- 3 weeks ago
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00:00:00Lovely escutcheon.
00:00:02Oh, it protects the door being scratched by the key.
00:00:06Practical and fancy at the same time.
00:00:08Good by me, innit?
00:00:10There you go, Dominic.
00:00:28Merry Christmas, Jean White.
00:00:29Oh, Merry Christmas, Dominic Hayes.
00:00:33Chin-chin!
00:00:34So, what's this massive painting about this?
00:00:37It's very beautiful.
00:00:38This is a sublime example of a Baroque fresco.
00:00:43Right.
00:00:44Very popular in Europe, but I've never seen one in Santa Clara before.
00:00:47It's really exciting.
00:00:49Yeah?
00:00:50Well, a fresco is basically a wall painting
00:00:54where the paint is brushed straight onto wet plaster.
00:00:57By someone called Baroque?
00:00:59No, actually.
00:01:01Baroque was an artistic movement of the 17th and 18th century.
00:01:05So, like, paintings, music, architecture.
00:01:09Everything was, like, big and bold.
00:01:11And sexy, Dominic.
00:01:13Very sexy.
00:01:14My absolute favourite era.
00:01:16Ah, ah.
00:01:17So, that is Dr Ali Pardy.
00:01:21He's head of the charity L'Art Change La Vie.
00:01:25Hmm?
00:01:26What's L'Art Change La Vie?
00:01:28Is that something about art helping ex-prisoners or something?
00:01:32Oh, that sounds great.
00:01:33Well, that must be his wife.
00:01:35I think her name is Sangeeta.
00:01:37I've invited her to several of my bridge evenings, but to no avail.
00:01:41Hmm?
00:01:42And they're talking to George and Auriel Alphonse.
00:01:47You've already drunk yours at the bar.
00:01:48Huh?
00:01:49As in Alphonse?
00:01:51From Alphonse Crush?
00:01:53What?
00:01:54The soft drink?
00:01:55Oh, I used to love that.
00:01:57Kept me awake at night when Claudia was a baby.
00:01:59They're an amazing couple.
00:02:00They just floated their company last year for 100 million euros.
00:02:03Lucky Sange.
00:02:04Oh, George.
00:02:05Apparently, they can't stand each other, but they can't leave because they are literally
00:02:09too rich.
00:02:11Ah-ha!
00:02:13Jeremy, ça va mon ami?
00:02:16If you say so.
00:02:18Ah, and Judith.
00:02:20Mwah!
00:02:21Mwah!
00:02:22Do, Jesus, will you ever age like us mere mortals?
00:02:26Oh, George, you really are too much.
00:02:28Let me introduce you to our dear friends, Jean and Dom.
00:02:31Very pleased to meet you.
00:02:32Oh, aren't you?
00:02:33I was just saying I used to love your drink.
00:02:35Ah, well, not my drink anymore, but thank you, Dom.
00:02:39I really appreciate that.
00:02:40That's very kind of you.
00:02:41Very kind.
00:02:42Thanks for witnessing my loan agreement, Andre.
00:02:52Not a problem, Patrick.
00:02:54I sometimes come across trouble with financial affairs, but having the chief of police as
00:03:00my witness, that should shut them up.
00:03:02Oh, no, Jean's left a phone.
00:03:05I am on my way home now.
00:03:07I can drop it off for her.
00:03:08What's she's got to do at the museum?
00:03:10No problem.
00:03:11That is near my house.
00:03:12Oh, brilliant.
00:03:13Au revoir.
00:03:15Thanks again, Andre.
00:03:16See you at the quiz later.
00:03:17You will indeed.
00:03:19I am bringing Richard.
00:03:20She's very good at politics questions.
00:03:23Merry Christmas.
00:03:24Joy Noel.
00:03:25I never thought I'd be mates with a cup, eh?
00:03:29Oh, my God.
00:03:30Oh, no, my God.
00:03:31Oh, my God.
00:03:32Oh, my God.
00:03:33Oh, my God.
00:03:34You've already arrived at all?
00:03:35Yeah, I'm going to get the coffee.
00:03:36Oh, my God.
