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Burke and Irene are joined by the local pawn Maurice (Jonas Bloquet), a French-Canadian flirt nicknamed Frenchie. He guides them, gives them the necessary comic relief and warns them that they are about to enter the Middle Ages. But he has no idea how dark the situation will be.
The Vatican emissaries have the task of Sisyphus to try to interview the remaining nuns to determine how such a sad and sinful fate could have happened to one of their own. But they are trapped in a section of the abbey when gigantic metal doors are closed at night, or they find that the sisters are in the midst of the obligatory silence until dawn. They are spinning their wheels, and we too feel that we are doing so. Through all this, the nun (Bonnie Aarons) wanders through the dark corridors, an evasive but threatening force. Seeing a glimpse of her habit is good for a jolt here and there, at first. But Hardy resorts to that tactic repeatedly, showing us The Nun – or perhaps just A nun kneeling in prayer from behind or from the side, or sneaking up on someone, hidden by piles of black material. This cheap emotion happens again and again, like clockwork.