Sleepwalker: Nothing is Black or White SPOILERS.

I watched this film again today and painstakingly took precise notes, including dialogue. My intention was to lay this out in excruciating detail, including a lot of dialogue. Unfortunately, since I was using word at the time, and cutting and pasting on to WordPress, I noticed that I repeated a bunch of scenes out of order. (Honestly, I’m not sure it matters), but I became frustrated.

Lucky me and luckier you. Servetus has provided a detailed ( though I think it fortunately, not as detailed, as mine) a description of the plot, with some discussion. Mine had no discussion yet. So, in order to appreciate this post, you absolutely have to first read, and perhaps go back to this post, on Me and Servetus, because that’s where you’ll find the plot, along with her interpretation (s) and review.

I’m going to stick to some particular parts or mysteries of the film that interested me and are not a repeat on what’s on the other blog.

The premise of the film is that a graduate student, formerly married to a famous author who committed suicide, has returned to school to write her dissertation. She’s been sleepwalking and having nightmares. Throughout the film, as Sarah gets medical help and meets medical professionals, her reality/identity changes and she finds herself in situations that make no sense in the real world. These include her apparently going under the wrong last name, one roommate who keeps changing into a second person with a different name ( i.e. she’s long haired Dawn and then she’s short-haired Nicole), people who remembered and interacted with her one day and then had no recollection of meeting her the next. Not to mention a phantom stalker who, we can be sure is a dream creation. To add to the confusion, at some point, her doctor,  Scott White, played by Richard Armitage, gets sucked into some of her realities on his own.

For example, Sarah says in her nightmare,  a man is stalking her, wants to hurt her, and we see him do that. On three occasions, he attacks her and tries to suffocate her. This is clearly a dream because afterwards, the evidence makes clear it never happened, or she wakes up gasping. But then, during the third attack, Scott White comes to the rescue and beats the shit out of the guy, who gets taken to the hospital. At another point, Sarah’s referring therapist, Dr. Cooper, tells Scott she did not meet Scott and Sarah earlier in the day and has no idea who Sarah is. Never heard of her. But we saw them all when it happened.  Cooper, however, has a different hairdo and clothing from earlier on. Near the end of the film, Scott and Sarah are both invisible to the mystery woman who is hooked up to machines in the sleep clinic as they are to the “other” Dr. White. So at this point in the film, things are going haywire for Scott White, as well as for Sarah.

Furthermore, when Scott goes to see Dr. Cooper, that is the only scene in the entire film, without Sarah. Every other time, Sarah is present, either as an observer or a participant.

In her post, Servetus points out a possibility that I didn’t think of – and that is, maybe this isn’t Sarah’s POV at all – maybe it’s Scott White’s or even another character’s. It’s worth considering, though so much of Sarah’s experience takes place without Scott, I’m not sure if that works. For me, I have always found that I am somewhere in my dreams as an observer.

It may be that the filmmaker’s intent was to give us, as viewers our own opportunity to decide what’s happened or is happening. On the other hand, the film gives us hard clues as to when Sarah is dreaming and when she’s not. That’s not a true statement. There is no “awake” in this film. If you’ve read Serv’s analysis, it’s more than likely that at least, these are dreams within dreams or a series of dreams.  But, because, there seem to be visual clues as to which state Sarah is in, we, as the audience, are supposed to be figuring out what’s a dream and what isn’t ( or which dream it is) – even when there is no answer. At least, I think we are. I think the writer/director intended the audience to try and follow a mystery. They knew we would.

I prefer a mystery in which the author gives us the solution. Here, we come to our own solution. But, I have to give credence to many of Servetus’s thoughts about what identity issues/reality issues the film might want to bring out, whether it’s a loop of some sort,  because otherwise, all it is is Bobby coming out of the shower in  Dallas, i.e, it was and continues to be,  all a dream and we, the audience, haven’t seen anything real for 85 of the 90  minutes. Or maybe, not at all.

One of the most curious mysteries to me is how the creatives handled the beginning Spoiler. 