00:03:37Oh, my God.
00:03:38Oh, my God.
00:03:39Oh, my God.
00:03:40Oh, my God.
00:03:41Oh, my God.
00:03:42Oh, my God.
00:03:43Oh, my God.
00:03:44and then this dream job, it's wonderful.
00:03:48But I also...
00:03:50We have a whole life in front of us, but we need to work.
00:03:53Gabriel, you're the new conservator of this museum.
00:03:56Can you give me a quarter of an hour?
00:03:58No, not at all.
00:03:59Not at all.
00:04:00My only mission is to do this international museum.
00:04:04We have the Alphonse who are ready to invest 10 million euros.
00:04:07That would change everything.
00:04:09It's absolutely important that it works.
00:04:12Wonderful.
00:04:23Good dicks, haven't we?
00:04:24Ah, Gabriel, here he is, our curator himself.
00:04:29Jeremy Giudice, good to see you both.
00:04:32You too, Gabriel.
00:04:34And this is Jean White. Delivered as promised.
00:04:38Delivered? Oh, hello.
00:04:41It's a pleasure to meet you, Mrs White. Your expertise precedes you.
00:04:44Thank you so much for being here.
00:04:46All right, it's a pleasure. This is my partner.
00:04:48Your fiancée.
00:04:49Oh, yes, fiancée, Dom.
00:04:51Yeah, it's quite a recent thing, so...
00:04:53Congratulations to both of you.
00:04:55And this is my partner, Eve.
00:04:58Hi.
00:04:59And your field of expertise is, Mrs White?
00:05:03I'm an antique steeler.
00:05:04How quaint.
00:05:06Shall we grab a horse's dew friendly into it?
00:05:09Yes.
00:05:10Oh, you are a darling, Gabriel. I think you're going to fit in very well round here. Thank you.
00:05:24Yes.
00:05:25And by the way, you threw that last glass down your neck, we wouldn't want you going Thursday, would we?
00:05:31Excuse me, I'm just going to run through my speech.
00:05:34Oh, Jean, this is Dr Ali Pardeep. We were telling you about his charity.
00:05:39Oh, Le Change Le Vie, is it? Oh, it sounds like you do some great work.
00:05:44Oh, he does.
00:05:46Oh, hi. I'm Auriel.
00:05:47Oh, hello.
00:05:48Thank you. It's a vocation that absolutely consumes me, I'm afraid, as my wife could confirm.
00:05:55Lovely to finally meet you.
00:05:57So, how did you find this vocation?
00:06:00Well, I'd been working in prisons for a few years as a visiting doctor,
00:06:04and I saw so much artistic talent just hidden away in the cells
00:06:09that I felt compelled to liberate it.
00:06:12Mm-hm. So I started an art club for the prisoners
00:06:15and, well, the charity just grew from there.
00:06:18How interesting.
00:06:20You let criminals play its being artists, then?
00:06:24You know, that's exactly what we do.
00:06:27You're encouraging the egos of murderers, is that what you're saying?
00:06:31Don't worry, Ali. I take care of the charity in our business.
00:06:35So you can ignore George.
00:06:38And your husband is a very inspiring man.
00:06:41Oh, he is indeed.
00:06:44Excuse me?
00:06:45Yes?
00:06:46Have we met somewhere before?
00:06:48I can't think where.
00:06:50Maybe at one of our outreach events?
00:06:53Very much doubt it.
00:06:55I don't do presents or charity, dear.
00:06:57That's making.
00:06:59Sorry.
00:07:02Sorry.
00:07:03Ah, merci, please.
00:07:04Au revoir, monsieur.
00:07:05Merci.
00:07:06Mm.
00:07:07Good job, eh?
00:07:08Quite lucky.
00:07:12Thank you, everyone, for being here tonight.
00:07:16For tonight is a very special night for the museum.
00:07:20Mr. and Mrs. Alphonse are very generously about to invest 10 million euros,
00:07:2710 million euros into our acquisition account.
00:07:30It will keep the museum afloat for many years.
00:07:33Just a minute, Gabriel.
00:07:35Remember what we discussed a couple of weeks ago when you first took the job.
