All language subtitles for Impossible Monsters 2019

[dark music plays]

[people whispering]

[tense music plays]

[crackling]

[somber music plays]

[people talking indistinctively]

[upbeat music plays]

-[man] Jeff, introduce me.
-Of course. Of course.

Eh, uh, Otis?

Uh, I'd like to introduce you
to Jean-Luc Deschamp.

-Pleasure to meet you.
-What a handsome young man.

[Jeff chuckles]

Isn't Otis's work
absolutely beautiful? Isn't it?

[Deschamp]
Yes. It's quite good...

at exemplifying a certain genre.

As a work is Apollonian.

It's controlled,

which I respect very much.

I'm looking
for something more energized

by a Dionysian release.

Why don't you tell me
what you really think?

Honestly, it's good.

But you need to let go,
lose control.

Self-proclaimed authority.

Gentlemen, please. Uh...

[woman] Jean-Luc?

Excuse me.

Excuse me.

That was not smart.

If you wanna keep
the lights on in here,

we have to keep selling, Otis.

He's wearing all leather.

Otis. Otis.

[mysterious music plays]

[pounding]

[pounding]

[Jeff] Wow.

You look fantastic.

Nice to see you, too.

Great show last night.

But...

[sighing] I'm ready
to see you tackle a bigger fish.

Like selling to Deschamp?

Well, it's a start.

You know, sorry
I can't continually create

something out of nothing
like some factory line crap.

-I'm not trying to upset you.
-[Otis scoffs]

Oh, you're over here
first thing in the morning

telling me we need to show him
Foo-Foo's Art Gallery.

Cut the crap.

Since you don't care,

you can move out of this loft

and go back
to where I found you.

Look, Jeff. I've just been
having a hard time sleeping.

-Do you want some pills?
-[Otis] No.

-I can get you some--
-No. They-- They don't work.

I'm like a fucking working
stiff zombie the next day.

Wait. No, no. Wait, wait, wait.
You know what?

I have a friend.

He-- He works in the university.

He specializes in sleep.

Why don't you go see him?

I don't wanna do that.

Why not?

'Cause my life is for me
and me only,

not some fucking quack.

You don't have a choice.

I just floated you
a whole heap of money.

You're gonna go
and you're gonna be cooperative.

I'm leaving.

[exhales]

[somber music plays]

How many of you
have had nightmares?

How many of those nightmares...

-[door opens]
-...ever felt real?

The Nightmare by Henry Fuseli.

It is believed he's illustrating
sleep paralysis.

Sleep paralysis
is a transitional state

between wakefulness and sleep,

and often occurs
with terrifying hallucinations

to which one is unable to react,

and typically associated
with the incubus visitations,

which are shown
in this painting,

and has a much higher occurrence
of out-of-body experiences,

sometimes involving
people from one's past.

So, like, ghosts?

Actually, yes.

What one would perceive
to be ghosts.

It's consistently found
in trauma victims.

-[bell rings]
-Ah, we're out of time.

Um, remember,
we have a test next week.

[woman] Professor Freeman,
I signed up

for your research
and ethics course next semester.

That's great, but attendance
is part of the grade.

I'm here.

It's the beginning
of the semester,

and you've already
missed two classes.

I know. I work nights.

You're gonna need 40 hours
of research participation

at the end of this semester
if you wanna be

in my research and ethics class.

I was really hoping to work
with you on your new research.

I'm not looking
for a new assistant.

I know, but the sleep paralysis
we talked about today?

I'd like to be your subject.

-What's happening at night?
-[woman chuckles]

What's not happening at night?

I'm sorry. I didn't--

I didn't mean
to sit on your desk.

Would it make up
for my attendance grade?

Okay, come see me next week.

Now I know why
you became a professor.

[Freeman chuckling] Jeff!

[Jeff] I wanted to see how
academic life was treating you,

and apparently, quite well.

Ah, I gotta go to a meeting.

-I'll walk with you.
-Sure.

Tell me you didn't
get dressed up for me.

-I got dressed up for you.
-[Freeman chuckles]

What's going on?
How's the gallery?

It's-- It's great. It's great.

Um, I have this new client.

He's really young,
but very talented.

Hmm.

We're trying to get him
to the next level,

but I don't know,
I've got this feeling

that he's a little,
I don't know, blocked.

He's having trouble sleeping.

Okay, and if he can sleep again,
he can become unblocked.

