Dead Silence is a 2007 supernatural horror film, directed by James Wan and written by Leigh Whannell. It follows Jamie Ashen, a recent widower, who tries to track down the source responsible for killing his wife. When he returns to his home town of Ravens Fair, he finds himself in the tangled web of Mary Shaw, the ghost of a ventriloquist.
[The movie opens with the 1927 Universal Pictures logo, as the words "A Universal Picture" appear on the spinning globe and ominous noise culminates in the background. Cut to black. The following words fill the screen, as we hear the sound of a projector]
In the 6th Century B.C. it was believed that the spirits of the dead would speak through the stomach region of the living.
[There words vanish, in favor of...]
From the Latin VENTER for 'belly' and LOQUI 'to speak'
[These vanish too, the final sentence]
Hence the word VENTRILOQUIST
[The word VENTRILOQUIST disappears last. The footage becomes more grainy as someone lights a match and subsequently a candle. The credits starts rolling, alongside the killer main theme by Charlie Clouser. We then see a workshop of sorts, filled with blueprints on tables. The hand of an old woman flicks through pages of an old scrapbook, filled with pictures of dolls and newspaper clippings. A block of wood gets put on the table as the movie title fills the screen in fiery red: DEAD SILENCE. A building montage follows. With a pencil, the woman draws the outline of a head, for which she cuts out the shape with a hammer and chisel. She polishes the result with sandpaper, and adds a moving mouth and a pair of eyes to it. The montage is intercut with several sketches of doll designs. Some of those seem to have human proportions and the sentences "Perfect Design" and "To Make The Perfect Doll" stick out. She starts sowing a costume for the puppet, a black tuxedo with a red bow tie (the dresscode for creepy puppets), paints the lips and tests the functions of the doll. The eyes move and the mouth opens and closes in a laugh-like motion. She puts the suit on him and the puppet, Billy, is finally complete. We zoom into the puppet's eye straight into a kitchen drain, where some fluid drips out of. The man trying to fix the sink, Jamie, gets it on his face and gets up. He's joined by his wife, Lisa]
Lisa: You fixed it yet?
Jamie: Just a couple more minutes.
Lisa: (laughs) You said that an hour ago.
Jamie: I promised to make you dinner, right?
Jamie: Well, I'm making you a gourmet dinner. Trust me. It'll be worth the wait.
[Lisa looks at her watch and, as Jamie gets back under the sink, holds out a takeout menu as she climbs on top of him]
Lisa: (shows the menu) Surrender to the wonders of takeout.
Jamie: Oh. I knew this was coming.
Lisa: 'Cause when your fingers dial those seven little numbers, it really turns me on.
[Lisa laughs again]
Jamie: Is that the best you can come up with?
[The two lovers kiss and the doorbell gets ringed]
Lisa: (playfully) Wow. You are fast.
[Jamie opens the door of their apartment, but there is no one to be seen. He looks down and sees a package lying on the floor, right by the doorstep. Aside from Jamie's name, there is no clue as to where it's from]
Lisa (vo): Who was it?
[He picks up the package and brings it into the house]
Jamie: I don't know. (puts it on the table) It doesn't even say where it's from.
Lisa: Well, there's one way to find out.
[They hastily unpack the package to reveal a wooden black box. They open it and see the doll from the opening, lying in red velvet. It does look weathered, as if years have passed since the doll has been built]
Lisa: Oh, Jamie, you adopted us a baby.
Jamie: A baby? Have you seen this thing?
Lisa: Well, who would send you a doll?
Jamie: I have no idea. (looking at the wrapping paper) There's no card, no note.
[Lisa picks up the doll]
Lisa: His eyes look so real.
[She holds it up and does a rather poor ventriloquist act in a high-pitched voice]
Lisa: (through Billy) I don't know about you, but Lisa's hungry for Chinese.
Jamie: (to the doll) I think my wife's gone crazy.
Lisa: Oh, my God! This reminds me of that poem from when we were kids.
Jamie: (questioned) What poem?
Lisa: You remember. Come on. That old ghost story about the woman who had all those dolls. (quotes) "Beware the stare of Mary Shaw. She had no children, only dolls..." (doesn't know the rest) And something, something scary. Something, something... (jolts with the puppet) Boo!
Jamie: I think you're having just a little too much fun there, Lise.
Lisa: Oh, baby, I won't let the scary dummy hurt you.
Jamie: (sarcastic) Thank you. Thank you.
[Lisa puts the doll on the couch. Its mouth clicks open, all by itself. Jamie and Lisa seem briefly befuddled, but they don't see any danger in it. We cut to the store front of a Chinese takeout. It's night and it rains heavily. Jamie gets his order and runs to his car as fast as he can. He sits down and shakes his head to dry his hair. Back at the apartment, we hear Johnette Napolitano's (sadly unreleased) "Who's Holding You Now" coming from the stereo as Lisa puts the tea kettle on the jet. In the bedroom, she puts Billy on the twin sized bed, straight up]
Lisa: (to the doll) If you get Jamie to scream, I'll make sure you get seven minutes in heaven with my old Barbie. Deal? (as the doll) Yes, Lisa. (to herself) God, I'm such a loser.
[She opens the closet, puts on a light and gets some sheets and a pillow. As she looks back, the doll has moved onto its side. She looks at Billy, briefly befuddled, but she brushes it off and closes the closet. She puts the pillow behind Billy to keep him upright and then throws the blanket over him]
Lisa: Good boy.
[As she passes by a mirror, she puts some blankets under his dress to simulate a baby bump. This does become important later. In the other room, the music on the radio distorts. Lisa turns her head, expecting it to be her husband coming home]
Lisa: (walks to the living room) Jamie? Jamie?
[Nope, it's not Jamie. The singing gets lower and lower, before disappearing all together. Lisa then looks at the clock on the mantle. The ticking of the clock drowns out as well. The cooking kettle's whistling stops and thus, all of the noise has left the room. Lisa, surprised, looks around and walks back to the covered doll. The background music starts playing, a low violin pitch. Lightning flashes and rain pours on the window, but there's no sound of thunder. She reaches out at the sheet, when it suddenly jumps up and covers Lisa. We hear the sound of something biting and scratching as Lisa screams and gets thrown out of the bedroom. She crawls out from under the sheet, coughing up blood. She looks back in horror and screams as she gets pulled back into the bedroom, the camera zooming in on her wide open, bleeding mouth. We cut back to Jamie, walking up some stairs of the apartment building, holding the takeout meal and a rose. When he gets back into the apartment, everything seems and sounds back to normal. The music plays, the clock ticks and the kettle whistles]
Jamie: Baby, I'm back.
[Jamie walks to the kitchen to get the kettle off the jet, but he burns his hand]
Jamie: Lisa! What are you trying to do? Burn the place down?
