Relic Hunter (1999–2002): Season 2, Episode 19 - The Executioner's Mask - full transcript

[THEME MUSIC PLAYING]

[CHATTERING]

[DRUMS BEATING]

CROWD: Oh!

[UPBEAT MUSIC]

[CHATTERING]

PHOTOGRAPHER:
Not bad.

All right. Move it.

Sydney,
this is fantastic.

Just promise me
you won't drool too badly

when you meet Naomi.



Which one is she?

Hmm,
I don't see her yet.

I'll probably recognize her
from the fashion covers.

Fashion magazines?
What, you, Nigel?

Well, purely
for the articles,
you know.

PROTESTER:
It's all fake, anyway.

I beg
your pardon?

These women have been
surgically altered

to promote
a distorted view
of the female body.

That's a bit extreme,
don't you think?

You don't think
the fashion media's
brainwashing you?

Starving yourself
is good, hmm?

Injecting plastic
into your body
makes you beautiful?

STAFF: What?



PROTESTER:
For God's sake,
look at you all.

Can't you see the damage
you're helping to create?

Get off.
Hide yourselves.

Hide your faces
behind the mask.

Hide your faces
in disgrace.

What do you think
you're doing?
SECURITY: Come on.

Oh, here we are again.

You can stop
the messenger

but you can't stop
the message.

Get your hands
off of me!

Someone seems
a little bitter,
don't you think?

It's extreme
but unfortunately,
she does have a point.

NAOMI: I can't believe
you're making me shoot
with others.

I told you...
No, you did not!

We'll be out of here
in about...

Did not.
All right?

Just keep it sweet,
keep everything sweet.

Shove it.

It will be okay.
It will be okay.
I thought you're doing...

I'll be back in a minute,
a minute.

Is that Naomi?
I think so.

Her hair's different.
It's been a while.

I can't believe Naomi's
in this high-fashion world.

All I remember of her
is being this sweet,
innocent kid from Iowa.

Ugh.

NAOMI:
Can you stop that?
Can you stop that?

[ANGRILY] Julian!

Hi, Jean-Claude.

I'm counting on you,
Julian.

Piss off this client,
they'll find a new
hanger for the clothes.

You understand
what that means.
Sure, sure.

What the hell
are you doing?
Julian.

What's wrong?
I cannot work
like this.

I look awful.
My hair looks terrible.

I look...
I look ridiculous.

Humor me, sweetie,
humor me.

The client is watching,
okay?

Off you go, darling.

TOGETHER:
So much for the sweet,
innocent kid from Iowa.

Okay.
Allez, allez.

Hey.

[SCREAMING]

What now?

No, something's wrong.

[SCREAMING]

Julian, it hurts.
It hurts, Julian.

They're taking her
to Paris Hospital.

I don't know
what could've happened.

We're watching
the whole thing.

She was...
only wearing the mask
for a couple of seconds.

This is no
fashion prop.

It's lighter
than you'd expect.

Bronze
with a high tin content.

And this patina?
Yeah, the aging, it's...

I place it 18th century,
an older design.

Roman, I think.

I've heard
of medieval masks
that contained devices

to inject
the wearer's face
with drugs

causing paralysis,
but...

Diabolical, really,
but it's the first thing
I looked for.

The inside
of this mask, look...

it's as smooth
as a baby's skin.

JULIAN:
Clear the door.

I've told you:
The shades drawn

and the room kept dark
at all times.

God forbid one of those
vultures from the press

gets a photograph of her
like this.

DOCTOR:
Are you family?

Her manager.

I stabilized
her heart rate
and gave a sedative.

What about her face?

DOCTOR:
I am consulting
with experts.

We'll know more
after we do some tests.

I'm... I'm sorry.
Naomi can't have
any visitors.

I'm a friend of hers.
We were visiting
the shoot today.

Of course, Sydney Fox.
She told me about it.

With all the confusion
at the set when we arrived,
I'm sorry there was no time.

How is she?

Doctors say
they can do nothing.

