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.

It's okay.

Hi, I'm Michael Pierce.

I'm the director of the museum.

I am Enzo Marchi,

the head of this investigation.

Great.

- Look, I'm gonna take her home now, okay?

- Of course. No problem.

- Thank you.

- Are you all right?

I can't believe it.

did you hear that?

She's crazy.

You're some detective, you know?

- Sure.

- Go and keep an eye on her.

Can I stay at your place tonight?

I really don't feel like being alone.

Of course you can.

It's freezing outside.

- Can I light a fire?

- Yeah, sure. I'm just gonna check on Paul.

All right.

Good. Well, he's still asleep.

Something very strange happened

to me tonight.

And, uh, I feel almost embarrassed

to tell you about it.

What?

Promise me you won't think

I'm crazy.

- I promise.

- All right.

I was trapped in there.

And there was no way I was gonna

get out of there alive.

- And then-

- What?

Nah, never mind.

Come on. Tell me.

And then...

I heard a voice in my head...

telling me to go.

And then- bam-

the doors slammed open!

I mean, they were locked

and they slammed open!

And I-And there was

this woman too-

Dad?

Hey, tiger!

What are you doing up? Huh?

I thought you were asleep.

Ah, come here.

- Hi, Paul.

- Hi, Sarah.

- do you want some hot chocolate?

- Yes. Can I stay up late?

Yes, you can stay up late.

Let's choose one of your books,

and we'll take you to bed.

Which one are you gonna get?

This one? Okay.

I'm gonna come in with the hot chocolate now.

Come on. Back to bed.

Coming in a second, all right?

I just can't get my head around it.

Why did they have to kill Giselle?

What was so important

about that urn?

Well, from what you told me,

they could be talismans.

Look, I'm gonna go and see

Monsignor Brusca tomorrow morning.

Maybe he can shed

some more light on it.

How do you know him?

Well, he came to London a few years ago

to lecture on spiritualism.

And he's meant to be a leading authority

on mysticism and the occult sciences-

"Sciences"? Come on.

You don't believe in that crap.

- The occult?

- Yeah.

Well, maybe, maybe not.

- Hmph.

- What?

I was just-

What, you don't think there are forces

out there we don't understand?

Not really, no.

You and I are scientists.

We're supposed to believe in

what we see and what we touch.

- The chocolate!

- See? Forces.

I keep hearing that voice

echoing in my head.

I think I'm going crazy.

You're not going crazy.

Come here.

You're not going crazy. You just-

Just need to sleep.

Hmm?

Just try to sleep, hmm?

Chaos. Blood. Tears.

Mater! Mater!

Certo. Certo.

I'll kill you! I'll kill you!

- Morning, Father.

- Morning.

I'm here to see

Monsignor Brusca.

Oh, you don't know, do you?

He had a stroke the day

after we found the coffin.

He was conscious for only a few minutes

before he slipped into a coma.

I'm so sorry.

Look, I... understand

this isn't the best time...

but I really do need to know as much

as I can about the urn.

Look. Look,

I really don't know why...

anyone would want

to take that urn.

The only thing I know is that there was a name

on the coffin:
Oscar de la Vall.

- Oscar de la Vall?

- Yes.

do you know who he was?

The monsignor thought

it was the same man...

who figures in an old story that's been

popular in Aosta for centuries.

Most people, including me,

consider it nothing but legend.

Brusca didn't. That's why he sent

the items to you for verification.

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