[With a towel, he gets the kettle of the gas burner. He then notices that she isn't responding]
Jamie: Lise? (flirtatiously, gets two bottles from the fridge) Oh, Lisa.
[We hear Lisa's voice coming from the bedroom]
Lisa (vo): I'm in here.
[Jamie puts the rose in his mouth]
Jamie: (happy, to himself) Dinner in bed again.
[While he's humming, he slides into the hallway, straight into the blood of his wife. Jamie looks down and drops the rose]
Jamie: (shocked) Lisa!
Lisa (vo): Yes, Jamie?
Jamie: What's going on?!
Lisa (vo): I have a surprise for you, Jamie.
Mary Shaw (vo): (like an echo) ...for you, Jamie.
[Lighting flashes and the sound of thunder fills the apartment. Jamie looks into the bedroom, at the bloodstained floor and the sheet covering something on the bed. Lisa's laughing seems to come from underneath it]
Jamie: Lisa, this is not funny!
[She doesn't stop laughing. Jamie sees that the streak of blood leads to the bed. He carefully approaches it, grabs an end of the sheet and pulls it away, revealing the corpse of Lisa. Her face has been mutilated and her tongue ripped out. Jamie stumbles back at the horrific sight, straight into Billy, lying on the floor. His head goes from Billy to Lisa. We zoom back from the scene, straight out of Jamie's eye, as Lisa's body gets pulled out of the apartment building. Sirens are wailing and several police officers investigate the scene. Jamie lightly strokes Lisa's covered body as it is wheeled away. Another eye zoom out, we now see Jamie sitting in an interrogation room, his face filled with grief. Two detectives, one of them eating an apple, walk down to the room, trying to piece it all together]
Female Detective: The strange thing is she's got no defensive wounds. If someone was trying to turn my face into a jack-o-lantern, I'd fight back a little.
Lipton: Yeah, but you have always been a little feisty, honey. (looking at Jamie through the two way mirror) Did you find any marks?
Female Detective: None.
Female Detective: Drugs?
Lipton: That's a gift. I think the words here and they come out there.
Female Detective: (smiles) Preliminary reports say no, but the final toxics report won't come for forty-eight hours. Personally, only someone as high as a kite would kill his wife and pose her as a mannequin. But the weirdest thing is her face. I've never seen anything like it.
[Detective Lipton then enters the interrogation room for a chat with his prime suspect]
Lipton: (to Jamie) You know what it was? Your mistake? It was the rose.
[He walks to a mirror on the wall and starts to shave himself with an electric shaver. Expect to see a lot of that in this movie]
Lipton: Yep. Boy, I'll tell you, if I had a dollar for every time some guy gave his wife a rose on the day that he, you know... (turns to Jamie) Like that's an alibi.
Lipton: (turns the shaver off) I didn't hear you. Did you say something?
Jamie: Why would I need an alibi?
Lipton: (spells it out) I'm sure your lawyer would want you to have one.
Jamie: My lawyer?
Lipton: Yeah. I mean, the prosecution, they're going to have your fingerprints, no signs of forced entry on your apartment, and you as the last person to see your wife alive. I mean, that's a lot to go up against.
Jamie: (in disbelief, whispering) You think I killed my wife?
Lipton: Excuse me?
Jamie: (a bit louder) Do you think I killed my wife?
Lipton: (sarcastic) No. No, I don't think you did. I'm just trying to help your lawyer out. I mean, he's going to need something more concrete. I mean, at least to shift the suspicion away from you.
Jamie: Suspicion? (gets angry) I mean, if you want to talk suspicion, why don't you start by looking at the package that turned up on my doorstep?
Lipton: Oh, yeah. That package, right.
[The detective clears his throat as he picks up and reads from a document]
Lipton: Let's see. You received an unmarked package just moments before Lisa was killed.
Jamie: Yeah. A package containing a ventriloquist dummy.
Lipton: (in tandem) Ventriloquist dummy. Yeah. Well, the mystery toy department is down the hall. This is the homicide department. So unless you can tell me how some puppet ties into your wife's murder, I don't see the relevance.
Jamie: (reminiscing) In the town where I'm from, a ventriloquist dummy is a bad omen. It's kind of a local legend, and some people believe that the dummy brings death to those around them.
[Clearly, Lipton doesn't buy it]
Lipton: Okay. Well, Jamie, I've never arrested a dummy for murder before. But I have arrested quite a few husbands.
Jamie: You don't think it's weird that this package arrives right before Lisa is killed?
Lipton: No, I'll tell you what I think is weird. You said that your wife spoke to you just moments before you found her, right?
Lipton: Yeah. But she didn't have a tongue. In fact, according to you, she was already dead. Now, see, to me, that's weird.
[Jamie knows he can't convince the detective. He seems to accept that he has to do time for the crime he didn't commit]
Jamie: (sad) So, what're you going to do? Arrest me?
Lipton: (shakes his head) Not yet. Look, you can go, Ashen. You're a free man for now.
Jamie: Good. (in frustation) It'll give me more time to do your job for you.
[He leaves the room. A police officer drops Jamie off by the apartment building. He walks to his apartment, underneath the police tape and grabs Billy's case, looking for clues. He notices a hole in the red lining. After tearing it open, he sees an advert for the show of "The Amazing Mary Shaw and Billy", which was held in his home town, Ravens Fair. It's clear to Jamie that he might find some answers there, so he heads there, dummy and all. As he enters the town, the camera pans in onto the welcome sign of Ravens Fair, before switching to an overhead view of the town. Jamie drives through Ravens Fair, seeing that the years have not been kind to it. Several stores have closing adverts on their fronts, there is junk everywhere and barely any people to be seen, aside from a man reading a newspaper on a bench. He keeps on driving until he reaches his childhood home. Someone opens the gate for him and Jamie parks his car before the door of the mansion. He gets out and knocks on the door. A young, blonde woman answers it]
Ella: (overjoyed) Jamie! (embraces him) I'm so sorry for your loss. But I'm so glad to have you home.
[Jamie seems confused, it's clear the two have never met]
Ella: Oh! My Lord, you must think I'm so rude. We haven't even been introduced. I'm Ella. I'm... Well, I guess I'm your stepmother.
Jamie: Is he in?
Ella: Yes, he is. Please come in.
[The two of them enter the house, which is decorated in an Victorian manner]
Ella: (somewhat worried) There are some things that you need to know about your father.
Jamie: (bitter) I know everything I need to.
[Then the voice of Jamie's father comes from the next floor]
Edward (vo): Ella! Who's down there with you?
Ella: Your father won't fight you, Jamie. He doesn't fight anyone, not anymore.
Jamie: Well, then you're not married to my father.
[They walk up the stairs to Edward's room, the man's voice carries far]
Edward (vo): Ella! I can hear you.
[When they reach the room, we see that Edward is sitting in a wheelchair and wears an oxygen mask]
Edward: Goddamn chair is stuck.
