(light orchestral music)
(wind blowing)
(moan echoing)
(loud rumbling)
(suspenseful orchestral music)
- You bitch.
(suspenseful orchestral music)
Bitch!
(birds cawing)
(suspenseful orchestral music)
- Roy?
Roy?
(screaming)
(laughing)
- [Mandy] Come on.
- Come in too.
(Mandy shrieking)
(eerie atmospheric music)
(moan echoing)
- No!
No!
- [Man] Confess, confess, confess.
(woman gasping and screaming)
- [Tim] Leave her alone!
(suspenseful orchestral music)
- Let's go, it's too cold.
- It's too cold?
You're the one that's cold, tonight, what's wrong, Mandy?
I know!
Music, right?
You want some music.
Wait right here.
(heavy rock music)
# Out on the street
# No one can see me
# And if I get a chance
# No one will beat me
- Hey, Mandy?
(laughing)
(suspenseful orchestral music)
Hey, Mandy!
(laughing)
Mandy?
(thudding) (Mandy screaming)
Mandy, come on, quit horsing around.
All right, Mandy, that's it.
We're going, okay?
(Mandy screaming)
(floor creaking)
(blunt thudding) (Roy grunting)
(suspenseful orchestral music)
- Tim?
Where did you go, tonight?
- I had a dream.
It was a strange dream, it woke me up.
So I went for a walk.
- Where did you walk?
- Just close by.
I keep having the same nightmare.
- [Agatha] What kind of a nightmare?
- It's like a torture chamber.
- A torture chamber?
- And there's a hooded figure.
And he keeps saying, "Confess, confess."
And there's a book, someone's writing in a book.
- Tim.
Try to go to sleep, now, you'll be all right.
(water running)
(suspenseful orchestral music)
(cat meowing)
- [Jenny] Good morning.
Where were you last night?
- Where were you last night?
I was out with Pru and Charlie, the usual.
- Were you with that boy, again?
- That boy?
You mean Tim?
- I don't want you to get too involved with that kid.
- Dad, I'm 18.
I have a boyfriend, so what?
- This is a small and gossipy town.
We've lived here just about a year.
Get too close to these people
and they'll know everything about us.
- All right!
I won't tell them anything about you.
- Are you upset?
You know I love you.
You're my queen of my morning.
You know?
Give me some coffee, here.
You gonna read to me?
Gonna read this newspaper to me?
Baby.
- Mr. and Mrs. Newton's son Andy's getting his PhD.
- Oh, that's wonderful.
That is so incredibly wonderful.
- Mary Jo Prescott warns of property tax increase.
- Well, that's uh, that's uh, that's interesting.
- Here's a Laura Kincaid byline.
- Who's that?
- She's the new owner of The Signal,
I told you two weeks ago.
- Oh, God, I'm not interested in any of these people.
- Oh, she's really quite beautiful.
I think she reminds me of Julie.
You know, beautiful
and elegant.
Sophisticated.
And dumb.
- Jenny?
Jenny!
Where the hell are you?
(door closing) (phone ringing)
Hello?
- [Hank] Hello, Sam.
- [Sam] Oh, Hank.
What's the matter?
(footsteps descending)
Uh-huh.
Uh-huh, uh-huh.
I'll meet you there.
- What's the matter?
- [Sam] Oh, bad news.
(phone dialing)
- What?
Hmm?
- [Deena] Intensive Care Unit.
- Hello, Deena?
- [Deena] Yes.
- Sam.
- [Deena] Yes, Sam.
- They're sending a girl over to the hospital,
she's in bad shape.
Have her typed and cross-matched.
Alert the OR, I'm on my way.
I gotta go, baby.
- [Jenny] Who is it?
- Stay home today, will you?
- Why?
(door slamming)
- She's still alive.
Sam, I've known those kids since they were,
since they were babies.
- Oh!
- God, Martha.
I'm sorry.
- She'll be all right, won't she?
(camera shutter clicking)
- Doctor Cordell just came in.
And he's the best there is.
She'll be okay.
She'll be all right.
We'll go right up.
Sam?
