Ouija: Origin of Evil

As the cinematic canvas transitions from the mundane to the mysterious, we find ourselves ensconced in a sweltering Los Angeles summer evening in 1967. Mr. Browning (Sam Anderson), a man consumed by grief and longing, and his much younger wife Jenny (Kate Siegel) - a couple whose relationship is as fragile as the whispers of the wind - arrive at the abode of enigmatic fortune teller Alice Zander (Elizabeth Reaser). The air is thick with anticipation as Alice orchestrates a séance, her eyes gleaming with an otherworldly intensity. Mr. Browning's desire to reconnect with his deceased wife and seek answers from beyond the veil is met with Jenny's skepticism, her doubts and fears simmering like a pot about to boil over.

As the ritual unfolds, something inexplicable occurs - a presence, seemingly born of smoke and mirrors, emerges from the shadows, its intentions as sinister as they are unpredictable. Mr. Browning's terror is palpable as he frantically attempts to compensate Alice for her services, but she declines, her expression a mixture of guilt and resignation.

But what appears to be an ethereal visitor is, in reality, a clever ruse concocted by Alice's teenage daughter Paulina (Annalise Basso), whose mischievous spirit has been awakened. Her younger sister Doris (Lulu Wilson) had been hiding behind the curtains, her hands moving with an uncanny precision to simulate the eerie movements of the candles.

Alice's ire is piqued as she reprimands Lina for her actions, which have not only cost them their payment but also left Mr. Browning shaken to his core. Lina's defense of her behavior, fueled by a deep-seated resentment towards Jenny, is met with Alice's understanding, her maternal instincts momentarily overriding her business acumen.

As the night wears on, Paulina slips out to meet her friend Ellie (Halle Charlton) at her residence, where they engage in a Ouija board game, accompanied by Lina's boyfriend Mikey (Parker Mack) and their friend Betty (Alexis G. Zall). The atmosphere is charged with an air of excitement and trepidation as the group attempts to make contact with a spirit, their laughter and whispers punctuated by sudden jolts of fear.

Betty's terror is short-lived, however, as Ellie's mother bursts into the room, banishing the darkness and restoring order. Later, Alice collects Lina from her truancy, her expression a mix of disappointment and concern.

Meanwhile, the girls at school are oblivious to the turmoil that has unfolded, their day a seemingly ordinary one filled with lessons and friendships. But for Doris, whose connection to the spirit world is growing stronger by the day, the Ouija board holds secrets and mysteries waiting to be unraveled. As she uses the board in secret, her fingers moving with an uncanny precision, she hopes to make contact with her deceased father Roger (Michael Weaver), his memory a bittersweet reminder of happier times.

The threads of fate are beginning to weave together as Father Tom (Henry Thomas) summons Alice to review Doris's homework, only to discover that it is written in cursive, a skill no one believes she has ever mastered. The implications are clear: the mysteries that lie beyond the veil are not just whispers in the wind, but tangible forces waiting to be uncovered.

The trio's tranquility is shattered as they return home to find a stern notice of foreclosure plastered on their doorstep, casting a cloud of uncertainty over their already precarious existence. Doris's unexpected arrival with a pouch full of cash, claimed to be a gift from Roger, only adds to the mystique. As she leads her mother and sister on a tour of the basement, they stumble upon a hidden compartment containing the mysterious funds. Later, Doris reveals her peculiar connection to Roger through the Ouija board, leaving Alice and Lina in awe as the planchette seemingly moves on its own to spell out answers.

As their trust in the spirits grows, so does their reliance on them, with customers flocking to experience Doris's uncanny abilities. However, this newfound success is tempered by a growing sense of unease as Doris begins to exhibit strange physical symptoms, including a nagging pain in her neck. The tension culminates when she gazes into the planchette-lensed mirror and beholds a towering, black specter with its mouth stitched shut, leaving her shrieking in terror as it invades her body.

Meanwhile, Alice enjoys a rare evening out with Father Tom, who finds solace in his faith following his wife's passing. Back at home, Lina's budding romance with Mikey is short-lived, cut short when she has him leave after just one kiss. As the evening wears on, Doris materializes seemingly out of nowhere, startling Mikey and then recounting a graphic tale of being strangled to death in vivid detail.

As the school days unfold, Lina approaches Father Tom with a collection of papers written by Doris, which she hopes he can translate from Polish. His response offers a glimmer of hope as they work together to unravel the mystery. However, their harmony is disrupted when two schoolyard bullies target Doris, only to be met with an eerie stare that causes one of them to turn his slingshot on himself in a bizarre and unsettling display.