[Ella walks to her husband's left side and takes his oxygen mask off]
Ella: Here, Edward, let me help you.
[It's clear that Edward was, or still is, very sick. He seems pale and shriveled]
Edward: My son. What a pleasant surprise.
Jamie: (questioning) What happened to you?
Ella: Your father had a stroke two months ago.
Jamie: Why didn't anybody tell me?
Edward: (matter of fact) You never return my calls.
Jamie: It's because I never know what to say to you.
Edward: (calmly) I take it I wasn't the easiest person to get along with in the past, but I've changed.
Jamie: (skeptical) Really?
Edward: Yes. A stroke can do that to a man. Listen, I'm sorry about your wife. I hear you've brought her home.
Jamie: (sad) Yeah.
Edward: Don't worry. I'll call Henry Walker, make the arrangements.
Jamie: No, that's okay, I can take care of it.
Edward: Jamie, please. As your father, it's the least I can do.
Jamie: (bitter) You've done the least you can do my whole life. It's too late for charity now.
Edward: (regretful) Is that why you've come here, to remind me what a bad father I've been to you? In light of what has happened, I was hoping we could put that in the past.
Jamie: I didn't come to talk about that, I... I came to ask you something. Do you remember when I was a kid, Mom used to read me a poem? Do you remember what it was?
Edward: What poem?
Jamie: (recites the poem) "Beware the stare of Mary Shaw. She had no children, only dolls. And if you see her in your dreams..."
Ella: (finishes) "Be sure you never, ever scream."
Jamie: (surprised) You know it?
Ella: It's just a scary poem parents would tell their kids to keep them in line.
Jamie: No. It's more than just a ghost story. And the adults believed in it, as well.
Edward: We live in a small town, Jamie. Small minds breed small-minded superstitions. That's all. There's nothing else to tell.
Ella: (looking at her husband) Edward, your son has been through a lot. Why don't we make up a room for him?
Jamie: No, that's okay. I'm not staying long. I got a funeral to prepare.
Edward: Jamie? Jamie! (sighs)
[Ella leaves her husband and runs after Jamie, who is nearly down the stairs]
Ella: Jamie! Please wait. Won't you stay the night here?
Jamie: (walking away) It was nice meeting you, Ella.
Ella: (apologetic tone) Your father's changed. He's not the same man that you remember.
[He points at a painting of him and his dad was he was younger. There is a gap where his wife should be, in the chair]
Jamie: You see that? Mom used to be in that picture with us, until he drove her to kill herself. (points at another painting) Had his second wife in that one there. But she was smart enough to leave. So, it's a good thing you're going to outlive him, lady. There'll be no one to paint you out.
[He passes by the most recent painting of Edward and Ella, where Edward is still standing and Ella sitting in a throne-like chair. He drives to Henry Walker's Funeral Home for Lisa's funeral arrangements. His wife, Marion, a woman in her eighties, is sitting outside in the porch. From the way she talks to a dead crow and tries to feed it, it's clear that the lights are not on upstairs]
Marion: (to the crow) What more? What more do you want from me? (makes it peck the food) Peck, peck, peck, peck, peck, peck.
[Jamie looks at her for a moment before entering the house. Henry, also around eighty years of age, talks to Jamie and shows him photographs of caskets]
Henry: I must say I was deeply saddened to hear the news. If you're up to it, I can walk you through the various casket options we have.
[Sadness drips from Jamie's face]
Henry: (sympathetically) Or we can do it later.
Jamie: (pulls himself together) It's okay. Let's... Let's do it now.
Henry: Okay. (reads through the book) Now, I don't know what your preferences are. Have you spoken to her family yet?
Jamie: Only once. We didn't really talk about casket choices. When is she arriving?
Henry: Tonight. Once the police have released her body, then I'll pick her up. (hands Jamie some papers) Oh, I'll need you to fill out these forms, at your convenience.
[That night, Jamie drives to a dilapidated inn close to the village. He throws himself on the bed, clothes and all, tired and worried about the upcoming funeral. He briefly looks at a picture of Lisa, before putting it back in his wallet and turning off the lamp. Slowly, he seems to fall asleep, the blinking red light of a nearby billboard shining over his face. Unbeknownst to him, Billy slowly starts to turn his eyes to Jamie. The pulses of the light seem to lose their sound. In the bathroom, the water dripping from the faucet loses its sound as well.
Mary Shaw (vo): (in Lisa's voice) Jamie... (own voice) Jamie.
[Jamie gets back up, jumps when he sees Billy, who moves inexplicably closer to the window. Jamie turns his head to where Billy is looking. Through the veiled, red drapes, the visage of an old, ghostly woman rises up and stares at Jamie, her eyes burning with the thought of vengeance. Jamie, terrified, turns the lamp back on and everything turns back to normal, like it was all just a dream. He breathes heavily and then lies back down. At Henry Walker's, a car stops. Lisa's corpse gets brought inside offscreen. A light turns on and some instruments are put on the table. We see Henry opening the body bag. When he sees what happened to Lisa, he moves back, scared and shocked]
Henry: No, it can't be.
[He then hears something coming from the crawlspace nearby his workbench]
Henry: Marion? Marion, is that you?
[He pulls a curtain away, turns on a light and gets on his knees to open the door. He uses a flashlight to see where the noise comes from]
Henry: Marion, I told you not to go down there anymore.
[Marion is seen shaking in the crawlspace, crow in toe]
Marion: The silent time's here.
Henry: Now, come out of there and go to bed.
Marion: She's here now. I know it.
Henry: Marion, I don't have time to play games.
Marion: She won't find me down here.
Henry: Marion, I'm not going to ask you again. Let's go. Come on, come on.
[He helps his wife out of her hiding place. Marion strokes the crow, trying to comfort it]
Marion: (to the crow, whispering) You just shush now. The silent time is here.
Henry: Go on. Go on up. I'll be up later.
[Marion leaves the room and climbs the stairs. Henry walks back to the body on the slab and takes a picture of it with a very old fashioned camera. Cut to the next day, Lisa's funeral. It's a humble ceremony, just her family, nothing more. Jamie seems heartbroken as he walks to Lisa's casket and puts the rose he brought with him on the night of her death on top of it. Shortly thereafter, we see Jamie walking alone through the cemetery. He then sees someone walking away in the distance. He gives chase and is led to a particularly old, weary tombstone, covered with dead wood. He's then grabbed by his shoulder by Marion]
Marion: Did you see her? Did you? When she killed your wife? Did you see her do it?
Jamie: (confused) Killed my wife? What are you talking about?
Marion: "Beware the stare of Mary Shaw. She had no children, only dolls. And if you see her in your dreams..."
Henry (vo): Marion!
[Henry enters the frame, trying to comfort his wife]
Marion: (terrified) She's here. No one's safe. No one's safe.
Henry: (calming tone) Come, Marion. Marion, you leave him alone.
Marion: No one's safe.