It is a spoiler and it isn’t.  Early in the film, Sarah Foster is waling through the rain to an office, where she’s going to meet for lunch, Jonathan Gray, who we are later told, was her husband, a famous author. When she walks into his office, we see a man, backlit against a window, leaning forward, supporting himself, head bent, in apparent despair. He speaks to and basically tells her he can’t do this anymore, he didn’t want her to see this and a few other things. He shoots himself in the head or holds something to it that I am sure is gun, but remains standing ( we don’t see him fall) I think every Richard Armitage fan will immediately recognize this figure as Richard Armitage -whether from BTS or promo shots, or in my case, because I just knew who it was. I don’t know if someone not familiar with Armitage would get it at all, that is make the connection that Scott White is Jonathan Gray. Later, it becomes interesting to consider that, if there was a Jonathan Gray, Sarah, in her dream state,  cleaned up something Gray to make it White.

On the other hand, I completely agree that the voice  in that first scene is not Richard Armitage. Only the last moan/howl, sounds anything like him. Scott White sounds like Richard Armitage.

I assume the creatives intended that, but why? They could have shot the scene without showing Jonathan if they wanted to keep it  as a mystery. Alternatively, they could have hired another actor for the beginning scene, and second scene in the office ( when Sarah spies him having sit down sex with the other woman- also not so clear that it’s Armitage),  and substituted Armitage for the final scene when Sarah shoots him. In this film, it would not have made a difference since things were so weird and people changed. By that time, we knew Scott was also in some part of Sarah’s mystery. But having decided to use Richard Armitage’s body with a different voice – why would they bother voicing that over? Who exactly was that for?

I’m open to ideas.

So, at first we think that Jonathan Gray killed himself in Sarah’s presence. There are three scenes in Jonathan Gray’s office. The first, another scene where Sarah spies him making sit down love with another ( or that other) woman, and the final scene, when we see that Sarah actually shoots him, and then herself. In that scene, it is Richard Armitage, with his own voice. In all three scenes, Sarah is wearing the same clothes, which are of a completely different style than anything else she wears in the film. Her hairstyle is radically different as well. She’s wearing her long hair in a  large French twist with bangs, not a hair out of place – just like Dr. Cooper in one of her scenes.  Her dress is a basic black knit and her outerwear is an interesting, tan rendition of a trench coat with a soft triple lapel, almost large ruffles, and the coat is short, belted and flared – very fifties – but like most parts of her other outfits, it is translucent. She’s wearing black rain booties with thin heels – no socks.

It’s hard to believe that the person who chose those clothes also chose the clothes we see throughout the rest of the film. This was a very sophisticated look, compared to Sarah’s usual look, which, as I describe, seem like some things a child would select.

Late in the film, when Sarah remembers what happens, or we think she remembers, as she’s telling Scott, she tells Scott that she found Jonathan with another woman and left him. We see the scene played out where she is packing a very retro suitcase. It’s the old, hard leather, very rectangular type that your grandmother or Bette Davis would have in some fifties film. Sarah would not have had that suitcase a year or ever, before the film takes place. And the clothes she is packing are very traditional looking items – I picked out what looked like a few solid sweaters or turtlenecks.

On the other hand, throughout the rest of the film, she dresses bizarrely. The dress I discussed yesterday is the most extreme example. It’s a lavender or gray creation, illusion lace on the top with bell sleeves and then lined from the scoop neck down, and fitted with a yellow ribbon perfectly tied. She’s wearing anklets or mid-high sheer gray hose with high heels.

Her wardrobe is full of clashing off colors, like moss green with orange or yellow, often the fabric is a brocade or a lace of some sort, frequently there are sparkles. Something is always sheer. Sleeveless dresses are worn with blouses under them, jumper style, and she even wears old style, wide culottes with a sort of updated brown and white oxford, but with slim heels, and socks, of course.

This all gives the impression of a little girl dressing up in Mommy’s clothes. There is definitely a little fairy princess vibe going on. Socks with heels are seen throughout, though they change. (Servetus has great screen shots). As I closely examined the wardrobe, and I did, I concluded that these are clothes a little girl would select – feminine, see-through, glittery make believe stuff, but like a little girl with no fashion experience, she takes pieces she likes and puts them together in odd ways, because she likes each piece. So what if it doesn’t really go?

One other childish piece is the bike that Sarah rides. While it doesn’t have pink and white streamers, it is old fashioned looking and has a big basket in the front. The box where Sarah keeps her mementos ( including her journal) is also something a child would love. It’s a big square pink box, like a square hatbox, tied with a beautiful ribbon.

