Orphan Black writer Tony Elliott’s short film Entangled tells the story of woman whose lover is suffering the debilitating side effects of a quantum device he’s created. Elliott both wrote and directed the film. It features an excellent performance from Christine Horne. The film is proof than Tony Elliott is a perfect writer for Orphan Black.
This is the plot synopsis:
A scientist initiates her brain-dead partner’s secret experiment to find out what happened to him. But what she experiences is a mind-bending reality that threatens both their lives.
Also in the film are Aaron Abrams, Joey Klein, and Tennille Read.
Here’s the entire Entangled.
After watching the film, I think we can agree that Tony Elliott should not propose this solution for the multiplicity of Maslanys on Orphan Black.
The Orphan Black episode “Ipsa Scientia Potestas Est” begins in Rachel’s bloody apartment. Daniel’s body litters the floor, Helena’s signature art drawn in blood decorates the walls. Dr. Leakie (Matt Frewer) thinks Rachel (Tatiana Maslany) should take a kinder, gentler approach to the situation. She thinks not.
Paul (Dylan Bruce) will replace Daniel as Rachel’s monitor. Paul is the universal monitor: he’s monitored Beth, Sarah, and now Rachel.
Sarah takes her super-hugger of a twin sister to Felix’s (Jordan Gavaris) place. Helena needs to get out of her bloody wedding dress and clean up. Sarah tells Helena to behave and calls her Meathead. Helena objects with, “Don’t call me this,” but the nickname seems to symbolize the developing bond and affection between them.
Felix wants nothing to do with babysitting Helena – he has a hot date with the morgue boy – and delivers Helena to Detective Bell (Kevin Hanchard) for safekeeping.
Delphine (Evelyne Brochu) learns there is a new stem cell line, compatible with Cosima, that could help her. They go to Dr. Leekie’s office in search of it and he finds them there. Turns out that Leekie is willing to defy Rachel’s directive to shut down the help for Cosima by giving her an injection of the stem cells. He also tells Cosima that the clone’s original genome was destroyed in a fire 20 years ago. We heard about this fire before in relation to Project LEDA.
Paul’s first job as Rachel’s new monitor is to take the gun that Daniel used to kill the cop at Cal’s house and put Felix’s fingerprints all over it. He manages to do that by interrupting Felix’s love fest. Paul calls Sarah and says Rachel wants them all – Sarah, Helena, and Kira – or Felix goes down for murder. Rachel isn’t asking for Felix, which shoots down my budding theory that he might be a clone, too.
At Art Bell’s apartment, Helena is silent. She watches fish while Art asks questions about Maggie Chen and the Prolethians. Finally he feeds her, which loosens her up and she begins to talk. Interestingly, she asks as many questions as she answers, and her questions are intelligent ones. Also, she does love the powdered donuts.
Helena mimes poking the eyes out of one of her early tormentors. From art works we’ve seen of Helena’s where the eyes were X-ed out of a nun, I’m guessing her tormentor was a nun. She mentions a locker and the Swan Man who played God. Then she uses the lid off a sardine can to open her handcuffs and leaves Art cuffed to the wall. She goes to a storage unit (locker) where she has a motorcycle.
Cal (Michiel Huisman) and Kira (Skyler Wexler) are still playing house in the camper. Cal is being a great dad, Kira is being quick-witted and showing signs of ESP. Cal’s hiding a gun and carrying a fake ID. He assures Sarah when she calls that they are close enough to come get her whenever she’s ready.
At the Prolethian compound, Gracie’s (Zoé De Grand Maison) mouth was sutured shut as punishment for Helena’s escape. Henrik (Peter Outerbridge) and her mother Bonnie (Kristin Booth) tell her that, “She can rot,” if she refuses to talk about what happened. If they don’t find Helena, Gracie will carry the egg currently reproducing itself in a Petri dish.
Sarah and Art are in pursuit of Helena. Helena helped out by leaving some GPS coordinates at Art Bell’s. They find the locker and learn that Ethan Duncan is still alive. On the back of a recent photo of him is says “Swan Man.” Helena has taken off with a sniper rifle.
Guess what Paul’s second job as Rachel’s new monitor is? Sex slave.
Helena sets up the rifle in a apartment across from Rachel’s. As she takes aim and prepares to eliminate the problem that is Rachel, we see Rachel and Paul have sex. It’s weird sex. Rachel demands complete control. She orchestrates Paul’s every move and slaps him when he thinks for himself. Rachel demonstrates a kind of ruthless eagerness that is creepy and disturbing. She’s extremely turned on, but it’s the power and control that excite her, not the actual sex.
Helena, watching, says, “Pretty, dirty, sexy Rachel – like my mother.” Is there some woman somewhere that Helena once called mother?
Art and Sarah arrive and want Helena to put the gun down.
Helena wants Sarah to look at what Rachel is doing, at the “unfaithful” Paul. Sarah begs her not to shoot. She explains that Felix will be in trouble if Rachel dies. Sarah walks in front of the rifle and says she doesn’t care about Paul.
Sarah uses tears and some clever talk to convince Helena that they are family now, that they need to care for each other, and that Felix is part of that family. Finally Helena puts down the gun.
Helena and Sarah join hands. They walk out of the room with arms around each other. Sarah calls Helena Meathead again, and Helena responds, “Don’t call me this.” In the car, Helena tells Sarah that they need to go to Cold River, the place of screams.
Sarah meets Dr. Leekie in a bar. She demands Felix in return for Ethan Duncan, who is still alive. Leekie mentions that Cosima is sick – news to Sarah. When Sarah leaves, we realize Paul followed Leekie there. It’s really hard to tell where the real loyalties are with Paul and Leekie. They are ciphers, willing to double-cross anyone, but we aren’t sure why.
This episode was written by Tony Elliott, who is responsible for much of the writing in season 2. It was directed by Helen Shaver. She shared quite a bit about the experience on her Twitter account. Tatiana seemed to enjoy having her as a director.