Wow. Our clones had four very separate threads last night, and the biggest moments took place far from the Dyad. Secrets were revealed, quips were quipped, and one of our clones has found herself in deep, deep trouble.

At first, it looked like this episode was going to be slower and quieter than the premiere, giving us a deeper look at the various factions and issues plaguing the Clone Club. But while the pacing is a touch less frenetic than than in the last episode, there was plenty of action and more than a touch of creepiness.


Let's start with Sarah, who is still hanging out with Art at the beginning of the episode. Felix arrives to snarkily welcome Art to Clone Club and give Sarah her new clone phone (version 2.0 is green) when Kira calls his phone. Art is apparently Sarah's new Paul; she views him as enough of a badass that she can rush into situations half-cocked. Still, it is nice to see her pause and acknowledge how much she relies on Felix for support. Felix, I will move to Costa Rica with you, but only if Alison can come, too.

Sarah is, of course, walking straight into a trap and gets herself nabbed, but fortunately it's a benevolent nabbing—at least initially. Sarah has "passed through an airlock" to the place where a rifle-wielding Siobhan and Kira are hanging out. I had hoped at the end of last season that Siobhan and Kira had left of their own accord—although I assumed that it was one of their pursuers who had tossed the house. They've been kicking back with the people whom Siobhan worked with back in the day when she was listening to punk rock and plotting revolutions against Margaret Thatcher. Even before we learn that Siobhan's friends have betrayed her, Siobhan's history gets a little darker; she reveals that she ran "guns for funds" to raise money for her cause.


Almost as much as I missed seeing Felix and Alison together, I've missed Sarah and Siobhan. There's a complexity to their troubled relationship, and even when Siobhan digs at Sarah, it seems to come from a motherly place, a sense that Sarah is unfinished, that she hasn't reached her full potential. And it seems that Siobhan is more Sarah's mother than Sarah knows; when Siobhan's friend Brenda reveals that she's sold Team Kira out to the Prolethians, Siobhan confirms to the audience—though not to Sarah—that she was involved in Project Leda. Siobhan continues to be a fascinating enigma. On the one hand, I tend to believe her when she tells Sarah that she's always on her side, but I wonder exactly what that means to Siobhan.

A note to the producers of Believe: this is how you deal with a preternaturally intuitive child. You use her insights sparingly and give them dramatic weight. When Kira says that she doesn't think the Mrs. S.'s secrets are good in this case, we and Sarah know that it's time to get out of that house. As a reward, Sarah gets a temporarily happy ending as she, Kira, and Feliz drive off into the sunset in a pilfered truck. It's only a matter of time before something stops their flight from Toronto.

Things aren't going so well for Helena, however. She has landed among a science-friendly branch of the Prolethians, and we first learn that they're science-friendly when we watch their leader, Henrik Johanssen, inseminate a cow.


Henrik—who wastes no time telling Tomas he went to MIT—also informs us that Helena wasn't actually shot through the heart, tempering my claim last week that she has Wolverine-like healing powers. (She's still one tough sugared cookie.) Helena, it turns out, is a mirror twin who developed situs inverses, meaning her visceral organs are reversed and her heart is on the right side, not the left where Sarah aimed her gun. It's a real condition, but it adds another note of mythology to Sarah and Helena's relationship, a sense that Helena is an inversion of Sarah.

At first, Helena seems safer in Henrik's care than Tomas'. Even if some of Henrik's followers timidly refer to Helena as "it," at least Henrik acknowledges that she's human and that she's not somehow tainted by science. But when he asks Tomas if he ever considered whether Helena could get pregnant, things turn decidedly creepy. It's as if he's talking about breeding cattle. I wonder if he would consider Mark, the fish belt-buckled fellow who attacked Sarah last episode, as an adequate bull.


Then there's Alison, whose situation is less dire at the moment, but is still surreal. She's having a Desperate Housewives moment at Aynsley's funeral, where everyone—with the exception of her theater co-star Sarah Stubbs—thinks she shouldn't be there because she infamously bones Aynsley's husband Chad. Of course, Alison is feeling worse over the fact that she kind of, sort of killed Aynsley, something she finally drunkenly confesses to Felix later in the episode. At the moment, however, she has a more pressing issue to deal with: a sudden realization that her husband, Donnie, is probably her monitor after all.

Alison really does get the best lines to shout of context. There's the on-the-nose play, which I'm now convinced is about nothing more than cleaning a dead body, in which she and Sarah Stubbs sing:

And then there's her conversation with Felix:


Alison and Felix hatch a plan to determine, once and for all, whether Donnie is her monitor, a plan that involves the Dyad's obsession with Sarah Manning. Sure enough, Donnie takes the bait, and finds himself in a cemetery in his gym clothes on the phone to Leekie. I'm pretty sure that Leekie is hoping that Donnie will lose his number after this.


Alison doesn't tell him that she knows what he's up to, at least not yet, and that's for the best. It'll be more fun to watch Donnie squirm.

Also, check out Aynsley's epitaph and vomit:


Meanwhile, Cosima is setting up her lab at the Dyad and trying to convince herself that she hasn't signed up for clone jail. It's clear at this point that Delphine is trying to be on everyone's side, but it feels ultimately like she's on no one's. What's more interesting is that Cosima and Rachel meet for the first time. Cosima is intimidated by Rachel, and reacts to that feeling with a series of gif-able quips:



Then, when Rachel comments, "So, you're gay," Cosima responds more seriously:

We also get a reference to the original genome, which Rachel assures Cosima is "robust." I wonder if Cosima will be curious enough in the midst of her desperation to try to learn more about the "original" from whom she and her genetic sisters were cloned.


Plus, Rachel has a moment where she seems almost wounded. She asks Cosima to investigate Sarah's genome and environment to determine why Sarah is "different" from the rest of us. "You mean why she, out of all of us, can have a child?" Cosima asks. A glassy look passes over Rachel's eyes. Perhaps not all of Cosima's investigations will be scientific; she's in the best position to get close to Rachel and figure out who she is beneath the clipped accent and the aura of power.

Next week: Angie goes undercover as Alison's new neighbor. I can't wait.