix entertains Kira while Sarah strips the plates from the truck. “Well I mean it was just a complete disaster, my worst nightmare, not having done my hair for picture day.” Kira giggles as Sarah eyes them both. She wanders over and carefully tells Kira that the thing they did at the store is only to be done when absolutely necessary. Kira knows this and Sarah sends her to get her things from the truck. Sarah tells Fee she’s been in the area before, ignoring when he asks when to point out that there are lots of summer homes and cottages where they can hole up for a while. “She needs a proper bed, Fee,” she emphasizes, but he’s not arguing the point. Sarah watches Kira with guilt and worry in her gaze as the child carefully folds her clothes and puts them in her bag.
At Alison’s McMansion, Donnie sleeps on the downstairs couch. Alison glares at him and then aggressively runs the vacuum to wake him. He stops her and she wonders why he isn’t at work. Turns out Donnie’s boss is away so naturally he’s playing hooky. Alison: “Hmm.” She clears off the coffee table with sharp, jerky movements. Donnie brings up the scene in the cemetery last week with Sarah Stubbs. “I’m worried. You seem so wound up.” Donnie, you have no idea. He reminds Alison she has the big dress rehearsal the next night. “Who’s my little star?” he coos, touching her hand. She yanks out of reach. “That is not helping,” she snaps as she stacks books on the table. Donnie pats the couch beside him and invites Allison to sit down and let him relax her. “You know morning’s my best time.” Alison doesn’t miss a beat. “I just showered.” Ha! Without another word, she flips the vacuum back on pushing it past Donnie so he has to lift his legs. I swear that’s a Dyson.
Sarah leads Fee and Kira to a red cottage that appears to be abandoned. She chirps about how nice it looks. “Looks well-appointed,” Fee admits. Sarah picks the lock to let them in and Fee takes the lay of the land. “Bachelor maybe? A photographer?” he muses with a glance over the posted pictures on the wall. Sarah watches Fee with a heretofore unseen wariness.
At the Dyad Institute, Cosima teases Delphine about her ability to walk into Doctor Leekie’s office whenever she wants. She admits that she can only do so when Doctor Leekie is out of town. For her part, Delphine is more tense than playful. “But he’s away a lot and I—I like it in here.” Cosima skips over to an odd construct on display that looks like a camp project made with pipe cleaners. “We should mess with his little bio-energy hobby farm,” she suggests. “I’m gonna put, like, an electric eel in one of these tubes. He’ll be like, ‘Great Scot, I’ve created life itself!’” Cosima does a delicious imitation of Doctor Leekie here, which sounds very much like Max Headroom, which delights me greatly. Delphine, however, is Doctor Killjoy. While Cosima’s been dancing around, she’s taken a disc out of the envelope in her hands and loaded it up. She solemnly calls Cosima over to the enormous standing television. “I just found out. I think you have a right to see this.” Cos is game. Delphine plays the tape, which is the video diary of another clone named Jennifer Fitzsimmons who is a high-school swim coach. “They asked me to keep this video journal because they found polyps on my lungs,” Jennifer recites into the camera. Delphine pauses the recording and gently fills in that Jennifer was the first clone to show symptoms six months before Katja Obinger. “We have hours of these tapes.” Cosima turns away from the screen to ask if Jennifer is all right. “She died three days ago,” Delphine confesses.
Back at the cottage, Sarah and Kira hang out in the bedroom where Kira will be sleeping. “When will we see Mrs. S. again?” Kira asks. Sarah was wondering the same but she doesn’t know. “She protected us though,” Kira says, “didn’t she? Even though she was lying?” Sarah hopes so but promises that she’ll be the one protecting Kira now. “I know I wasn’t always around, but I’m here now. Nothing bad is gonna happen to you.” So, of course, something bad will inevitably happen to Kira. “Except for that,” she allows as she tickles Kira. They wrestle and giggle and devolve into a pillow fight.
Out in the wild, the local cop has found the stolen birdwatcher truck and calls in the VIN number.
