In her room, Hector is examining the burned curtains by Dana's bed when Sarah comes in. "I've been meaning to say thank you. For the dreamcatcher," she says, while he, startled, gets back to sweeping. She asks if he makes them for all the patients. "Just the ones who need it," he says.
Sarah goes and sits on her bed, and tells him Dana used to dream about being burned to death, and Hector says he should have made her a bigger one. Yeah, that's hilarious, Hector. He says she should have taken charge of the things that were in her head, controlled it. "You believe in that?" says Sarah. "Of course I do," says Hector. I HAVE NO IDEA WHAT YOU ARE TALKING ABOUT NOW. He turns to go, and Sarah catches a glimpse of the coyote tattoo on the back of his neck. She asks if it has mystical significance: "Does it protect you? Guide you?" None of the above, Sarah: "It's for my girl. She thinks it's sexy."
Back in the van, Winston is saying that most people don't know anything about torture, which must be a heartening thing for Sarah to hear. "It's not the pain that causes people to talk. It's the talking that causes people pain," he says. No, I'm pretty sure it's the exact opposite, Winston, but thanks for your faux-deep observation. Unless you mean, "It's other people talking that causes people pain," then I completely get it. This episode is Exhibit A. He wants her to tell him a story, and I REALLY WISH SOMEONE WOULD TELL A STORY, and she counters by telling him that he told her a story once, back at the warehouse, about his son. "That's when you let me go," says Winston, who thinks it's funny now, because she doesn't seem like the sentimental type.
"Your story, not mine," Sarah reminds him. "Yeah, but you believed it," says Winston. He crawls right up next to her. "Because you have a child," he says figuring things out. Things start to click for him. "My story is your story," he tells her, and that's why she gave it back to him when he asked her for one. "You have a son. He's your accomplice," says Winston. He reaches to touch her face, and she recoils, but doesn't say anything. "See? That wasn't so hard," he says, sitting back, pleased with himself.
After the commercial break, Sarah, in the sleep clinic, waits as Dr. Hobson leaves her room, and then pulls down her robe off her shoulder to see the red welt left from the injection.