All language subtitles for Face Off - 3x10 - Scene Of The Crime.HDTV.CRiMSON.en

Previously on Face Off...

The artists scavenged
a junk yard

and assembled an army
of cyborgs.

- Awesome.
- All right!

I'm stoked.

Nicole's warrior princess
won her the top look

and Sarah was eliminated.

Now only four artists remain.

And tonight,
it's the last chance

for the artists
to make it to the finale,

in their most mysterious
challenge yet.

You'll be playing
the role of the detective.

- That's awesome.
- Cool.

I see slash marks,
claw marks, puncture wounds.

What the fuck?
This is a complete nightmare.

Shit.

I'm definitely going home,
and it's heartbreaking.

Did that just happen?

Onstage, emotions
run higher than ever before.

It just doesn't work.

The last person joining us
in the finale this season is...

I've made it this far,
I want to be in the finale.

In the end, only one
will win the opportunity

to be a guest lecturer

at Make Up For Ever's academies
in New York and Paris,

a new 2012 Toyota Prius V,
and $100,000.

And for the first time ever,
America,

your voice will be heard
in selecting the winner.

Only one will win Face Off.

Sync and corrections by n17t01
www.addic7ed.com

- We're the last four standing.
- Yeah.

We gotta step up our game,

and soon we'll be
the last three.

We know that there's
only three in the finale,

so everybody has to be
on their game.

You can't have a bad day now.

If you have a bad day,
you might as well go ahead

and pack your bags.

I'm gonna go downstairs
and get ready to go.

All right,
I'll be down in a second.

It's rough
getting started today.

There's that element
of pressure.

And I'm missing my husband.

I just want to make him proud.

And if it wasn't for him,

I wouldn't even have the courage
to be here right now.

If I can get to the finale
at least, then I can say,

"I did the best I could."

We're in the woods,
and it just looks creepy.

We head up a hill,
and there's a police car there.

- It's the guy from Grimm.
- Oh, my God.

Welcome to Cedar Grove
in Griffith Park.

Now, I'd like to introduce
a very special guest.

He has made hundreds of
television and film appearances,

on everything from Prison Break
to My Name Is Earl,

and is currently starring
on the hit NBC show Grimm.

Please give a warm welcome
to Silas Weir Mitchell.

- Hey, guys.
- Yeah!

Silas Weir Mitchell.
I recognize him right away

'cause me and my wife
watch Grimm.

It's one of our favorite shows.

Grimm follows
a homicide detective

who is descended
from an elite line

of criminal profilers
known as Grimms.

They're charged with keeping
balance between humanity

and the mythological creatures
of the world.

To do this,
they have a special ability

allowing them to see
the true physical appearance

of the creatures that lay behind
an otherwise human form.

So this week, you'll be playing
the role of the detective.

In these woods are four
different crime scenes,

each one with a victim.

Your spotlight challenge
this week

is to interpret
the clues at the scene

and create
the fantastical creature

that you think could've
committed the crime.

- Wow.
- Cool.

That's awesome.

I like the bloody and the gory
and the freaky, and all that.

So I think this
is totally up my alley.

Silas, you play a wolf-like
character named Monroe,

so you are intimately familiar
with the ins and outs

of the creatures of grimm.

What can you tell these guys
about them?

Just know that different
creatures will kill differently.

Like a person
who's a vilderman,

which is basically sort
of a caveman creature,

isn't gonna bite somebody.

They're gonna
beat them to death.

A blutbad might
rip your throat out.

A bee creature will sting you.

Just one prick,
and you're dead.

So you can see the reflection

of the type of creature
in the crime.

Fantastic.

- It's a dark world out there.
- I love it.

All right, guys.

So on my go, I want you
to rush into the woods

and claim your crime scene.

You will have 30 minutes
to study the evidence,

take photos, and sketch.

After that you can head back
to the lab,

choose your models,
and get started.

Now, before I send you off,

keep in mind that
this is your last chance

to impress our judges and earn
your way into the finale.

Good luck, guys,
because your time starts now.

We have to grab
our sketch books

and we have to go over
and find a crime scene.

And it's not ours
until we pick up

the number of the crime scene.

Oh, my God.

So I run to the crime scene
and I see a biker.