NIGEL: We...
We brought the mask
she wore.

I was hoping
we could hold on to it
for a while.

Why?

I'm a professor
of ancient studies
and a relic hunter.

This is my associate,
Nigel Bailey.

Hi.

Are you saying a mask
could do that to her?

But all the other models
were wearing them.

NIGEL:
Umm... Not this one.

Do you have any other
explanation for what could
have happened to Naomi?

No, no, no, you're right.
Please try.

Take it if you think
you can help.

NAOMI:
Julian.

JULIAN:
Naomi, it's your friend
Sydney here to talk to you.

NAOMI: Sydney.

Hi, Naomi.

I'm so sorry
I didn't get a chance
to say hi to you at the shoot.

No, I understand
you're under a lot
of pressure.

It's a high-stress job.

I was... I was so awful
to everyone.

Such a witch.

JULIAN:
Nao... Naomi,
you mustn't talk like this.

NAOMI:
No, I was terrible.

I was terrible
to everyone.

And now this.

You can't blame yourself.

What happened to you
was not your fault.

Why did this happen?

I don't know.
But I'm gonna help you.

[CRYING]

It hurts, Julian.

Make them give me
something.

It hurts.

Maybe it's best
we go.

[CRYING]

Do you have any idea
where this mask
came from?

The prop buyer would know.

It's getting late, but...

I'll try and find out
for you.

PROTESTER:
Women like Naomi pervert

the natural beauty
of the female body.

This is a loud
and clear message

to the fashion world
and the media.

I wish I had a mask
to use

on every supermodel
from New York to Paris.

Any woman who chooses
to represent an industry

that values looks
over substance

deserves
whatever they get.

Right, the circus
is starting.

Ringmaster and all.

Wow. I mean, I had a really
nasty chemical peel once,

but this sounds
pretty serious.

SYDNEY:
It is, Claudia, it is.

Did you get that fax?
Yeah.

Um, I just...

Where did I...
Where did I put it?

I can't keep anything
organized in here, Syd.

When did you say
they were gonna be finished
remodeling the office?

Two months,
at least.

CLAUDIA:
I can't even breathe in here,
let alone get anything done.

Wait.

Here it is.

I'll run it over to McClellan,
see what he can give me.

Wait a minute.
McClellan?
Why not Abrams?

He wrote the book
on esoteric masks.

True, but, um...

I mean, McClellan has written
some really good stuff

that's really... good.

This isn't a "cute"
thing, is it?

CLAUDIA:
Well...

No. No.

SYDNEY:
Claudia,
this is important.

Fine, I'll take it over
to the senior citizen.

He's in his 40s.

CLAUDIA:
I'll get back to you. Bye.

Bye.

NIGEL:
Here it is.

I was wondering
if you sold this mask
to a prop buyer

for a fashion shoot.

Never seen it
before.

It might help
if you actually
looked at it.

We're not cops.

Well, I didn't think
the gendarmes hired
undercover Americans.

The accent's kind
of a giveaway.

I'm not an American.

Let's see.

Uh-huh.

I sort of remember
selling it.

How much
for a full recovery
of your amnesia?

Well, how much
do you wanna know?

Where you got it,
for starters.

Nigel.

Well, what in the world
is it?

Men in Papua New Guinea
wear it around their waist.

A little lower.

Oh.

The mask came in
the other day.

You wouldn't believe
how ugly the guy was
who sold it to me.

Disfigured?

Ugh, call it
what you want.

Just how ugly
was he?

Well?

Like a bulldog
with his face
pushed in.

Only not as beautiful.

Here, the seller
was...

Bernard Guillot.

Pleasure
doing business
with you.

Yeah, you, too.

Bernard Guillot
with an address
in Bourg.

That's about an hour
northeast of here.

I say we pay Bernard
a visit and...

Aah.

Hey!

The mask.

[ENGINE REVVING]

You get a look
at the thief?

Not exactly.

But I'm afraid it was
that female activist
from the shoot.

Simone?

You think she's serious
about using the mask
on the other models?