Exactly. Exactly.

So, I told him I have a friend

who might be able
to help him out.

Isn't that part
of the artist conflict?

Well, only
if you romanticize it.

At the end of the day,
it's a business.

Hmm. I'm starting a study.

If he's willing to be
a participant,

this could be a win
for both of us.

Whatever you need.

Let me meet with him first,
though, okay?

-Okay, but this is good.
-[Freeman] I love the suit.

[classical music plays]

-Charlie.
-Rich. How are you?

-Good.
-Good to see you.

Oh, hey, Alice.
Oh, you look lovely. Mwah!

Thank you.
Tonight's a big night.

-[Charlie] Mm-hmm.
-Indeed, it is.

Both you guys are nominated.

-Um, hi.
-[Charlie] Oh, sorry.

Rich, this is
our good friend Leigh.

She works with Alice.

-Uh, congratulations.
-[Freeman] Oh, thank you.

Charlie, we better
get in there, huh?

-[Charlie] Yeah.
-Nice to meet you.

Nice to meet you, too.

[Charlie] Mwah!

First off, let's give
a round of applause

to both of our nominees,

Dr. Charles Engel
and Dr. Richard Freeman.

[applause]

It gives me great pleasure
to present

the Miller Presidential Citation

for Distinguished Contributions
in Psychology.

This year's
Presidential Citation

goes to Dr. Charles Engel!

[applause]

Congratulations, Dr. Engel.

-[Charlie kisses]
-[Dean] Ah!

[Dean chuckles]

Higher education
is at a crossroads.

More students
are attending college,

the costs continue
to rise faster than inflation,

and with government sources
increasingly unpredictable,

it is our job and responsibility
as educators and researchers

to find ways
to fill that vacuum.

So it is with great pleasure
that I announce

that we have been invited
to compete

for the Vorous Pharmaceuticals
sleep grant.

[applause]

[Dean] It's with the support
of organizations like theirs

that we will be able to fund
our cutting-edge research

and grow as a university.

[applause]

[jazz music playing]

[man] Can I borrow this guy
for a second?

-Of course. Good seeing you.
-Thanks, Bob.

Ah, Steven!

-[Steven] Ah.
-What are you doing here?

Well, the Alumni Association
invited me,

but when I saw that
my former doctoral candidate

was nominated,
I figured I'd make the trip.

-How's Albany?
-It's-- It's great. It's great.

We're working with veterans now.

Good for you.

Steven! Nice to see you.

Great speech.
Charming, as always.

Thank you, Steven.

But since when
did corporate sponsors

get invited
to university events?

Things have changed
since your resignation.

Mm-hmm. Whatever you need
to tell yourself

to look in the mirror, I guess.

[chuckles]

Hmm. Gentlemen.

Ah.

Yeah, you know, she talks
about the cost of education.

When she was made dean,

she didn't take a pay cut
for her exorbitant salary.

She cut jobs,
and then she went to Vorous

to get sponsorship for research.

Look at that sniveling
little shit.

Buying up universities.

Anyway, anyway, um, how are you?
Are you happy?

-Yeah.
-[Steven] Good, good.

To tell you the truth,

we could use somebody like you.

Your sleep work could make
a big difference

to a lot of the folks
we've been treating.

So why don't you come
work with me?

-In Albany?
-[Steven] Yeah.

Yes, well, I know it wouldn't be

Dean Gasbag's
grand vision of the future,

but you'd be
making a difference,

and that's what you said
you wanted to do in school.

I'm flattered, but...

I-- I'm just caught up
in all my work here.

No, I figured. I figured.

But should you change your mind,
come on--

Uh, absolutely.

Don't fly too high,
Richard, all right?

-Thanks, Steven.
-[Steven] Good to see you.

[Leigh] Hey.

Have you, uh...
Have you seen Charlie and Alice?

[sighing] They gotta be
around here somewhere, right?

[Leigh sighs]

[whispering]
Do you wanna get out of here?

Mm-hmm. Yeah.

-Come on.
-Okay.

Thank you for saving me.

I don't know who saved who.
I was ready to get out of there.

Tough break tonight.

Charlie? No.

I should've known.

The award is named
after his mother's father.

He's a school legacy.

Well, you seem
like a very important professor.

-I am very important.
-Yeah?

So you work with Alice?

Yeah, uh, social worker
for the city.