At the Prolethian Ranch, Mark and Grace watch Helena through the window in the door to her attic room. “Look at her, Gracie,” Mark implores with wonder. “Men schemed for years to build her but only God could make her fertile.” Grace believes Mark thinks far too highly of Helena. She enters the room with Helena’s meal tray and sets it on the bed. Helena rouses and asks why she’s there. Grace says Henrik wants Helena to join their family. “I’ve already got a family,” Helena mutters around the food in her mouth. “You’re barely even human,” Grace sneers. Helena eyes her. “I have a twin sestra. And a plemyannica—a niece.” She asks after Tomas. “Gone,” Grace replies. “My dad said back to Europe in the Dark Ages.” Heh. Helena knows that means Tomas is dead. She spits violently. “Good riddance,” she mumbles as food drops from her mouth onto the bed. She offers a chicken leg to Grace who shakes her head and leaves, probably so she can vomit.
At the cottage, Fee runs downstairs in a full if quiet panic to rouse Sarah. “Wake up. Someone’s here.” We see that someone cross the front stoop and unlock the door. “We’ve got to go, now!” Felix calls, no longer trying for quiet. Sarah calls Fee’s name, but he’s not listening. “Run!” he shouts as the newly arrived person flips the lights on. The man who’s arrived instantly pursues Felix. Now Sarah moves, running after her brother just as the man grabs him up and slams him against a post. “Cal! Cal!” Sarah shouts grabbing the man’s raised fist. He finally looks at her. “Sarah?!” Say, it’s Michael Huisman who is everywhere these days, Nashville, Game of Thrones, and now Orphan Black. Have to admit, I am not sorry to see his bearded hotness again.
Fee gapes at them both. “You know him?!” Cal shifts his hand to Fee’s throat and shoves Sarah back. “What the hell are you doing in my house?” Sarah hastily explains that they were in a bind and broke in. “I’m sorry. I’m sorry.” Cal is not amused by her choice of words. “A bind?” Fee squirms in his grip. “Oh no,” he laughs without amusement. Cal tells Sarah she has some nerve. “Last time I saw you, you took ten grand and my car!” He slowly releases Fee who can’t believe Sarah brought them to the house of one of her marks. “Are you insane?!” He sidles behind Sarah while Cal nods with disgust. “One of your marks,” he repeats while Sarah tries to calm Fee down. Felix introduces himself. “Foster brother and an avowed pacifist.” Cal doesn’t want to know him and orders them both to get out.
“Mummy,” Kira calls sleepily as she comes down the stairs. “What’s going on?” Sarah swears and with a worried looked at Cal, goes over to pick up her daughter. “Did you get scared?” she asks as she carries Kira back to Fee and Cal. “I’m sorry, it’s just Cal. He’s an old friend.” Cal laughs bitterly. “Yeah, well, actually I’m not.” Kira eyes the man before her with that freaky perception of hers. “Are you my dad?” Cal scoffs and looks at Sarah to share the joke. His face falls when he sees she’s not laughing. Fee glances between them, totally gobsmacked. “Blow me down,” he murmurs. Snort. Cal raises a brow at Sarah. Yeah? Sarah tilts her head ever so slightly as she and her daughter stare back at him, a modern day Madonna and her child. Yeah.
It’s dawn and Cal and Sarah are having it out outside. “Is this a scam?” he asks. “You and the cute little girl and she goes, ‘are you my daddy?’ and I get fleeced again?” Sarah shouts that it’s not a scam. “I was here with you for a month. Timing’s right; she’s yours.” None of this makes Cal happy. “You’re killing me.” Sarah promises she didn’t come there, “for a father figure for my kid,” but only needed a place to sleep. He asks what shit she’s into now and in response Sarah says they’re going to get their stuff and go. “Great walk away. That’s your specialty, isn’t it?” Cal yells after her. But his scorn only lasts a few seconds before he calls after her to hold up. “I’m not gonna kick this little girl out on the street,” he says and offers to let them spend another night if it’ll help them out. Sarah thanks him. “Just don’t steal anything,” he adds.