00:07:39If you have what you say you have, and it's the real deal, we are more than happy to invest.
00:07:48I want to be part of a museum that draws people in from all over the world, but I need you to prove to me that I am making the right choice.
00:07:58Of course.
00:07:59The stakes are very high for us, but I have contacts all over the world to make this museum great, I promise.
00:08:08Madam White, this is where we could use your help.
00:08:13Oh, right.
00:08:15We apologise for not warning you beforehand, but everything had to be completely top secret.
00:08:21Ooh, I'm intrigued.
00:08:23We have something very rare, and we need you to verify it.
00:08:30Jeremy and Judy told me you are second to none in your field, so please, will you help?
00:08:36Well, I'm here now, so yeah, of course.
00:08:42If you will excuse me for one moment, ladies and gentlemen, we will go and fetch our treasure.
00:08:52Eve.
00:08:53Oh, so that's why I'm here.
00:08:55Makes sense now?
00:08:56Well, Gabriel didn't tell me the finer details, just who I knew, who I trusted.
00:09:01Who was the best in the business, so I...
00:09:04Well, thank you.
00:09:06You'd better be good, Mrs. White.
00:09:08And ensure it is what he says it is.
00:09:11We wouldn't want any mistakes.
00:09:13Well, let's put it this way.
00:09:16This isn't my first rodeo.
00:09:18Oh, thank you, darling.
00:09:21What's your name, dear?
00:09:23Ellie.
00:09:24Big cash tip, Ellie.
00:09:26If you keep our shampers topped up, if you know what I mean.
00:09:29I'll do my best, madame.
00:09:31But I've never worked here before, so I don't know how much we have in stock.
00:09:34Good girl.
00:09:35Off you, Pop.
00:09:36Oh, my God.
00:09:37Oh, my God.
00:09:44On t'a attribué ton code personnel de sécurité, maintenant ?
00:09:46Euh...
00:09:47Non, tu sais, c'est toujours Suzanne de la sécurité qui m'envoie un nouveau code chaque jour.
00:09:50C'est depuis que je suis revenu, j'ai eu tellement le truc à gérer que c'est un peu galère.
00:09:54Et dis-moi, je peux ouvrir le coffre ?
00:09:57J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:09:59D'accord.
00:10:00Euh...
00:10:01Par contre, juste, tu notes le code correctement, parce qu'il n'y a pas de seconde chance,
00:10:04sinon ça bloque toi.
00:10:06Alors, c'est le...
00:10:073, 2, 7, 4...
00:10:104...
00:10:110, 9, 5, 7.
00:10:15C'est bon.
00:10:21Alors...
00:10:27C'est bon.
00:10:329.
00:10:39Oh.
00:10:47Eh bien, voilà ma petite merveille.
00:10:50Waouh.
00:10:51Non, par contre, ça, faut que tu le détruises immédiatement.
00:10:53Non, non, vraiment, tu...
00:10:55C'est bon.
00:10:59Euh...
00:11:07Très bon.
00:11:08Tiens, prends la moite et on y va.
00:11:12Hop.
00:11:25Non, vraiment, fais très attention, hein.
00:11:28Non, mais...
00:11:29T'as...
00:11:30T'as un avenir du musée entre les mains là, non?
00:11:31Trop...
00:11:32Gabrielle, laisse moi !
00:11:33Tu veux que j'a pas se tomber ?
00:11:40Non, Georges, Georges, Georges.
00:11:41So sorry, so sorry.
00:11:42What happened ?
00:11:43I'll tell you what happened.
00:11:44This poor excuse of a waitress of yours
00:11:46has ruined my bespoke shirt.
00:11:48Are you stupid ?
00:11:49No, I...
00:11:50No, I...
00:11:51Don't speak to her like that, Georges.
00:11:54These things happen.
00:11:55We can get it cleaned.
00:11:58What's your name ?
00:11:59Ellie.
00:12:00I'm so sorry.
00:12:01I'm pretty new at this.
00:12:02I'm actually a student.
00:12:03Well, I would like to apologise
00:12:05for the neolithic behaviour
00:12:07of my husband, Ellie.