I don't know.

You think
we should call
the police?

Yeah.

[CELLPHONE RINGING]

Hello?

Syd, Abrams got me
some info on the mask.

SYDNEY:
And?

From the picture you sent,
he's 90 percent certain

that it's
the executioner's mask.

Sort of a legend.

During the revolutionary
period,

it belonged
to a real-life executioner
in Bourg.

Bourg?
CLAUDIA:
Yeah.

What kind
of legend?

Well, this executioner had
a terribly disfigured face.

Like what happened
to Naomi?
CLAUDIA: Right.

Only he was born
this way.

And here's
the really spooky part:

There's a curse.

A curse?
CLAUDIA:
Yeah.

Anyone who wears the mask
will become disfigured
just like him.

CLAUDIA:
That's all Abrams
could remember.

Okay.
That's a great start.

I want you to call around

and see if you can find me
an expert here in Paris
on executions.

Well, Abrams
is gonna be out
for a while.

SYDNEY:
Oh, I guess you'll have
to talk to McClellan then.

I'm on my way.

I'll fill you
in on the way.
To Bourg?

But first
we have to stop
and check on Naomi.

No. No, no, no.
I understand your situation,
Jean-Claude.

It's not Naomi's fault
this time.

She'll be there.
On time... I promise.

Hold on, hold on,
there's someone else
on the line.

She's resting,
thank God.

Any news?

The plastic surgeon says
there's nothing he can do.

The condition of her face
is too extreme.

Please tell me
you found out something
about the mask.

It belonged
to an executioner
in Bourg.

Supposedly,
it carries a curse.

What is it?

Naomi says she's...

She's having
terrifying visions.

What? Nightmares?

No, no, no.
She's reliving the...

the beheadings
of an executioner's
victims.

Doctors say the stress
is weakening her heart.

She's deteriorating
fast.

I need to see her.

Naomi.

We're off to Bourg now
to track down a lead.

I want you
to stay strong.

Don't lose hope.

You should probably
keep an eye out

for that fashion terrorist,
Simone.

She tried to steal
the mask from us,
but Sydney recovered it.

Thank God.

Yeah, we notified
the police.

Do you think
she's in danger?

Should I get a bodyguard
up here?

Oh, I don't think
that's necessary.

I mean, well,
when she's released...

[CELLPHONE RINGING]

Hello?

Syd, I talked to McClellan.

SYDNEY:
And?

Dishy.
Big improvement
over Mr. Polident.

Anyway, I think
he found someone.

But... I'm not sure
you're gonna wanna
talk to him.

Why not?

CLAUDIA:
Syd, the guy McClellan
referred me to, I called him.

Well, I've met some pretty
creepy guys in my time.

You know, even dated a few.

Claudia,
cut to the chase.

He's an expert in murder,
torture, executions,
the works.

But his main thing
is the revolution.

Can we see him?

CLAUDIA:
If you insist.
His name is Max Newton.

He told me
to have you stop by.

But, Syd,
I'm warning you,

this guy makes Freddy Krueger
look like a Teletubby.

Claudia, I've dealt
with weirdos.

What's the address?

CLAUDIA:
18, Rue Norman.

Great. Thanks.

Who are we gonna see?

Claudia found us our
expert, a Max Newton.

This is it.

[KNOCKING]

You are not
the butcher.

Go away.

Oh... What a shame.
Too busy.

Can we go to Bourg
now, please?

Mr. Newton, Max Newton,
my name is Sydney Fox.

I'm a colleague
of Professor McClellan's.

You told my assistant
we could stop by.
MAX: Ah, yes.

We met last year
at the Spanish Inquisition
exhibition.

Oh, that was a good one.

I have the executioner's
mask.

MAX:
The executioner
of Bourg.

Oh, let me see it.

Oh, yeah. Yeah, yeah.

Yeah, I... I'll be
right back.

What exactly
is this guy Max
an expert in?

Apparently everything to do
with death by execution.

[SCREAMING]

Sounds like
a real fun guy.