Alison is in the middle of her dress rehearsal for Blood Ties. “Blood in the bathrooooooom,” she sings. “Blood in the shower,” the chorus echoes. “Covers the tiles and the bathroom mat,” Alison continues in song, getting more and more frantic and out of tune as she goes along. “And did you know the thing that’s really strange? The police do not arrange to clean the mess. They take the body and the family in distress is left to deal with the splatter. How they feel doesn’t matter and there’s no one you can call to help you through eeeeeet.” It’s all so meta for Alison, I still can hardly believe they didn’t write it specifically for the show. Alexander cuts her off and gently suggests she save “that beautiful instrument” for the audience. He tells the rest of the cast they’re going to continue with only dialogue.
Outside, Alison carefully loads her costume into the back of the minivan. Turning she runs straight into Suburban Angie! Her sudden appearance startles Alison into profanity. “Holy fish sticks!” Ha! Suburban Angie apologies and asks to borrow Alison’s phone to call her husband as she’s locked her keys and her phone in the car. She makes a show of it too, complimenting Alison’s “kicks” as she waits for her “husband” to answer, even throwing in a fake assistant to bypass for extra points. How hilarious would it be if it was revealed she actually called Art to poke him while making the whole thing more plausible? Angie disconnects with a grateful “you’re the best!” to her non-existent husband and offers to buy Alison some coffee while she waits as a thank-you. Alison rudely says no, barely tacking on that she has to go pick up her kids. Undaunted, Suburban Angie waves and suggests maybe another time. Once Alison has driven away, she sighs and beeps open her car to dump her bag in the trunk. Heh. I love how Suburban Angie is all done up like a Soccer Mom for her role, blue and black track suit a perfect set match to her blue and black sneakers. Gotta pay attention to the details when you go undercover with the Clone Club.
Sarah and Kira sit across from one another on the bed upstairs at the cottage. Sarah admits she should’ve told Kira about her father, but she wanted her all to herself. Kira points out that Sarah always left. Kinda hard to keep your kid for yourself when you’re not actually there. Sarah starts to cry as she reminds Kira how she never had a real mom and dad. “When I was your age, that made me very angry,” she sobs. “It made me very confused. And I don’t want that for you.” Calming, she decides she brought Kira to Cal now, “because there’s two parts to you, yeah? One of them is me and one is your dad. Do you get that?” Kira nods and asks if Sarah likes Cal. She nods and admits that a long time ago, she liked him very much. “I like his beard,” Kira offers sweetly. Honey, you are singing my song. Sarah laughs with relief.
Outside, Fee, wrapped in his fabulous full-length coat, makes his way around the grounds and into the barn. “Make yourself at home,” Cal quips as he enters carrying some apparatus. “Sorry. I’m not snooping,” Fee quickly assures. “Just wondering.” Skeptical, Cal nods. “Uh huh.” Fee asserts that he’s intimately acquainted with Sarah’s bullshit. “My concern is for Kira.” But Cal has learned his lesson from Sarah too well. “Whatever you’re angling for man, just ask.” Fee does, wondering why Sarah came back there since there has to be a reason and what exactly it is that Cal does. Cal corrects that it’s what he used to do that matters. “Pollinators. Mini-drone pollinators for areas where bee populations have crashed.” Great. More fertility-related stuff. On this show, that is not coincidental. Cal designed micro-optics for the mini-drone pollinators. “But my partners forced me out and sold the technology to the military. Now they kill people from bases in Virginia with it. But I don’t.” Fee calls him a moralist with money, the perfect mark. “For child support?” Cal counters. “She already robbed me once.”
Back in Doctor Leekie’s office, Cosima watches Jennifer’s journal. Jennifer relates that the cough is getting worse, but has the good news is that Doctor Aldous Leekie from the Dyad Institute says he can help. Cosima gives Delphine a cynical look. Jennifer continues that Doctor Leekie is going to fly Jennifer out for treatment, “thanks to this amazing guy,” Jennifer says gesturing off camera. A handsome young man in his late 20s comes on screen and kisses her cheek. “This is Greg, my amazing boyfriend.” Greg chuckles while in the office, Delphine quietly makes coffee and watches Cosima.