00:12:10Georges, we're going to pay for the cleaning, of course,
00:12:13but I can't clean.
00:12:14No, just leave it.
00:12:16I can do it.
00:12:17I can do it.
00:12:18Okay, perfect.
00:12:19So where's this damn box of yours ?
00:12:20The sand...
00:12:32Is that what I think it is ?
00:12:43Go on, what is it ?
00:12:50Oh, this is a French Ormolu gilt jewellery case
00:12:54owned by, I think, Marie Antoinette herself.
00:12:59Am I right ?
00:13:00Yes, exactly, madame.
00:13:01Oh, well, I know there's one of these
00:13:04in the Museum of Tehran,
00:13:06but the only other one was bought by Russian buyers
00:13:09at Sotheby's in 2007, so how could it be here ?
00:13:12Um, I have been totally obsessed with this box.
00:13:17So, um, I tracked it down over the years
00:13:21and persuaded them to sell.
00:13:25Wow.
00:13:26Well, Gabrielle is right.
00:13:28I mean, if you can get stuff like this,
00:13:30well, this is, like, such a fantastic draw
00:13:33for the Museum.
00:13:34Game-changer, really.
00:13:36Well, so far, so good.
00:13:38Okay.
00:13:42What ?
00:13:45Thank God.
00:13:47Do you ?
00:13:49Well, it...it looks like a...like a bomb.
00:13:52Oh, what ?
00:13:53Don.
00:13:54Bonjour.
00:13:57It doesn't just look like a bomb.
00:13:58It's a marzipan.
00:14:00Marzipan ?
00:14:01I was in the army for years.
00:14:03I've recognised that smell anywhere.
00:14:04What is it ?
00:14:05It's Semtex.
00:14:06Semtex ?
00:14:07What...what can that do ?
00:14:10Put it this way, there's enough in there
00:14:11to blow this whole Museum sky high.
00:14:20Come on !
00:14:21Well, what if we all lift together ?
00:14:28They're locked.
00:14:29Okay, okay...um...
00:14:31Well, why don't we try the other exits ?
00:14:32they won't move well what if we all lift together they're locked okay okay um well why don't we try
00:14:49the other exits no no uh they will all be locked too and all the the windows are banned oh my god
00:14:56what the hell are we gonna do stop with the hysterics george in case you hadn't heard there
00:15:01is a semtex bomb in that room yes we all know that Gabrielle yes how do we open the shutters as far
00:15:12as I know the security guard has fingerprint recognition she's the only one who can deactivate
00:15:18the code where is the guard in the security booth come on come on come on come on come
00:15:31come on come on come on come on come on come on you are we she's gone
00:15:38oh my god that's right
00:15:39Come on, Jan, you're welcome.
00:15:40Come on.
00:15:41Come on.
00:15:42Come on.
00:15:43Come on.
00:15:44Come on.
00:15:45Come on.
00:16:09You're right, love.
00:16:11Yeah.
00:16:12Poor woman.
00:16:13I know.
00:16:14So, one fingerprint to control your entire security system.
00:16:20Stop it, George.
00:16:22Yes, I let the security team arrange it between them.
00:16:26I have only been here three weeks, so it was on my to-do list, but...
00:16:32Good grief.
00:16:33So you have no idea how to deactivate it?
00:16:35No.
00:16:36No idea.
00:16:38Well, then, why don't we use her finger?
00:16:45George!
00:16:46Really?
00:16:47We can't.
00:16:48Why not?
00:16:51It's not like she's gonna mind now, is she?
00:16:54It's not that.
00:16:55It's once tissue is dead, it loses its electrical charge.
00:16:58Hang on.
00:16:59Now, I saw this on one of those American crime dramas, and it worked a treat.
00:17:04So, let's give it a go, shall we?
00:17:06Good God, George.
00:17:08Oh, I see.
00:17:09You watched an entire box set.
00:17:11So, of course, now you know more than an actual doctor.
00:17:15Only saying, once the heartbeat dies, the electrical charge dies.
00:17:22It won't work.
00:17:24Can I ask a question, Gabriel?