Henry: This is not the time.
Jamie: What's she talking about?
Henry: I'm sorry, Jamie. She doesn't know what she's saying.
Marion: She's here!
Henry: Come. I'm going to take you home now. Let's go, let's go. Come on.
[Henry carries Marion away]
Marion: (as she and Henry leave) You must bury the doll! Bury the doll!
Henry: Leave him alone. Leave him alone. Come on. Marion, we'll go home now.
[When the elderly couple leaves, Jamie pulls the branches away, revealing the name on the tombstone: Mary Shaw. He makes a decision. He drives back to the inn and grabs the doll. He turns it around and finds the name of it written on its neck]
Jamie: (reading) Billy...
[Jamie drives back to the graveyard, the doll sitting in the passengers seat, once again turning his eyes to look at him. As Jamie turns his head, Billy's eyes have shifted back, and we hear someone humming. Jamie then takes Billy out of the car and into the cemetery. He looks around at the several small tombstones, one for every buried doll. He then sees the one he's looking for. With a shovel, he unearthes Billy's coffin. Billy's mouth opens by itself when Jamie opens the coffin and finds it's empty]
Jamie: (to himself) Who dug you up?
[An unnatural silence falls over the graveyard. Jamie, unsure for a moment, drops the doll on its side in the miniature casket. Just before he closes it, Billy's head turns towards Jamie. The man then closes the coffin and, after burying the doll offscreen, returns to his car, the silence lifted. He sits down, sighing, when he hears someone laughing. He turns and sees a shadow moving away. The laughing continues and the shadowy figure continues to circle Jamie for a bit. Jamie, breathing anxiously, eventually sits down when the figure disappears. When he looks to the side, Billy is looking through the window. He disappears shortly after, leaving Jamie scared in his bones. He briefly gets out of the car, but he sees nothing, no one. He returns to the inn. He comes out of the bathroom, wiping his face with a towel, comforted by the idea that the puppet is gone, before gasping at the sight of Billy on the bed]
Lipton: Thought I asked you not to leave the city.
[The detective is sitting in a chair, looking at Jamie. Clearly, he dug Billy back up. Jamie sighs]
Jamie: (annoyed) I came to bury my wife. You got a problem with that?
Lipton: Nope. (shaves his cheek) Problem is, she's not the only one that you came to bury.
Jamie: So, you've been following me now?
Lipton: You know, Jamie, you really are forcing me to use the word "perplexed" an awful lot lately. (points at the doll) You mind telling me what the hell that is?
[Jamie doesn't say anything]
Lipton: Okay. (picks up Billy) Since you don't want to answer my questions, maybe you'd like to answer his. (clears throat, puppetering Billy) "Why did you bury me, Jamie? Is it because I'm evidence in a capital crime, a crime that you are the number one suspect in?" (normal) You understand what I'm saying here?
Jamie: It's like I told you before. The night Lisa was murdered, somebody sent it to me. It just arrived on our doorstep.
Lipton: So, why'd you bury it?
Jamie: It came from that cemetery. I was just putting it back.
Lipton: In the cemetery?
Jamie: There's an old ghost story around here about a woman named Mary Shaw. She was buried with her doll collection. Now, the story goes: "If you ever see her, make sure you never scream."
Lipton: Or what? (penny drops) Oh. Or you end up without a tongue. I guess your wife didn't listen, then, huh?
[Jamie, fed up with Lipton, charges at him]
Jamie: You son of a...
[He's able to keep him away from him]
Lipton: Hey! Hey! Settle down, Jamie. Let's not add assaulting an officer to your list of offenses here. So you're trying to tell me that a ghost killed your wife?
Jamie: I don't know, I don't know.
Lipton: What do you know?
Jamie: I do know whoever sent this to me either knows who killed my wife or did it themselves.
Lipton: Hmm. (points at Jamie) That's a theory. I'm gonna go. And I hope you don't mind me taking our little friend here with me, seeing as he's evidence and all.
[Jamie doesn't respond as Lipton leaves the room, dummy in toe]
Lipton: Great. Good night, neighbor.
[He follows the detective outside and sees him entering the room next to him]
Lipton: (makes Billy do a salute) Sleep tight.
[The next day, we see Lipton shaving himself in front of a mirror]
Lipton: You know, I noticed you have very smooth skin. (turns to Billy) What's your secret? (pretends to hear a response) Oh. Well, that never works for me.
[The detective, now shaven clean, leaves his room and drives away in his car. Jamie, seeing a window of opportunity, enters Lipton's room and steals Billy back. He takes it back to the house of Marion and Henry Walker. He shows Billy to Marion, who's still holding on to the dead crow]
Jamie: Friend of yours? You said Mary Shaw killed my wife. Why would you say that?
[It's clear that Marion seems uneasy about something]
Jamie: (begging) Marion. Marion, please!
Marion: (shushing, talking to the crow) Yes, I know, I know...
Jamie: What do you know about Mary Shaw?
[Just as Marion opens her mouth, her husband enters]
Marion: (walking away) I didn't say anything! I...
[Henry looks at the doll in horror]
Henry: You're... You're not supposed to have that. Where did you get that?
Jamie: (directing his attention to Henry) Maybe you can tell me.
Henry: (whispering) It's hers!
Jamie: Who? Mary Shaw's?
[Henry holds his hand on his mouth for a moment, scared of hearing the name]
Henry: (whispering) We don't say her name around here.
Jamie: (annoyed) You don't say her name. Well, why don't you try, huh? It might just help me find out who killed my wife.
[Henry relents and, in his living room, tells Jamie the story of Mary Shaw]
Henry: There are things you remember, and there are things you can't forget. Like the look on that woman's face when she died. Her name was Mary Shaw, the ventriloquist who lost her voice.
[As he tells the story, we're shown a flashback of Henry's past, somewhere in the 1940's. It's clear that this is Ravens Fair in its heyday, as several townspeople enter a beautiful theater]
Henry (vo): (narrates) Back when I was a boy, those were the glory days of Ravens Fair, and the town built itself a grand old theater, the Guignol Theater, out on Lost Lake. I only ever went there once...
[Everyone takes their seats and applauds as the speaking master takes the stage]
Speaking Master: Ladies and gentlemen, prepare to be astounded. Prepare to be amazed. Witness Mary Shaw giving life to the boy made of wood. (leaves the stage)
[More applause as the ventriloquist, enveloped in a long black dress, enters the stage. She drags a black casket with her, attached to a rope. She opens it, seeing only the red velvet lining]
Mary Shaw: (to the audience) Where is Billy? (calling out) Billy! Where are you, Billy?
Billy (vo): (somewhere in the audience) You won't find me, Mother. (giggling)
Mary Shaw: I knew you were hiding out there!
[She points to someone in the crowd, that someone being Henry, roughly ten years of age, sitting next to his parents]
Mary Shaw: (to the young Henry) You, there! Could you check under your seat for me?
