All language subtitles for Face Off - 2x04 - Night Terrors.HDTV.en

Previously on Face Off...

The artists were faced with
a nude body painting challenge.

I can't look at them.

Matt's incredible blend
was crowned the winner.

And Miranda was sent home.

Now 11 artists remain.

Tonight, the artists must
face their fears

in our most disturbing
challenge yet.

This place is considered

one of the most
haunted hospitals in America.

- Oh!
- Don't do that!

I was scared, I was scared!

And it's not long

before things start
to fall apart.

There's some big mistakes here.

I have one shot
to get this right.

I think you kind of
missed the mark.

I could care less
what you think.

I'm screwed.

There's a pretty good chance
I'm out the door.

That's either gonna be
really damn cool

or it's gonna be
a huge disaster.

I'm a huge fan of this makeup.

But to make it to the top,

they'll have to impress our
award-winning panel of judges:

Ve Neill, three-time
Oscar-winning makeup artist

whose work
includes Beetlejuice,

and this summer's
The Amazing Spiderman.

Patrick Tatopoulos,
production designer

on this summer's Total Recall,

and director of
Underworld: Rise Of The Lycans.

And Glenn Hetrick,
cutting edge makeup artist

on The Hunger Games,

and custom designer
for Lady Gaga.

Only one will win Face Off.

Sync and corrections by n17t01
www.addic7ed.com

Hello.

Hello?

Oh, my God.

How am I gonna get dressed
in 15 minutes

with all these girls?
So I-I panic.

I'm, like, what in bat-[Bleep]
is going on?

Here we are in the middle
of the night

in front of this
abandoned hospital,

and it's just really creepy.

Oh!
Don't do that!

Don't--
- I got scared, I got scared.

- Don't--
- I got scared.

- Do that.
- I didn't do it on purpose.

The lights are flickering,

and I don't even know
when the last time

anyone's even been
in this place, or...

What's still living
in this place,

and I don't want no part of it.

Welcome to Linda Vista
Community Hospital.

This place was
shut down years ago.

It's now considered one
of the most haunted hospitals

in America.

I brought you here
to get you in the mood

for your next
spotlight challenge.

This week, you will each create
your very own horror villain.

Whoa.

All of a sudden, all these
words pop up on the walls,

and they're all phobias.

Most of them, I just
have no clue about.

Scrawled on these walls are
some very disturbing phobias.

Now each of you will have
to select one,

and your makeups
should reflect that fear.

All right.

Let's see who's going
to pick first.

Sue.

Um...

Hadephobia.

Hadephobia is the fear of ll.

Oh, I don't want that one.

You picked it.

Beki.

Think I'll take
the parasitophobia.

I'm thinking to myself,

I might be able to create
something pretty cool

for the fear of parites.

Ommetaphobia?

Ornithophobia.

- Cryophobia.
- Odontophobia.

Some of them
were pretty obvious.

I decided to be
a little daring,

and pick something
that I had no idea

what it was...

Xyrophobia?

- The fear of razors.
- Ooh.

Athena.

Merinthophobia.

The fear of being bound
or tied up.

Xerophobia.

Electrophobia.

Chemophobia.

Okay, everybody.

Now it's time
to start your sketching.

But to get you in the mood,

you're gonna have
to do it alone in the dark.

You'll have 30 minutes
to come up with your designs,

and then you can head back
to the lab, choose your models,

and get to work.

Grab your flashlights
and go to your rooms.

Middle of the night,
the witching hour.

I'm afraid of the dark,
so that's fun.

There's nasty stuff around,

and we have to sketch
in pitch black

in haunted rooms by ourselves.

Hadephobia is a fear of hell,
and now it makes sense.

I started sketching out
this kind of satyr-like being

that was just really primitive,

and it really scared me,

and I was, like,
this is gonna be a winner.

Feeling a little
creepy in here.

Some kids' toys on the ground.

Not really liking
that too much.

I've been on bottom twice,

so if I'm on bottom again,
I feel like I'm going home.

My fear is odontophobia,
which is the fear of teeth.

I'm going with a
tooth-fairy-type feel,

which is gonna be this demon
that, uh, comes around

and steals little girls'
or little boys' teeth,

and, uh, he makes patterns
into his skull.