I've never seen anything like it, Sam, never.
(machines beeping)
(screaming)
- [Doctor] Knock her out, for Christ's sakes!
(machines beeping faster)
(car honking)
(doorbell buzzing)
- Hello, Missus Galen, is Tim ready?
- I'm sorry, Jenny.
Tim had a bad night, he's still not up--
- It's okay, Gram, I'm up.
Hi, Jenny.
- Hi.
- See you later.
- What about your breakfast?
- Oh, I'll get something on the way, okay?
- Ah, Tim?
Um,
I've got some bad news.
- Well, what's the matter, Jenny?
- It's about Roy.
He was killed last night.
He was murdered.
- What?
- And Mandy was raped.
She's still in the hospital in critical condition.
- Oh, Jenny!
(dramatic orchestral music)
- [Tim] Where'd it happen?
- [Man] Down at the quarry.
Roy and Mandy had been swimming.
They stayed on into the night.
Mandy was found in the beach hut.
Roy had a nail right here.
- Hello, Joe.
I just heard, have you got anything, yet?
- Nothing yet,
I'm just praying the girl pulls through.
- God, this is a terrible thing.
It's terrible.
Hey, do you need any help?
- Help?
- Well, we've never had anything like this--
- If I need help, you'll know about it.
- Now, don't get your back up.
All I'm saying is--
(elevator dinging)
- Gentlemen.
- Morning, Laura.
- How is Mandy Pullman?
- She's still, still critical.
- That's it?
I've heard Roy Seeley was beaten to death.
- Uh look, I hope you can handle
this story discreetly, Laura.
This is a small town.
(beeping from OR)
Uh, Laura Kincaid of The Signal, Doctor Sam Cordell.
- How is she?
- Uh, there was a tremendous amount of damage.
Her uterus was ruptured.
We had to do a hysterectomy to stop the bleeding.
She won't have children, now.
Hank, I couldn't find a trace of sperm in there.
Maybe this looks like a dry intercourse.
Uh, I have to get back.
They're sewing her up.
Excuse me.
- Can we talk?
- Yeah, I guess.
- [Ernie] You all right, Deena?
- I'm fine.
- Take a look at the bruises on the kid's neck.
It's one hell of a large hand.
His spine was crushed like a piece of balsa wood.
- [Sam] What's this hole?
- That was a nail, Sam.
- Let's get to it, if we're gonna do it.
(telephone ringing)
- Hello?
- [Sam] Hello, Jenny?
Are you all right?
- Yeah.
- You alone?
You're with someone?
- Yes.
- I just called to say, I love you.
- I love you, too.
- Bye, baby.
(dial tone humming)
(dramatic orchestral music)
- Jenny, I've gotta go.
I don't feel so well, and
I'm kinda sick to my stomach.
And I've got a headache, I don't know.
I, I've been having these dreams.
- What kind of dreams?
- I just gotta go, okay?
(suspenseful orchestral music)
- Museum's closing.
(suspenseful orchestral music)
(clattering)
Somebody still there?
The museum is closed.
Damn kids.
Now, would you please come out of there?
(intense dramatic music) (screaming)
Oh, no!
No, no!
(gasping)
(screaming)
Oh, God!
(crying)
(scream echoing)
(screaming)
(gasping)
(dramatic orchestral music)
- Excuse me, excuse me.
(crowd mumbling)
Stop.
- She was my wife's cousin.
- All right, get her to the hospital.
And call Ernie.
He has to do an autopsy immediately.
(sobbing)
- [Hank] Sorry, Matt.
- [Matt] What am I gonna tell the kids?
- I'll tell them, Matt.
- Who's gonna take care of them?
- Look, I'm gonna send you over to my house.
Clem.
Have him over to my house and stay with him.
- I'm gonna give you six pills.
Take two, you wake up, take two more.
You'll be fine, okay?
- Sam?
I've never seen such a brutal rape.
- I mean if, if one man did all this
he had to be a strong son of a bitch.
(dramatic orchestral music)
- Yeah.
(camera shutter clicking)
- How the hell did you get in here?
You've done enough damage, already.
You're a stranger in this town!