[The boy does what he's been asked and looks under his seat. There he is, the other star of the show, Billy]
Young Henry: (surprised) He's here.
Mary Shaw: (holding out her arms) Would you mind bringing him to me?
[Henry gets up and brings Billy to Mary, the crowd applaudes again]
Mary Shaw: Good boy.
[Henry reaches out and gives Mary the doll]
Mary Shaw: Say thank you.
Billy: Thank you, Henry.
Mary Shaw: Is that right, young man? Is your name Henry?
[Henry nods, he seems a bit shy]
Mary Shaw: Well, I guess my boy's had his eye on you.
[More applause. Henry walks back to his seat as Mary sits down and begins her ventriloquist act]
Mary Shaw: Now, why did you run away, Billy? Don't I treat you well?
Billy: Oh, yes, you're the best mother I could ever hope for! It's just that it gets so dusty inside that little box, it makes me wanna...
Mary Shaw: Wanna what?
Billy: Wanna, wanna...
[The wooden boy sneezes in a tissue that Mary holds out for him. Laughter fills the theatre]
Mary Shaw: (annoyed) Oh, Billy! You sneezed all over my shoe!
Billy: I'm sorry, Mother. I can't help it.
[The act then gets interrupted by someone from the crowd, a little boy named Michael]
Michael: I can see your lips moving!
[The people surrounding Michael try to shush him]
Michael: (annoyed) What?
Mary Shaw: (looking around) Who said that?
Michael: I did. I can see it. Her lips are moving.
Mary Shaw: What do you say to that, Billy? Young Michael here doesn't think you're a real person!
Billy: What do you mean, mother?
Mary Shaw: He thinks you're a dummy, and that I'm doing your voice for you.
Billy: But that can't be true! There's no way you'd give me all the good lines!
[Some people laugh]
Mary Shaw: Forget about him, Billy! There will always be doubters!
Billy: I don't want to forget, Mother! I think we should show this boy just how real I am. I'm just as real as him!
Mary Shaw: No. I'm afraid we must go on with the show.
[The voices of Billy and Mary seem to overlap each other, like there is someone, or something, else speaking through Billy]
Billy: (angry) No! (to Michael) I'm as real as you are, and I'll show you!
Mary Shaw: Leave him alone, Billy!
Billy: I'll show him what it's like, Mother!
Mary Shaw: Listen to me! That's enough!
Billy: I'm as real as you!
Mary Shaw: No more!
Billy: Bring him up here!
[Impressed by the puppetering, the crowd gives a standing ovation. Mary Shaw turns her head towards the little boy, her eyes locked on him]
Mary Shaw: Now... who's the dummy?
[We briefly return to the present]
Henry: Some weeks later, that disbelieving little boy went missing. Gone without a trace. But I always felt that Mary Shaw played some role in it. And not long after that, she was murdered.
Jamie: Who killed her?
Henry: No one ever found out.
[In another flashback, we see Henry's father talking with a police officer, who hands him Mary Shaw's testament]
Henry: In her will, Mary stated that her dummies were to be buried with her. Her children, as she called them. All one hundred and one of them. Her body was brought to my father's mortuary, so he could begin work on her other final request. Not only did she ask to be buried with her dolls, she asked to become a doll herself.
[This piece of dialogue is intercut with several scenes of Henry's father working on Mary Shaw's doll building request. When it ends, we see the young Henry walking down to the mortuary in the cellar. He steps on a metal rod connected to the table, which causes it to lean sideways. While Henry examines Mary's body, the table topples and the corpse drops out of the coffin, over Henry. Mary Shaw, now a human sized puppet, opens her mouth as the terrified child scurries back to the wall. A flash of lightning reveals that Mary has vanished, and as Henry looks to his left, he sees her again. She is now standing upright, her puppet mouth in a disgusting grimace. The boy almost screams, but holds his hand in front of his mouth. Henry's father then enters the mortuary and turns the light on. Everything is back to normal, with Mary's corpse lying still on the ground. The father comforts his little boy]
Henry's Father: Henry, are you all right?
[Back to present day]
Henry: Ever since she was buried, Ravens Fair has been plagued by death, families murdered.
[He hands Jamie several photographes of murder scenes. All of the victims have the same expression as Lisa had, mouth wide open and no tongue. Jamie looks through them all]
Henry: They were found without their tongues. Posed in family portraits. Your wife's is the last.
Jamie: How could you take these pictures?
[Jamie stands up]
Henry: (stands up) No, I have to take pictures. It's part of my business.
Jamie: Who would have dug up the dummy and sent it to me?
Henry: (voice shaking) I don't know. No one in this town dares speak Mary Shaw's name, let alone go near her grave. They know she won't stop killing until the screaming does.
Jamie: You said she lived out at that old theater, right? The one on Lost Lake?
Henry: Jamie! Jamie, please! Please be careful. If you go looking for answers, you just might find them.
Jamie: That's what I'm counting on.
[Jamie leaves the funeral home. A map hanging behind Marion transitions into Jamie driving to the ruins of the Guignol Theater. Halfway through, we cut to Lipton, carrying a shovel and standing by Mary Shaw's grave]
Lipton: Morning, Mary. I'm just going to go check in on the kids.
[Jamie parks his car before the stairs of the theater. He gets out, walks down the steps and gets in a boat. He rows to the abandoned theatre, partly submerged in the lake. Inside, it is clear that time has run its course in the building. Webs cover the seats, the chandeliers have been down, sunlight shines through the ceiling. Jamie climbs onto the stage and touches some piano keys, possibly to check if everything's safe sound wise. Behind the curtain, he sees a catwalk, suspended high above the ground. He climbs towards it and steps on it, causing a screw to spring loose. As quickly as he can, he makes it across and enters a hallway, the curtains blowing in the wind. He finds a door and behind it is Mary Shaw's living quarters. The remains of several dolls are scattered across the room, as well as several tools, glass jars and blueprints. Jamie grabs a doll of the floor, turns it around and pulls the string on the back of it]
Doll: Mama! (voice lowering) Mama. (garbled) Mama...
[He throws it aside and see a trunk on the floor. As he opens it, we see the ghost of Mary Shaw walking in the mirror. Amongst Mary's belongings, he finds the scrapbook we saw in the opening. He goes through it, seeing the sketches Mary has made for doll designs. He also sees several news clipping taken from the local paper, the Ravens Fair Tribute, all about the missing boy. Jamie reads the name under the photograph: Michael Ashen, a distant relative of him. After that, he sees the little flap that reads: "To Make The Perfect Doll", when suddenly all the ambient noise disappears. He looks up and jumps when he sees an apparition in the mirror: Mary Shaw, sitting dead in a chair, without her tongue. He turns around, but there is no one in the chair. It's clear Jamie has seen enough. He leaves the room and gets back to his boat. In the funeral home, Henry, clearly not at ease, hears someone talking in a nearby room]
Marion (vo): What do you want with him? What is it? What do you want? We did what you wanted. We put you in there with your family, all together. Why can't you just leave us alone?