The video journal flips off and then back on. Jennifer is now in a hospital bed. Her condition has deteriorated greatly which greatly shocks Cosima. “Oh my God,” she murmurs, looking away for a moment. She rubs her eyes as Jennifer talks about how the semester has started and her colleague sent her a picture of the new class. Delphine sits on the arm of the Cosima’s chair and hands over a mug. “That’s enough,” she decides, though the video plays on. Cosima confirms that Delphine has seen all of the recordings. On screen, Greg holds a kidney bowl up to Jennifer as she coughs up blood. “That’s her monitor, right?” Cosima asks without missing a beat. Delphine softly confirms it. “Sometimes I forget that you’re mine,” Cosima admits, face twisted with pity and doubt. “That’s good,” Delphine decides, smiling at Cosima. But her smile drops as Cosima merely grimaces in response. She looks at the screen where Greg is now framed with Jennifer. “He kept her completely in the dark. She had this total fake hope.” Delphine objects that it’s not fake, “not for any of us. The fact that she was naïve did not compromise her treatment.” She reminds Cosima that they’re telling her everything now but if she can’t handle it… “I can handle it; don’t be a bitch,” Cosima snaps back. Delphine takes no offense. “That’s what I thought,” she says, smiling again. She advises Cosima to get ready as Jennifer’s voice reveals more information. “Doctor Leekie couldn’t even help me. He lied.” Delphine moves off as Cosima turns her attention back to Jennifer in time to see her remove her cap and reveal her near total loss of hair. Cosima exhales hard and turns away, unable to look on her future any longer. “How am I doing?” Jennifer asks rhetorically. “I’m gonna die here.”
Sarah leans against a post in the living room of the cottage. Everything in this shot is structured and lit so perfectly, I actually caught my breath and didn’t recognize Sarah for a moment. The contrast of her healthy image immediately after the close up of Jennifer’s decaying and bald form is shocking and accentuates the earthy fertility of Sarah that the Dyad and Prolethians covet so greatly. Plus, she looks damn sexy. Fee stalks in, tosses his coat aside, and strikes a pose. Uh-oh. Someone has reached a Come to Jesus moment. “You brought us here,” he says with no preamble. “You wanted Kira to meet her father.” Sarah protests she didn’t even know Cal would be there, but Fee calls her on her shit. “For eight years! Eight years you pretended you didn’t know who he was! You let me narrow it down to Ziggy the drummer or that guy that you met in Orange County in the bar? You knew the whole time.”
Sarah cuts him off to reveal that stealing to feed Kira the day before was too much. “We were in the area. I knew it was time.” Fee rolls his eyes, exasperated and with no small amount of feeling betrayed. “You are a bloody wrecking ball. You are an exploding cigar, do you know that?” Sarah pleads to be allowed to patch things up with Cal. “He’s a good guy, Fee.” Fee bets Cal is. “Resourceful. Big farm biceps.” But what Sarah cares about most is that Cal is completely disconnected from all the shit they’re dealing with in the Clone Club. “I think Kira deserves something, something nourishing for once. Even if just for a few days.” Fee nods as he starts to cry. “Yeah. No, you’re right. She just met her father; you can’t yank her away. But Uncle Felix isn’t going to be babysitting while you negotiate custody.” Sarah scoffs and turns to drop into a chair, but Fee holds his line. “I’ve got other drama in my life, Sarah. Alison’s musical opens tomorrow; she needs me.” Sarah traces the lines in the wood table and scoffs again. But it’s all come together for Fee. “There’s no place for me here,” Fee realizes, and that epiphany breaks him to tears. “Nothing more to say,” he adds a moment later when he’s regained some control, “except goodbye to Kira.” That must be the first time Felix has done the leaving and likewise the first time he’s bucked what Sarah wanted him to do for her. Also some stellar, heartbreaking work from Jordan Gavaris.