We should go out sometime.

I'd like that.

[somber music plays]

[Dean] Richard, come in.

What can I do for you?

[Freeman exhales]

I've been giving it
some thought, and...

I wanna go for the grant.

[chuckling] I don't think so.

That's reserved for our best
and our brightest.

I was just nominated
at the Presidential Dinner.

But you didn't win.

And I want to win
the Vorous grant.

Plus, if you lose,
how does that make me look?

Like you said, the--

The grant would be
a windfall for the university,

and it would help fund
my research.

How do you propose winning?

By presenting the study
based on our findings.

No, that does not equal winning.

What are you willing to do?

We'll win.

Get your focus group together
by next week,

and I'll push it through.

And, Richard...

Don't fuck this up.

[Leigh] So why study sleep?

It's the gateway
to why we do things,

how we consolidate memories.

It's the one point

when our minds
are completely uninhibited.

We may dream
of being able to do things

we would never do in real life.

Essentially...

it's a second world to explore.

So why your study?

[Freeman] To help people.

By analyzing dreams,
I can tailor a therapy

to an individual who has
experienced some form of trauma.

By exploring those dreams,
I can, in theory,

get to the root of the problem.

So, why, um...

So why social work?

Honestly?

I love my job, but it's a grind.

There's just
so many terrible situations

and really not all that much
that can be done.

I'm actually in the process
of starting up

a non-profit upstate for kids
who come from abusive homes.

-Good for you.
-[Leigh] Hmm.

What about your job in the city?

Well, the camp
would give me the opportunity

to affect change in
a more positive environment

without all the red tape.

-You're kind of incredible.
-[Leigh chuckles]

-Just kind of?
-[Freeman chuckles]

Seriously.

-[clanking]
-What are you doing?

Come on.

Come on! Don't be a pussy.

I don't remember the last time
I was on a playground.

[Leigh] Yeah, well, I think
it might be kind of weird.

A single guy hanging out
on a playground around children.

-[Freeman laughs]
-[Leigh chuckles]

-Do you have kids?
-No.

Do you want them?

Eh, part of me wants to adopt.

I mean,
there's just so many kids

who don't have a good home.

-Oh, shit. Come on.
-[Leigh] Go, go.

-[Leigh giggles]
-Shh.

[Leigh chuckles]

[somber music plays]

-[Leigh gasps]
-[Freeman] Hey, hey.

[Leigh pants]

What's going on?

We-- We were watching a movie,
and you fell asleep.

-Oh, I'm sorry.
-Are you okay?

Yeah, I just--

There was a man.

Where?

I just have
really intense dreams sometimes.

I'm sorry. I should go.

Uh, do you wanna--
You wanna talk about it?

[sad music plays]

[Otis]
Fantasy, abandoned by reason,

produces impossible monsters.

Goya's Sleep of Reason.

Are you a fan?

Dr. Freeman, I'm Otis.

Oh! Nice to meet you.
I'm glad Jeff suggested we meet.

[Otis] Goya unleashes
his nightmares for his art.

Those who sleepwalk as...

monsters awake around us.

[Freeman chuckles]

-So you're a painter?
-[Otis] I am.

[Freeman] Do you, uh...
Do you only paint?

I work with a variety
of mediums.

And what do you like?

Oh, it's-- it's not what I like.

It's what I feel.

And what do you feel?

[Otis] I'm searching for beauty.

Why beauty?

'Cause there's a lot of ugliness
in the world.

And in your world?

I have these nightmares.

I'm... asleep.

I-- I think I'm awake,
but I'm not.

And it feels like I'm having
some kind of a...

a panic attack.

Everyone has nightmares.

Yeah, but I'm conscious of it.

Have you ever seen
the Fuseli painting,

The Nightmare?

You know what I'm talking about?

[Freeman]
Uh, yes. Yes. What about it?

Well, the woman, she's--

she's pinned to the bed,

which makes sense
in the painting.

[Freeman]
You think she should be pinned?

[Otis] Naturally.

I mean, one could argue
that a relationship is a--

is a competition of power
between two people,

men or women.

In these nightmares,

are you in control?

[dark music plays]

Richard. Good to see you.

Have you met Mr. Stivek
of Vorous Pharmaceuticals?

Nice to meet you.

Dean Gaslow's been telling me
about your study.

We're looking forward
to seeing the results.

Mr. Stivek had
a couple of concerns.