[Henry walks closer to where the noise comes from. Another voice, not Marion's, joins in]
Billy (vo): Why won't you?
Marion (vo): I didn't do anything!
Billy (vo): Yes, you did. You talked.
[Henry steps into the room. His wife is talking to something he can't see]
Marion: I didn't talk! I didn't! I didn't say anything! I didn't! Hey! Say something. Why have you gone so quiet?
[She's been talking to Billy. Henry, fed up with all of this, steps in and grabs the doll]
Henry: (angry) I'm putting you back where you belong, once and for all!
Marion: He talked to me!
Henry: (to Marion) Stop it!
[As Henry walks to the mortuary, Marion continues to burble]
Marion: He did, he talked to me. He talked to me.
[In the mortuary, Henry puts on a light. The wooden doll gets put on a shelf and he grabs a shovel. Billy's eyes turn towards the old man and then Henry hears the sound of someone sobbing in the crawlspace]
Henry: Marion? (walks to the door) Marion, I'm sorry I yelled at you. Marion?
[He grabs a flashlight and gets on his knees to open the door. Behind him, Billy's head has turned towards Henry]
Henry: You don't have to hide anymore. This will all be over soon.
[He crawls inside towards something in the distance, enveloped in a sheet]
Henry: Marion? Marion? Marion, now you come on out now! Ma...
[He touches what he thinks is Marion, but it falls over. Behind him, the door closes and locks itself. Annoyed, the man crawls back and tries to open the door]
Henry: Marion? (tapping the door) Marion, open the door. Marion! Come on, no games, Marion! (repeatedly tapping) Open the door!
[Then, all of the noises disappear. Henry, now terrified, slams on the door, begging for help]
Henry: (nearly crying) Marion, open this door, please! Marion!
Billy (vo): Hello, Henry!
[Henry freezes and turns around. A ghostly hand clutches one of the support beams and then disappears. Henry knows he's not alone]
Henry: (whispering) Oh, my God.
[He turns his head back and stares straight into Mary Shaw's face. He screams in terror, Mary smiles and charges at him, ripping his tongue out. The flashlight is shaking in Henry's hands. Behind the dying old man, Mary attaches the newly acquired tongue on her own, unnaturally oblongated one, stitched together of all the tongues she has ripped out over the years]
Mary Shaw: (turns towards Henry, in Henry's voice) You're voice is mine now, Henry.
[Henry spasms for a bit before his lifeless body falls backwards through the door of the crawlspace. Cut to Jamie, who has driven back to his father's house. He enters the dining room, where Ella and Edward are sitting at the head of the table, Ella feeding her husband soup]
Ella: Jamie, you're just in time for dinner.
Jamie: I'm not hungry.
Ella: It's soup. Delicious, too, if I must say so myself.
Edward: I'll vouch for that.
Jamie: I didn't come here to eat, I came to talk. About Mary Shaw.
[Edward and Ella look up, shocked]
Jamie: You lied to me.
Edward: No, I didn't. (nods to a chair) Sit down.
Jamie: No, I want the truth. What does Michael Ashen and our family have to do with Mary Shaw?
Edward: Fine. When he was a boy, your great-uncle, Michael Ashen, vanished without a trace.
[Montage of Michael screaming, newspaper articles and people searching]
Edward: For our family, there was only ever one suspect, Mary Shaw. So, they dealt their own justice.
[In a flashback, a group of men storm Mary's workplace, grabbing her from behind. Someone holds up a razor blade]
Edward (vo): They forced her to scream.
[She screams and the razor strikes down. Back to the present]
Edward: Then cut out her tongue.
Jamie: Our family killed her?
Edward: Along with others from Ravens Fair. But she didn't stay dead. She came back and took her revenge. One by one, each of the men involved were killed. Their tongues ripped out. And then the same thing happened to their wives. And then their children. And their children's children. All these years you've resented me for sending you away, but I did it to distance you from this curse.
Jamie: Distance? Well, it found Lisa!
Edward: Lisa's death made me realize we can't run from our fate. Spirits have long memories. She'll come for us in the end.
Jamie: Now I'm paying for the sins of my fathers.
Edward: Jamie, I'm sorry. All I ever meant to do was to protect you, even if it earned your hatred.
Jamie: I don't know how, but one way or another, I'm going to stop this thing.
[Jamie walks away]
Edward: Please, son!
[Just as Jamie opens the door, he is apprended by Lipton]
Lipton: Well, hey there! I was wondering if you could help me with a missing person's case.
[Jamie tries to pass him, but Lipton prevents this]
Lipton: Wait. I'm looking for a male, brown hair, (holds out his hands apart) around this tall, sometimes seen with a hand up his ass. Actually, his brothers and sisters have just gone missing, too.
Jamie: What are you talking about?
[We see in a flashback that Lipton has dug up all the doll coffins, finding them empty]
Lipton (vo): Somebody dug them up. All one hundred of them.
[Back to the conversation]
Lipton: What I want to know is who did it and why.
Jamie: (exasperated) So do I!
Lipton: Don't give me some ghost story about a woman who kills you if you scream, because nobody in this town has ever heard of Mary Shaw or your little fairy tale.
Jamie: (yelling) They're lying! They're afraid!
Lipton: Afraid of what? Afraid of ghosts? Or are they afraid of talking to the cop who's investigating your wife's murder?
Jamie: They have no reason to protect me. But they believe in Mary Shaw. That's why they won't answer your stupid questions...
Lipton: (interrupts) No, it's you who won't answer my questions, Jamie. That's why I'm going to arrest you for stealing evidence. Then I'm going to sit you down, and you will...
Jamie: (sick of it) What do you want me to tell you?
Lipton: Something less perplexing than a ghost story. Come on.
Ella (vo): Jamie.
[Ella has entered the hallway, holding a phone]
Ella: Is everything all right? It's for you. They said it was urgent.
[The detective relents]
Lipton: (nods) Go ahead.
[Ella gives Jamie the phone]
Jamie: (on phone) Hello?
[We hear the voice of Henry crackling over the line]
Mary Shaw (vo): (speaking in Henry's voice) Jamie.
Jamie: Who is this?
Mary Shaw (vo): Jamie?
Mary Shaw (vo): (distorted) I can prove it.
Jamie: Henry, I can't hear you, you're breaking up.
Mary Shaw (vo): I can prove it. I can... (unintelligible noise) you didn't kill her. There's a way, at the theater. Meet me at the theater. It's on Lost Lake.
Jamie: Yeah, I know where it is.
Mary Shaw (vo): Now, Jamie.
Jamie: Henry, wait! What have you found?
[The conversation has ended]
Jamie: Henry! Henry!