00:17:25The security guard.
00:17:26What was her name?
00:17:27It was Susan.
00:17:28Should we call her that, then?
00:17:29Look.
00:17:30I'm not suggesting we sever Susan's finger.
00:17:31George!
00:17:32Leave it!
00:17:33George!
00:17:34Leave it!
00:17:35I'm not suggesting we sever Susan's finger.
00:17:36George!
00:17:37Leave it!
00:17:38I'm not suggesting we sever Susan's finger.
00:17:40George!
00:17:41Leave it!
00:17:42Leave it!
00:17:43Leave it!
00:17:44I'm not suggesting we sever Susan's finger.
00:17:45George!
00:17:46Leave it!
00:17:47I'm not suggesting we sever Susan's finger.
00:17:49George!
00:17:50Leave it!
00:17:51I'm not suggesting we sever Susan's finger.
00:17:55George!
00:17:58Leave it!
00:17:59I'm not suggesting we sever Susan's finger!
00:18:02George!
00:18:04Please do that!
00:18:09No, jeez!
00:18:12No, jeez!
00:18:15Hurry up, Kerry!
00:18:18Don't touch it down!
00:18:38Why can't they hear us?
00:18:39No, no, because the front doors are solid oak,
00:18:42the shutters are solid steel, and the walls,
00:18:45it's very sick Mediterranean stone.
00:18:48Oh, that's just great.
00:18:50So is the place bomb-proof as well?
00:18:51They're not helping, George!
00:18:53It's OK, I'll call Karen.
00:18:54Yeah.
00:18:57Oh, well, there's no signal.
00:18:59Oh, God.
00:19:00Ah, no, no, no, I haven't had any since I arrived,
00:19:03because we are quite high up, and the walls are too thick.
00:19:08OK, what's the Wi-Fi code?
00:19:11I'm going to share it with you.
00:19:12Yeah.
00:19:13I know I had my phone in the pub, I must have dropped it.
00:19:16God!
00:19:18No, the Wi-Fi is off too, but don't worry, don't worry.
00:19:23I have one moment, I remember something.
00:19:25Is he going now?
00:19:27It's not gonna happen.
00:19:29Ah, yeah.
00:19:29We're waiting.
00:19:29All right, we're waiting for you,
00:19:30we're waiting for you.
00:19:45Let's go.
00:19:46We're waiting for you to come.
00:19:48Someone has sabotaged the commscopboard.
00:20:08It's beyond repair.
00:20:11Commscopboard?
00:20:12It's where all the Wi-Fi hubs lead to, to keep us on the Internet.
00:20:15All the connections have been ripped to pieces.
00:20:19Oh.
00:20:21So we are completely trapped in here.
00:20:24Oh.
00:20:27Good God.
00:20:29You have got a foolproof security system, that you don't even know how to operate.
00:20:34Who's a bloody fool now, eh?
00:20:36Get your hands off him, you brute!
00:20:39I'm fourth down black belt in jujitsu.
00:20:42You lay one more finger on him, and I will take you down.
00:20:45Do you understand?
00:20:46Gentlemen, we have to calm down.
00:20:49Don't suppose you serve Valium as well as champagne?
00:20:52Valium.
00:20:53Is that the cocktail?
00:20:55Never mind, dear.
00:20:57So, someone knew that we were here tonight, and trapped us under the threat of a ticking bomb?
00:21:05This psycho must really hate one of us.
00:21:08Well, it was Gabriel who wanted us here.
00:21:10He sent the invite.
00:21:12I don't think I would bomb my own museum, judith, and trap myself inside.
00:21:16Okay, can we just stop sniping at each other, okay?
00:21:19Can't be anyone here, can it?
00:21:21I am not so sure.
00:21:25What do you mean?
00:21:27I do remember on my first debriefing, they said once the shutters are activated, they close very fast, and there is very little time to get out.
00:21:37Do you mean that the murderer might still be in the building?
00:21:41Possibly.
00:21:43Patrick, can you call Judith?
00:21:54I can't get hold of Dom or Jeremy.
00:21:56Obviously, I have Gene's phone, and I don't have Judith's number.