So, are these clothes that a woman would dream of, or a man? There might be something to be said, that a man dreaming that he’s a White knight  rescuing a damsel in distress might wish to imagine her as a princess or little girl. This might resonate if we conclude (as I do) that in some reality, the funeral we saw in the beginning was of the patient Scott White says died, and that the woman in question, just might be the real Sarah Wells. But he would need to know a lot about fabrics.

I’m open to ideas about the wardrobe. I think it has meaning.

As an aside, and as Servetus mentioned, on a few occasions, her clothes were way too big, giving some weight to the notion that she was wearing someone else’s clothes – maybe the other woman’s. But no. Whatever she put on that was too big, and which she made work by belting it or sashing it – in a later scene, those same clothes fit perfectly. This was especially apparent when she took herself to the laundry room to take pills and drink a bottle of vodka in too big clothes, but walked out the next morning with those same clothes perfectly fitting her. This occurred twice with oversized clothes fitting her, and once with her culottes that fit, then didn’t fit, then fit again. She managed to wear Scott White’s clothes ( jeans and a sweater), but they were too big, and rolled up. (Yes – she literally got into his pants)

The nightgown, on the other hand, was the height of sophistication as well as femininity.  It was something office Sarah would select. It was traditional flowing white, very diaphanous (you could see her undies and complete shape right through it) but it had a very modern, upscale twist, with a very low back, but a bra-like strap across her back.

The sets were also distinctive. As Guylty Pleasure noted, there is a mid-century modern look to almost all the furnishings. In Sarah’s room, and maybe the whole apartment, it’s very 40’s or 50’s, with blonde wood and a dressing table with a triple mirror out of central props. In other instances – Scott’s sparse furnishings and the “other woman’s” house, there is more of a 70’s vibe, with curvaceous lamps and straight lines.

Of interest, and I have to go back to make sure of this, I noticed that, in the other woman’s bedroom, instead of a night table, there was a dresser next to the bed. It had a lamp on one end, very 70’s looking, and on the other end, there was a small vase of flowers. I thought I saw the same vase of flowers,with a different, but similar lamp, in Scott White’s bedroom, where Sarah was sleeping. Nothing else was on either dresser, as I recall. Not sure what to make of that, unless the dreamer had a particular taste that she ascribed to “normal” people.

In watching this film, which I liked much more the second time, I realized relatively soon that it wasn’t an ordinary dream film.

First there was Richard Armitage as Jonathan Gray. Then, early in the film when Sarah and her roommate ( #1, Dawn) were strolling through a cemetery, Dawn tells Sarah, that sine she hasn;t dated at all, she should follow advice Dawn read: every day pick out 3 potential soul mates that you see in your day. Make a story about them to make them into what you want. We see a funeral procession, and Sarah says, something like, it could be him. And we see Richard Armitage ( Scott White) get out of one of the cars with a woman ( maybe even that woman, she looked similar. Again, this woman was dressed in what I would call Hollywood funeral garb – a black dress with sheer lace sleeves and a hat – not quite as small as a fascinator, but very chic. Ordinary people don’t dress up that way for funerals these days. Again, it’s something we might fantasize about if we were pretending to be, say a grieving widow.

Next we know, the very same man, what a coincidence, is Sarah’s doctor, Scott White. Thus, those three, early sitings of him,  and his quick change of behavior, from almost coldly professional to taking over her case the next day, pointed to something that just wasn’t quite right. But it was fun to spot.

On reflection of course, the advice Dawn gave Sarah about picking a soul mate, was exactly what she tried to do, at least in her dreams, or whatever they were.

Scott and Sarah get closer and closer as they try to figure things out. I don;t want to ignore the love making. There’s a teaser during her first stay over at his house when you think it’s going to happen, but he walks away. The second time, though, after the beating of the stalker, they do have sex, and it’s fine. Just fine.

Servetus forgot to mention that when Sarah awoke the next morning, she fulfilled thousands of fan girl dreams by stroking the sleeping man’s beard.