I look at the victim, and I see
slash marks on his chest,

claw marks on his arm,
puncture wounds on his face.

I'm thinking immediately,

oh, this looks like
a werewolf attack.

I really want to do
the wolf character.

So I claim this area, but then
I find a claw in the tire,

and I see feathers.

Once I see the feathers,
I'm thinking, "oh, man.

"I don't want to do
another bird.

I want to try to do
something different."

Oh!

I walk over to the crime scene,

and there is someone who has
been killed by venom injection,

so I think,
"oh, no, snake. Pass."

And I go off
into another direction.

I stumble along a picnic,

the picnic
has just been scattered.

There's stepped-on food.

The victim's got giant claw
marks on her chest, on her leg,

on her arm, and underneath
her nails there's gray fur.

She had been battling
with this thing.

There is also a baby shoe
with blood on it,

so I'm thinking that whatever
this creature is,

obviously slashed her to death,
but where is the baby?

I grab the number, and after
I check out the crime scene,

I'm already thinking
it's a werewolf.

I'm having a really hard time
sketching this out,

trying to find something
that's different and unique

about this werewolf.

It's so hard to make one
that hasn't been done.

Nicole and Derek are able

to get to
the other crime scenes,

and have already claimed them,

so I run to the crime scene
that Roy's looking at

and I grab the number
as quick as I can

because I definitely
don't want a snake.

Have they already
claimed the other two?

Whew!
Everything else is picked.

So now I have no choice.

That's not a good way
to start off.

I'm going
through the crime scene.

The most obvious trait
is the spider webs.

The victim has a bite mark
on her arm,

and she's had some sort
of allergic reaction

to some sort of venom.

She was also collecting samples
of what looks like pollen.

I thought, ooh,
wouldn't that be interesting?

She's stealing
this insect's food,

so maybe it doesn't have
to be a spider.

It can just be
an insect creature

that has spider attributes.

Because this is
the last challenge

before the final three,

I'm gonna have to do something
that people won't forget.

It's gonna have
a beetle-type head,

and then really long jaws
that come out.

I come to the crime scene.

I see he has, like,
these huge fang marks

all over his body.

And then over next to the tent

I see this giant egg
that's cracked open,

so I'm thinking
this is a snake.

My concept is that this camper
has come across this snake egg,

and the parent
has come looking for it.

So I'm gonna design
a snake creature.

I know I want the body
to be female shaped

but with scales,
sexy and tough.

So I'm thinking biker chick.

I look at the feathers
and the claw,

and the claw kind of looks
like a raptor claw.

Supposedly, you know, birds
have evolved from dinosaurs,

and some of them
do have feathers.

So my concept is
a raptor-looking human,

and it has feathers
just like a bird.

I think of it as what
a raptor would look like

if it had evolved,
if it didn't die off.

After the 30 minutes of design,

I'm not really sure
what direction I want to go in.

This is the last time to show

that I want to be
in the finale.

It's crucial
to make something great.

We get back to the lab,
and we have to pick our model.

Originally I was thinking
a wolf as a guy,

'cause, you know,
werewolves are usually men.

And then something
switches in my head,

and I'm like, you know what?
Do a girl.

Do a girl wolf.

Maybe in that way I can make
this unique and different.

We have six hours
in the lab today,

so I start working
on a sculpt for the face.

I want to get that
finished and molded

by the end of the day.

It's really hard to do a snout
and make it not look cartoony,

so I want to look
through the books

and see if I can find
different stuff

that's gonna help me
make my sculpture better.

So I've got
all these little scales

that I have to take
and put into the sculpture.

So I think if I take it

and stretch the fishnet
pantyhose over it,

I can get that scale pattern,
and it will be really quick.

It's super weird being
in the lab right now.

It's so quiet.
Creepy quiet.

We all feel the tension
of the finals.

Laura does not look very happy.

She's got her very serious
face going on,

so I know her brain
is going 100 miles an hour.

I would like to have the face
and the cowl sculpted and molded

so that I can run them
in foam today,

but something is--
something's going on.

Great.

All of a sudden,
I'm second-guessing my concept,

I'm thinking about my husband.

I mean, I just, my mind
gets into a very... dark place.