Basically my story is, uh,
this girl was raped

when she was a kid,

and now she finds guys
who want to play with her,

and she kills them
with her ropes.

I picked xyrophobia,
fear of razor blades,

because if you worked
in a hospital,

razor blade, scalpel,
hey, maybe he's a mad doctor

who shoved razor blades
into his face

and shoved them into his bones.

Afraid of eyes, seeing eyes.

Afraid of seeing eyes.
Afraid of...

I have no idea what to do
with ommetaphobia because...

Does the fear of eyes mean
the fear of looking at eyes?

The fear of what
they're looking at?

The fear of
what they look like?

Creatively, I have nothing.

- We are done with our
half-an-hour of sketching,

and it's time to go to the lab.

Thank God we are out
of this creepy place.

We have four hours
of work today,

and my goal is to finish
with my sculpture

by the end of the day.

This will be one
of the first challenges

where you can truly see where
everyone's skill level is at

because this is our first
individual challenge.

And I'm gonna really
push my concept,

and either go big or go home.

As of now, I'm a little lost.

So I figure, well, I'll just
start slapping some clay on.

I can figure it out that way.

I'm looking at Beki, and she's
like a Speedy Gonzales.

My phobia is parasitophobia,

and I plan on creating
a gigantic, beautiful parasite.

I just start slam-dancing
the clay because...

You have got to sculpt
as fast as possible

so that you can have
a workable piece.

I get chemophobia,
being scared of chemicals.

The idea that I see,
I see it right away

when I touch the clay.

I almost think
this is not fair.

I do chemical warfare
and chemical burns

as part of my job description.

I chose the fear of birds.

My concept is a guy
that realized

that he had a-- a-- somewhat
of a symbiotic relationship

with them, where they live
inside of him.

Xerophobia is fear of dryness,

so I start thinking
of very cracked, dry,

husk-like,
slipping skin.

What are moisture areas?
I think the eyes and the lips.

So removing those could add a--
a cool effect to the character.

Making stuff up as I go.

You're still not happy
with your design?

I don't have a design yet.

I have a piece of crap.

It doesn't look like anything.

I know it's crap,
and I-I still have no idea

what to do with it.

Here I am running out of time.

If I don't get
my sculpture done...

Time is up, let's go.

I'm screwed.

Oh, let's get to work.

The challenge this week
is to create a horror villain

based off of a phobia.

Nice.

As I'm looking around the shop,
I have yet to see Tara

create something
that she feels confident about.

I think just, in general,
my head hasn't been in the game.

It's good to walk away
from your sculpt

and then come back to it.

You see something
maybe differently.

An idea finally comes to me.

I start to think about
mythology and Egypt,

and the all-seeing eye
of some kind.

I like it.

- This?
- Yeah.

Cryophobia is the fear
of ice and frost.

I really want
to make a character

that has that frostbitten
look to him,

and I also want to make ice
that's not so fake looking.

Hey, everybody.

I am here with Glenn today
to do a walk-through,

and also our special
guest judge this week,

Tom Savini.

- Whoo!
- Hi.

Tom Savini is, I think,

everybody's idol
in this industry.

He's created some
of the best gore makeups.

Zombies...I mean, to this day,
still-hold-up-in-our-industry

makeup effects.

- Hey, Sue.
- Hello.

Tom Savini h has one of the best
special effects schools,

and I went to it.

I wanted this person to have,
like, the symbolism of chaos,

and just take this goat's head
and put it on him.

Yeah, I think
it's pretty creepy that

this hideous guy,
as hideous as-- as he is,

decides to wear that.

So you sculpted
this really quick,

had it molded, and already
had the foam ran in it?

- Yeah.
- Have you ever seen anyone on--

On this day that's already
sculpted, molded, and--

And got a piece of foam back
to fabricate them?

- I don't think so.
- I don't think we have.

- No.
- In this business,

it's one thing to be good,
but you have to be good

and fast.
Right.

Just the fact
that Glenn had noticed

how much work I had done.

To me, that gives me
a boost of confidence.

- How you doing?
- Hey, Ian, how's it going?

That's a big wisdom tooth.

Yeah, real gummy looking, uh...