You stick your nose into other people's tragedies.
(intense dramatic music)
Just so you can sell a few more papers.
- Just doing my job.
- Get out of here.
Sam,
please, will you get her the hell out of here?
(dramatic orchestral music)
- Thank you.
I have work to do.
And you have your work to do.
I don't like to be berated by Hank!
Or anyone.
- Listen, you're a little shook up.
Let me drive you home.
- I don't want tenderness.
Thank you.
(car engine starting)
(dramatic orchestral music)
(telephone ringing)
- [Jenny] Hello?
- [Sam] Hello, Jenny?
Are you all right?
- [Jenny] Yeah, I'm fine.
Uh, I'm gonna be a little delayed.
More bad news.
- [Jenny] Mandy?
- No, not Mandy, Carolyn Davies at the museum.
- [Jenny] Are you all right?
- Yeah, I'm fine.
I won't be home right away.
I have another autopsy to do.
- [Jenny] Another rape?
- Rape, yeah.
Bye, baby.
(dial tone humming)
She moved, yet?
- Oh, just a few whimpers.
- You're a beautiful girl, Mandy.
You'll be all right.
I wanna know the minute she wakes up.
- Yeah. - Deena.
Her windpipe was torn up.
Her uterus was ruptured just like Mandy's.
What we had here was a real intercourse.
And a hell of a lot of sperm.
- Joe wants to call the Attorney General,
have him send in some help.
What do you think I should do?
- I'd take whatever help you can get.
Look, there was so much sperm in her
that the hemorrhaging itself couldn't get rid of it.
- What does that mean, Sam?
- It means that there had to be more than one person.
Damn it, Jenny, didn't I tell you to stay home?
- I just wanted to be with you, that's all.
- I can't be with you right now.
- Well can't I just stay with you?
- We'll catch up with you in the morning, Sam.
- Hank, what if something happens tonight?
- [Hank] I've had every damn transient in the area
picked up and held for questioning.
- Check with you tomorrow. - Right, Sam.
- See you, Sam.
- No one's gonna get in or out
of this town without my knowing it.
- I don't like this boy Tim.
I never have.
But, he lost two of his best friends, you know?
You lose two friends, you're a little upset.
Now he has a dream,
doesn't tell you about it.
He has a headache
and he's nauseous.
Think that's a pretty normal reaction,
don't you think so?
(dramatic orchestral music)
(Sam exhaling)
- What's the matter?
- Nothing.
I'll drive you home.
I'll have somebody pick up your car tomorrow
and take it over to the house.
(sighing)
I loved your mother, you know that?
- I know you did.
- I know you always thought I was a rat.
Replacing your mother with that young Julie.
But two years after your mother died,
I was going crazy.
I fell in love with an 18-year-old.
I forgot you.
Forgot your mother, I forgot everything.
- Hey, Dad, we've been all through this before.
- She was never comfortable with me.
Not for one second.
- Yeah, I know.
- You.
You don't know everything, you know?
She was having affairs.
I knew that.
I caught her with some guy.
We had a tremendous fight.
She managed to get out of there.
I went after her.
I felt very guilty about that.
(dramatic orchestral music)
- [Jenny] I'll make some coffee.
- [Sam] No.
- [Jenny] No?
How about a drink?
- No.
I'm a little shaken up.
You told me about Tim's dream.
'Cause I'm having dreams, myself.
Sorry.
- [Jenny] Is this, is this light bothering you?
- No, no it's fine.
Fine.
- You know I love you.
And I'll never leave you.
(engine revving)
(tires squealing)
(thunder crashing)
Dad?
Dad, that was the hospital.
Mandy's awake.
(engine racing and tires screeching)
(suspenseful orchestral music)
- She came to about
Her pressure is way down.
Sam, she's in a lot of pain.
We didn't know what to do, give her a shot?
Or keep her awake?
- Hello, Mandy.
Can you speak?
I'm gonna give you a shot to ease the pain in just a minute.
I have a friend of yours here.
- Mandy.
It's okay, Mandy.
How many of them were there?
Did you know any of them?
- Come on, tough guy.
