Sarah and Kira (Steve Wilkie/BBC America)

A weekly feature in which we discuss the most confusing moment on the most recent episode of “Orphan Black.” There are always many to choose from, so this could get divisive.

There were technically things that were more confusing, but there’s just one thing we can’t stop thinking: Why in the world did Daniel (the creepy lawyer who works with Rachel Duncan at the Dyad Institute) let Sarah drive after he kidnapped her in his car?? That’s Terrible Decision Making 101 in TV world — any viewer knows that’s a recipe for disaster. For example, she could purposefully get in a car accident and escape. Oh wait! That’s exactly what happened.

Actually, we don’t know if Sarah escaped — but we can assume that after a truck smashed into the car holding her and Daniel at the end of the episode, something went awry. Guess we’ll find out next week.

Cal (George Kraychyk/BBC America) Cal (George Kraychyk/BBC America)

Anyway, why was Sarah kidnapped in the first place? Well, she’s still on the run with Kira and Felix after Mrs. S’s safe house (and possibly Mrs. S. herself) turned out to be quite dangerous, and the religious extremists/Proletheans had located them. So Sarah takes them to a new place: A seemingly abandoned farmhouse in the middle of nowhere. Except it’s not so abandoned when a guy named Cal shows up, and wonders why Sarah broke into this house.

Kira, being a very perceptive child, asks, “Are you my dad?” Awkward pause. Because the answer is yes. Cal, in addition to being the guy who plays bad boy producer Liam on ABC’s “Nashville,” is also Kira’s father.

Well that adds a fun twist! Felix is furious, since in the past Sarah said she didn’t know who got her pregnant. But it turns out it’s sexy bearded Cal. On the plus side, Cal is actually quite rich since one of his technological inventions was sold for lots of money — he just prefers to live in a cabin in the woods.

Even though Cal is furious with Sarah at first (for both not telling him he had a daughter and for previously stealing $10,000 from his bank account and his truck — oops!) the two eventually make up. And by make up we mean make out, a lot, and then wind up in bed together.

However, the romantic reunion comes to a swift and gruesome end when Cal and Sarah are too busy staring longingly at each other to notice creepy lawyer Daniel has grabbed Kira outside the house. He demands Kira and Sarah come with him (presumably to the Dyad Institute and Dr. Leekie), but then before you know it, Cal grabs a gun, Kira escapes, and Daniel is dragging Sarah off to his car, figuring at least one kidnap victim is good enough. “You’re driving,” he says, which proves to be his downfall, because of the aforementioned crash.

So we’ll see what happens next week — maybe he’s dead? Who even knows. The other lingering question we have: Seriously, what does Pastor Henrick (who apparently goes by “Hank” now) want with Helena? To refresh your memory, Hank “leads a flock of followers that have broken away from the old world ‘Prolethean’ brotherhood.” So he’s a like a Prolethean, except scarier. And unlike actual Proletheans, he actually likes the clones and thinks they’re still God’s creatures, not a scientific mistake.

Pastor Hank’s house of horrors (Stevie Wilkie/BBC America)

That’s not a good thing, though — he seems a bit too obsessed with the clones. As we learned this week, he wants Helena to become “part of the family,” and we’re terrified of whatever is happening in his farmhouse. His daughter, Gracie, already seems suspicious, so count on her being trouble later. Mostly, though, we just see a lot of people dressed in white as they take part in a bizarre ceremony welcoming Helena into the house.

To catch up on the other clones and loose ends:

Alison: Still tortured with guilt over watching fremeny Aynsely choke to death by a garbage disposal (and also shaken to learn that her husband, Donnie, is her monitor) she continues to cope by washing down pills with booze. That ends very badly during the premiere of her big community theater musical, when she slips off the stage and is knocked unconscious.

Cosima: Thanks to her lover/monitor Delphine, she discovers yet another clone: Jennifer Fitzsimmons, a teacher from the Midwest. Unfortunately, Jennifer recently died of the same respiratory disease that is affecting Cosima. Clearly rattled by this, Cosima goes through all of Jennifer’s video diaries that she made before she passed away — it gets even sadder, as Jennifer never knew she was a clone or why she was dying, and also had no idea that her boyfriend was her monitor. Cosima and Delphine perform an impromptu autopsy on Jennifer (because apparently that’s just the sort of thing you can do at the Dyad Institute on a slow afternoon) to look for clues about her illness. But the only thing they discover is something unusual about her uterine wall, which may help explain why the clones can’t get pregnant…except for Sarah, of course.

Art/Angie: The dysfunctional detective duo runs into some trouble when Art tells his partner, Angie, to stop investigating the clone situation. Obviously, just like when she went to the hospital to look for Helena last week, Angie doesn’t listen. She does some spy work of her own, trekking to the suburbs and bumping into Alison in a parking lot, acting like she’s a friendly new neighbor. However, Angie’s acting skills are horrible, and she acts weird enough that Alison immediately suspects she’s another monitor. Angie confesses she’s actually a cop, and Alison is horrified and runs away, thinking that someone knows she killed Aynsley.

Project LEDA: Before the above car crash, Daniel finds a certain picture in Sarah’s pocket, the one of two random scientists in lab coats and has the phrase “Project LEDA” written on the back. He freaks out. Mrs. S. had a similar reaction last week when Sarah asked about Project LEDA, and denied knowing anything. Guess Project LEDA is something very, very scary that we’ll learn soon.


Recaps: The most confusing thing that happened on the ‘Orphan Black’: Season 2, Episode 1; Episode 2

Review: BBC America’s ‘Orphan Black’ returns, engineered to near-perfection

Preview: ‘Orphan Black’: Everything you forgot from Season 1 that you need to remember