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It soon becomes clear that Anna is not entirely convinced that Lucie was correct in her assumptions. There’s no evidence beyond Lucie’s shady memory and a circumstantial-at-best newspaper clipping that these people were her abductors. Lucie freaks out at this assumption, and resents Anna’s repulsion at her crime.
Anna kisses Lucie on the mouth, and it seems unclear as to what this indicates — possibly their friendship has turned into a romantic relationship, but Lucie seems surprised by the kiss and asks her what she’s doing. Either way, what we get here is that they have an incredibly close friendship, and that Anna is willing to help her friend out of this mess. Lucie sleeps while Anna moves the bodies to a mass grave, but she still has flashes back to her captivity. Seeing a 12-year-old girl being mercilessly beaten around is hard going. When Anna returns from moving one of the bodies, she pauses to look at herself in the mirror, only to see that the would-be-dead mother is looking back at her . She regains consciousness and starts to wail in pain, while Anna begs her to stay quiet. Lucie comes to investigate, but Anna lies, pretending nothing happened.
Anna carries the daughter’s body outside (as part of the charade) only to hear glass smashing inside. When she heads back, she finds Lucie trapped in the bathroom, again plagued by the monster. Anna tries to get in, but it’s locked. We see the monster properly this time — she’s a skeletal woman, mouth sewn shut, covered in blood and death. And terrifying . The images here don’t do her justice. She attacks Lucie, once again carving and hacking great amounts of flesh out of the poor girl. Anna finally bursts in, grabs Lucie and takes her to safety. Lucie screams at the monster, demanding to know what it wants. She cries out that she killed the family for her, even the children. So why isn’t the monster happy?
We then cut back to Lucie as a child, right before she escapes. She attacks the woman who is attacking her, and before she makes her final break for it, she hears a howl of pain from another room. Inside, she finds a woman, also being held prisoner. This woman reaches out to Lucie, begging for rescue, but there’s no time – Lucie flees.
Shuddering back into the house, Lucie tries to leave the room she’s in, but Anna’s locked it, while she tries to help the mother, who is still clinging to life. Lucie starts freaking out a little, and slips dangerously along the antagonist side of the Character scale. Anna tries to get the mother out of the house, but Lucie breaks free of her locked-room and finishes the mother off — gruesomely…with a hammer. There is apparently no kill like overkill, and the mother is definitely dead now.
Lucie then has a rant at Anna, smashing things up with hammer and almost looking like she’s gonna kill her too. Anna cowers on the ground, while Lucie bemoans that clearly Anna thinks she’s crazy (and at this point, we the audience are wondering what possible excuses Lucie has to think that she isn’t?) and we hear a familiar shriek — that of the monster. It’s considerably calmer this time, as it twists itself down the stairs towards her. Lucie tells it that now the mother is dead, they won’t be harming her (the monster) anymore, and although we already suspected it, we see that the monster is the woman Lucie saw as she was running away. The monster comes down and embraces Lucie, creepily, and starts slicing up her arms — badly. Like, all the way down to the wrists from the shoulder. Then it gently takes Lucie’s head and starts smashing it against the wall.
HOWEVER – we see this from Anna’s point of view, and another thing we’ve grown to suspect is confirmed. The monster isn’t real. It’s Lucie’s guilt, guilt at not being able to save the woman. Over time, that guilt has manifested in Lucie’s mind as a monster pursuing her, but in realty, Lucie has been doing MASSIVE amounts of self-harm.
Lucie breaks free of “the monster” only to sprint towards one of the many plate glass windows in the house. She breaks through it, onto the lawn and out into the rain. Anna follows, crying out to her, but nothing will do. Lucie grabs one of the shards of glass and slits her throat. It’s…startlingly realistic, despite the slow motion. Anna runs to her devastated but it’s too late. Lucie is finished, as is the first half of the film.
What’s that I hear you say? This is only the first half? Some of the most intense and high-tension cinema ever witnessed, and it’s only 50% done? Well! Read on!
The next morning, still at the house, Anna is trying to clean up the slaughter. Still. Thankfully, or at least to the film’s credit, she is still devastated by yesterday’s events. She tries to find some comfort by calling her mother, but her mother is more concerned with chewing her out for not calling her for so long. The mother also decries her relationship with Lucie, calling her a slut and a troublemaker. While Anna is on the phone, she sees a block of wood fall down onto a bench…and then a few moments later disappear.
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