Mother of Tears

Mater

Lacrimarum

Mater Lacrimarum

Mater.

Mater.

Mater.

Mater.

Mater.

Mater.

Uh-huh. Uh-huh.

Easy now.

- You okay?

- Hey, there's something down here!

"Oscar de la Vall, 1815."

Cut the chains.

We'll rebury him on the other side

of the cemetery...

later tonight.

And the urn?

Put it in my car.

Hang on, Monsignor.

Dear Michael...

we found

something alarming today...

right outside of the cemetery.

I'm sending this urn

over to you...

that you can examine

its contents.

You know more

about the history of magic...

and esoteric sciences

than I do...

and I'm hoping you can deny...

what I fear.

Hey, Sarah.

You seen Michael?

Not for a couple of hours.

- He had to take Paul to the doctor.

- Oh, that's right.

I was wondering why he

wasn't answering his cell.

Come take a look at something.

What?

Here, let me show you.

Come with me.

All right.

- What is it?

- Come. I'll show you.

I know it's late,

but you really need to check this out.

- Really?

- Yeah.

don't keep me hanging.

What is it?

- All right. It's an urn.

- Really?

Yes.

- Where'd it come from?

- Viterbo. A Monsignor Brusca sent it.

They found it with

a coffin buried in 1815.

Mater.

- Isn't this amazing?

- I've never seen anything like this.

I know.

Oh. Michael's phone is still off.

What do you think?

Should we risk opening it without him?

- don't ask me.

- Yeah, right.

You know what? We're just gonna

open it up, and I won't touch the letter.

- deal.

- Okay.

- Let's do it.

- All right.

Do you need help?

No, I think I'm okay.

Ow! damn it!

Are you okay?

What is it?

Aah. I cut myself.

I'll be all right.

- It's okay. Are you ready?

- Yeah.

- Okay.

- Let's do it.

- Let's go.

- Like this?

Yeah. It's a little tough.

All right. Yeah, there you go.

Careful.

Yeah.

Wow.

Take a careful look at the hilt.

- Tell me what you see.

- The gemstone settings.

It's a medieval technique,

isn't it?

Very good.

Thirteenth century, most likely.

Look. Three statues.

- That's kind of scary.

- Yeah.

- You take it.

- There you go.

Okay. Oh, there's more.

Look at this. Okay.

They're so well-preserved.

- Yeah.

- Look at this writing.

- Hey, there's more.

- Yeah?

This is some kind of talisman.

Can you read the writing?

No, not offhand.

It's some ancient language.

You know what? Go and grab the Aramaic

and Mycenaean dictionaries, will you?

- Yeah.

- He'll want us to move on this right away.

- Okay.

- Thank you.

"Seera Leraji"-

"Sabnack. "

Huh?

No! No!

Help me! No!

Mater. Mater.

Go now.

Go now!

Hello. Help!

Please help me!

You saw four people, and they were,

to use your words, "deformed"?

I didn't see their faces, but...

there was something very strange

about the way they moved.

- How so?

- It was like-

God, they tore her to bits.

- The blood, it was-

- Wait.

- How did they move?

- Well, they were sort of hunched over.

But I only saw them

for a few seconds.

- So there were three deformed people.

- Yes, and a monkey.

- A monkey?

- Yes. It was chasing me.

Okay.

Sarah.

So what exactly do you

do for the institute, Sarah?

I'm studying art restoration

and archaeology.

Mm-hmm.

And did you manage to catalog

these pieces of art...

that were stolen before

they were taken away?

No.

We were just starting

to examine them.

Look, I told you

everything I know.

Can I please

go home now, please?

- Sarah!

- No, it's okay. Let him in.

- Michael. Oh, my God.

- Sarah! Hey, are you okay?

- Michael, it was horrible. And Giselle, she-

- Shh. Shh. It's okay.

It's okay. I'm here now.

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