Over at the Prolethean compound, Gracie’s punishment for her silence about how Helena escaped is to be literally silenced. Her mouth has been sewn shut, like Billy from Hocus Pocus, but way more terrifying because it’s a living little girl. Her mother has no sympathy for her, saying that if she won’t tell the truth, Gracie can rot for all she cares.
At her apartment, Rachel is watching the video Sarah watched; knows Sarah is trying to learn about her. Before Paul can ask her about the video, she changes the subject, reminding him that even though he reports to Leekie, he reports to her. She’s in control. She tells Paul that Leekie can get too attached to his subjects and he can’t make the tough choices. She asks about Cal, if he’s Kira’s father. Paul says the timeline works, and Rachel, that sadistic gleam back in her eyes, asks if it bothers Paul that Sarah is back with her baby daddy. Paul doesn’t care, but Rachel reminds him that his entanglements with Sarah were pretty much the reason he hadn’t been axed yet. She has a mission for him, should he choose to accept it. She hands him Daniel’s gun, catching herself saying “is” instead of “was,” and Paul asks her what she needs.
At Art’s place, Helena is looking at the fish in his aquarium like they’re lunch. Art asks her about Maggie Chen, asks what the Proletheans did to her, asks how Maggie found the clones, how she communicated with Helena…Helena does nothing but have flashbacks and draw her little stick figure on the fishtank. Art, at the end of his rope, decides to tempt her with grilled cheese, like you would an obstinate child.
Meanwhile, at Camp WannaKillHelena, Mark brings Gracie some milk in her cage and apologizes for not being able to help her. He tells her that he’s been tasked with finding the angry angel, because, after all, someone has to carry the child. He begs her to confess and then kisses her like a big old creeper.
Helena is enjoying some mustard and sardines while telling Art about how when she was seven, the nuns said she had devils inside her, so they locked her in a cellar. And in return for this darkness, Helena gave a nun eternal darkness by popping her eyeballs out, like she tried to do to Tomas when Sarah freed her from her cage. Apparently that’s been her go-to move since SEVEN.
She asks Art is Sarah knows about SwanMan, who played God. In Helena-speak, this means she believes he’s involved in the creation of the clones. She says SwanMan is in her locker and Art is overjoyed that he’s able to get an almost-clue from her stream-of-consciousness. So excited, that he starts asking for more details. But Helena gives when Helena wants to give, and asks instead why Rachel wants Sarah, and if she wants Kira. She also wants to know what good she is to her sestra sitting inside wearing handcuffs. Just when Art thinks her helpful streak might be over, Helena says she wants to tell him something. He leans in, eager. But all she has to say is that she likes the little powdered donuts.
There’s a genius under that mane of insanity.
Back at the Loft, Felix has a getting ready montage. The morgue guy, Colin, shows up for a date, willing to give Fee a second chance, provided it doesn’t end in cops this time Hilarious, why on earth would that happen aga—just kidding, the popo shows up with a search warrant before they even get all their clothes up.
Paul shows up and starts interrogating Felix about Cal’s cabin. He pulls out a gun and Felix’s sass machine shuts down. Paul wrestles a terrified Felix onto the gun and presses it into his hands, forcing his fingerprints on the murder weapon.
Outside, Sarah had seen the police pull up and is hovering in a nearby alley. Her clonephone rings and Paul answers from Felix’s number. After proving Felix is still alive and relatively okay, Paul explains about the frame-up. Sarah sasses him about the fact that he has now slept with three clones but Paul isn’t moved. He tells her that she has to bring herself, Helena, and Kira to Rachel or Felix is going to be a convicted felon.
Sarah calls Art in a panic, and he tries to calm her down, but Helena overhears that Sarah is in danger and that Rachel is to blame, so she uses the key to the sardine can to get out of her handcuffs and get Art in a compromising position.
Meanwhile, Henrik cuts Gracie’s mouth stitches open and lets her apologize for letting Helena escape. She equates her attempted murder to killing a coyote who was eating their chickens, and Henrik looks at her with sad eyes, wishing his daughter would accept her newest sister-aunt. Her mother is less empathetic and says that if Grace doesn’t help get Helena back, she’ll carry the child herself.
At the DYAD, Delphine and Cosima sneak into Leekie’s lab. Cosima’s worried about getting caught, but Delphine is determined to get to the bottom of this. Cosima warns her that he’ll destroy her reputation as a “budding lesbian” and I laugh, but Delphine is not as much of a laugh-in-the-face of danger type as Cosima and I are.
Unfortunately, Sneaky Leekie finds catches them, and Cosima tries to cover for them, but Delphine has no more patience for these games. She tells him what they found and Leekie turns to Cosima to explain that the reason he didn’t tell them is that Rachel wants to withhold treatment. He shows them the LEDA picture and Cosima plays dumb, so he tells them that it’s a picture of scientists who died in a lab fire 20 years ago. But people weren’t the only thing lost in the fire; the original genome was also destroyed.
Cophine is not impressed.