At long last, Orphan Black lets Sarah in on the secret that we've all known since the beginning: she's a clone. And this episode begins to explore exactly what it means to be a clone, especially when something (or someone) you thought you'd buried resurfaces. Spoilers ahead.

We pick up where the last episode left off, with Alison and Cosima making their big reveal. Alison is the one who actually blurts out the c-word, only to scurry off when her daughter appears, wondering who those ladies who look just like mommy are. We actually learn a couple of really interesting things during this conversation. For one thing, Cosima asks Sarah if she knows who her "birth parents" are, suggesting that Cosima and Alison do know their birth parents. Were the cloned embryos implanted in the wombs of unsuspecting women from around the world, perhaps women who sought IVF? Also, we learn that Sarah was adopted (and she uses the word "adopted") at age eight and brought to the US North America at age 12. Interesting.

Also, neither Alison nor Cosima is thrilled when Felix stumbles into their Clone Club meeting. But now both Sarah and Felix know the truth.

Back at Felix's, Felix and Sarah have another nice, significant conversation. Sarah wants to go forward as though nothing has changed; she's still her (which is true) and she still wants to grab the money, grab Kira, and skip town. Felix plays voice of reason, pointing out that she can't ignore this Earth-shattering revelation, especially the part where someone is killing off all her clones.


To get the pilfered money back from Art, Sarah goes in to the police station, where she (as Beth) is summarily reinstated. Of course, she has no clue how to use Beth's gun; she can't even figure out how to strap on the harness. She and Art respond to a call…which just happens to be where she dumped Katja's body last episode. Oops. The good news for Sarah: Katja's body was uncovered by a construction vehicle that trashed the body beyond recognition. The bad news: at least one hand was fully intact. Sarah makes a desperate call to Cosima, who confirms that the clones' fingerprints are similar enough that they would flag a match, assuming one of the clones has a criminal record (which Sarah, naturally, does). Might be difficult to explain how a woman who walked in front of a train is also buried in this quarry.

Sarah again begs Art for Beth's money, but Art checks her weapon and discovers the clip is empty not inside. He grounds Sarah on a desk job, still refusing to return the money.


Sarah meets up with Cosima at a bar, where Orphan Black makes fun of itself a little bit. The bartender takes a look at the pair and, assuming they're sisters, says, "Let me guess." He points to Cosima in her glasses. "You're the smart one." And then to Sarah in her leather jacket. "You're the wild one."

We learn that Cosima is a PhD student in evolutionary developmental biology back in Milwaukee Minneapolis. She wants to study Katja's blood samples (in the briefcase Sarah still has) to find out why Katja was sick and if it has anything with her being a clone. It turns out that Katja found out that people were killing her doppelgängers in Europe and got in touch with Beth. Beth then used facial recognition software to locate Alison and Cosima. Cosima also figures that somewhere, there is an "original" person they were cloned from, and she has no idea who is out to kill them. She wants Sarah to keep pretending to be Beth to continue Beth's investigation. "We're your biological imperative now," she tells Sarah, unaware that Sarah has another, much smaller biological imperative already.

At the police station, Art gets a creepy call from someone using a voice changer talking about Katja, calling her "someone unfit for family. Horse glue." Apparently, we've got someone who thinks that clones are subhuman. While Art is off investigating the call, Sarah charms an IT guy into resetting Beth's password and explaining fingerprint procedures. Sure enough, the fingerprints have pinged Sarah's police record, but she manages to delete them before anyone figures it out.


We also get our first meeting between Sarah and Mrs. S, sans Kira. They go birdwatching, a hobby Mrs. S evidently failed to instill in Sarah. Mrs. S agrees to set up a visit, but says Sarah won't be able to regain custody of Kira until she can show Mrs. S that she can stay still. When Sarah points out that Mrs. S isn't Kira's legal guardian, Mrs. S threatens to call social services if Sarah tries to take her away. It's by no means a warm interaction, but after Mrs. S' interaction with Felix last episode, I expected it to be much worse.

Meanwhile, Art and his temporary field partner find the head of the Barbie doll we saw in Katja's hotel room. I'm sure everyone will sleep just fine after this.


Sarah and Alison also get in a little bonding time this episode, as Alison teaches Sarah how to shoot a gun (while Felix watches and cross-dresses Alison's kids). Beth taught her how to shoot and it's clear that Alison has a kind of restrained affection for her late clone sister. Alison also reveals that she provided the money in Beth's bank account to help Beth buy information she couldn't obtain through over channels. Also, Alison's kids love their new Uncle Felix.

This doesn't change Sarah's mind about the money, however. But her scheming is briefly interrupted by the reappearance of Paul. He and Sarah argue and then make out. You know, I didn't process this during the pilot, but sexing up someone who thinks you're his girlfriend of many years is more than a little rapey. But she doesn't have sex with him this time, though she is very much attracted to him.


Some good old-fashioned police work brings Art and Beth to the home of the person who shot Katja. We find out what that Bible verse was from Katja's hotel room: "For you formed my inward parts, you knitted me together in my mother's womb. I praise you for I am fearfully and wonderfully made." Our killer has not only circled the passage in Bibles, but painted it on the doors. A shot rings through the window, and Sarah pushes Art to safety before chasing after the shooter…who turns out to be another clone. Surprise! This one has blond hair and carries a knife. Sarah manages to distract her long enough to stab her with a piece of rebar. Blond killer clone hobbles off with Sarah's gun, and Sarah snags her knife.

Art feels guilty about Sarah/Beth nearly getting killed and returns Beth's money. Now Sarah has a decision to make, her first big moral decision since sinking into this all. Does she snatch Kira and run off with the clones' money? She walks up to the window, and then turns around. She decides that no, she can't kidnap her daughter. She can't steal Alison's money. She can't walk away without telling the other clones what she's learned. It may have taken learning that she's a clone, but Sarah is finally starting to grow up.


But before we close, we get one final look at our killer clone as she pulls the rebar from her body. Check out what's been done to her back:

Great, she's not just a killer clone. She's a killer clone angel.