Come on, tough guy.
Let's go, you're gonna be fine.
Come on, beautiful, come on, beautiful.
Close your eyes, that's it.
(Mandy sighing)
She'll be all right.
Give her one cc of morphine.
- [Hank] What'd you find out last night, anything?
- Well, I sent the sperm over to forensic.
Now, it won't get back till this afternoon,
so we won't know anything till then.
- But it was sperm.
We know that, and a hell of a lot of it,
so it had to be more than one man.
- [Sam] I don't know, Hank.
- What do you mean, you don't know?
- What I saw under the microscope looked like sperm.
But it was red.
I mean, it had a reddish tinge.
- Well, the red in the sperm had to be blood, right?
- I can't tell.
Won't be able to tell until we see
that report back from the lab.
(elevator dinging)
- [Joe] Hank, Hank!
I spoke to the Attorney General,
he's sending Drivas down here in the morning.
Damn it, Hank, I can't believe that in a town this size
you can sit there and not have one single clue
to these murders.
- Joe, I'll give you my resignation.
- I don't want your goddamn resignation.
Look at that.
What's that woman trying to do?
(tires squealing)
(typewriter clacking)
(dramatic orchestral music)
(telephone ringing)
- You look awful.
- I'm just tired.
I'd like to talk to you.
About the medical aspects of your rape story.
- Fine.
Talk.
- Could I see you on common ground?
Could we go some place else?
- I never liked small towns.
I don't like small town thinking.
- Oh, I see.
- When my foster parents died,
I took the inheritance money and bought a paper.
It just happened to be here.
- Can I buy you a drink?
- [Laura] Bourbon.
- Bourbon?
Two bourbons.
- You said you wanted to talk about some medical facts.
- I don't care what you write
in this newspaper of yours about this town.
- [Laura] You don't?
- No, I don't.
- Why do you look right through me like that?
(scoffing)
I don't understand you.
You're sympathetic, but you're not with me.
- You remind me of someone.
- Oh?
Fine, that's wonderful.
- I can't get you out of my mind.
I know you don't know what the hell I'm talking about.
But I can't get you out of my mind.
- [Laura] And I remind you of who?
- Oh, no.
You don't really remind me of her, you are her.
- [Laura] Is she dead?
- [Sam] Yes, she's dead.
(clock ticking)
(heavy breathing)
(exhaling)
- Could I have a drink?
- No.
(dramatic orchestral music)
- Who's this?
- That's the woman I live with.
(Laura scoffing)
- No, seriously, who is this?
- Nah, seriously spoils it.
That's my daughter.
- Your daughter?
- I have to get back to the hospital.
And you have to get back to work.
(dramatic orchestral music)
- The dreams have started, again.
I tried to shut them out, but I can't control them.
There's a girl.
A girl.
She screams.
I can see her scream.
She's in danger.
She's in terrible danger.
- Tim, look at me.
Look at me!
Friends of yours have been attacked,
they've been killed, that's why you're having--
- I think I killed them.
(eerie atmospheric music)
I've lived before.
In different lives.
In different forms.
I think my past has something to do with these murders.
- No, Tim, listen to me, look, no, Tim, listen.
(voice echoing)
(ominous orchestral music)
("Lost and Found" by FM)
(dog barking)
# I am weary
# Expectations
- [Anita] Dad, something's wrong with Chip.
- Probably just holed up another raccoon.
- Last time he got hurt real bad.
You better go see what's wrong.
(sighing)
# I will wander
# Through the alley
# Getting warmer
(dog barking)
(suspenseful orchestral music)
(dog barking)
(thumping)
(dog yelping)
(dog whimpering)
(gun cocking)
(screaming)
(gun firing)
(groaning)
(intense dramatic music)
# He was outspoken
# Of the violence
(suspenseful synth music)
(glass shattering)
(screaming)
- Jane?
(knocking on door)
Jane!
Oh!
(screaming)
(suspenseful orchestral music)
- Hello, Doctor.
- [Sam] Hello, Drivas.
- What's the story?
Pullman girl still alive?
- Yes.