Pain, torture,
suffering.

[CREAKING]

I'm getting that
loud and clear.

Yeah. I need
to authenticate it.

It shouldn't take more
than a couple of hours.

Well, Professor McClellan
only recommends the best

so I'm gonna trust
you with this, Max.

But remember,
a girl's life
depends on it.

Yeah, I'll...

I'll treat it with great care.

My number's
on this card.

Call as soon
as you can.

It's always
the quiet ones,
isn't it?

14, Rue de la Fontaine,
this is it.

Now remember, Nigel,
Vincent
at the antique store

said that Bernard Guillot
was...

The ugliest man
he'd ever seen.

So when I meet him,
I know, don't recoil
in disgust.

Don't react at all,
just look him
in the eye.

We don't wanna cause
the man any embarrassment.

No matter
how ugly he is.

Well, it sounds
like there's a party
going on inside.

Mon dieu, this
is my lucky day.

You are very
beautiful.

Come in, there's
plenty of wine.

Who are you?

He's with me.

Well, in that case,
you can come in, too.

The party sounds
like a great idea,

but we're kind of
in a hurry.

We're looking
for a Bernard Guillot.
He lives here.

You're looking
at him.

BERNARD:
I was plowing rows
for a new vineyard

in a field
at the edge of town.

Then I hit
something hard.
The mask.

Covered in dirt.

I wiped it off,
tried it.

The mask disfigured
your face.

BERNARD: That wasn't
the worst of it.

The pain, more terrible
than anything

I'd ever felt before.

And the nightmares.

Like Naomi's visions.

Of executions?

The doctors told me there
was nothing they could do.

I was starting to get
worse physically.

I couldn't work.

One of the village elders
was told a story
when he was a boy

about an executioner
during the terror

who wore a mask
to hide his ugliness.

There is a folk tale
in these parts
that after he died,

the executioner's body
disappeared
from the church

before
it could be buried,

and that at night,

it can be seen
still roaming
the countryside.

Without its mask,
apparently.

I took it to Paris
to find some real answers.

And when I couldn't
find any, I sold it.

You didn't tell
the dealer
about the curse?

BERNARD:
Would you?

Then, a few days later,
a miracle happened.

I got my face back.

When did this so-called
miracle happen?

BERNARD:
Yesterday around noon.

Around the same time
as the photo shoot.

Sydney, I just realized
what this means:

The curse
can be removed

by somebody else
putting on the mask.

Bernard, do you know
the history
of this field

that you found
the mask in?

Prior to the revolution,

it belonged
to the Marquis
de Beauvilles.

When the aristocracy
fell out of power
after the revolution,

his estate was partitioned
off to the local farmers.

It's been in my family
ever since.

Au revoir.
Au revoir.

Doesn't get us any closer
to an answer for Naomi.

At least we learned
something new
about the curse.

Sure knows
how to have fun,
doesn't he?

So when someone else
puts on the mask,

that will undo the curse
of the last person
who wore it.

Yes.

You sure?

We saw the evidence
firsthand.

I'd pay the person,
obviously.

What?

Oh, sure,
we'll find a bum,

stick it on him,
pay him a few bucks.

What are you
thinking?

Yes, you're right.

It's...
It's unthinkable.

We still don't
have a solution,

and the doctors say
her heart
is getting worse.

She may die.

[CELLPHONE RINGING]

It's 1-800-murder
-and-mayhem.

We have someone else,
an expert in executions.

The mask
is the key to this.

Tell him
we'll be right there.
Must we?

Hello?

JEAN-CLAUDE:
Julian?

Jean-Claude.

What news?
How is the poor child?

Well, Naomi's still ill,
of course,

but she's gonna be fine
and we'll be able to continue
the shoot.

Let's not talk
about her now.

Do you have the mask?

Why?

With all the publicity
about what has happened,

it's legendary.

Worth a fortune
to my campaign.

Is it in a safe place?

Yeah, yeah.

Let me see it.

I... I gave it
to a professor,
a relic hunter

named Sydney Fox.

