“Orphan Black” recap (2.01): Clones as Clones on Clones

 
 

Previously on Orphan Black, a vagrant named Sarah Manning was heading to see her daughter after almost a year of separation, when she saw someone who looked just like her jump in front of a moving train. She did what any logical person would do: stole her bag and went up to her flat. Figuring it was a weird coincidence, she assumed this stranger’s identity for a hot second to try to score some extra cash, and got tangled up in a mess of police investigations, attempted murder, and illegal cloning. Along the way she met a soccer mom, a scientist, a German, and an angry angel, all who also bore her face. Alison, Cosima, and Sarah all work together to try to figure out who made them, and who is killing them off, while simultaneously trying to maintain relationships with their husband, science girlfriend, and foster brother (respectively). Season 1 ended with Sarah, after blowing off ProClone Rachel and her offer to sign an agreement with Leekie and the DYAD institute, coming home to find her foster mother and daughter missing.

KIIIIIIIRAAAAAAA!

Season 2 picks up exactly where we left off: Sarah is running through the rain, looking for any sign of Kira or Mrs. S. She tries to call Felix, but he doesn’t pick up, so she leaves him a message and ducks into a seedy diner to drink some tea and plan her next move. She calls Alison, but her Clone Phone has been disconnected. She calls Cosima, and has the same problem. After a moment’s hesitation, she calls Paul, and leaves him a message.

She pulls out the Project LEDA picture that Amelia gave her right before she died, but is interrupted by her phone ringing. The caller ID says it’s Paul, but when she answers, it’s Rachel. She says to reunite with Mrs. S or Kira, she just needs to surrender herself. Sarah starts cussing her out, but Rachel simply hangs up on her.

Two cowboys come strolling in and ask for free range eggs, but the diner owner side-eyes them and says he just has normal eggs, this being a seedy diner. The man says, “They’re not normal, your chickens have been interfered with” (which is more significant than it sounds) and the two men sidle up to Sarah. Sarah tries to pull her gun out of her pants, but they take it from her. Then the diner owner surprises us all by aiming a gun at the men and telling them to leave Sarah alone. Sarah tries to get up and leave, but the man tells her that he can take her to Kira.

OB 201-1Scared clone is scared.

Sarah asks where Kira is, but the man responds by shooting the diner owner square in the face. Luckily, he gets a shot out before he goes down, and one of the cowboys takes one in the chest.

Sarah runs into the back room and finds a weak wall in the bathroom to break through. The creeper grabs her ankle, but is rewarded with a kick in the face, because our Sarah’s a fighter.

The next stop is a dance club, where Sarah finds Felix in a naked-manpile. He’s high as a kite, but he sobers up a little when he hears Kira and Mrs. S are missing. Felix suggests that they shouldn’t rule out Helena, but Sarah, remembering that she shot her seestra in the chest, assures him that Helena can be ruled out.

Paul calls and tells Sarah to come into the DYAD, but Sarah tells him that she’ll meet him, alone. She dumps her Clone Phone in a glass of water, and swipes a new one like the good little grifter she is.

Back in Felix’s loft, Delphine is drawing samples of Cosima’s blood, making it oddly romantic. There’s a DYAD event, and Delphine wants Cosima to go with her. Cosima is still wary, Delphine still works for Leekie. Delphine promises she’s still on her side, but Cosima tells her that she doesn’t want the information or samples to go to Leekie yet. She wants to do her own research. Delphine agrees, because she’s still enjoying the post-coital science girlfriend glow.

OB 201-2Double the Cophine, double the fun.

Meanwhile, Felix, still quite high, goes to Alisons to ask her for a gun. He keeps being loud and  touching her and her things, which is stressing her out because she has quit drinking and pill-popping. She also quit keeping guns in her house, but she does know a guy who can help, because of course she does.

The next day, Sarah calls Paul to arrange the slickest meetup in the history of meetups. First, a boy on a skateboard approaches Paul on a bridge and asks for $20 in exchange for a phone, which Sarah calls. He tells her that Rachel will be at the DYAD tonight, but that they’re actively hunting Sarah, so to watch her back. Watch her back she does, because when Rachel’s head honcho, Daniel, goes up to a brunette in a leather jacket and makes to grab her, Not-Sarah turns around, gives him a smirk, and goes, “She says up yours.” It was a mic-drop moment if I’ve ever seen one.

On the bus, Sarah borrows a phone from a cheeky kid and calls Cosima and Felix. She asks where Delphine is, and Cosima says she’s at the DYAD getting ready for the event. Felix says he can smell lesbians in his bed, but Cosima isn’t even a little ashamed for following her heart (and her ladybits) where they lead her.

OB 201-3

It seems every time Felix leaves his bed unattended, a clone rolls around in it with their monitor.

Sarah tells Cosima and Felix that she’ll feel better once she has a gun, and not to do anything in the meantime. Cosima is not comfortable with the gun plan, but it’s Sarah’s kid, so it’s Sarah’s mission.

Said gun is going to from Alison’s “gun guy” who turns out to be a teenager who works at the EconoMart. It is clear from the first layer of goods that he uncovers that Alison has gotten some “little helpers” from him, before. Under the pile of pills, little Ramone has bags and bags of weed. Under that is what Alison really needs: Unregistered guns with filed serial numbers. Alison chooses the ladygrip, since Beth helped her figure out which gun was best for her.

Cosima asks her fellow scientist from school for more help on the samples, and he agrees because she’s pretty, even though he has no idea what’s going on. This kid could end up a loose end that needs cutting if Cosima isn’t careful.

When Delphine arrives at the DYAD, she’s summoned to Leekie like the mysterious creepster he is. He tells Delphine that he wants Cosima at the DYAD full time, and Delphine assures him that she’ll make it happen. He tells her to be careful playing for the other team, and I think he’s a little jealous she dumped him for a geek monkey. Delphine glares at him a little before handing him a vial of blood marked “324B21″ and tells him Cosima is sick. She spits a congratulations at him, telling him that he got what he wanted, because she’s invested now. And by invested she means in love.

At the community theater, Alison is in a show circle acting like she doesn’t have an illegal firearm for her clone in her purse. She finds out that she’ll be taking over Aynsley’s part, and nearly weeps with joy. She had just wanted to get rid of her monitor, so this is really just an added perk to the passive murder she committed. (The song they sing, hilariously, is about cleaning up after an unfortunate death.)

OB 201-4Alison’s manic eyes are one of my favorite things.

Art and Angie, the cops who won’t quit, are trying to figure out how Alison Hendrix fits into the mess of Beth Childs lookalikes, when they see Sarah. They cut her off before she can meet up with Alison, cuff her, and throw her in the car. Sarah tries to explain to Art what’s going on, but BitchFace LadyCop won’t give her the time of day.

They drive to the diner, and when Angie gets out to check out the crime scene, Sarah tells Art that Kira is missing and that she doesn’t trust Angie—and Art shouldn’t either, considering she threw him right under the bus once before. Art looks very torn. Angie comes back and tells them that the feds took over the crime scene. Art tells Angie to let Sarah go, and Angie does so VERY reluctantly.

At the DYAD, Rachel is tying Leekie’s tie like she’s done it a hundred times before, and Leekie asks her if she really arranged the kidnapping, and that he didn’t think that was necessary, because sometimes even bad guys have their lines in the sand.

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