So every five seconds,
I'm trying to shake it off,

trying to shake it off.

But every time I go back
to the sculpture,

it just doesn't seem
good enough.

I'm definitely going home,

and it's extremely
heartbreaking.

Coming up...

Trying to open this mold
is pissing me off.

What the fuck?
This is a nightmare.

I've gotta try to save
this makeup.

I made it this far,
and I want to be in the finale.

Something's going on.

All of a sudden,
I'm second-guessing my concept,

I'm thinking about my husband.

I mean, I just, my mind
gets into a very... dark place.

I know that my husband
would want me to do well,

and the only way
that I'm going to be able

to get my head in the game

is to try to block out
those thoughts.

So I decide, okay, let's
make lemons out of lemonade.

If I can get everything
sculpted by today,

I will mold them

at the beginning
of the day tomorrow

and still be
in good enough shape

to finish everything else
that I need to finish.

Just finishing up
some detail on my sculpture.

Now I'm just gonna
start molding,

and hopefully get it done today

so I can focus
on everything else tomorrow.

At this point
I'm up in the air.

I don't know
if I'm gonna make the mouth

go all the way up the cheek
or just keep it small.

I still have the shape of that
in the sculpt.

If I want to paint it
last minute, I can.

That's time, guys.

At the end of the day,
I'm frustrated.

I have a lot of work
tomorrow to do,

and I'm extremely nervous.

Good luck, everybody.

It's day two in the lab.

We got ten hours today,

and I got a lot of stuff
to get done.

I've gotta get my body sculpted
and molded and poured.

So I'm trying to figure out

what kind of scales
I want to put on it,

and design
the middle section of it.

How'd yours come out?
Let me see.

Good.

My foam piece came out awesome.

So I go back
to sculpting the cowl.

I'm using a tool to make
little dots around the area

where the feathers are gonna be

so it doesn't look like
it's just glued onto the head.

I'm looking around
at all my pieces,

and they're not as bad
as I thought they were.

When you get into
the wrong frame of mind,

no matter what you do,
everything is bad.

Now that I'm coming in fresh,

I decide
I'm just gonna go ahead

with the original concept,
with the original sculp.

I've already done the work.
Let's bust this out.

The chest is something
that's gonna sell the wolf.

The ribs are being compressed,
and this monster is coming out,

but then I still want
to keep it a girl.

I'm struggling with making sure

that this thing is going
to look right.

- Hi, guys.
- Hello.

I brought a special guest
with me today

to help give you some tips.

He's worked on
some pretty big films,

like Mission Impossible III,
Dawn Of The Dead.

He won an Oscar
for JJ Abrams' Star Trek.

He also happens to be
the makeup designer for Grimm.

Please give a warm welcome
to Barney Burman.

Awesome.

Wow!
Oh, my God.

McKenzie walks in
with Barney Burman,

and I'm, like, freaking out.

I get teary-eyed.

Oh, my God,
this guy is awesome.

- You ready to do this?
- I am.

All right.
Let's get started.

- Good morning, Nicole.
- Hello.

- How are you?
- How's it going?

- Good to see you.
- Good to see you.

- Hi.
- Awesome to meet you.

Pleasure to meet you.

What did the clues lead you
to believe caused the crime?

I'm thinking it's, like,
a wolf-type creature.

I want to have fur coming
from, like, the elbows,

from, like, the calves.

And so she's not all the way
into the werewolf form yet.

That's good,
that's actually a lot more Grimm

is to have those elements
of human still showing through.

That makes me feel better.

I decided to go with more
of a raptor-human creature.

You've got this mouth
that extends back this way,

and you'll do that mostly
with coloring?

I do have the shape,
just to give it an effect.

But it's gonna be a smaller
mouth and shadows here.

Why not go ahead and create
that mouth back there?

But I'm kind of worried

that I didn't sculpt
more of a mouth there.

If you're going
with a paint job bold enough...

- Yeah, okay.
- You can compensate for that.

Cool.

I'm creating
a female reptile character.

Hmmm.

Looks like you're really
focusing on makeup,

to work of the face,
no fabrication.

I'm not doing
any fabrication at all.

I'm giving those judges
what they wanted.

I'm actually
using the combination

- of silicone and foam latex...
- Oh, cool.