What were you
thinking?

What if she damages it?

Or worse? Puts it
in some museum?

She's trying to help
Naomi.

Screw Naomi.

I have plans
for the mask.
Get it back.

Is there a problem?

I mean, the mask
and Naomi...

I talked to the plastic
surgeon, too, Julian.

We both know there's
no hope for Naomi.

Without her face,

you're washed up,
finished.

But get me the mask,

and I see
a whole new avenue
for you, Julian, for life.

I'm giving you
an opportunity,
Julian.

Don't screw it up.

Leave it up to me.

I'll get you the mask.

Professor Fox,
welcome.

Must we?

Oh, marvelous,
marvelous.

You know, this guillotine
is so wonderful.

It is so much kinder
than the ax.

No, thanks.
Oh.

What were you able
to find out?

What we hold here,
my friends, is history.

The executioner's mask,
a strong force.

Feel it.

No, thanks.

I would like
to put it on myself.

There's a strap
at the back.
We could just...

We've had enough of that
for one week.

The curse, hmm?

And yet its beauty...

It's almost magical.

A famous artisan
made this, you know,

for the executioner
of Bourg.

And according
to my research,

this executioner
would bear the pain
of every soul he took

so that anyone
wearing his mask
thereafter

would take on
the sufferings
of this executioner.

His physical as well
as his mental torment.

And now, the person
now cursed in this way,
a friend of yours?

Yes.

Well, the only way to end
her sufferings would be to...

to find
the executioner's grave

and then put the mask
on his remains.

And that's it?

Do you know
where we could find
them?

Unfortunately, no.

There's a folk tale in Bourg
that the body disappeared.

I heard about it.
Sorry.

Did this executioner
have a name?

During the revolution,

the executioners
were anonymous

to protect their
families from...

retribution.

So they would take boys
of the right age
from orphanages

and apprentice them
to this craft.

Oh, those
were the days.

How does an orphan
afford a mask
by a famous artisan?

I wondered that.

He couldn't.

Dare I say
another dead end?

No, no,
not entirely.

There was an orphanage
near Bourg,

in a town
called Beauvilles.

Beauvilles?
Beauvilles, that's...

That's near
where Bernard Guillot
found the mask.

I don't know
if it still exists.

Thank you for all
your help.

We'll let you know
what we find out.

Yeah, well,
come back soon.

Oh, we sure will...

With an armed detail
and a straitjacket.

Why do I feel lucky
that we got out of there
alive?

Julian, it's Sydney.

SYDNEY:
I have an update.
We're heading to an orphanage

in a town called Beauvilles,
near Bourg.

What's in an orphanage
in Beauvilles?

I'll fill you in
on that later.

Just tell Naomi
to hang on.

I have a hunch
we're on the right track.

JULIAN:
Hold on a second.

What's the orphanage
called?

SYDNEY:
I don't know. Why?

In case I need
to get in touch
with you.

You know, these cellphones
can be fairly unreliable
out in the country.

I can't imagine
there's more than one orphanage
in a small town.

We'll fill you in later.

NIGEL: Funny.

Even the word
"orphanage"

conjures up images
of Dickens
and Oliver Twist.

Don't worry,
we'll be in and out of here
as quick as possible.

[CHILDREN LAUGHING]

Looks kind of like
a boarding school.

Ugh...
What?

Please don't ever mention
that word
in my presence again.

Brings back some unpleasant
memories of incarceration
during my youth.

You went to boarding...
Stop.

I considered it
more of a cold,
cruel institution

presided over by a staunch,
heartless head mistress

we referred fondly to
as the dragon lady.

What?

Parlez-vous
anglais?

Oh, yes, perfectly.

Good, good, good.

Hello, my name's
Sydney Fox.

I'm a professor
of ancient studies.

This is my pupil,
Nigel Bailey.

How do you do?

So, I'm head
mistress.

Good, good, good.
Good, good, good.

HEAD MISTRESS:
Actually, we don't
usually allow anybody

to review
the files because...