Cut to the end, and Sarah is in some hospital ward having a bad dream, gasping for breath, ( but seemingly in a coma, I thought) when we see a white suited person, no face, check her machinery, and then, we see it’s a cleaned up Haley Joel Osmont, ministering to Anna, and telling her he will always look after her. That whole set, including the equipment was outdated or retro ( the oxygen mask was the green plastic kind that goes over your nose and mouth, the respirator was accordion style, the beds were metal cots)

It’d be easy to say that the entire film from beginning to that point, were all dreams. That Sarah/Anna was the other woman, and that she successfully killed Jonathan Gray, but botched the job on herself. There was literally no blood at the crime scene. Just a clean neat bullet hole through Jonathan’s forehead, dead center, sniper kill shot style. Didn’t mess up his face at all. In fact, the crime scene itself, with its clock at 11:10, same time as the clock in the medical center, when Sarah was telling Scott the story, doesn’t seem real. Shot face front in the head, Jonathan landed on his back stretched out. We don’t see him fall, but it seems unlikely he would have crawled around without bleeding, and Sarah fell face forward, which doesn’t make a lot of sense either.

Of interest to me – the professor was lecturing that love is nothing more than a chemical reaction – dopamine, maybe even a bi-polar condition. This is not unlike what Scott White told Sarah about dreams and how they occur – that the brain releases chemicals that cause emotions, and those emotions cause us to make up stories to fit the emotions.

Overall, I think the film is thought provoking and benefits from multiple viewings. I thought Ahna O’Reilly was good – not great. She didn’t overact when she was in distress or having understandable anxiety, and at times I thought she underacted, especially during  more ordinary conversations, for example when she first meets Dr. Cooper in their initial session or in some conversations with Scott White.

I thought Richard Armitage did a good job. At times this role was little like his Brain on Fire role, as consoler, supporter, but he had a couple of special scenes, again, mostly reactive, when he was listening to Sarah. Unfortunately for me, despite the good sex scene, I didn’t feel great chemistry between the two. I don’t think this is necessarily the actors’ fault. I’m not sure they were given the material to build up a real relationship with any sexual tension, despite Sarah’s occasional flirting.

See it.



11 thoughts on “Sleepwalker: Nothing is Black or White SPOILERS.

  1. Very interesting to see some of your notable takings from the film. The issue of the costumes – the translucent garments, the little-girl dress sense, you are right, there must be a layer of meaning in that. If we are taking all of the scenes (except those of her in the hospital at the end) as various iterations of Sarah’s dreams, maybe the translucent dresses are something to remind us of “ghosts” which are commonly characterised as translucent? And the child-like dress sense is to symbolise child-like innocence? The clothes being too big, I took to indicate that she is trying to inhabit somebody else’s life – the *real* Sarah Wells’ life to be exact. (Mind you – the styling of that character looked different – she was dressed in a contemporary style, much less flamboyant than Sarah/Anna.)
    There were a few parts of the film where the “film as a series of dreams” scenario didn’t quite seem to fit, I thought. Such as the scenes *without* Sarah/Anna in it. I have no idea, though – are dreams always first person POVs or do we also dream from a third person perspective, i.e. as an omniscient onlooker who is following other characters? For me, those scenes (Dr White talking to Dr Cooper; Dr White in his car driving back to rescue Sarah/Anna from the hospital) seemed to indicate *reality* as opposed to Sarah/Anna’s dreams. And yet, it was only after that that Sarah/Anna told White that she “made him”…
    Maybe I do need to watch it again…


  2. Thanks for commenting, and I am about to give high praise to your review as well – it’s beautiful. You’re right that only Sarah/Anna dressed in the unusual way, except during the office scene, when she was more or less more commonly dressed ( I would buy that raincoat if I could). I don’t know if dreams are ever from another person’s POV, but in my experience and as far as I can remember, I am there as an onlooker. I used to dream vividly and often, probably due to some meds I used to take, so that’s my experience. Sequences without Sarah can be problematic to the series of dreams theory if she has to be in the dreams – but it’s also possible, as Servetus suggested, that these are fantasies and not dreams., which might change things. Also the ending suggests, but who knows, that the entire film were figments of imagination. When Scott is alone and sees Dr. Cooper, Cooper denies that they saw each other earlier, denies knowing Sarah and is, in fact ,in different clothes and hair, so it can’t be reality unless he and Sarah are having the same dreams.
    So, where did Dr. Cooper come from? Have you had dreams where there are a lot of people or some people in the dream that you don’t know and have never seen before? Where did those faces come from? Scott tells Sarah, and I believe this to be true, that our brain pulls memories and brings us characters that we might have just spotted, or they’re actors we’ve seen somewhere, in commercials, whatever, which we use to fill out the cast as it were. Someone we saw for a minute in passing.
    The film gave only hints about the science of dreams. I would have liked more.
    It is definitely worth watching another time. You’ll be surprised at what you see that you missed before – though I don’t know if you’ll get any more answers.