But her uterus was ruptured.
What we had here was a dry intercourse.
- No sperm?
- No, no sperm, nothing.
- What did they use?
- It wasn't they.
I think it was one man.
- Bullshit.
- The boy that was with her had a crushed vertebrae.
A nail in the skull, marks on his neck, bruises.
His body was thrown into the quarry after he was murdered.
- [Drivas] And who was next?
- Carolyn Davies.
- [Sam] She was my patient.
- What was the deal there?
- [Sam] Same thing, uterus ruptured.
This time the intercourse was completed.
- [Drivas] Sperm?
- [Sam] Incredible amount.
- And you think that it was only one person?
- I haven't been able to get a make on anyone in this town.
No one's come into it, and no one's left it.
And no one has seen anything.
- Yeah, well somebody's been here.
What's the analysis from the lab on the sperm?
- I have it right here, it just came in.
Very unusual.
Very different.
It's red.
And it moves at a much different rate of speed.
Despite the fact that there was so much of this stuff,
in my medical opinion it was one man.
(intense dramatic music)
(gasping)
(woman screaming)
- Are you all right?
Excuse me, are you all right?
("Surface to Air" by FM)
("Vice Versa" by Samson)
# She was a real two timer
# She knew I'd never leave
# She thought that she could make it
- Where are you going?
- Wash room.
# I could never believe
# She looked so healthy
# And she looked so clean
# But when she got to bite you
# Was she mean
# Vice versa
# She could roll you over
# And make you blind
# She could say things to astound
# The dirtiest mind
# She looked so healthy
# And she looked so clean
# But when she got to bite her
# Was she mean
(ominous synth music)
# Vice versa
(screaming)
# Never believe
(screaming)
- No, no!
(screaming)
# But when she got to bite you
# Was she mean
(screaming)
# Vice versa
(screaming)
# Vice versa
(glass shattering)
- Not a print, Hank, nothing we can use.
- Get that out of here.
Come on, come on.
Come on, come on, get her out of here.
(crowd murmuring)
- I'm gonna call you later.
I gotta get somebody to take this boy home.
- You all right, Charlie?
- I don't believe it, I mean I can't believe it.
- Lacey.
- [Lacey] Yeah?
- Take Charlie home, will ya?
- [Lacey] Right, Chief.
Come on, son.
- It's impossible for any man.
I don't care how big,
to do this.
Crazy people have abnormal strength, right?
- [Sam] Yes, right.
- Ma'am, no photos.
- [Sam] Let me handle this, will you?
- I know that you were almost fired because of me,
what I wrote in the paper.
I'm sorry.
But I think I could be of some help to you.
I want to talk to you.
Hank's out looking for a gang of young, tough kids.
But he's wrong.
The circumstances of these rapes and murders are too unreal.
I think just one man did this.
- Let me get you out of here, come on.
Excuse me.
- Sam.
Did you know that these same things have happened before?
- [Sam] What does that mean?
- 30 years ago in Galen,
these same types of rapes and murders occurred.
None of those cases were ever solved.
- [Sam] How do you know that?
- I've done some research into the dead files.
I've researched every person in this town.
Including yourself.
(suspenseful orchestral music)
- Tim?
Tim, what's the matter?
- It hurts.
- What?
- My head hurts.
It's,
it's a nightmare.
It's, it's the same nightmare over and over again.
And every time I have the dream,
someone dies.
Roy Seeley, Carolyn Davies.
It's every time I have the dream.
Oh, I think I'm going crazy!
- Tim!
Tim, God, listen to me, please.
You're ill.
You need help.
(gasping)
- Stay away from me. - Tim?
- Leave me alone, please.
I killed those people!
- Doctor Cordell?
Your daughter's on the phone.
She asked to speak to you right away.
- Now my daughter's in trouble.
I don't know what the hell is going on.
Hello?
- Dad?
Please, you can't tell anyone, um,
it's about these murders.
Tim was just here, and--
(tires squealing)
- Wait here.
Where is he?
- I don't know.
- [Sam] You say Tim is the murderer?
- [Jenny] I think that's what he meant.