Well, I suppose
since you are asking

for something
that does go back
so far in time,

and, of course, you being
a history professor...

How long
has the orphanage
been here?

Well, actually, we prefer
to refer to it as a pension.

The institution's been
caring for children

for, gosh,
at least over 300 years.

Would you please
not touch that?

Yes, ma'am.

So the files
you'll be looking for

will be in through there.

And, of course,
all recent documents
are strictly off-limits.

Do we understand?

NIGEL:
Yes, ma'am.

Well, I think
I should leave you
to it then.

"Strictly off-limits"...

I shall never send
my kids away.

These children
had no family.
They were orphans.

That's the point,
Nigel.

Then I shall have to adopt
some poor wretch

and save them
from the wrath
of Headmistress Satan.

Bet she's got one
of those metal boxes.

The ones they use in those
southern prison movies
for punishment.

Oh, Nigel.

What have you
got there?

Financial records
dating back to 1760.

Well, this ledger
lists arrivals
to the orphanage

in remarkable detail.

Well, the revolution
began in 1789,

so a child born
20 years prior

would make him
just about
the right age.

About 19 years.

Here, look what I found
in 1770.

1770, the year
a deformed child

is dropped off
at the orphanage.

That could be our guy.

The executioner.

The historical profiles
of the orphanage

list that construction
on a new wing...

Where is it?

Here. Construction
on a new wing began

the same year he arrived.

Yeah, they don't make cash
like that at a bake sale.

In 1770,
the financial records say

a major anonymous donation
was made.

And construction
of the new wing began.

That area hasn't been used
for, gosh, over 100 years.

We weren't able to keep
up the maintenance.

If we could just see it.

No, I'm afraid
that wouldn't be possible.

If there were a problem,
you see, we'd be liable.

Well, surely
we could just...
What?

Good, good,
good, good.

Well, thank you
for all your help.

Oh, my pleasure.

[WHISTLES]

Children, come on.

You still have it?

Must be another way
into that building.

We'll just go
around outside
and jump the wall.

With this?

How's it going,
Nigel?

Well, according
to the layout
of the wing built in 1770,

there should be a staircase
going down right here.

Look, this has been
boarded up.

You can tell
this was added later.

Look.

Oh.

Kick it, Syd.

Okay.

Shh...

Some kick.

Whose room was this?
It's luxurious.

Yeah, not institutional
like the others.

It's almost like
an aristocratic mother

would have decorated
for her child.

I mean, not that
I would know,

but it sure seems
like someone

went to a lot of trouble
and expense

assembling
all the comforts of home.

Hardly the place you hide
an outcast child.

There's a strong
draft in here.

There are no windows.

Is it coming
from here?

No.
It's coming from in here.

Why would you have
a secret passage
in an orphan's room?

These are foundation stones
from a building.

What's left of it,
anyway.

There's nothing
in the historical profile
of the orphanage

that mentions
any other buildings.

They built a tunnel
into that room

without the cooperation
of the orphanage?

Well, doesn't seem likely,
does it?

It's blocked.

Looks like half
a coat of arms.

Same date
as the construction
on the new wing,

1770.

Do you recognize it?

Not without the other half.

There we go.

That's the coat of arms
of the Marquis
de Beauvilles.

The same guy
with the field in Bourg.

Why would the marquis
put up a building

connected to the new wing
of the orphanage?

Maybe because he built
both?

Wait a minute,
wait a minute.

There's another entry
in here dated 1770
which caught my eye.

The same day
that the deformed child
arrived

and the request was given
to build a new wing,

a healthy child
was adopted...

August 7th, 1770.

Makes you wonder
if the three events
are connected.

An anonymous person
donates a large sum
of money

to build a nursery.

A deformed child
is abandoned
and a healthy one adopted.

Maybe by the Marquis
de Beauvilles.

Isn't there still
a Chateau de Beauvilles
nearby?

I think so.
I think it's...
It's a short car ride away.

Let's get out of here
before that witch
puts us

in detention.

[CELLPHONE RINGING]

Hello?