At the Dyad Institute, Delphine and Cosima are in the pathology lab. Both women are wearing masks and lab coats. After checking that Cos is ready, Delphine gently pulls back the sheet covering the body on the table to reveal Jennifer’s bald corpse. Cosima catches her breath at the sight of her. They proceed with Jennifer’s autopsy. Cosima quips about Delphine’s pathology rotation so the audience knows she has the experience for the procedure. Cos is then hit with a coughing attack to bring home how close she is to living out Jennifer’s fate if they don’t find something in her autopsy that can help Cosima beat the Clone Plague. Delphine checks that Cosima is all right to continue assisting her and Cos insists she’s fine.
Delphine begins with the intestine, which has been tied off so she’s going to cut it free. Cosima interrupts to wonder about the sores on Jennifer’s lips. The camera shot is from behind the examination table, so in the background we can see Cosima struggling with the long tube of Jennifer’s unleashed intestine. I’m seriously grossed out but also applaud the production team's full-throttle approach. Delphine pulls down Jennifer’s bottom lip. She explains the sores are due to the cyclophosphamide treatment, which is also responsible for Jennifer’s hair loss. Cosima rules out Wegener’s Granulomatosis and Churg-Strauss syndrome and concludes the Clone Plague has got to be auto-immune related. Delphine agrees but that it is unclassified and immune-suppressors had limited effect. She points to Jennifer’s uterine wall where the growths are more pronounced and mature suggesting they originated there and then spread throughout the body. “That could be the cause of her infertility,” Cosima realizes. Delphine agrees to that possibly.
Cosima’s Clone Phone rings and when Delphine protests that it’s not a good time, Cosima dissembles that it’s her mother. Only if her mother is Alison who is in total meltdown in her craft room as she’s convinced Suburban Angie is her second monitor, “which means they know I know about Donnie which means you definitely cannot trust Delphine.” It’s amazing how in her mania Alison frequently gets so much right when what she believes is almost always so very wrong. Cosima takes a moment and eases away from Delphine and the autopsy to speak in Clone Code with Alison. “That’s complicated.” Alison thinks that’s an understatement. “Complicated. My play opens tomorrow.” Priorities! “Your play,” Cosima repeats on a weary laugh. I’m doing an autopsy on a clone none of us knew about who died from the same disease that’s probably killing me right now and you’re worried about your play?! “Don’t belittle me, Cosima!” Alison orders as she digs small bottles of booze from her bag. “Felix is gone. Sarah is gone. You and I are the only ones who can hold down the fort now.”
Cosima admits she’s having enough trouble holding down her own fort today. “Sorry to bother you with the very crucial information that I’m being double monitored,” Alison snaps back. She takes a pill bottle out of the bag. Cosima apologizes. She steps out of the autopsy room and advises Alison to go through the motions with Donnie. “Break a leg or whatever.” She promises to call Alison tomorrow. “Unless Delphine black bags you into the back of an SUV and then puts you in a rabbit cage somewhere then I’ll never speak to you again.” Ha! She disconnects, drops the phone onto the table with a bang, pops the pill in her mouth, and slugs back the booze. Cosima sighs, disconnects, and goes back to autopsying her clone with the girlfriend who’s spying on her.
Felix walks backwards down the road, two cases and a black garbage clutched in one hand, his other thumb stuck out for a ride. Aw. It’s quite sad, actually. An SUV pulls over and after a silent conversation with the driver that includes gestures toward the city, Fee hops in.
At the community theatre, Suburban Angie catches up with Alison again. “Hatha yoga today,” she cheerily offers. “It’s mostly an older crowd, but at least I don’t get hipster dudes staring at my ass, right?” She tries to engage Alison about the play but instead Alison confronts her and claims to know who Angie is, “so why don’t you go back to your bosses and tell them it didn’t work?” Alison stalks off but Angie catches up and drops the charade. “I’m a police officer. Yeah, like Beth. So why don’t you tell me about that, huh? How ‘bout Sarah Manning?” She insists she can help Alison but only if she tells Angie what she knows. Instead, Alison violently tells Angie to stay away from her, taking Angie aback, and then stalks off to the theatre, bypassing the poster for Blood Ties.