What does the rest
of him look like?

The rest of him?
He actually has, like,

a jedi monk's cloth cloak.
He's got, like, samurai pants,

and, uh, even
ninja boots, and--

So it just fits
in the whole picture to...

- Yeah.
- All right.

- Hi, Athena.
- Hello.

So tell us about your phobia
and your concept.

It's a fear of being tied up.

I'm kind of building this,
like, rib cage,

but it's gonna
be under the skin

so it will look
like she's slimmer.

I have ommetaphobia,
which is the fear of eyes.

She's this
Egyptian goddess--

It's a bit mask-y,
so how's this gonna work?

Well, this is all
gonna be an appliance,

and then I'll remove the horns
and mold those separately.

It is electrophobia
and the fear of electricity.

My take on that is, uh, kind of
a '30s, '20s psychiatrist

who's really into giving
electric shock treatment.

Will there be any light
integrated into this?

I have a-- a bunch
of lighting stuff right there.

Oh, okay, so you're gonna try
to do some lighting stuff, okay.

All right.

Okay, 'cause
you can flash those.

I'm going for it.

Right. Now I have
to make these flash.

So this is pretty cool.

What is this?
Where did you get this?

I don't know
what this thing is, actually.

We found it
in the bin over there,

and so I thought, well,
that would be kind of cool.

Maybe he embedded them
into his face

along with the razor blades.

I took the lips away
and I sunk the eyes in,

and-- and kind of
let the flesh take over.

It's just a wrinkled, uh,
dehydrated being.

That's pretty disturbing.

My guy has basically
died of infection

of the mustard gas.

The guy that we made grandpa
in Texas Chainsaw Massacre,

we was a tunnel rat in Vietnam,
and he had wounds behind--

Mustard gas.
And it's been 20 years,

and they just still
are open and sore

as if they occurred yesterday.

So tell me about
what you're doing here.

This is a frozen surface
that's kind of cracking apart?

Yeah, 'cause he's got this
essential unit

that produces this coolant
that goes up to his face--

I decided to make
kind of a--

A messed up face under a mask.

This is gonna be a makeup,
and-- and this raven-like piece.

- Right.
- Well, it's good

that you have a solid direction,
though, aesthetically.

You're not just kind of
poking around in the dark.

All right, gentlemen.

I always like Rayce's concepts.

He's so very, very strong.

And this is the first time

we're going to get
to see him execute them.

If he can do it
on paper quickly,

and then nail it,
go, sculpt, mold,

it's a huge advantage.

So who are you
most concerned about?

I'm really concerned
about Tara.

She has sculpted a female face
over the female model.

Why would you sculpt a woman's
face over a woman's face?

Yeah, when you're not
doing anything to it.

There's no travel patterns.
When there's nothing else

going on except eyes
all over the place.

Now with Sue, there seems
to be a-- a gap

between the style in which
the face is sculpted,

and the style in which
the helmet is sculpted.

It could end up being a bit
of a train wreck aesthetically.

All right, guys.

Thank you, and good luck.

- See you tomorrow.
- Thank you.

- Bye.
- Bye.

Time to make a mold.

When you mold,
you put on the plaster,

which makes a negative replica.

After that's dried, then you can
actually put the two together

and pour any material you want
in between the two,

and push them together,
and that creates your mask.

'Ll probably be hella
mold makers after this.

- Don't jinx it.
- Ha, ha.

After Glenn and Tom's visit,

I start thinking that I need
to change something

with the little
amount of time I have.

Do you think it'd be bad
if I chopped my thing in half?

Like she had
no bottom prosthetic?

Ooh.

Yeah, and just use her face?

So I chop everything off
from the cheeks down,

which is good because
it's a makeup

and it won't look like a mask,
and it'll save me time,

since I lost so much time
figuring out

where the heck
I'm going with this.

It's gonna be tricky for me

to pull off the mold
from the replica

because my sculpt goes
all the way back past the ears,

and when you have that much
surface area covered,

it creates a lot more suction.

Did you get locked?

I cannot mess up
on the mold because...

All the time I spent
sculpting is useless.

I have one shot
to get this right.

Did you get locked?

The problem is, my sculpt goes
all the way back past the ears.