00:22:00There is no answer at the museum, and the doors are locked.
00:22:03Something is not right.
00:22:05You okay?
00:22:14Yeah, I think so.
00:22:16Caron just asked me if I can get in touch with Judith, but there's no answer.
00:22:20She's with Jeremy and Dom, give them a call.
00:22:22No, he's already tried that, and there's no reply from them either, and no one's answering the door.
00:22:27Well, I don't like the sound of that.
00:22:30Nor do I.
00:22:32Diane can look after the bar for now.
00:22:34Electric Lady Vern outside?
00:22:36Yeah.
00:22:37Then let's go.
00:22:39What idiot takes the job as a curator of a massive museum and doesn't know how to work the security system?
00:22:46I have only been here three weeks, okay?
00:22:50There was so much to do that it didn't seem like a priority, okay?
00:22:55Well, it's a priority now.
00:22:57Isn't it, Gabrielle?
00:22:58It's a priority now.
00:23:00Gabrielle, if he says one more word on you, I...
00:23:03No, no, no, no, wait a minute.
00:23:05If you're gonna say something, say it in a language we can all understand, eh?
00:23:10I beg your pardon.
00:23:13For one moment, I thought we were in France.
00:23:17If you have something to say, why don't you say it straight?
00:23:25You clearly have something to hide, monsieur.
00:23:28Bullying my partner, shouting at your wife.
00:23:32Classic defense tactics.
00:23:34How dare you suggest that I...
00:23:37Shh!
00:23:38What's that?
00:23:41What?
00:23:42Listen.
00:23:44Hello?
00:24:08Hello?
00:24:09Can anyone hear me?
00:24:10Oh, come on.
00:24:12Hello?
00:24:13Hello?
00:24:14Hello?
00:24:15Hello?
00:24:16Hello?
00:24:17Hello?
00:24:18Hello?
00:24:19Anyone hear me?
00:24:20Help?
00:24:21Help?
00:24:22Help?
00:24:23Dom?
00:24:24Dom, is that you?
00:24:25Oh, thank God.
00:24:26Look, we are trapped inside the museum.
00:24:30The shutters are down, the security guard's been murdered,
00:24:32and there is a bomb ticking away.
00:24:35What?
00:24:36A bomb?
00:24:37Okay, Dom, you need to say all that again, but much slower.
00:24:43There is a bomb.
00:24:46Someone has activated the security shutters.
00:24:48They can only be deactivated by the fingerprint of the security guard.
00:24:52But the security guard has been murdered.
00:25:00Okay, Dom, have you seen the bomb?
00:25:02Yes.
00:25:03What does it look like?
00:25:04I don't know.
00:25:10All right.
00:25:11Okay.
00:25:12It's like a big lump of orange bloke in here that it looks like Semtex.
00:25:19There's an old-fashioned phone on one side, and in the middle is a digital clock counting down.
00:25:25There's three wires, a blue one, a red one, and a yellow one.
00:25:29And how much time does the bomb say you have?
00:25:3359 minutes.
00:25:38I will get help immediately.
00:25:39I need you to keep this communication open.
00:25:42Okay.
00:25:43We will get you all out.
00:25:46Dom?
00:25:47Dom, you need to keep this channel open.
00:25:51Andre, I can't hear you.
00:25:52Are you still there?
00:25:54Andre?
00:26:04Andre?
00:26:09Andre?
00:26:21What are you doing?
00:26:23Hang on a sec.
00:26:31Bingo!
00:26:32Charon, can you hear me?
00:26:47Charon!
00:27:02I managed to speak to Charon, he's calling for help.
00:27:12Brilliant, how did you manage that?
00:27:14Well, for Suzanne's walkie-talkie.
00:27:15Oh, that's great, we can use that then.
00:27:17No, no, no, it's just died.
00:27:19Maybe it just needs a new battery, or...?
00:27:21No, no, I tried that, it was no joy, so...
00:27:23Oh, God.
00:27:24Well, at least we're getting some help from the professionals.
00:27:27Something you've needed for years, darling.
00:27:30Charon will help us, won't he, darling?