'Cause I think that my pieces
would be too heavy

to do 'em
that thick in silicone.

Are you going to use the foam
latex as, like, a filler...

- Right.
- For the silicone piece?

So then I get the flexibility

plus the translucency
of the silicone,

to make it look more snakelike.

It's an important element,

to focus in on the smaller
details sometimes,

rather than just the bigger,
broader picture.

Yeah.

So I've kind of combined
the idea

of a spider, beetle,
bumblebee monster.

What are you thinking
about the color scheme on this?

Right now I have black going
into green going into purple,

with an iridescent kind of pearl
over the entire thing

to give kind of a beetle look.

I think if you get that sort
of shimmery quality to it

that's going to look
pretty cool.

With Barney helping me
to figure out the color scheme,

it's all starting
to fall into place.

- Thanks, Laura.
- Good luck.

So let's start with Nicole
and her wolf.

Seems a little basic,

but that is not always
necessarily a bad thing.

When you get into laying hair
and the color scheme,

that can make up for a lot.

What do you think
about Derek and his raptor?

I'm personally just worried

that he might go a little muted
with the colors,

but I think
it's got good potential.

Let's move on then
to Roy and his snake.

The sculpt is looking
really interesting, really cool.

Last but not least, Laura.

I like what
she was talking about.

And I liked what little
I could see of her sculpt

peeking out from underneath
the mold process,

it looked like she's got
a good handle on it.

So is there anybody
at this stage,

from what you saw,
that you're just loving?

I'm really greatly
looking forward to seeing

Roy's snake and Laura's bug.

Because Roy and Laura
both have a bold quality

in their sculpture
already going.

Derek and Nicole

are going to rely a little more
on the finishing work.

All right, well, I can't wait
to see how all this turns out.

- No, neither can I.
- Thank you for being here.

Thank you.

All right, guys.
We're heading out.

- Good luck tomorrow!
- Thank you.

Whatcha doing?

I'm pouring a body.

- Silicone?
- Uh-huh.

I'm gonna use silicone
'cause it's translucent.

And snakes-- they a little bit
of a translucency to 'em

'cause they shed their skin.

I've tried for two other
challenges to pour silicone,

and I've been having some issues
with it being too heavy.

So I'm trying to make the whole
thing as thin as possible.

Maybe this will give me the skin
that I need to make it work.

Okay, so...

The arm pieces I'm sculpting
are not too elaborate.

I kinda wanted to have an area
to push those feathers in

so it looks like
it's growing out.

Trying to open this mold
is a complete nightmare.

Fuck.

It's not working on the table.

I put it on the floor.
I'm trying different tools.

I try to step on it,
and I'm pulling on it.

That's not working.
It's just a little bitch.

I think it's all the clay
that I put in the chest area

that's locking up on the side.

I have a serious risk
of cracking this mold

or damaging something.

Really?
Like what the fuck?

Why isn't it pulling up?

I cannot get it off
to save my life.

What is going on?

We have a very different occupation
than the normal, every day person.

We have limbs and weird things
hanging around in our house.

I worked on this film, and I had
to make this guy with this brains out.

I kept the prop and I had it
sitting in my living room and

we had... the public that
came to the house...

looks in him and sees it and
just stops taking to my wife.

Oh, my God.

- And he's just staring at it...
- Freaked out.

And she's just like... it's okay,
it's not real, it's just a prop.

You never know what's gonna happen
living with a special effects artist.

Only in our world.

Trying to open this mold
is a complete nightmare.

What the fuck is going on?

I'm really freaking out
at this point.

I've got so much other stuff
I need to get done.

Why isn't it pulling up?
It's pissing me off.

I can't get it off.

I cannot get it off
to save my life.

Roy comes by,
and he starts helping me,

and then Laura comes over too.

- All right.
- Oh. There we go.

- Yeah.
- Fuck.

Release!

Okay.
It was just all this clay.

Finally, this thing comes off.

What a frickin' relief.

- Thanks, guys!
- You're welcome.

So I'm trying
to make spider webs,

and I'm not sure how to do it.

Let's hook it up back here
to the big air pressure,

and I'll show you
how to make a good web.

Turns out Roy
has this amazing technique.