At the cottage, Sarah comes down from putting Kira to bed. She tells Cal how Kira wanted to say goodnight. But Cal, he’s been thinking. “Ya know, back then when you left,” he says, getting up to get her a beer from the fridge. “It took me a long time to admit to myself that I’d been played.” Sarah takes the beer and sits across from him at the table. “What you don’t know is that I already had all your bank cards and pass codes,” she confesses. “I was gonna take you for everything you had selling your company.” He wants to know why she didn’t. “You just made it…hard.” She insists she’s not that person anymore but admits she’s just as much trouble.
A car pulls into his drive at that moment. Cal orders Sarah to hide as he recognizes the local cop. “Wanna say hi?” She ducks out of sight as he goes outside and makes nice and folksy with the same cop who discovered the abandoned truck. As Sarah listens, torn between faith and flight, Cal shoots the shit with “Tom” until the cop finally reveals he’s looking for a mom with a little girl and another guy. All’s going well until Tom spies Kira’s discarded candy wrapper on the Chesapeake chair. “You know I’ve never asked any questions about why you moved here or about that little weed patch you got out back.” He thinks by now Cal should know to trust him and Cal assures him that if he thought there was anything Tom should know, he’d tell him. That’s good enough for Tom and he leaves. Cal reenters the house, but stays in the doorway to wave at Tom as he backs down the drive.
Cal turns the corner to find Sarah already packing her bag. She’s upset she put Cal in such a compromising position, but he shrugs it off since Tom’s a friend and is already gone. “Yeah, well, we’re gone too, man,” Sarah decides. Cal protests that Kira is sleeping. “She’s used to it,” Sarah reveals on an unhappy laugh. Cal pleads with her to stay and to tell him what’s going on. “It’s not your problem,” she snaps. He promises she’s safe there but Sarah can’t trust that. “Trust me,” he says. It’s clear she really wants to. “Can you stop running just for a minute?” he asks. She stares at him for that moment and then exhales hard. Slowly, Cal leans in to kiss her then retreats to lean back against the wall. Your choice. Sarah studies him as the music plays over the scene. And if we should choose to explore together or alone I’ll remember the days when the bed was our home. And ooh ooh ooh ooh. Taking the chance, she sidles in and goes for it, kissing him passionately, and one leg is up and over his thigh in the next moment as they make out to a chorus of a-ooh ahhs.
At the community theatre, the troupe warms up with vocal exercises. Alison is running wordless scales and trills. Alexander gathers everyone together to form a circle. “Today’s performance is dedicated to our dearly departed Aynsley.” His speech is interjected with shots of Alison checking the audience in time to see Felix arrive and washing down pills with tiny bottles of booze at her makeup table. “Aynsley, we know that you are with us and we are going to do you proud,” Alexander says. Alison checks Donnie in the audience and downs another bottle. In the circle, she exhales sharply and sways in place. “For Aynsley!” Alexander calls and the troupe repeats, “For Aynsley!” Alison drinks again and finally the world around her goes fuzzy.
On stage, Sarah Stubs demands to know why “Sheila” didn’t tell her the truth. “You would’ve turned me in,” Alison/Sheila accuses. She looks out into the audience. “You never…” Donnie catches her eye and gives her thumbs up. Alexander takes her pause as a need for the line and, from the wings, prompts “you would never.” Alison glares at him over her shoulder but continues. “You would never have helped me,” she says as Sarah nods encouragingly, “unless you were wrapped up in it. Too,” she tacks on as an afterthought. In the audience, Donnie glances around unsure of what’s happening while Felix stares straight ahead as though he’s not even there. Sarah Stubs says her line and the piano pounds through the opening to another song. “Forgive me, oh forgive me,” Alison wails. “Oh God, what have I done?” She slowly backs upstage as she sings and for one second mistakenly sits down on a set piece. She is well and truly drunk and barely holding it together. “I should’ve known that this would be the ending to the story we’ve begun.” The music pounds out as the song picks up. Alison shouts her lines as she moves downstage toward Donnie in the front row. “Now I must marry him Sunday I knew I would one day find someone to make me complete. I’ll walk down the aisle.” She shrieks this last bit as Alison goes right off the edge of the stage and falls to the floor. The crowd leaps to its feet. Donnie crouches next to Alison and yells for someone to get a doctor. Crumpled on the floor, Alison blinks and stares off into space. Well. That’s one way to break a leg on opening night.