Nothing?

When you have that much
surface area,

it creates a lot more suction.

But I have one shot
to get this right.

- Oof!
- Yay!

Thank you.

You add blood to it,
that's when it kicks.

Little bit of blood
goes a long way.

That's what I say.

The good part about being
in a solo challenge,

I'd say, is the fact that
I'm the one sculpting it,

I'm the one painting it,
and I get to do it all.

Me, me, me, me, me.

No, she doesn't realize it,

'cause she's been
lovingly painting it

for about three hours.

You, oh--
You're too funny.

My plan was to spend
maybe a half-an-hour

on this lighting rig.
Best laid plans

always go to heck.

Oh, yeah.
I'm tired of this.

If these lights don't flash,

I'm dead, dead in the water.

26 minutes.

By the end of the day,
I'm feeling good.

But I see a lot of sweat, blood,
and tears in the mold room.

- You got this guy cleaned out?
- No.

So I'm back there helping
people get their molds apart,

and helping people
scrape their clay out.

Aw, Beki, thank you so much.

- Brushes down, it's time.
- Ugh.

Long day.
Glad to be home.

We're just utterly exhausted.

We're so brain-dead, it--
It's horrible at this point.

You thought Glenn didn't
like yours, why's that?

He didn't really say too much.
I feel like they were all

disappointed in me.
I feel really bummed out.

- Aww.
- I hope they like it, though.

My character does make sense,
I hope they get it.

I-I really do.
Kind of nerve-wracking.

Who do you think is doing
really well right now?

Honestly, I've been so
into my own thing,

I have not had ten seconds
to even look around.

Well, I notice that you always
tend to sit next to Beki.

No, I don't.
That's an insult

to think that I would even care
about her [Bleep].

Why do I like that desk?

Because it's closest
to the products.

I've been in the top
twice already.

I could care less
what she's doing, honestly.

Brea sat all day long
next to me.

Brea said she was confident
all day long.

"I am confident."
"I feel good about it."

"I-- This is good.
This is a great makeup."

Out of-- I mean, there's--
There's how many of us? 11?

And ten of them are good
in different ways, you know?

And then there's this one.

I'm not very
impressed with Brea.

She really doesn't
have lab skills.

She's a little too overconfident
in her abilities,

which is always, you know--
Can lead you to a disaster.

It's application day now.

We have four hours
for application,

and then one hour at the studio
for final looks.

- Comfortable?
- Yeah.

Today, I've got to get the
application done in two hours

because it's gonna be
an elaborate paint job.

I was a little bit concerned

about your breasticles
coming out so...

- No saggy boobies today.
- No.

I might have to have your help.

Do you wanna help me?

Now we're gonna grab here.

Okay, got that.

I still have to make my horns.

I need to attach the horns.

I have to make her weapon.

I have to apply her face.

I decide that I need
to start making eyeballs,

'cause I figure
it's fear of eyes,

so you gotta have
some eyeballs somewhere.

I kind of want it
to be a little softer.

I think I'm gonna
make a new one real quick.

It'll take about 40 minutes.

I make this last-minute decision
to pour a new silicon face

that would be perfect--perfect
color, perfect consistency.

It's gonna be a little
less pink this time too.

The time I lose
pouring up the second face,

I'll make up in having
to paint less of it

because if I get
the color right,

I'll have to put
hardly any paint on this.

Looking at my model,
I just don't like him.

I need texture on his stomach,

and I had the idea
of using cling-wrap.

And I cling-wrapped
his whole stomach

to give him, like,
a wrinkly, creepy texture.

Hopefully it works out.

This is just gelatin,
like jell-o.

I'm using gelatin
to burn her head.

It looks very realistic.

The textures of it,
the shininess that it brings.

It really creates a burnt look.

At the two-hour mark,
I realize I'm having

some problems
with the edges laying down.

This is all taking time
away from the paint.

- You okay?
- Yeah, why?

'Cause you don't
have a face on her yet.

- The face is the easiest part.
- Okay.

I can do the face
in ten minutes.

RJ forgets I been doing this
for 20 years.

Fifteen minutes, everybody.

I'm hoping the second
silicon face that I poured

is going to be perfect.