So you stand back about right
here and shoot it that-a-way.

Oh, all that way, huh?
Okay.

He shows me how to do it.

- See?
- Yes.

A lot better, ain't it?

You just drizzle glue
over an air compressor

and blow that out,
and that makes a spider web.

I'm going spider web crazy now.

Everybody's makeup so far
looks pretty cool,

like the sculpts and designs.

I'm worried.

There's only three spots left,
and I want one of 'em.

At the end of the day two,

I've already started
pre-painting,

and everything's made.
And if I don't screw up,

I know that I'll at least be
going to the finals.

There's only five minutes left.

By the end of the day,
I'm worried

because I have a lot of work
set out for me tomorrow,

'cause there's
a lot of hair stuff

that I have to do on the model.

And I have a lot to do
in four hours tomorrow.

All right, that's it.
Time's up!

Let's go.

- I'm so tired.
- I know.

It's, like, crazy to be here.
Everything's different.

The house is different,
the shop's different.

I'm nervous.

I mean, it is what it is.

You go home, you go home.

At this point,
it could be anybody's game.

I know.

Oh, my God.
Tomorrow is the day.

Either we're gonna make it
or we're gonna go home.

It's application day.

We have four hours in the lab,

and one hour at last looks.

I get to the lab and I start
getting my foam pieces ready.

There's a lot of painting
I gotta do,

a lot of applications
I gotta do.

I'm definitely worried
about time.

Whenever you're
just sitting there,

four hours
can seem like four days.

But whenever you're under
that kind of pressure,

it seems like four minutes.

Hey!
Laura. Nice to meet you.

You're gonna be a werewolf.

Let's see
how this is gonna fit.

I really hope this fits you.

Let me just hold this up
and see.

First thing that I need
to start doing

is look at this chest piece
on my model,

and just kinda see
where it's gonna lay...

Oh.

But it's not fitting
the way it's supposed to.

We could still tape 'em
a little bit,

maybe tape 'em together.

I planned on getting
this chest piece glued down

in, like, ten minutes,

so this is stressing me out
already.

Oh, probably should have
left your ears in.

Perfect.

Here comes the paint.

I didn't put a lot of texture
into the sculpture,

so this paint job
is not only crucial,

but very involved.

You're gonna be colorful.

I think-- oh, man.
This is a lot of stuff to do.

I just gotta get it done now.

Just relax.

Me and Teisha
go in the bathroom

to fit this chest piece.

- Do you want me to hold it?
- Yeah.

I'm gonna do a little bit
of tape too.

We're trying
so many different options,

but the tape is not working.

It's uncomfortable for her.

- It might pop off, huh?
- I think so.

All right.
Let me grab some saran wrap.

This turns into a nightmare.

Nothing's really working
until I get the cellophane.

It took a lot longer than
I ever thought it would take.

We've gotta hurry.

Fucking shit.

Okay.

A lot is coming unglued.

I'm having some issues
with the chest piece.

I'm having a hard time
getting it glued down properly.

This is starting
to come loose too, dang it.

I'm not even gonna
try gluing it down

'cause I know
it's gonna be an issue.

But I think I can at least maybe
cover it up at last looks.

Okay.

Let me put your feathers on.

I start opening holes
in the prosthetic

and sliding the feathers in,
and it's taking a long time.

So once I start getting
to the back,

I figure out that I can just
pull off some of the feathers

and bend the quill a little bit
and glue 'em down.

I definitely don't want
these feathers to fall off.

No, I gotta put 'em
on your elbows still.

I hate this hair shit.

I decided to go with hair,

'cause I wanted
to do something different,

something with a little bit
of a human element.

I've glued the wig down
to the bald cap, so, you know,

I gotta go with it,
but it just will not keep

the shape that
I want it to keep.

I think I'm gonna have
to cut in this snake part

and have the hair
come through it.

Time's running out.

So I'm thinking I can take it
and I can cut holes in it,

almost like a ear piercing.

I can also put the wig down
and keep it in a decent shape.

15 minutes.

All right.
That's time, everybody.

Can't forget this.

It's only hours away
from finding out

who the final three
are going to be,

and I'm worried
because I don't know

what the judges
are looking for.

I feel it's anybody's game.

Coming up...

