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'Orphan Black': Creator John Fawcett on Helena's big make-out scene

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Jan Thijs/BBC America

[SPOILER ALERT: Read on only if you have already watched Saturday’s episode of Orphan Black.]

ROAD TRIP! Sister clones Sarah and Helena were on the move in the latest episode of Orphan Black, which led to one hilarious sing-along scene as Helena channeled Betty, Veronica, and Jughead with her rendition of The Archies’ “Sugar Sugar.” But then the freak got even freakier, heading into a bar where she got it on with a tow trucker named Jessie (played by Suits star and OB fan Patrick J. Adams). We spoke with Orphan Black co-creator John Fawcett to get the scoop on an episode that provided doses of both humor and intrigue, as Sarah uncovered a key piece of intel from…Rachel’s father?

ENTERTAINMENT WEEKLY: So, you realize there is totally a Sarah and Helena road trip spin-off sitcom to be had here if you want.

JOHN FAWCETT: [Laughs] We wanted to put Sarah and Helena together on the road: the camping, the sing along in the truck, those were all elements I was hoping to get into season 1 that just didn’t happen. Because I just think the two of them are really hilarious together and really fun. So I’m really glad we got the opportunity to put the two sisters together and have a little bonding time and mend a few fences.

EW: How did you end picking “Sugar Sugar” by The Archies for Helena to sing along to in the car?

FAWCETT: We were looking for a song that the nuns at the convent might listen to in their downtime. And for some reason “Sugar, Sugar” just seemed like the right thing to use. Because Helena grew up in the convent, and the Beatles might’ve been a bit much. The Beatles might have had a bit too much devil in them.

EW: I love the way Helena keeps messing up the lyrics.

FAWCETT: A lot of that is Tatiana. The script is one thing and then you turn it over to her and she has a way of breathing life into it and you just kind of never know what she’s going to do and how she’s going to interpret the text and where she’s going to take the character. We knew those scenes were meant to be fun. And they were meant to kind of bond Sarah and Helena.

EW: Patrick J. Adams from Suits — who is a big fan of the show — makes an appearance in the bar scene as a tow truck guy who makes out with Helena. Tell me what it was like having him come in to shoot this cameo.

FAWCETT: This is an episode where we just wanted to have a ton of fun with Helena. We always laughed about the idea of Helena getting the chance to make out with a boy. And were kind of like, “Has she ever even kissed a boy before? That sort of began a kind of whole conversation about Helena’s backstory and has she ever slept with a boy? Has she ever been romantically involved? And so it was fun to think about putting her, this awkward weirdo, with a guy who kind of likes her. We really wanted Patrick to come in and do something on the show for us. And when we wrote this part, we all thought of him immediately and thought he would be the best person to put with Helena. I think Patrick knew we were trying to find him something in the show, but I don’t know that he was thinking he was going to get scenes with Helena where he actually had to slow dance with her and make out with her.

EW: And arm wrestle!

FAWCETT: The arm wrestling, just so you know, in original versions of the script was a mechanical bull. But we couldn’t find a mechanical bull in Toronto that made any of us happy. So we abandoned a mechanical bull and went with something simpler.

EW: It was an nice homage to Over the Top, my friend. You also have a nice little cease-fire scene between Paul and Mark in the bar and show a weird sort of mutual respect between them even though they are on completely opposite sides of this war.

FAWCETT: There’s this kind of professional level that they meet at. Because Mark is out basically wrangling Helena, and Paul is pursuing Sarah, and it’s a nice kind of weird professional hit men meeting in a bar having a conversation thing.

EW: Love seeing Vic back, and he seems to be a new man, but then we see the reveal at the end that he’s working for Angie to get intel on Alison. Is he still a bad guy, or a good guy just trying to get out of a bad situation? What’s his deal?

FAWCETT: Well, Vic is a bit of a wildcard. Vic’s always sort of showing up at inopportune moments and getting maimed for it. He’s just a fun character because he kind of can bumble in at exactly the wrong time and wreak havoc. You have to see where that storyline is going. I think either way what is fun about Vic being in treatment with Alison is that we get to put those two together. Outside of what his other agenda is, if he has one, he and Alison kind of actually do sort of like each other.

EW: Even though she maced him.

FAWCETT: The beginning of a strange little relationship.

EW: So, last week I thought Leekie was maybe actually a good guy because he was letting Cosima continue her testing, but now Rachel’s dad tells Sarah that Leekie killed Rachel’s mom and I don’t know what the hell to think. Why do you insist on confusing me so much, John?

FAWCETT: It wouldn’t be fun if it was just a straightforward A to B to C connect the dots mystery, would it? There’s a lot still to learn. I think the fact that Duncan is alive and is Rachel’s father, essentially, is a big bomb to drop at the end, that Leekie is responsible for the lab fire that killed her mother.

EW: We haven’t seen the main clones of Sarah, Alison, and Cosima together in a long time. Are we going to see these paths come together before the end of the season?

FAWCETT: Absolutely. That’s sort of the structure of the season to some degree. Alison’s kind of dealing with her issues in treatment, and Cosima is trying to seek the answers to her own mortality and trying to cure herself, and Sarah is out digging into the mysteries of LEDA. All three of these elements certainly come around and tie together.

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