Concerns?

Vorous wants to make sure
they have all the potential data

when making a decision
about the grant winner.

I'm always very thorough.

I'm not asking you
to invent, but...

what can you bring to the table
that would give us a leg up?

[Freeman] Tell us
about one of your dreams.

[Leigh]
Well, it always starts outside.

It's a beautiful fall day.

What about the man?

What man?

Isn't there a man?

No.

But you said--

You know what? I'm sorry.

Excuse me.

Well.

[both chuckle]

Leigh, where are you going?

Why would you ask
about the man in my dream?

You told me.

Yeah, I told you
when it was just us.

Rich, is this even ethical?

-Please, just come back inside.
-[Leigh] No.

I'm gonna go.

Jeez.

[exhales]

Where were we?

I wake up in the morning,
and my jaw hurts.

That sounds kinda scandalous.

You're probably just
grinding your teeth at night.

It doesn't feel like grinding.

It feels
like they're falling out.

Teeth falling out
is actually a common dream.

Your teeth
may represent your anxiety

about your appearance
and how others perceive you.

[woman chuckles]

I like how others perceive me.

And how is that?

With desire.

There's a Goya etching,
Caza de Dientes.

You should check it out.

-Hey, you.
-Hey.

So what do you think?

-Of us lab rats?
-Yeah.

I'm still trying
to find my way out.

[dark music plays]

[squelching]

[woman screams]

[squelching]

[woman panting]

[scribbling]

Hey, brought you
an afternoon treat.

You're such a sweetheart.

[Freeman]
I figured you could use it.

Thank you.

I'm--

I'm sorry about the other day.
It won't happen again.

[Leigh] No, I'm sorry.

I agreed to be a part of this,

and I just really hope
that it helps.

-Ooh. Oh, hi, Rich.
-[Freeman] Hey!

I see you're taking good care
of our girl.

-Ah, always.
-[Alice chuckles]

Tsk, Leigh's wonderful.

We're really gonna miss
having her here.

[Leigh gasps]

I'm gonna go grab some lunch.

I'll see you guys later.

What's she talking about?

I haven't said anything yet
just because it's not final,

but that non-profit
that I wanna open upstate,

it looks like I may have found
a sponsor.

That's great.

Were you gonna tell me?

Of course. I--

I just really wanted
to see what happened first.

Sure.

-[woman] What are you drawing?
-[Otis] Aren't you nosey?

Boop.

[dark music plays]

[soft pounding]

[Leigh sobs]

[elevator door opens]

[pounding intensifies]

[dark music plays]

This is-- Don't you knock?

This-- This is a classroom.

Listen, buddy.
This has never happened before.

This just happened to me.

You better hope, for your sake,
nobody finds out about this.

I could make this
very hard for you.

-[Dean] Gentlemen.
-[Freeman exhales]

-[Charlie] Mona.
-[Dean chuckles]

[Charlie] Hey.

Rich, uh, could I
speak to you for a minute?

-Sure.
-Excuse us, Charlie.

Yeah, of course. Yeah.

Is your final focus group ready?

-I started the fMRI today.
-[Dean] Excellent.

-You need help?
-Oh, you scared me.

Sorry.

What are you up to?

Actually, I was looking
for that etching you mentioned.

-Oh, the Goya one?
-Yeah. I--

Here, let me help you.

There it is.

[woman] Wow.

So you think
I should take a look at this

because I have dreams
about my teeth falling out?

[Freeman] It was your response
in how people perceive you.

Oh, yeah.

Desire.

See, the woman in the etching,
she's the man's lover.

[woman] So what?

[Freeman] She isn't afraid
of being caught.

She's afraid
of what she's doing to him.

She's self-conscious.

Even if you're confident
in how others perceive you,

you're gonna be self-conscious
in another way.

Maybe he wanted to be tied up.

Possibly, but he's dead.

[woman]
Then she broke his trust.

You ever tied anyone up?

Excuse me?

You should try it.

I think you'd find it...
exciting.

Sorry, I overstepped.

No, it's interesting.
I've never, um--

I've never done
anything like that.

It is interesting.

[people talking indistinctively]

[Otis]
It's a really nice color on you.

See, you're not so bad.

-I'm glad you came.
-Me too.

I haven't really spent time
in the art world.

Oh, there's a lot of bullshit.

Hipster doofuses,
artist wannabes.