I've gotta try
to save this makeup.

I've made it this far,
and I want to be in the finale.

The last person joining us
in the finale this season is...

The risk of going home
is back again,

and this is the last time
to show that I can do this.

So I unpack my kit

and start adding blood
to the mouth.

Keep 'em open.

Steel toe, of course.

There's no way for me
to cut that open

and shove the claw through,

so I don't know
what I'm gonna do.

The hair
looks like bad sex hair.

I gotta try to save it.

I've made it this far,
and I want to be in the finale.

This just is not my day.
I can tell you.

You're right.
It's the other way.

First we need to do the arms.
Those are crucial.

It's just how I planned...
but not really.

Unfortunately
the gaff tape is black,

and the black's not sitting
so good with the white.

15 minutes.

It's not gonna look good.

The talons are one of the things
that I found on the crime scene,

so I think it needs it.

Let me see if I can
somehow put these things on.

I literally have
like one minute left.

It's worth a shot.

I have no time to lose my mind.

All right, guys!
That's time!

The claw doesn't
really look good.

I'm just really worried
right now.

I'm thinking
the judges might hate it.

Welcome to the Face Off
reveal stage.

Tonight, one of you
will be eliminated,

and three of you
will make it into our finale.

First, say hello
to your judges.

Owner of Optic Nerve Makeup
Effects Studio, Glenn Hetrick.

Good evening.

Three-time Oscar-winning
makeup artist Ve Neill.

Good evening, you fab four!

Creature and concept designer
Neville Page.

- Good to see you.
- Hey.

And joining our panel
this week,

he's a writer and producer

who has worked
on incredible projects,

including The Secret Circle

and the supernatural thriller
The Mothman Prophecies.

But most importantly,

he's one of the producers
of Grimm.

Please give a warm welcome
to Richard Hatem.

It's great to be here.

He writes Grimm, and he thinks
about these characters,

knows them in depth,

and can really give insight
into the Grimm world.

Richard, thank you so much
for being here tonight.

Thank you for having me.
It's great to be here.

So guys, this week,
your spotlight challenge

was to interpret clues
from a crime scene

and then create
a Grimm-inspired creature

that might have committed
that crime.

First up is Laura's creation.

I'm loving it.

It reminds me
of a fly's movements.

It's very brightly colored.

You know, it's working onstage,

so I'm excited to see
what the judges have to say.

It could look better,

but it's definitely
not a train wreck.

I'm looking at the judges

and they don't look
that impressed.

You can really
see the human there,

and then also you can
really see a creature there.

It makes it more Grimm-like,
and I like that.

I love it.
I love how it turned out.

I love the Mohawk look too,
with the feathers,

and the feathers
coming out of the elbows,

and the way
that my actor is moving

and, you know,
it just looks really cool.

Judges, why don't
you take a closer look?

Can you stand?

I really like
this webbing stuff.

Can you turn around for us?

Oh!
Oh, okay.

It's kinda beautiful
at the same time

as being totally disgusting.

I get the general sense
that they're critiquing it

a little bit more than normal.

And maybe that's because
this is the final four

and they just
really want to be sure.

The hair is actually
coming through the ear.

- Why?
- I don't know.

I'm worried about the hair,

'cause that just
does not look good.

Looks like the sculpt
is pretty solid.

This is kind of a neat
treatment up in here

those little bumps
around there.

The shape is very weird to me.

It should carry up
to the clavicle

- and not end here.
- Yeah.

Oh.

So... they, like,
pull on my ear.

They're noticing that it's
not sitting where it should.

I'm really bummed.

I'm just thinking that
this could be it for me.

Tell us who you think
should make it to the finale

using #FaceOff on Twitter.

Look at how these ears
are just glued on the hair.

This is nerve-racking.

I can't go home.

I have so much left
I need to prove.

I like the color,

'cause it's almost
like a zombie werewolf.

You know, this looked,
from afar, a lot better

than I think it does up close.

- I do like the mouth.
- I do too.

The only concern I have
is the feathers on the elbows,

and the missing claw.

But everything else,
I think, looks really good.

It's definitely gonna be
a tough decision.

Yeah, definitely.

All right, thank you.

So, Richard, what do
you think of tonight's work?