    • Oops, missed your reply. The theory that what we are seeing is a fantasy by someone other than Sarah is actually intriguing, too. I am completely confused in my opinion on that. Or on the film as such then. It was suspenseful and interesting to watch but I guess like you, I would’ve liked some stronger hints on the science of dreams in order to understand better what was going on. I must watch again – finding the time is the issue…


  3. Sorry, but to me the film looks very simple. Anna is trying to recover her lost mind being in a coma and she has fragments of memories, where she replaces herself to the real wife of Jonathon. Then when she realized what’s happened, she decides Sarah Wells was having nightmare on her, the lover (or stalker?) of her husband and she feels she will vanish should Sarah stop to dream about her. Because love is only a dream and dreams are images our brain gives to chemical reactions. Dr Scott is Jonathon, her love (maybe only wished) and she shapes him as the perfect man any woman would want to have besides her. The last scene between Anna/Sarah and Scott is wonderful. And then we have the final revelation.

    There are tons of other hints, but others have already written about them.

    I think AOR is absolutely stunning, RA is perfect in his eerie, dreamy performance of the “dream man”. I find they have a great chemistry, the best I saw after North & South.

    btw, this movie is the best exemplification of RA fandom projection: RA as a dream, as a projection. Highly appropriated.


    • I agree that an interpretation, and partly it is also mine, that the whole thing is about Anna’s coma dreams makes the most sense. I like your idea, and it’s new, that Anna is subconsciously worried that she will no longer exist if the real Sarah stops dreaming about her. We can’t know how Anna knows Sarah is dreaming about her, or if she is. Your interpretation assumes that some of what were saw was at some point, real to Anna in her waking life – which is quite possible.


      • She says it clearly to Scott in their last scene (my fave one, btw, they are both wonderful). I think, as someone suggested me, Anna could be the stalker who killed Jonathon, never been his lover. So it makes sense that she was informed about his wife’s life and she “replaces” herself in her shoes. The moment the wife won’t be scared about her anymore, she will really disappear.

        There are many hints about Scott being just a projection, she knows him before he steps out of the car during the funeral scene. And it’s another hint Sarah/Anna keeps “waking up” in different houses, Sarah Wells during University years and Sarah Wells as married to Jonathon.

        Of course, the doctor/stalker could be a hint to her being a real stalker. And indeed, when Scott beats him, she regain her real last name, she starts to remember. We see how Joel Osment touches her, obviously abusively, and poor Anna elaborate that abuse in her shattered dreams. The water falling on her foot from the ceiling is the rain falling when she killed Jonathon, and the rain entering under the door, maybe also a proxy of the blood from Jonathon corpse.

        The more I watch and think about it, the more I love this small, ridiculously low budget film (only 1 mill $ IIRC). It’s the first time I’m enthusiast for an RA film after TH (not counting Hannibal, since it’s a TV show). Not bad, not bad at all.


        • I did notice that she seemed to identify him even before he got out of the car. I thought I even still heard the engines running when she said, ” it could be him.” Good pick up.


  4. Unsolicited recommendation, if you’re not doing it already: If you’re composing in Word, once you’ve finished and saved it for security, I recommend selecting all (Command A), copying it (Command C) then going to WP, putting your cursor down in the text field, and pasting (Command V). That should give you your entire text in the correct order.