My masters were
Picasso and Bacon.

I mean, here it's just a parade.

Just a few of us trying
to turn our work into cash.

[dark music plays]

[woman chuckles]

I like how others perceive me.

[Freeman] And how is that?

[woman] With desire.

There's a Goya etching,
Caza de Dientes.

You should check it out.

[door opens]

Don't you look nice.

You should see
what I have on underneath.

[dark music plays]

[button clicks]

[woman]
I had an attack the other night.

-Were your teeth falling out?
-[woman] No.

This was
a different kind of dream.

Nothing leaves this room.

I began to fantasize.

[dark music plays]

I was walking down the hall...

And I came to a room.

I laid down on the bed.

Then hands were around my neck.

And I liked it.

But when they tightened, I...

suddenly was awake...

in my room, unable to move,
and I couldn't breathe.

-How did you feel?
-[woman] I don't know.

I love being touched,

but I don't like
not being in control.

Perhaps you need trust.

Perhaps.

[Freeman] Maybe you were...

repressing an aspect
of your self-expression.

I don't think
that's the problem.

[Freeman] I have a notebook here
for each of you...

[Freeman exhales]

...to record
your sleep experiences

just after they happen.

[dark music plays]

[siren wailing in the distance]

-[Charlie] Hey, hey.
-Jesus!

What are you-- What?

-What are you up to?
-[woman exhales]

I just got off work.
I'm going home now.

Want me to join you?

No, not tonight.
I'm really tired.

Where you've been?

Work, school, blow-jobs.

The usual.

Well, you've been busy
with Professor Freeman.

That'd make sense.
I'm in his study.

But you already knew that.

Professor Freeman.

Do you like him?

[woman exhales]

He's a great teacher.

Am I a great teacher?

What do you want?

Remember that?

How about another night?

¶ I've been drinking ¶

¶ Making bad decisions ¶

¶ Oh, and maybe
I should mention ¶

¶ Shouldn't stay
in my condition ¶

¶ But I'll be wasting ¶

-You wanna play?
-Um...

-Do you know?
-No.

No? What? Well, learn. Why not?

What's the matter?

¶ Even if it's fiction ¶

Let's see.

¶ Thought I'd found
what I'd been missing ¶

¶ That was only
wishful thinking ¶

-[woman chuckles]
-Let's see how your angle is.

Oh, that's good. Yeah.

¶ Oh, girl ¶

[Charlie] Aw. It's all right.
It's all right.

-[woman chuckles]
-What's your name?

-Shayna.
-Shayna? Oh, that's...

¶ I can't let go
until I lose it all ¶

¶ Oh, I use a groove, baby ¶

¶ I try to forget you ¶

-Oh!
-[Shayna chuckles]

-I did it!
-That was amazing.

¶ But there's one thing
for certain ¶

¶ This whiskey ain't working ¶

¶ But it's a damn
good place to start ¶

¶ No matter what I do ¶

¶ Baby, there's no use ¶

¶ 'Cause I'm mentally broken ¶

¶ Like ice got me frozen ¶

¶ And cold like
your motherfucking heart, no ¶

[dark music plays]

[PA] Dr. Shawn, dial 305.

[heart monitor beeping]

I heard you were around here.

Oh! There he is.
I was hoping to run into you.

-How you doing?
-I'm well. I'm well.

-How are you?
-[chuckling] I'm good.

Good. Good.

I hear you're running
full steam ahead with Vorous.

Gotta pay
for my research somehow.

Oh.

Yeah. Anymore thoughts?

-About what?
-Albany.

I'm flattered, but why me?

Why-- why do you want me
so badly?

[Steven] Well...

Hmm, we had this patient.

He was a combat vet
who had PTSD,

and he was having
terrible nightmares

to the point
where he was never sleeping

and he'd lost
all track of reality.

And last week he killed himself.

Now, I'm not telling you this
to guilt you,

but-- but when you were
my student in the lab,

I knew that you could make
a difference.

'Cause you weren't brought up

like all the other Charlie's
in the world.

You know
how the other half lives.

I have to see
this study through.

Of course.

How are you doing
with your dreams?

Are you remembering them now?

Pieces.

Why are you always late
to my class?

What are you doing all night?

I'm a sexual pain exploration
specialist.

I work at a club on Tenth Ave.

What is that?

I help people explore parts
of their sexuality

they didn't know existed.