It's Julian.

Naomi's getting
worse.

Tell him we're
getting close.

Look, we're leaving
the orphanage now.

We hope to follow
a good lead.

Sydney says to say
we're getting close.

NIGEL:
The Marquis de Beauvilles
really knew how to live.

Looks like we'll have
to come back
tomorrow morning

and take the tour.

Ah. I prefer
the private ones.

They're so much
more informative.

By my count,
this is the 34th portrait
of the marquis

and we have more rooms
to go.

SYDNEY:
Handsome
Harry de Beauvilles.

The marquis sure thought
a lot of himself,
didn't he?

Do you see
a family genealogy
around here?

No,
but there was a library
back there. Why?

I think we should give
the marquis' family tree
a little shake,

See what falls out.

There might be
a family crypt
down below.

August 7th, 1770,
a child is delivered
to the orphanage.

And another taken.

Two days later,
Handsome Harry,
Marquis of Beauvilles,

presents to the world
a beautiful baby boy.

What a hypocrite.

Lucky for us
the French aristocracy

put such a premium
on their family records.

The family crypt.

What do you expect
to find?

I have a hunch who built
that wing in the orphanage.

And it wasn't the marquis.

Well, I'll just wait
outside.

What exactly
is this hunch of yours
we're acting on?

Call it maternal
instinct.

Really?

Maternal bond,
a mother's love,

more powerful
than any curse.

Four graves.

But only three names:

Mom, dad, son...

and a second child
no one else knew about,

the executioner of Bourg.

Take a look
at the dates.

The marquise outlived
both her husband
and her son.

She brought him here.

Maternal bond, Nigel.

She couldn't abandon
her child

no matter
what he looked like.

She got no choice
while the marquis
was still alive.

But she never abandoned
her real son.

The special caretaking
with that nursery
started me thinking.

She made donations.

She built a nursery
with a tunnel

so she could visit him
undetected.

And when he died,
his body
didn't disappear.

The marquise had it
brought down here

and laid to rest
beside hers
for all eternity.

It's a beautiful
folk tale.

Let's put it
to the test.

[RUMBLING]
[BOTH GRUNTING]

NIGEL:
Look at the deformed
skeleton.

I saw John Merrick's
skeleton once in England.

The Elephant Man.

The actual disease
is called
neurofibromatosis.

It's congenital.

To be so malformed
at birth...

JULIAN:
Well done.

Julian.

Didn't I just speak
to you in Paris?

There's been
a change of plan.

Give me the mask.
We have to put it

on the executioner's
remains,
reverse the curse.

I don't think that's part
of Julian's plan, Nigel.

No.

What about Naomi?
We can't just leave her
as she is.

She's had her time.

Now, it's my turn.

Give me the mask, please.

Give it to him,
Nigel.

What are you doing?

You want the mask?
It's in the bag.

Aah, aah, aah!

Help me.

[SCREAMING]

Help me.

Help me, please!
I think we should
auction it off

to the highest bidder,
don't you, Nigel?

No, no, you can't.
I beg you! I beg you!

I don't know.
It might be
an improvement.

Don't, don't!

Naomi?

Hey.
Hey.

SYDNEY:
So we just came
from the police.

And they're
charging Julian
with attempted murder.

Ah. So it's
finally over.

Looks like
you're back to work.

Not exactly.

Well, after everything
that's happened,

I decided to take
a year off to think
about my life.

Sounds like
a good idea.

Yeah.

Doesn't it, Nigel?

Nigel?
Huh?

PHOTOGRAPHER:
Yeah, I like you.
I like you.

Sorry. Me?

Come, come...

Yes, yes, very good.
Stay there.

PHOTOGRAPHER:
Hold it.

Syd.
Right, right,
very good.

Stay.

NIGEL:
Syd.

PHOTOGRAPHER:
Yes, here we go.

SYDNEY:
Oh, Nigel.

PHOTOGRAPHER:
Ah, parfait.
Beautiful.

Fantastique.

[THEME MUSIC PLAYING]