I'm really impressed.

All of these are showing
a lot of creativity,

and they're really
freaking me out.

Okay, well,
the judges would like

to speak with each of you now

to learn more about your work.

Derek, you're up first.

Derek,

give us the backstory
of your character.

My crime scene had a biker
who looked like he got jumped.

Then I found a claw
and feathers.

So I thought of what a raptor
would look like

if he evolved.

I was impressed
by real interesting choices

as far as breaking up
the colors.

But what I was most impressed
with is, for once,

you have not overworked
or overthought

a particular element

at a detriment
to a separate element.

So I think you did
a really good job

of balancing your time

and presenting
a complete makeup.

Thank you.

All in all, I think
you were really successful.

I'm disappointed that his back
doesn't have as much detail

as the rest of him has.

What is the justification
for the raptor toenail?

I did that
'cause I just didn't have time

to sculpt a whole foot.

It's such a profound statement

- that it seems odd...
- Yeah.

How it comes out of the shoe.

Talking about that raptor claw,

that's an interesting
Grimm detail,

as something changes from
one manifestation to another.

I just think
it's really clever.

- I really like that.
- Well, thank you.

Derek, thank you very much.

Will you please step back?

Laura.

So Laura, tell us about
your concept for your creature.

My concept was that
he's human at the bottom,

and then he transforms
into an insect creature.

And the wings are coming out,

but it's, like,
mid-transformation.

This is where all
the spider webbing comes out of,

through that point.

So when we saw the victim

and there was a lot of spider
webbing all over the trees,

that's where
it's jutting out of.

It's a weird choice for me,

having those wings
coming out of the arms,

but I do like the idea
of the webbing and all of that.

- And that's really cool-looking.
- Thank you.

There's a lot of details

that you wouldn't think
would work together,

but they actually
work together really well.

- So I like it a lot.
- Thank you.

What you did with the color
this week is very difficult,

because you've got
three going on.

That's horrifying.

I probably would've
fought against that

if I was asked to build it.

It's so well done
it blows my mind.

Thank you.

- Laura, please step back.
- Great job.

Roy, you're next.

So Roy, you show up at
a camp site, and you see what?

I see a camper that is dead,

and he has several puncture
wounds on him.

And he's also found
a giant egg that has hatched.

And so I'm going
under the assumption

that that was a baby
snake creature of some type,

and this is the mother
that's come to reclaim her baby.

The sculptural elements
of this are so good.

Your sensibility to line
and form is really fantastic,

and there's some general shapes
happening in the head

that are beautiful.

The placement of the fangs,

what's the reasoning
behind that?

I wanted to do
something different,

because I'd never
seen fangs coming out

from this part
of the cheek before.

And there's a reason why.

Because it just doesn't
make any sense.

Physiologically,
it doesn't work.

I'm really happy
that you gave us

a complete makeup
this week, Roy.

But I am a little disappointed
with this wig.

You didn't need
to put red hair on her

to let us know
that it was a woman.

The decision specifically

to pull the hair
through holes in the ear,

I am really at odds with it.

Even though you've given me
a lot to be proud of,

you've made
some finishing decisions

that have crippled you.

Roy, please step back.

Nicole, you're up.

Obviously this is
a terrifying creature,

and yet at the same time,
there's a story behind her.

Can you tell us about that?

She's kind of transforming.

I was thinking that this
breastbone is popping out,

and then stretching the skin
so it's bursting out.

I love this creature.
It's really scary.

I really like the color,

because it almost looks
like a zombie werewolf.

I think it's a cool design.

I think that
the wardrobe decisions,

which I generally try
not to harp on

unless they're distracting
to me-- this week it is.

I gotta tell you,

I like the fact
that you paid attention

that there was gray hair
at that crime scene

and you decided
to do a gray wolf.

That's really cool.

But I think your hair work
was very weak.

If you would have put
on less hair

and a little bit shorter,

it would have been
a lot more effective.

Okay.

- Nicole, please step back.
- Thank you.

All right, the judges
have heard what you have to say.

If you'd please head back
to the makeup room

while they decide
who will move on to the finale.

Let's talk about
the looks tonight.

I think we like 'em all.

We do, yeah.

This is a toughie tonight,
guys.