They call me Alethia.

Oh.

I'm not a whore.

I don't sleep with anyone
for money.

I didn't say that.

But you might have
been thinking it.

You're one
of my brightest students.

Don't you find that...

-Degrading?
-Uh...

Look, I enjoy what I do.

Intelligence
and sexual enjoyment

are not mutually exclusive.

[Alethia chuckles]

Would you ask
the same question to a man?

So you and Charlie...

Let's just say
he likes it too rough.

Rough how?

He has to be in control.

Physically.

What about you?

Is there anything
you wanna explore?

You know what I write
about in my notebook?

What?

You and me...

exploring.

Do I make you nervous?

No.

I guess
I'll just be your fantasy.

[dark music plays]

Could I help you?

Alethia?

Your sub has arrived.

[Alethia] Show him in.

Take a seat.

[Otis gasps]

[Otis gasping]

Stop.

[tense music plays]

I told you to stop.

[dark music plays]

[Otis screaming]

Hi.

[siren wailing in the distance]

[radio speaking indistinctively]

[dark music plays]

[camera shutter clicking]

-[Freeman] You look good.
-[Otis] We did it.

-We did what?
-The nightmare.

I'm in control of it now.

-We're a good team, Rich.
-[Freeman chuckles]

I'm flattered,
but what happened?

Was the woman
in your dream in control?

No, I took care of it.

Could she have been your mother?

Mm.

No, not possible.

-[Freeman] Why?
-[Otis] She's dead.

I was a foster child.

What happened to your parents?

Well, in my dream, I--

I strangled the life out of her.

[Dean sighs]

Officers, uh, one

of our top forensic researchers,
Dr. Charles Engel.

Charlie,
this is Detective Jacobs

and Sergeant Costello.

-Nice to meet you.
-Same here.

Um, actually,
I worked on a case you did

for, uh, DA Bradley.

-Ah, yeah.
-Yeah, nice work.

Happy to help.
Nice to meet you, guys.

-All right. You too.
-[Charlie] Mona.

[knocking on the door]

Dean Gaslow.

So what can you tell us
about Jo Rodney?

She's a student of mine
in my intro class this semester.

She's-- She's a good student.
What? Is she in trouble?

She was found dead
early this morning.

[Costello]
Looks like she was murdered.

We found a notebook
in her apartment

that appears to have been given
to her by you.

You wanna tell us
anything about that?

A notebook? Uh...

That's right.
I did give her a notebook.

She's in my study

on nightmares, dreams
and sleep paralysis.

I'm sorry, sleep paralysis?

Yes. It's like a nightmare,
except it happens

as you're waking up
or falling asleep.

So what-- what is that?
More like a...

What, like flashbacks?

Sure. It's not uncommon
in victims with PTSD.

Getting back to Jo, Dr. Freeman,

did you ever meet with her
outside of the study?

She would come to my office.

Do you have any idea what she
wrote about in her notebook?

No. Not really. Uh...

We haven't disclosed
the information

from their notebooks yet
in the study.

[Costello] No or not really?

No.

There was another girl attacked
up in this neighborhood

a couple of weeks ago.

They're related?

[Costello]
I don't know. Could be.

Well, we definitely need
everyone to, you know,

keep their ears and eyes open.

Um, here's my card.

Feel free to call me
if you think of anything else

that might be helpful.

I will.

Dean, thank you for your time.

-Thank you.
-Thanks, Dean.

Thanks.

I don't mean to be insensitive,

but I need you to finish.

I've invested my credibility,

and quite frankly, so have you.

[Otis] Well, the woman, she's--

she's pinned to the bed,

which makes sense
in the painting.

You think she should be pinned?

[Otis] Naturally.

[Leigh] Hey.

What's with you tonight?

-I need to talk to you.
-Is everything okay?

-It's serious.
-What happened?

Detectives stopped
by my office earlier today.

-Detectives?
-They were asking me about Jo.

-And?
-[Freeman exhales]

She's dead.

Wait, what?

She was found murdered.

Wha-- Wait, Jo was murdered?

I feel horrible right now.

Hey, this--
this is not your fault.

In my last session with Otis,

right before the police
showed up...

he described strangling a woman.

What?

He said it was just a dream,

but still, the timing...

He was a foster child.

Just because he's in the system,
it doesn't make him a murderer.

No, that's not what I'm saying.

I'm hoping to find out
more about him.