- [Sam] You think, or you know?
- [Jenny] I don't know, he wasn't himself.
He was falling on the ground and sweating and--
- [Sam] What did he say?
- Going into these kind of trances,
I don't know what they were, he,
he said he thought he'd done it.
- He said he was the rapist.
- Yes, he, well, he has these dreams, these,
these visions, I don't know what they are.
- I don't understand what you're saying.
(Jenny sighing)
- That every time he has this dream, somebody dies.
- [Sam] Go on.
- [Jenny] There's nothing to go on about,
he wants to be stopped before he has another one.
Dad, he stands with his eyes wide open
while he has these nightmares
and he's afraid he's killing people.
- [Sam] Get in the car.
- But I don't want anything to happen to him,
he's not himself.
- We've gotta find him!
- Dad!
- Get in!
Laura Kincaid, this is my daughter, Jenny.
(door creaking)
(chest creaking open)
(suspenseful orchestral music)
(intense dramatic music)
- Tim.
- I've gotta stay awake.
I'm very tired.
But I mustn't sleep,
because if I do, she will die.
- [Agatha] Who is she?
- The girl in the cellar, the girl who screams.
She keeps looking towards the door,
someone is trying to get in.
And I have to stay awake to save her.
- Tim, there's something I have to tell you.
The book,
the book in your dreams?
(car approaching)
Tim, it's important that you understand this.
I love you.
(doorbell buzzing)
And you're normal.
A lot of people have nightmares.
There's nothing wrong with you.
- Mrs. Galen, where's your boy?
- How dare you barge in here, Jenny?
- Mrs. Galen, is he here?
It's to do with all these murders.
- Tim's sleeping.
He can't be disturbed.
(Tim gasping)
- Wake up, Tim, wake up.
(Tim coughing)
Wake up, wake up, wake up.
- Wait just a minute,
you can't come into my house and abuse this boy,
who do you think you are?
If you don't stop this I'm going to have to call the police.
- Tim, Tim, it's me.
It's Jenny.
- You're the one in my dreams.
- No, I'm the one who
saw you on the street when you were having an attack.
I tried to help you.
Don't you remember?
- You're a good boy, Tim.
My daughter likes you.
Did you tell her that you thought you were killing people?
- [Tim] No.
- What about the dream?
What happens in your dreams?
- His dreams have nothing to do with what's happened.
- Mrs. Galen, what do you mean
they don't have anything to do with what's happened?
Tim, I'm gonna have to ask you to come with us.
I know this is gonna be embarrassing,
but I have to take a sample
of your semen and compare it against what we have.
- [Jenny] Dad, please.
- You're in a lot of trouble, Tim.
I want you to do this.
It's the simplest way to prove
that you're not the rapist, you understand?
Mrs. Galen, do you understand?
I have to do a sperm test on Mr. Galen.
Now call Chief Walden, have him come up here right away.
- Yes, Doctor.
- The boy's sample is absolutely different.
He's clean.
- Well even if the boy didn't do it
I just can't believe that there's no connection
between his dreams and what's happened in this town.
- What kind of a quack are you?
The boy's in the clear.
- He's not in the clear!
Every time this kid has a dream
somebody in this town dies.
- I'm a professional.
I only deal in facts.
Now, I'm gonna bring my boys in,
they know what they're doing.
Basically it's a simple problem.
We're trying to stop the group of people that're doing this.
Don't try to make this into something supernatural.
I spoke to the girl, Mandy.
She's admitted that there were many people
involved in the rape.
Let the Galen boy go.
Is that clear, Hank?
- It's clear.
- What did Mandy tell Drivas?
(scoffing)
- What did he say?
- He said she was raped by a whole gang of people.
- Not true!
She didn't tell him anything at all.
She just nodded every time he asked her anything.
Sam!
I don't think she can take any more questioning.
- Will you go inside, please?
Hello, tough guy.
That son of a bitch, Drivas,
said that you were raped by a whole gang of people.
(Mandy whimpering)
Now, it's very important that you answer my questions.
Was it one man?
- No.
- [Sam] Was it more than one man?
- Monster.