I will not know
until I get to stage,

as I'm not going to open
the mold until the last second.

Time's up.

Jerry had decided to run
a completely new face.

Well, that's either gonna be
really damn cool,

or it's gonna
be a huge disaster.

Coming up...

The guy's, like,
sweating like crazy.

My character's neck's
just wide open.

I love it.

He's stunning.

It's awful.

I think you kind of
missed the mark.

There's some big mistakes here.

Last looks is
the most intense part.

You really find out
what you can do in an hour.

Damn, it is hot in here.

My guy's, like,
sweating like crazy,

and the neck's, like,
straight-up blown out, dude.

So I decide
to bring the whole mold,

the new silicon piece,

and I want to give it as much
time as possible to cure.

I'm hoping that it's better
than the first one I ran.

I'm really worried.
If the piece doesn't come out,

I'm thinking there's a pretty
good chance I'm out the door.

[Bleep], it's a little
too gooey.

Think I'm gonna go
with the other one.

I don't know
what happened here.

I just...Blew it.

That's time.

Welcome to the Face Off
reveal stage.

Tonight one of you
will be eliminated.

Say hello to your judges.

Owner of optic nerve
makeup effects studio,

- Glenn Hetrick.
- Good evening.

Three-time Oscar-winning
makeup artist

ve Neill.
Hello.

Creature designer and director

- Patrick Tatopoulos.
- Hi, everyone.

And joining our panel
this week,

special effects makeup artist
and horror icon

Tom Savini.

Hi, thank you, thank you.

I can't wait to see
what you've come up with.

So this week
your spotlight challenge

was to choose a phobia,

and create an original
horror villain

that represents that fear.

Let's see what
you've come up with.

First up, Sue.

Individually,
the pieces look great.

But as a whole,
I made some bad decisions.

I feel great about
the way my model is moving.

All in all, the total concept,
I think, looked great.

I can only imagine
if I had actually figured out

what I was gonna do
a little bit quicker,

it could've been leaps and
bounds ahead of where it was,

but it looked pretty good.

I actually like mine.

He may be not as creepy
as he could be,

but it's my aesthetic,
I-I think he's beautiful.

The character's looking good.

The only problem is,
on that neck area,

and the appliance
is just wide open.

I could easily be
on the bottom for that.

I look at him, he's all slimy
and gross looking,

but some of the teeth
were falling off, and...

I-I just don't know what
to think at this point.

I'm happy with the work
that I created solely on my own.

If I go home over this,
then I'm okay with that.

My villain comes out,
and she looks strong,

sexy, and really freaky.

Seeing mine walk out there,

I feel like a father,

like I'm very proud
of this creature.

It actually doesn't look
as bad as I thought it would.

I mean, it's basically
only three colors, but...

It kind of works.

Some of the villains
are a joke.

Maybe they would work better
at a Halloween party.

But to me, they're making me
even more comfortable

at where my makeup is.

All right, judges.

Why don't you take
a closer look?

- Is this foam?
- Mm-hmm.

- It's just polyurethane.
- Polyurethane, yeah.

Can you open and close?
Oh, that's cool.

Yeah...Oh,
I didn't see that.

- Yeah, yeah, look at that.
- That's nasty.

See what she did?
She ended it there.

Yeah, she got rid of
the lower piece, which is great.

That's pretty cool.
Yeah, yeah.

It's coming loose back here too,
the bald cap.

You never want to see
the exposed skin

or flaps of tissue hanging off,

and that's exactly
what his neck looks like.

There's no way I can
get away with it.

With these judges,
you think you know

what they're gonna like...

It's coming loose back here
near the bald cap.

But I'm the only one that has
an appliance falling off.

Can you turn a bit
this way, please?

How does that mouth move?

She was trying to go
for an emaciated look,

but she's grown the ribs
the wrong way.

They're coming towards us.

Can we see
the top of your head?

- That's fun.
- Yeah.

I'm thinking, well, they'll
like the flashing lights.

They like shiny objects.

This anatomy concerns me a lot.

These teeth are so far out.

Well, the judges
have scored your creations,

so let's find out
what they thought.

Beki...

Brea...

Ian...

Rayce...

Athena...

Jerry...