[Charlie] Detective Jacobs.

-Dr. Engel.
-Hey.

-How are you? Good to see you.
-You too.

Hey, uh, are you guys
investigating

Jo Rodney's murder?

You got something you wanna
tell us, or what's-- what's up?

Listen, this isn't
public knowledge,

but Rich Freeman has been known
to, you know,

cross a line or two
with a few of his students.

Students like Jo Rodney?

Yeah, I mean, one time,
I did walk into his office,

and they were, you know,
I don't know, in the moment.

I mean, I feel bad
even saying this,

but I feel like I have to,
and I--

Dr. Freeman was with her.

I saw them at dinner
the night that she was killed.

[Jacobs] Wow.

Uh, an- anything else or...

I don't-- Um, I mean,
I've seen some things

in his office sometimes.

What kinds of things?

You know, girls' personal items.

Well, uh,
thank you for your help.

-[Costello] Thank you, doctor.
-Thank-- thank you.

Appreciate it. Thank you.

Good--
Good luck with everything.

Let's go pick up Freeman.

You think he did it?

You don't?

-Here, I never showed you this.
-[Freeman] I appreciate it.

[papers rustling]

Where's his history?

Beyond the basic stats,
it's a sealed file.

No birth record, nothing.

And his parents?

He was listed as a ward
of the state in foster care

till he was 18.

Who exactly becomes
wards of the state?

Well, it could be any number
of situations.

Parents with drug addiction,
in prison, death.

Is that his case officer?

-Come, have a seat.
-Thanks for meeting with me.

So...

Otis Breathlen
is a patient of yours?

Yes, I've been working with him
for a few weeks,

and I'm concerned
about his emotional well-being.

What are your concerns?

Well, he hasn't opened up
quite yet,

and frankly, I'm concerned
about his safety.

His mother was a prostitute.

She did her business
inside the apartment.

Eventually, she died
of a drug overdose.

That's when Otis became
the responsibility of the state,

and I looked over him
until he was 18.

That's horrible.

[officer] Tsk. Yeah.

When he was 13,
there was a report

that Otis had been raped
by another boy in foster care.

Later, there was a fire,
and his foster home burned down.

The foster family
and two other children

died in the fire.

Jesus.

We could never prove it, but...

we think Otis
may be responsible for the fire.

And how could they
never prove it?

Rich, just stop.

I showed you his file,
and now you're just scaring me.

You have no idea
what's going on.

[Freeman exhales]

Dr. Freeman. How are you, sir?

-[Freeman] Detectives.
-I'm sorry to disturb you guys.

Uh, we just have
a couple of follow-up questions

about Jo Rodney.

[Freeman] Sure. Yeah.

Would you like to step aside
with us for a moment?

No, I'm good. What's going on?

Uh, doctor, you mentioned
that, um, you and Jo

would, uh, meet sometimes
in your office

while she was participating
in the study.

Yes.

Ever been to an S&M club
over on Tenth Avenue?

[Freeman chuckles]

I don't know
what you're talking about.

You never been?

-Never.
-[Jacobs] Good.

Well, that's--
that's all we got.

-Okay.
-Thank you for your time.

-Thank you. Thank you.
-You guys have a good evening.

-Nice to meet you, ma'am.
-You too.

-Let's go.
-[cell phone vibrating]

Yeah?

Yeah.

Okay, thanks.

Shayna's out of the coma.

We gotta get over
to the hospital.

You know what? You go.

I'm gonna keep my eyes
on this good doctor.

[heart monitor beeping]

Hey. How are you?

How you doing? Are you okay?

-Yeah.
-[Jacobs] Good. You look good.

-[Shayna chuckles]
-Good. Um, what do you got here?

Thank you.

[dark music plays]

Um, I'm gonna have
to take this with me.

You look good.

Okay, thanks.

[Jeff] So this wood
really balances out

some of the lighter
and darker elements.

How do you feel about it?

Oh, just excuse me
for just one minute.

Here he is,
the man of the moment.

Hey, Jeff,
I need to talk to you.

Uh, one minute.
I have to show you something.

Please come with me.
I have to show you this.

You did it.

It's all you.

So what do you think?

It's definitely different
than your earlier work.

[Otis] You should stop
by my loft tonight.

See the rest of the series.

I haven't even seen them.

I'd like to show Rich.

Yeah, uh...

Yeah, I'll see you
later tonight.