Another dawn at the cottage. Sarah rises naked from Cal’s bed and starts to dress. “You don’t want to confuse Kira, huh?” Cal realizes as he rouses. Sarah compliments his good intuition. “Guess that’s where she gets it.” They chuckle and kiss and then Sarah gets up to make coffee. It’s so domestic, it’s nauseating.
At the general store, Daniel introduces himself as a cop to the store owner and even flashes a badge. He shows Kira’s passport picture and claims to be on a custody case looking for a little girl travelling with a dark-haired woman with a British accent. “Yeah they were here yesterday,” the store owner confirms. “They distracted me while some New Waver stole some food.” Heh. Daniel asks if store owner has any idea where they might be headed.
Cut to an SUV driving down the road but surprise! Instead of Daniel, it’s Art, and instead of pursuing Sarah and Kira, he’s staking out the Prolethian Ranch. He takes a picture of Henrik and Grace as they settle on a picnic table for a little father/daughter chat. Mark has tattled that Grace isn’t happy with their plans for Helena. “She doesn’t belong here,” Grace says with conviction. Henrik dismisses her objections as merely being because she’s afraid. “What do we say about fear? Doubt’s first cousin, am I right?” Grace smiles to hear the old axiom. “You have doubts, Gracie?” Henrik asks, suddenly serious. Grace is quick to deny it. Henrik pulls her close and tells her to close her eyes. “What do you hear?” She hears the wind and the men working. “Him,” her father corrects. “You hear Him.” She quietly admits that is so. “Gracie, you’re my firstborn. But Helena does have a soul. She does have a purpose and she is going to be a part of our family now. That’s what tomorrow’s all about.” Gracie does not look convinced.
Back in the rough, Tom the cop pulls Daniel over. Tom’s already heard Daniel’s bull about being a cop working a custody case from the townspeople he’s questioned. Daniel apologizes for not checking in with the local po-po when he arrived. “Any help you could give would be appreciated.” Tom decides if the people Daniel’s looking for were still around, they’d already be in custody and he’d best be on his way. Daniel pretends to comply.
At the cottage, Sarah, Kira, and Cal are playing cards. Kira wins and Cal teases her about being a card shark. “Can I go feed the chickens again, Cal?” she asks while her parents smile at her with the universal look of “our kid is the greatest.” This moment of domestic bliss is brought to you by the Clone Club. Kira runs out of the house. “Those are gonna be some fat chickens,” Cal jokes. Outside, Kira picks up the feed bucket and runs across the lawn to the coop. Cal asks if Sarah gonna tell him what’s going on. “No, I’m not gonna put that shit on you,” she vows. Outside, Daniel’s car pulls up alongside the coop. Kira doesn’t even notice when he slams the door shut, so involved is she with the chickens. Daniel strides around the coop as though he already knows she’s there. Without a word, he takes her wrist and pulls her with him. Kira finally finds her breath and yells for Sarah. “Uh oh,” Sarah quips to Cal. “What does that mean?” Kira has to yell two more times before Sarah, who happens to be on the run for her life, finally looks outside to see Daniel dragging her daughter by the wrist toward the house.