- Was it more than one man?
- One!
- What did he look like?
- That's enough, that's enough.
Come on, tough guy.
- [Laura] The test was?
- [Sam] Negative.
- [Hank] Negative, the test cleared him, he's free to go.
(suspenseful orchestral music)
I don't need you anymore, thanks, you can go.
Agatha, Tim's in the clear, everything's okay.
- I know that you're involved with this.
Are the dreams you're having causing these murders?
- Yes, I think so.
- [Sam] You think so, or you know so?
- [Tim] Uh--
- [Sam] Yes or no?
- [Tim] Yes, yes.
- [Sam] You see the victim in your dreams?
- No, I can't see who it is.
- You have no right to question him now.
- Mrs. Galen, he's just now admitted
the dreams are causing these murders.
- Are you going to stand here
while this idiot tries to implicate my grandson?
(choking)
(panting)
(intense orchestral music)
Tim.
Tim, it's all right.
- [Hank] Tim, hey, wake up!
- Hank.
- [Hank] Come on, Tim.
Wake up, God damn it, wake up!
- Stop it, Hank!
(screaming)
- Hit emergency, quickly!
- Wake up, Tim, wake up.
Okay.
Okay, Tim, okay.
All right.
- [Officer] Chief!
- You should've called me.
Get that goddamn IV in her right now.
- The Galen boy's involved in this.
- No one was here.
The Pullman girl attempted to take her own life.
- I'm telling you the kid's responsible.
- Will you get out of here?
I don't have time for idiots.
In 20 minutes we'll be meeting with
35 county officers at the station.
You be there, and be sober, is that clear?
- Yeah.
(suspenseful orchestral music)
- Doctor, you and Hank Walden are
making the biggest mistake of your lives.
Bringing us here because of
some wild theory of Laura Kincaid's.
My grandson is innocent.
He was dismissed by Drivas.
His sperm test was negative.
And you, Doctor, you're a disgrace to your profession.
- Laura.
You said you had something.
Hank, watch him carefully.
Jenny, stay with them, too.
- You're new in this town, Doctor.
I'm a Galen.
Galens have always been witch-hunters.
We know how to deal with it.
- Why are you telling me this?
- Because Tim's real mother was a young woman
who was persecuted as a witch by my family.
When she was driven to her death, she was pregnant.
- She was driven to her death?
- But her baby survived.
And I adopted him.
- That was Tim?
- Yes, Tim.
I love that boy.
He's my life.
Do you understand me?
Do you hear me, Doctor?
- Here.
Metamorthorps, shape changers.
They can control their size.
Toughen their skin texture,
take on new muscle tone and strength.
"It has human form, it is among us,
"and survives by appearing human.
"It materializes through dreams, nightmares."
Charles Rennie Bouye wrote that in the 18th century,
in his description of an Incubus.
(eerie atmospheric music)
"This demonic spirit can also serve both men and women.
"Incubi were driven by their desire to procreate,
"and were known to copulate with, and impregnate witches."
- Mandy said monster.
- Wait a minute.
What you're saying, Sam,
is that there's this thing in Tim's dream,
that goes running around murdering and raping people.
Tim's dream can have a connection,
I could believe that.
Precognizance, clairvoyance, that sort of thing.
But you're talking about actual materialization.
Sam, bullshit.
- Was your mother in your dreams?
- He never even saw his mother.
She died when he was born.
- Look, the girl in my dreams, in my nightmares,
I can never see her face.
- There was danger, there was murder.
- His friends were murdered,
of course he has nightmares.
- What about Mandy?
- That happens.
In life, things like that happen.
- What do you mean that happens?
What the hell do you mean that happens?
Carolyn Davies, she was my patient.
She was lying dead right here in this room.
Blood all over the place, see.
Ernie, Ernie, autopsy man, you know
is with his family, he's out in a farm house
and his whole family is murdered, you understand?
Don't you tell me that happens!
Got little kids in this town, right?
Little kids, they walk into a movie theater
and they're raped!
Hank, 30 years ago the same thing happened in this town.
The murders and rapes.
They were all unsolved.