You have this week's
best and worst looks.

The rest of you are safe.

You can head back
to the makeup room.

Thank God.

This is first time safe,

and it's--
Makes me feel happy.

Yeah, it's nice back here.

The models are all
in their line,

and I notice
my model's not there.

So, Ian...

Your model had an allergic
reaction to the makeup

through no fault of your own.

But for safety,
we had to remove the makeup,

and the judges will be using
a photo for reference.

All right, the judges would like
to speak with each of you

to learn more about your work.

Beki, please step forward.

Uh, I didn't know, honestly,
looking at your work,

where this was going to end up.

I love it.
You can't even tell

that you busted them
out that fast.

That is an honor
to hear that from you.

I think that you did
a really great job.

I love the color scheme.

I like all your little
iridescent paint.

She's truly frightening
and a good phobia.

Thank you very much.

I'm a huge fan of this makeup.

You paid attention to some of
the natural elements in there,

and translated
to the character.

Great work.
Thank you.

Beki, thank you.

Will you please step back?

Good job.

Rayce, you're up next.

Ugh, technically,
you're lifting

in a lot of places,
your edges are really poor...

Yeah.

But I think it's
a really cool design.

It's really different,

I haven't ever seen
anything like this.

Uh, Rayce, I think this was
the coolest silhouette today.

Walking on stage,
I think it'd be, actually,

a fantastic monster
frankenstein to me.

- Thank you.
- Great stuff, Rayce.

I would have taken
half a cup of diamond dust

and poured it over him,
'cause every time he moved,

there'd be this sparkle
of frost all over him, you know?

But visually he's stunning.
Thank you.

Guess the judges were able
to look past the application

and see the actual design
of the character,

which is what I had hoped
they would be able to see.

Athena.

This doesn't really invoke
any kind of terror

or horror elements
to me at all.

I think you kind of missed
the mark on the challenge.

As far as your prosthetics go,
I just think your technique

is on the soft side.

I heard that you're
a terrific body painter.

Well, I actually wanted to get
out of my own comfort zone

to try something different.

For me, I wanted to see more
swelling and that redness,

and even directionality
of the rope bothers me.

It seems thrown together.

There's some big mistakes here.

All right, Athena, thank you.

If you'd please step back.
Thank you.

Jerry, will you please
come to the center?

Tell me a bit
about your concept?

She is a psychiatrist
from the '30s

who embedded herself
with electronics.

I just spent all the time
getting the lights

to flicker and work.

I know it took you a long time.

I wish-- For me, I wish
you had pushed more

toward the makeup effect per se

than the actual prop build.

When I think of electricity,

I think of movement,
and sparks, and smoke,

and electricity should affect
the flesh more

with more black.
The burns are...

Black and red as well,
you know?

There's just so many
cool things you could've done,

and it doesn't say burn at all.

Jerry, if you'd
please step back?

Brea, let's talk to you.

So, Brea...

What were you thinking of

when you did this
scenario out here?

I don't know, like,
the cheeks were melted away,

and you could see the inside
of her mouth.

But they're not even
in the right shape, honey.

And you can see
her whole mouth.

How was that supposed to work?

I just-- I don't know
where this went so wrong.

I had hoped for a lot more.

The little cutesy face.

It's so cute,
it's hard to inspire fear.

It's awful.

All right, Brea,
if you would please step back.

Thank you.

I'm just utterly in shock,

because honestly I think it
looks like something

you don't wanna come across
in a dark alley.

Ian.

Can you start by telling us

a little bit about
the concept of this makeup?

My, uh, phobia's odontophobia,
which is the--

the fear of teeth.

I chose to go
with a tooth fairy,

and the female's been done
a few times,

so I chose to go with a male,
who is a demon.

Really like this makeup.

There's a really nice
attention to detail.

The saran wrap.

A quick way to fabricate
and cover huge amounts.

It's a
little-known technique.

This is the best thing that
I've seen out of you so far.

I gotta say, my mouth hurts
just looking at that guy.

And his fingers were so gross,

I just went,
oh, this is so wrong.

- Wow.
- Great stuff.

I just-- I really do love
that paint job.

Thank you, sir.

Sorry I'm grinning
like an idiot.