As Lina's gaze falls upon one of her cherished dolls, she's met with an unsettling discovery: a series of eerie stitches adorning its mouth. Her curiosity piqued, she confronts Doris about the unexplained marking, only to be met with a cryptic explanation from her sister - their father's alleged attempt to silence the "voices" by sewing shut the doll's mouth. Little did Lina know that this was merely a harbinger of the darkness to come.

Meanwhile, Tom pays a visit to the Zanders, seeking the assistance of Alice and Doris in contacting his deceased wife, Gloria. With the Ouija board as their tool, they embark on a seance, hoping to conjure up answers from beyond the veil. As the planchette glides across the board, spelling out the secrets of the unknown, Tom is met with revelations that challenge everything he thought he knew about his wife's passing. The entity's message leaves him shaken, yet determined to unravel the truth.

In a shocking twist, Doris's possession becomes increasingly pronounced, as she begins to channel a mature woman's voice, sending shivers down Tom's spine. Realizing that they've been manipulated by an unseen force, Tom takes it upon himself to enlighten Alice and Lina about the true nature of their sister's journal entries. As the night wears on, he reveals the dark secrets hidden within Marcus's writings - tales of a madman known only as the "Death Doctor," who conducted twisted experiments in that very house, leaving behind a trail of terror and despair.

As Mikey descends into the basement to pay a visit to Lina, Doris greets him with an otherworldly enthusiasm. Her eyes aglow with an unnatural light, she leads him to a spot where the money was once hidden, only for a gruesome surprise to await them - a mouthless skull emerges from the shadows, its presence seeming to draw the very life force out of Mikey's being. As Alice, Lina, and Tom rush to his aid, they're met with a ghastly sight: Mikey's lifeless body suspended in mid-air, a noose tight around his neck.

The trio rushes downstairs, determined to destroy the Ouija board that has brought them nothing but terror and despair. But their efforts are for naught, as they stumble upon a gruesome discovery - a cache of bones, each one telling a tale of the "Death Doctor's" depraved experiments. As they struggle to comprehend the true extent of their sister's malevolence, the phonograph in the basement springs to life, filling the air with Doris's blood-curdling screams.

Tom, driven by a sense of duty and desperation, crawls through a vent to confront his possessed sister. But he's met with a ferocity that defies human comprehension - Doris attacks him with supernatural force, sending him tumbling down the stairs, his neck broken in the process.

As Alice and Lina stumble upon the Ouija board, eerily intact on the table, they're suddenly beset by an unseen force. Mikey's corpse swings into view, its grasp tightening around Doris as she's flung down the stairs. And then, the unthinkable happens - Doris appears before Lina, her eyes blazing with a malevolent intensity as she whispers dark secrets into her daughter's ear.

Alice, her voice trembling with desperation, pleads with the spirits to spare her daughters' lives. But it's too late - the voices have spoken, their decree clear: all three women will be consumed by the darkness that has haunted this house for so long.

Here's my rephrased version:

As the truth dawns on her, Lina (no actor name provided) finds herself whisked away to her bedroom, where she confronts the haunting reality of Doris's doll. The revelation sparks a connection between Lina and her father, shedding light on Doris's enigmatic phrase "stopping the voices". Meanwhile, Alice is dragged down to the basement, powerless against the malevolent forces that seek to claim her. In a desperate bid to silence the cacophony of whispers, Lina faces off against Doris and the restless spirits, reluctantly sewing her sister's mouth shut as the cost of Doris's life. As the darkness recedes, Doris awakens, seemingly restored to normalcy, only to be pulled back into reality by Roger. In a poignant moment, Alice and Lina mournfully lament Doris's passing, unaware that their grief is soon to turn to horror.

The veil lifts two months later, as Lina sits in a mental institution, recounting the events that transpired with Dr. Fuller (John Prosky). In her room, she creates an Ouija board using her own blood and an eyeglass, seeking a connection to Doris's spirit. As Dr. Fuller passes by, he catches a glimpse of what appears to be Lina and Doris sitting together on the bed - but when he turns back, only Lina remains, her gaze fixed intently upon him. The illusion is shattered, leaving him bewildered. After the credits roll, we find ourselves in the company of an elderly Lina (Lin Shaye), who receives a visit from a mysterious young woman claiming to be her niece - a familiar scenario that echoes the events of the first film.