[Jamie hangs up the phone and turns to Lipton]
Jamie: That was Henry Walker from the funeral home. He says he can prove I didn't kill my wife.
[Lipton thinks it's a lie]
Lipton: Convenient time for him to call. Let's go.
Jamie: Wait, wait, wait. I'm going to meet him at the theater. That's where I'm going.
Lipton: No, you're going with me. Your appointment with me comes first.
Jamie: You wanted answers. I'm giving you answers.
Lipton: Camp is over. I'm done with the ghost stories. Let's go.
Jamie: (whispering) Listen, we're talking about my wife here. Come on.
Lipton: (also whispering, holding out handcuffs) Do us both a favor, Jamie. Don't make me cuff you in front of your mom.
[Jamie takes action. He pushes the detective away and heads for the door, to his car. Lipton runs after him]
Lipton: Jamie! Jamie. Jamie! (at Jamie's car window) Hey, you don't want to make me chase you!
[But Jamie drives away, back to the theater]
Lipton: Jamie! (heads to his own car, annoyed) I don't have a full tank of gas!
[We see the two driving back to Guignol Theater. Jamie arrives first and gets into one of the boats at the dock. He holds out a lantern, trying to see through the thick fog that lies over Lost Lake. Lipton parks next to Jamie's car and gets a flashlight and a shotgun out of the trunk. As Jamie climbs out of the boat, he hears Lipton behind him, as he heads for the other boat]
Lipton (vo): Jamie! Jamie!
[Jamie pays no mind and enters the building, while Lipton rows towards it]
Lipton: (in the boat) Jamie!
[Jamie steps behind the curtain and looks up]
Mary Shaw (vo): (in Henry's voice) Hurry up, Jamie. I'm up here.
[Intercut with footage of Lipton rowing closer to the theater, we see Jamie going back to Mary Shaw's living quarters]
Jamie: (holding out the lantern) Hello? Where are you? Henry?
Mary Shaw (vo): I'm in here.
[Jamie is now in Mary Shaw's room, looking around, not seeing a soul]
Jamie: (whispering) Henry? Henry?
Lipton (vo): Guess again.
[Jamie turns around. Lipton is standing behind him, his gun at the ready]
Jamie: He's here.
Lipton: Nobody's here. Our boats were the only two out there.
Jamie: Listen, I'm telling you he's here!
Lipton: And I'm telling you he is not here!
Mary Shaw (vo): (again in Henry's voice) Yes, he is.
[Jamie looks at Lipton in an "I said it" kind of way]
Lipton: (embarrassed) If you say "I told you so", I'll shoot you.
Jamie: (looking around) Where the hell are you?
[The two of them stare at one of the walls, we hear someone humming behind it]
Jamie: (hands Lipton the lantern) Hang on to this for a second.
Lipton: Where are you going?
[Jamie pulls some spider webs away and steps closer to the wall]
Jamie: Remember, whatever happens, don't scream.
[Jamie walks to the left and disappears. Lipton follows him, revealing a secret passage, hidden with an optical illusion]
Lipton: Jamie. Jamie? Jamie? Jamie! (he catches up) You follow me.
Jamie: Yes, sir.
[The two of them enter a large room filled with various dolls and mannequins lying around. A red curtain hangs on the left side of the room]
Lipton: All right, Jamie, where is he?
[Lipton sees another ventriloquist puppet lying on the ground. He picks it up]
Lipton: (to Jamie) You know, if I see one more of these...
[He tosses it aside. It falls on the red curtain and pulls it away, revealing the dozens of dolls Mary Shaw has made, all standing in order in glass cabinets]
Lipton: They're all here.
Jamie: Yep. All home. Someone brought them back here.
[He walks by the dolls and notices that one space is left open. He checks the tag on the shelf: Billy #57]
Jamie: All but one.
Jamie: (sees something) What the hell is that?
[They then turn around and see another red sheet covering something. Jamie grabs the end of it. He looks at Lipton, who nods, before pulling it away. Underneath it is the corpse of a boy, the missing Michael Ashen. By the look of it, he has been dead for several decades. His corpse has been made into a marionette, wearing standard doll attire, i.e. a tuxedo]
Lipton: Is that a doll?
Jamie: It's not a doll. It's a boy.
[He walks around Michael's corpse as Lipton steps closer]
Lipton: You mean, it was a boy.
[Michael's head suddenly lifts up, causing Lipton to fall on his back. We see that Jamie had pulled one of the strings. He then pulls up the marionette's right arm]
Jamie: It's me.
Lipton: All right, I get it.
Jamie: I think we just solved a seventy year old missing person's case.
Lipton: Who was that?
Jamie: A long lost relative.
[All of a sudden, the eerie silence fills the doll riddled room]
Jamie: This is how it starts.
[Then, one of the dummy's in the wall cabinet turns its head to the right]
Lipton: What's going on here, Jamie?
[Slowly, several other follow suit]
[More dolls turn their heads, the wood creaking as they do so]
Lipton: What the f...
[All of the dolls turn their head to the right. Click, click, click. Jamie and Lipton follow their gaze and see a clown doll, half in the shadows, rocking back and forth in its chair. They step closer to it]
[Editor's note: Among the several doll materials we can see the Billy puppet from the Saw series. A fun little cameo for a handsome doll]
Jamie: (holding out the lantern) Mary Shaw?
[The chair stops rocking, the doll stays still in the shadows]
Jamie: Mary Shaw?
[The clown doll leans forward, opens its eyes and begins to talk, its voice a mix of Mary Shaw's own voice and another man's]
[The two men are briefly startled, Lipton lifts up his shotgun]
Lipton: Who's there? Show yourself! Come out!
Jamie: What do you want?
Clown: To silence all those who silenced me.
Jamie: Is that why you killed Michael Ashen?
Clown: So hard to construct the perfect doll.
[A flashback shows several dolls sitting around a table, including Billy]
Clown: Sometimes you have to use existing parts.
[Cut to Mary holding up a knife and killing Michael. We then see her playing with his corpse, strung up in marionette wires. She wipes its mouth from behind a table, whispering to him]
Mary Shaw: I love you, Mommy. I love you, Mommy.
[Her voice changes to Michael's as we leave the flashback]
Mary Shaw (vo): (like an echo) I love you. I love you, Mommy.
Jamie: Why Lisa? Why did you take her from me?
Clown: Come closer and I'll tell you.
Lipton: (a bit scared) Don't go back there. Don't. Come on, come on. Don't go.
[Jamie bats Lipton's head away as he approaches the clown doll]
Clown: Come closer. I'll whisper it to you.
[Jamie looks at Lipton, who shakes his head. He then sits down, his ear near the puppet's mouth]
Clown: (whispering) You weren't the last Ashen. The last Ashen was inside her.