“Kira!” she shouts, sprinting from the house. Daniel draws his gun and yells that Kira is fine. “Just get in the car and she stays that way.” Sarah begs him not to hurt her daughter. Daniel aims the gun beyond Sarah; she turns to see Cal has come out too and orders him to go back into the house. “He’s got nothing to do with this,” she says to Daniel in a low voice. “Yeah? He does now,” Daniel counters. Sarah knocks his arm aside just as Daniel fires. “Kira run!” she shouts. Kira launches herself at Cal who hefts her up into her arms while Sarah continues to struggle with Daniel over the gun. She orders Cal to take Kira inside while Kira repeatedly screams, “Mommy!”
Tom the cop pulls into the drive. Daniel, now in control of the gun and hanging onto Sarah with his free hand, shoots at the cop car. “You shot a cop, you madman!” Sarah yells. Tom manages to call in a 1033, presumably code for “officer down”. Daniel drags Sarah with him to the cop car and shoots another two into Tom’s chest to make sure he’s dead. The delay has given Cal the chance to get out his rifle. He aims it through a hole in the door screen. Immediately, Daniel uses Sarah as a shield. “Send out the girl!” he orders. Sarah screams “no!” but Cal needs no convincing. “Not gonna happen,” he yells back and shoots at Daniel’s feet for good measure. At least Sarah’s scheme worked well enough this time. He’s invested in Kira now and nobody’s taking her from him. Sarah begs Daniel just to take only her. She holds her hand up to hold Cal off. Daniels slams her up against his car and pats her down, which is when he discovers the photo of Project Leda. He orders Sarah into the car at gunpoint. “You’re driving.”
At the Prolethian Ranch, Helena’s eaten and drank all the drugged food she was given. She lolls on the bed in a stupor as the flock of Prolethians look on, which includes Grace, Mark, and Bonnie. Helena has been dressed in a long, white, conservative bridal gown. The hovering cultists are also in their white Sunday best, Mark and the one or two other men present in dark trousers and ties. Oh that’s not creepy at all. (It’s super creepy.) Henrik arrives, cutting decisively through his flock. He pats Mark on the shoulder and without pause, sits next to Helena on the bed and lifts her up. “A miracle on top a miracle,” he praises. Rising, Henrik addresses his followers. “Although we are small in rank, we have broken away from the old world because we know what they do not: Man’s work is God’s work as long as you do it in God’s name. Helena was created by man not in His name, but God shone His light down upon her.”
He sits next to Helena again on the bed. She struggles in vain as he lifts her arm. Bonnie steps forward and ties their raised wrists together. “You are hereby bound together before God,” she declares. So this is The Handmaid’s Tale meets the Clone Club then? Henrik closes his eyes and prays. “Lord, we are asking you as simply as we can. Reclaim Helena from eternal damnation.” Mark glances over at Grace who is decidedly less happy. From under the slits of her eyelids, Helena’s gaze flickers to the flock and then back to Henrik. Dude, you’d better keep her drugged, because she’s gonna cut your heart out with a spoon first chance she gets. “Bless us with your bounty,” Henrik prays. “We are your instruments in the war for Creation. Amen.” The flock choruses “Amen.” Bonnie unties Henrik and Helena’s bound hands. All applaud happily as Henrik lifts up Helena up and carries her from the room. Mark is so enraptured he’s close to having a private moment right there and then. Henrik carries Helena down a dingy corridor to a room at the end of the hall. That is so not going to end well.
In the passenger seat of the car, Daniel is on the phone on hold. He holds up the Project Leda photo and demands to know where Sarah got it. “I’m not telling you shit,” Sarah vows. Daniel is distracted as his call is answered. He tells the recipient that he has Sarah but not the girl. “Look, don’t worry. I know who she’s with. We have another problem here. She has a photo. Project Leda, ’77? We’ll be back in eight hours.” He disconnects and Sarah tries again to convince him that Kira has nothing to do with any of this. “She’s your daughter,” he says pointedly as though that’s enough to explain everything and, frankly, it really is. “You touch her and I will bury you,” she swears. Daniel remains unworried. “Just drive,” he orders. Sarah glares at him as they barrel through an intersection. Suddenly, out of nowhere, a truck coming from the other direction speeds up and slams into the car on Daniel’s side.
Next week: “Governed as it Were by Chance”