Margaret goes into David’s hotel room, and after vocally buying into his claims about Ben being in his belly, she tells David that he must be suffering in there. From there, the climax of the movie involves her and David having a knock-down, drag-out knife fight in the room, one that Margaret eventually wins out of sheer grit. For however much David has been mentally ruining her, the scene is wildly violent, and cathartic too. More of David’s gaslighting, and he dies.
Going up to David’s body on the floor, Margaret cuts open his belly, digs up his intestines, and indeed, there is a baby in there. Little Benjamin, whom she holds tight in her blood-soaked hands. And then, we move to the future, where Abbie happily spots her mother and newly-rescued brother. She holds him and lets her mom know she’s not scared of her anymore. A happy ending.
But almost certainly an unreal ending. The ending does everything it can to give you the impression of a dream. It gives us the first close-up of Abbie, and everything in Margaret’s apartment is softly lit, with the warm glow of happiness. Rebecca Hall’s deeply-felt, intense performance finally winds down into nothing but a sleepy smile. Somehow, Abbie has no questions about the existence of Benjamin. Somehow, everything has been resolved with a bow, and Abbie notes to her mom that she’s no longer afraid. But Margaret’s face changes as the camera pushes in on her, culminating in a gasp, as if panic has fully set in, the crash of reality.
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