[Leigh] Where are you going?

To Otis's.
I need to see the paintings.

[Leigh] Why?

-I need to know.
-[Leigh] Know what?

-I need to make this right.
-[Leigh] Rich.

Stop lying to me.

Why were the police asking you

about some S&M club
that Jo worked at?

I guess she worked there
as a dominatrix.

So why were they asking you
about it?

I have no idea. Maybe
because she was my student?

-Were you fucking her?
-[Freeman] What?

What is it you think you heard?

-Don't touch me.
-[Freeman] Okay.

I'm gonna ask you one more time.

Why were the police
asking you about Jo?

I was with Jo the night
she was murdered.

What do you mean
you were with Jo?

We had dinner.

So then what did you do?

She kissed me.

What else?

Leigh, please.

What else?

[tense music plays]

[Leigh sobbing]

[Leigh exhales]

[door creaks]

[Freeman] Otis?

Well, in my dream, I--
I strangle the life out of her.

[tense music intensifies]

[door opens]

You can put your hands
around my neck.

It's okay.

[dark music plays]

[Otis] The nightmare.

I'm in control of it now.

We're a good team, Rich.

It's like a nightmare,
except it happens

as you're waking up
or falling asleep.

[tense music plays]

-[Costello] Where you going?
-[Freeman] I need to get home.

I don't think so.
I don't think so.

You need to go back upstairs.
We gotta have a conversation.

-Whoa! Hey!
-[Freeman] I need to get home!

If you touch me...

Let's move back up.

[Costello moans]

[Jacobs] Engel!

[Jacobs] It's Jacobs.

[moaning]

[Freeman moans]

-[Freeman moans]
-Let's go.

[Costello] What happened to you?

I'm fine.

-Yeah?
-[Jacobs exhales]

I got this prick on resisting.

Hey...

Everything we got
points to Engel.

Engel?

[dark music plays]

[Dean] Going somewhere?

What does it look like?

You can't.
It'll hurt the university.

We can't claim the grant
without you.

I made you.

[Steven] When you were
a student of mine in the lab,

I thought that you could really
make a difference.

I have to see
this study through.

Of course.

How are you doing
with your dreams?

Are you remembering them now?

[Otis] I have these nightmares.

I'm... asleep.

I-- I think I'm awake,

but I'm not.

[romantic music plays]

¶ I've been drinking ¶

¶ Making bad decisions ¶

¶ Oh, and maybe
I should mention ¶

¶ Shouldn't stay
in my condition ¶

¶ But I'll be wasting
all my pain, oh ¶

¶ I'm never quitting, oh ¶

¶ Even if it's fiction ¶

¶ Thought I'd found
what I've been missing ¶

¶ That was only
wishful thinking ¶

¶ That you'd ever
feel the same ¶

¶ Oh, girl ¶

¶ Yeah, you got my back
against the wall ¶

¶ I can't let go
until I lose it all ¶

¶ Oh, I use a groove, baby ¶

¶ I tried to forget you ¶

¶ But, babe, I forget to ¶

¶ But there's one thing
for certain ¶

¶ This whiskey ain't working ¶

¶ But it's a damn
good place to start ¶

¶ No matter what I do ¶

¶ Baby, there's no use ¶

¶ 'Cause I'm meant
to be broken ¶

¶ Like eyes got me frozen ¶

¶ And cold like
your motherfucking heart, no ¶

¶ I've been praying ¶

¶ But nobody is listening ¶

¶ No answers to my questions ¶

¶ No hope for my affliction ¶

¶ Guess I'm supposed
to be in chains ¶

¶ Baby, when you say ¶

¶ I'm just another cliché ¶

¶ But this heart's in denial ¶

¶ No, I try to fight it ¶

¶ I think I'll always be
this way ¶

¶ Oh, girl ¶

¶ I've got nothing better
left to do ¶

¶ Than spend my nights
depressing over you ¶

¶ Like a fool, baby ¶

¶ I try to forget you ¶

¶ But, babe, I forget to ¶

¶ But there's one thing
for certain ¶

¶ This whiskey ain't working ¶

¶ But it's a damn good
place to start, no ¶

¶ No matter what I do ¶

¶ Baby, there's no use ¶

¶ 'Cause I'm meant
to be broken ¶

¶ Like ice got me frozen ¶

¶ And cold like
your motherfucking heart, no ¶