You were there, what happened then?
- Just a minute, Hank.
(suspenseful orchestral music)
Before you answer that,
you remember that I put you in office
and I can take you out again.
The things that've happened to my family are unconscionable!
You leave us, now.
It's over.
- Nothing is over
until these rapes and murders have stopped.
Maybe I'm, I made a mistake, but...
Sam, I'm sorry.
I gotta get back.
I have my own nightmare.
Drivas.
- All right, here, sit down here, darling.
Here, you watch him, watch him.
- [Agatha] May we leave now?
- No, you sit down, right now.
- [Hank] This is Hank Walden on 2BY, anything new?
- [Dispatcher] Chief, Vera's ready to have your neck.
- Look, Hank, there are no gangs out there.
The people that you're looking for don't exist.
You wanna kiss Drivas' behind?
You wanna look good?
- That is right.
On my way.
- [Sam] And if the kid has another trance,
what happens then?
Who's responsible?
- Sam, I can't.
You're pushing too hard, Sam.
You haven't got a thing.
- I'm gonna induce the dream.
If I were you, I'd have every policeman out on the street.
I swear to God, there's gonna be a rape tonight.
(suspenseful orchestral music)
(engine starting)
(bell tolling)
Tim's staying with me.
I need him.
Okay, come on, I'll make some coffee.
- No, I'll get it.
- You all right?
Sit down.
(suspenseful orchestral music)
- I am exhausted.
I'm going to bed, okay?
- [Laura] Coffee, nice and hot.
There's milk and sugar there too, okay?
- Do you mind going upstairs with Jenny?
I'm a little concerned about her being alone.
- Sure.
I'll take her up a drink, okay?
(ice clinking)
(dramatic orchestral music)
Sam, are you all right?
- Yes, I'm fine, thank you.
(knocking on door)
(door opening)
- I brought you a Coca Cola.
(can popping)
(eerie atmospheric music)
- [Sam] See, the Galens persecuted your mother.
She was said to be a witch.
The question is, was your mother raped 30 years ago?
There's a possibility you could have a brother.
- I have a brother?
Agatha gave it to me.
- [Sam] Why?
- I don't know!
- All right, you sit down.
Sit down, go on.
All right, you tell me about your dreams.
I wanna hear about your dreams.
Talk it out.
- The woman in my dream who's being tortured
I think is my mother.
I can't see her face.
But after I wake up, I know it's my mother.
It's set in a cell made of stone.
The people who are torturing my mother
are wearing hoods like monks.
- Religious figures.
- Yeah.
I wanna see it come to an end.
(suspenseful orchestral music)
I want to see the people
who are questioning my mother killed.
I want to see them suffer.
And they keep asking the same question over and over again.
They keep saying, "Tell me, tell me."
And I can see my mother smile.
I can't see her face, but I know she's smiling.
She's so confident.
But they're confident, too.
It's like a war of wills.
That's it.
That's it, except for the pounding on the door.
- You see the door?
- [Tim] Yeah.
- You see the door?
- Yeah.
It's metal.
And it shakes the whole foundation of the place.
It quakes.
My mother smiles.
She wants it to come through.
But I don't want it to come through.
- Why not?
- I don't know.
It's evil.
I don't know.
If it comes in it's gonna wreck the whole place.
It's gonna hurt my mother.
(suspenseful orchestral music)
- All right, bring it through the door.
Bring it through the door, just come through the door.
Come through the door, let it come through the door.
Come on.
(creaking)
(intense orchestral music)
(panting)
In, in!
(laughing manically)
(shrieking wildly)
(glass shattering)
(woman laughing)
(heaving and hissing)
- [Woman] Come to me.
- No!
- Oh, sweet!
(muttering)
(intense orchestral music)
It was you.
- Tim.
- [Tim] You're my sister.
- [Laura] Sam!
(glass shattering)
- [Sam] Tim!
(Tim yelling)
(dramatic orchestral music)
- [Laura] Please.
- [Sam] Laura.
- [Laura] Hold me, I'm frightened.
I want to stay with you.
(intense dramatic music)
(wind howling and voices echoing)