    re: plausibility of this being someone else’s fantasies — I have fantasies and dreams about things that don’t involve my presence. If it is the case that other people fantasize or dream about me, I am surely not typically witnessing those fantasies or dreams in any way. I don’t think anyone has to be present in a fantasy for them to be having that fantasy. I stated that these could be White’s fantasies but that it wasn’t suitable as an all-encompassing narrative. (What I was trying to account for was what I found to be an extreme “savior” mentality on the part of all the medical people we encounter here. It’s also quite possible that we are seeing more than one person’s fantasies, just not necessarily always from their own POVs.) However, the film seems to suggest that there is a White who is not simply Sarah’s wish-fulfillment, the “other White” who is treating Anna and with whom Sarah interacts. (Indeed, there’s an argument for that sequence being “real” simply because the other White doesn’t immediately acquiesce to Sarah’s wishes and questions, unlike Armitage’s White). If I was going to pick a POV other than Sarah’s as the dominant one, I would pick Haley Joe Osment, because he’s at both ends of the frame story — as the voice in the initial scene in the writer’s office, and then as the hospital attendant. If he’s Warren Lambert, then maybe the newspaper article was real. I didn’t find it plausible that these are actually Anna’s dreams, because then there’s the huge problem of who the “other woman” is all the way through the film and why the woman in the bed, who we thought was Sarah but whom HJO tells us is Anna, kept invading her house, i.e., if that’s Anna in the bed at the end, then who is the “other woman” all the way through the film and why does the other Scott White call her Anna? Also, in that case, if she’s really Anna, why are her immediate subsequent words, I am Sarah Foster, with which the film ends? But I didn’t feel, as spectator, obliged to pick. As you know I’m happy to follow down trails of facts and narratives and reason my way through them, but I felt that was something I wanted to do rather than something the film desired from me. Did they expect we would try to rhyme out a solution? Surely. But that seems like a ruse on their part to me, and the penultimate scene in the hospital-like setting was their big FU signal. There’s no explanation of the event level of this film that I don’t find some significant objection to.

    re: clothes — I think at least once they’re not hers, the morning that she gets into the apartment after she’s seen the other person occupying her room and then leaving it.

    re: the nightgown, I thought it was kind of trashy/tawdry, the kind of piece that you see in lingerie magazines but no one actually wears.


    • Re: Using Word. The mistake I made was to cut and paste, successfully, but as I finished a few paragraphs – not when I was finished. I also corrected, sometimes in word and sometimes when after it pasted to WordPress. The problem was, that I thought I had deleted the old Word stuff I pasted in WordPress. But I hadn’t. So I kept pasting the entire writing into WordPress without checking. This meant some paragraphs were repeated several times in different places on the blog. Some were corrected, and some weren’t. Because of the nature of the film, I couldn’t easily tell which went where in the description. This whole thing took almost 5 hours, so when it failed and I thought it would take another viewing to straighten it out, I quit. I was so frustrated, especially since it’s been ages since I’ve written a long piece. Luckily for me, your plot layout was there, and I just decided to go with it. And then the wireless went haywire, so I couldn’t add images, which would have helped. It was close to 8 PM by then, if not later. It was really dispiriting, and I guess in the end it shows, considering the lack of interest. This won’t happen again.
      I think it was a ruse that they laid clues to make us think we could solve the mystery, and I agree, the last scene is probably not what I’d like to think – mainly for the outdated equipment, setting, and the fact that Sarah/Anna has no evidence of wounds, which would be expected if she shot herself in the head at close range.
      As to dream vs. fantasy and being there or not, my experience is anecdotal, that I am always in my dreams someplace, but not necessarily with fantasies ( while I’m awake) Re: the clothes -There were two outfits ( that morphed into three), that might have been out of character compared to what we’d previously seen. The green Culottes with a sweater vest ( she had no purse with that) and an orange skirt with green sweater, but the blouse was dressy and sheer with a little Peter Pan collar. Later, while walking near the cemetery, she had the same tops on, but with a brocaded skirt and an orange/red cape. I didn’t think the nightgown was tawdry, just sexy. Either way, it doesn’t fit into the style of her usual wardrobe. I don’t remember the other Scott White calling her Anna! but I might have missed that. He didn’t seem to know her at all, and seemed surprised that she knew about him renovating a house – how did she know that? I suppose it’s possible that in real life, he is her doctor and she only dreams she doesn’t know him.
      As I think about it, I don’t think the last hospital is any more real than the rest, for some of the reasons I stated, which isn’t to say that she couldn’t be in a coma and some hospital, but in her dreams, she’s refashioned it. I don’t think there are hard answers here.
      As to the end, I agree, that ending it with the whole thing being a dream or series of dreams is a cop out, and doesn’t seem consistent with the film. Also, unlike other similar stories with such endings, this time, the sleeper doesn’t wake up.
      If HJO is really Lambert, who was one obsessed fan, but not the alleged killer, he was supposed to have been locked up.This may give evidence to your suggestion that it’s his fantasy, but the “other woman” plot line doesn’t fit in. He could be fantasizing about killing Anna/Sarah because she’s his competition.
      There are also these several instances of discussions about chemical reactions in the brain related to dreaming and love, which must mean something.
      I don’t know anything for sure, but this is the first film in a long time, with Richard Armitage, that has led to such strong debate. It’s certainly the most interesting and unusual one.


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