Ian, could you
please step back?

Thank you so much.

- See?
- Thank you.

All right, everybody.

The judges have heard
what you've had to say.

If you would please head back
to the makeup room

while they make
their decisions.

All right, so let's start
with the works tonight

that you liked the most.

Why don't we start with Ian?

I was very impressed
with his work tonight,

and he's fairly young in
the makeup world in some ways.

And the fact that he was able
to take that concept

and hold onto it so strongly,
immediately develop it,

and just run with it,
very impressive.

The use of the saran wrap,
extremely important.

That was so cool.
That saran wrap.

I got up there, and I said,
"what did he do on that chest?"

"That is so cool."

He's very inventive.

He's like the MacGyver
of makeup.

You can't teach that,
so that-- that's awesome.

- It's in him.
- Yeah.

Okay, so let's move on to Beki.

She's a force. I mean,
after seeing her in the shop,

I think she's very driven.

The colors were beautiful,
the paint job was exquisite,

and it was a complete picture.

Okay, let's move on to Rayce.

This guy's such
a strong designer.

Yeah, I'm a big fan
of conceptual people

that just kind of
bring it on paper,

and just carry on the vision
all the way to the end.

- He's one of those guys.
- Yeah, I liked it.

Like I said,
it was visually stunning.

Okay, so let's
discuss the looks

that you liked the least.

Let's start with Athena.

Those prosthetics were so bad.

We didn't ask
to do body painting today,

we just asked to do
a good paint job on the makeup.

- Makeup effects.
- And so...

It's kind of strange.
It's sort of a--

If it's outside
of your comfort zone,

you're in trouble.
Exactly.

Okay, so let's
move on to Jerry.

You spent all that time

just so we could see
some flickering lights,

when you could've been doing
a better job on your makeup?

You know, that's ridiculous.

I didn't see that it was a,
uh, electrical burn anywhere.

All right,
let's move on to Brea.

Brea has gotten really lucky

'cause she's been with
some really good artists,

and today, chipmunk cheeks
with the teeth--

- anatomically, it's just
not right, you know?

All right, judges,
have you made your decisions?

- Yes.
- Okay.

- Yes, we have.
- I believe we have.

Then let's bring them back out.

Glenn, why don't you tell us
about the top looks.

Our top looks tonight are...

Ian, for great
attention to detail,

without losing
your overall concept.

Beki, for a very
successful realization

of the fear of parasites.

And Rayce,
for an exceptional design.

All right, Glenn, then who is
the winner of this challenge?

The winner of
tonight's challenge is...

The winner of
tonight's challenge is...

Ian.

Thank you so much.

Oh, my God.

I thought I could ver, like,
do anything right.

I was-- I was terrified.
And I-I--

thank you all so much.

Top looks this week was me,
this guy..

- Ian, congratulations.
- Thank you.

You can head back
to the makeup room.

Good job, guys.

I really thought
I was going home

if I didn't make it this time.

But everyone loved it.

Yay!

I did good.

Beki, Rayce, you are also safe.

Please head back
to the makeup room.

- Thank you.
- Thank you, everybody.

- Thank you.
- Thanks, guys.

Unfortunately, that means
the three of you

are on the bottom this week,

and one of you
will be eliminated.

Will you please step forward?

All right, Glenn,
why don't you tell us

about the bottom looks.

Athena...

Your poor sculpting lead to
an uninspired horror villain.

Jerry, you needed to spend
more time on your makeup

and less time
on blinking lights.

Brea, you had good ideas,

but your makeup suffered
from poor execution.

So then who is
going home tonight?

The person that's
going home tonight is...

Brea.

Okay.

- Sorry.
- It's okay.

Well, thank you anyways,
it was a pleasure to be here,

and I appreciate
the opportunity.

Brea, I am so sorry,
but you have been eliminated.

If you'd please head back
to the makeup room,

- and pack up your kit.
- Bye.

Good luck.

So I'm going home.

Are you serious?

There's nothing I would have
changed about that makeup.

I'm-- I'm completely
happy with it.

I'm not ashamed at all of it.

The experience of being here
was amazing to me.

All the people
that I met were great.

And, hey, it'll be something
I get to tell my grandkids about.

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