- Oh, boy.
- Why don't we start with Derek?

I felt this was
the best balanced makeup

that he's presented so far.

I liked the paint job
that he did.

That sculptural thing of
the mouth going up to his ear,

it's very lizard-like,
very reptilian.

The overall effect
was fantastic.

And again--
scary, fierce, menacing.

That's the sort of thing
that we ask for.

All right,
let's move on to Laura's.

I love the color choices
she made in this creature.

One thing that she did so well,

she went so old school
on those little wings,

with just wire
and plastic wrap.

Yep.

It was such
a great little detail.

Okay, let's move on
to Roy's creature.

It's a love-hate thing
for me,

'cause I just
so love the sculpt.

The placement of the fangs,
killing me.

But not nearly as bad
as that hair.

When asked not
to fabricate anything,

just do a makeup,

he still couldn't help himself

from covering up
what is otherwise a good makeup.

So I was really
disappointed in him.

Not in his makeup,
in his decision-making.

Yeah.

All right, and lastly,

let's discuss
Nicole's creature.

You talked about
the costume choice

- that you really didn't like...
- Yeah.

- And I really did like.
- Right.

It was intriguing.

One of the things I would like
to see her do, though,

is be a little bit
more sophisticated

and subtle
with her sculptural choices.

I really like Nicole.

I think she's got
a great design aesthetic.

When she just lets herself go,

she comes up with
some really great stuff

without even realizing
how good it is most of the time.

Okay, judges.
Have you made your decisions?

- Yeah.
- I think so.

I believe we have.

Fantastic.
Let's bring them back out.

So Glenn, who is the winner
of this challenge

and the first person
to make it into the finale?

This week's winner is...

So Glenn, who is the winner
of this challenge

and the first person
to make it into the finale?

This week's winner is...

Laura.

Congratulations.

Thank you!

You took huge risks
this week between your big,

beetle-esque sculpture
and your intricate paint job.

Very impressive.

Thank you.

Thank you very much,
all of you.

I'm stoked.

The fact that these judges
believed in me

and they want
to see more of my work,

it's incredibly validating.

So Glenn,
who is the next person

to make it into the finale?

The second person
going to the finale is...

Derek.

Thank you. Thank you.

Derek, this is probably
the most complete makeup

that we've seen from you,

and it's very obvious
that you have evolved

since the beginning
of our competition.

Thank you.

- Congratulations.
- Thank you.

Derek, great job
on making it into the finale.

Thank you.

I definitely cannot believe
I made it this far.

It's a good feeling.

Well, we have two artists left,

and only one spot
in the finale.

Glenn, who gets the final spot?

The last person joining us
in the finale this season is...

I plan on being here
till the end,

and I want to be
the last person standing.

This is it.
I cannot go home again.

I can't!

Nicole.

Oh, my--

Oh, my God, are you kidding me?

Wow.
It's so insane.

I just don't believe it.

Oh, my God!

Congrats.

Oh, my God.

You clearly had
some great ideas tonight,

and there's a lot of promise
in your makeup.

We definitely think
you have more to show us.

Thank you so much.

It's incredible.

I went home
and I worked my butt off,

and I came back and made it
to the finale.

Now I have one last chance
to bring everything I got.

Oh, my God.

Roy, I'm sorry to say,

but that means
you will be leaving us tonight.

Roy, it's been wonderful
for all of us

to have an opportunity
to see your work.

You think big, and you're
willing to take chances.

- Good luck.
- Thank you very much.

Roy, it has truly been great
having you here with us.

I'm so sorry,
but you have been eliminated.

Please head back
to the makeup room

and pack up your kit.

- Thank you very much, guys.
- Thank you.

- Good luck, Roy.
- Good luck.

The three of you
have done an incredible job

to get this far.

There's only
one challenge standing

between you
and our grand prize.

Please head back
to the makeup room.

- Thank you.
- Thank you.

I'm very surprised.

Getting this close
and not making it...

is the hardest part.

- I'm shocked, honestly.
- I'm shocked.

I got to show what I can do.

I got to make stuff
that I could never make at home.

I feel good about my time here.

I don't work for a living,
I get to play for a living,

and not many people
get to say that.

So I'm definitely
gonna continue with makeup.

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