[Jamie seems shocked by this revelation, but comes terrified as Mary's tongue emerges from the mouth of the doll and licks his cheek. He scurries back, causing Lipton to fall back as well. The tongue slithers back while the doll laughes hysterically. Two ghostly hands grab the doll from the back and lift it into the air. Mary then sticks her tongue back out at the two]
Lipton: Don't scream.
[The detective gets back up, arms the gun and blows the doll to pieces, causing Mary's spirit to disappear. One of the dolls turns its head back and Mary's face starts to push out of it]
Jamie: (points it out) The doll!
[Lipton sees it and shoots it down]
Lipton: What the hell's going on here, Jamie?!
[Another doll gets possessed and blown to pieces by Lipton]
Lipton: What's going on?!
Jamie: She's living in the dolls.
Jamie: She's living in the dolls!
[Another shot fired, another doll turns its head]
Jamie: Destroy the dolls!
Lipton: I am!
[He fires again]
Jamie: All the dolls!
[He hurls the lantern into the closet, causing it to catch fire. We hear the sound of children screaming in fear as the fire starts to consume the dolls. Behind them, Michael's corpse gets lifted up and Mary's face looks over his head at the two men]
Lipton: Jamie! Run!
[Lipton and Jamie run away from the ghost, through the fake wall, towards the catwalk]
Lipton: Come on!
[As Mary Shaw chases the two over the catwalk, the other screw breaks loose. The catwalk falls on its side. Jamie is able to hold on to the rails, but Lipton falls down, screaming and flailing his arms like crazy. He's caught midway by Mary's spirit, who pushes him behind the curtain. When he gets pushed back, we see that his tongue has been ripped out. Lipton's spasming body falls to the floor, his flashlight rolls away and the electric shaver buzzes next to him. Jamie climbs back up, but sees Mary's spirit above him, causing him to loose his grip. He opens his mouth to scream, but cuts it off by holding his hand before his mouth. He falls straight through the floorboards into Lost Lake. He swims back up, inhales and dives down. The water is filled with several mannequins. Jamie swims straight into the arms of one, startling him. He keeps swimming until he's able to find a way out of the theater. The man exhales as he gets back to the surface. Jamie swims to the shore and climbs out of the water, the Guignol Theater in flames behind him. Dripping wet, he sits down in his car, catching his breath. He then realizes, as we see in a shot inside the theater, that there is still work to do]
Jamie: One left...
[He starts up his car and drives back to the funeral home. He climbs up the stairs and enters the hall]
Jamie: Henry! Henry!
[He then hears someone crying in the basement. Jamie descends the stairs to Henry's workshop]
Marion (vo): Please. Please. Please. Please.
[Jamie enters, it's pitch dark. Jamie gets the light on and sees Marion, cradling the body of her dead husband]
Marion: (to Henry, devastated) Please say… a thing.
Jamie: (steps back) Shit. (bows down) Marion. Marion, listen to me. Where is the dummy?
Marion: (sobbing) He took it.
Jamie: Who took it? Who took it?
Marion: Mr. Ashen.
Jamie: Mr. A... Marion, my father is in a wheelchair. He never leaves the house.
Marion: He left this house.
[We see how someone entered the workshop and took the dummy away]
Marion (vo): He had the doll. It was him.
[She is unable to say anything else and continues to cry. Jamie knows enough and leaves. A thunderstorm breaks loose as Jamie drives to his childhood home. He walks through the hallway, climbs the stairs, his face lighting up when lightning strikes. When he reaches the top floor, the ticking of the grandfather clock lowers in volume and the thunder disappears as well, leaving only Jamie's shallow breathing behind. He enters his father's room. The voices of the dead fill the room]
Lipton (vo): Why did you bury me, Jamie?
[Jamie looks around, nothing]
Henry (vo): I'm in here!
[His attention then gets drawn to a baby crib by the window. He steps closer and throws the mosquito net away. Billy lies in the crib, like a baby. Jamie picks up the dummy. Without warning, Mary Shaw's spirit appears in the room, reaching out to Jamie and Billy, screaming. Jamie, having fallen on the ground, reacts instantaneously. He throws Billy in the fireplace. The flames flare up and burn Billy to ash, causing Mary Shaw to scream in agony, her monstrous tongue swinging around as she does. She falls back to a window and disappears. The sound returns to normal and Jamie sinks down, knowing that the work is done. A flash of light then reveals that Edward is also in the room, sitting still in his wheelchair. Jamie sees him and approaches him. Edward doesn't talk, move or even blink with his eyes, while Jamie turns on a nearby lamp]
[He touches Edward's forehead and his father leans forward. Jamie walks around the wheelchair and steps back in fear of what he sees. His father had been dead the whole time, his body hollowed out from the back, his spine being replaced by a wooden stick. A flashback montage, backed up by the main theme playing in a twist revealing fashion, starts as Jamie seems to lose his senses. We see that Ella had been controlling her "husband" like a doll each time Jamie was there]
Edward: I take it I wasn't the easiest person to get along with in the past, but I've changed. (leans forward) Jamie!
[As Ella follows Jamie in the flashback, Edward's head sinks to his chest]
Ella: Soup! Delicious, too.
Edward: I'll vouch for that.
[As Ella kisses Edward, we see the soup he'd been fed going down a tube and landing on a tin plate at the place where his stomach used to be. In another scene, we see that Ella had been impersonating Henry through the telephone]
Henry (vo): (over the phone) Jamie, I can prove you didn't kill her.
[We see Ella packaging up Billy to be sent to Jamie. In the mirror, we see that Ella is in fact Mary Shaw. Quick cuts of Lisa's corpse, the theatre and Ella opening the door of Edward's house]
Ella (vo): Jamie! So glad to have you home.
[As Jamie starts to gasp and close his eyes, the missing pieces fall into place. A hand goes through Mary Shaw's scrapbook, closing in on the little piece of paper with "To Make The Perfect Doll" written on it. It gets turned around and we see a little drawing of Ella's face, the perfect doll. Jamie, terrified, then turns around and sees that Ella is standing behind him]
Ella: Now... (in Mary Shaw's voice) who's the dummy?
[A flash of lightning shows Mary Shaw's face through Ella's, laughing maniacally. Jamie, at long last, screams]
[Mary lunges forward and rips Jamie's tongue out, killing him as the camera zooms in on Jamie's wide open mouth]
Mary Shaw: Shhhh…
[We zoom back out of Jamie's eye, now dead and sitting still on a shelf, smiling, his corpse being turned into a doll. The main theme plays again in a more sinister, playful way. During the final narration, we see the corpses of Lisa, Detective Lipton, Henry and Edward, all turned into dolls]
Jamie (vo): "Beware the stare of Mary Shaw. She had no children, only dolls. And if you see her in your dreams. Be sure you never... ever... scream…"
[The Ella doll is sitting in the middle of them. We pan away from the photograph in the scrapbook as Mary closes it, ending the film]
[Editor's note: Many thanks to Springfield! Springfield! for supplying the lines]