00:27:33Oh, absolutely, darling.
00:27:35Um, Jean.
00:27:38What? What's the matter?
00:27:41Um...
00:27:43I found this under the bomb.
00:27:47For me?
00:27:49I don't understand.
00:27:52Who would do something like this to you?
00:27:55I've no idea.
00:27:57I mean...
00:27:59Thinking about it...
00:28:00I've put a few people away over the years, but...
00:28:04This is beyond the pale.
00:28:06Look at the heart.
00:28:20Her fruit from above.
00:28:22Her face like the sun, her heart full of love.
00:28:25But fate is not kind, and her future is bleak.
00:28:29Two attempts to survive, one date do you seek?
00:28:34Oh, come on, Jean, think.
00:28:36Okay.
00:28:37Two attempts to survive, one date do you seek?
00:28:41So?
00:28:42What...
00:28:43What do you reckon?
00:28:44Well, it appears that this sicko wants me to find a piece of art in the museum that matches the riddle.
00:28:54Two attempts to survive, one date do you seek, so...
00:28:57Well, I'm guessing that you put the date in the keypad to stop the bomb.
00:29:06Oh.
00:29:07Oh.
00:29:08Oh.
00:29:09Wow.
00:29:10Somebody must really hate me to go to all this trouble.
00:29:14It's just a child's riddle.
00:29:16We should wait for help.
00:29:17For grief.
00:29:18But what if help doesn't get her here on time?
00:29:21Someone is out to get me.
00:29:23This is all my fault.
00:29:25I've got to do something to help.
00:29:27Slay.
00:29:29Okay, Jean, you've absolutely got to solve this riddle.
00:29:33Come on, chaps, let's separate and find a way out of here.
00:29:36And, Gabrielle, you attempt to override this god-awful security system.
00:29:41Well, I think we should wait for the police.
00:29:44Something you are very welcome to do on your own, George.
00:29:47I, for one, am going to help Jean.
00:29:49Yeah.
00:29:50Yeah, me too.
00:29:51I'm in.
00:29:52Anything is worth a try.
00:29:54I do tech support for the charity.
00:29:57Can I help?
00:29:58Excellent.
00:29:59Come on.
00:30:00Let's go to the...
00:30:01Be careful.
00:30:02You too.
00:30:03I think it's essential that we keep dividing in order to conquer.
00:30:09Gentlemen, follow me.
00:30:10Whoa.
00:30:11Whoa.
00:30:12Whoa.
00:30:17Okay, look at the heart.
00:30:18The heart.
00:30:19Well...
00:30:20The heart could mean love.
00:30:21Oh, no.
00:30:22That could be any work of art.
00:30:23Okay.
00:30:24Okay.
00:30:25Think, Jean.
00:30:26Think.
00:30:27Well, um...
00:30:28It could be the sacred heart.
00:30:29Especially if it's qualified with the fruit.
00:30:33Well, how so?
00:30:34Well, um, Jesus in art is often referred to as fruit of the womb.
00:30:37Yeah.
00:30:38Let's go with that.
00:30:39Okay.
00:30:40Face like the sun.
00:30:41Now, obviously, Jesus was the son of God.
00:30:43And the sun in the sky is often used as a metaphor for Jesus.
00:30:47So, um, fate is not kind.
00:30:48Fate wasn't kind to Mary.
00:30:49Certainly wasn't too kind to Jesus either, was it?
00:30:50Well, exactly.
00:30:51But her future is bleak.
00:30:52Her.
00:30:53I think it's got to be about Mary and Jesus.
00:30:54It's got to be.
00:30:55Right.
00:30:56I think we're looking for a religious painting or sculpture.
00:30:57Well, there'll be a fair few of those, I'm sure.
00:30:59But, uh, the sun in the sky is often used as a metaphor for Jesus.
00:31:02So, um, fate is not kind.
00:31:05Well, fate wasn't kind to Mary.
00:31:06Certainly wasn't too kind to Jesus either, was it?
00:31:08Well, exactly.
00:31:09But her future is bleak.
00:31:11Her.
00:31:12I think it's got to be about Mary and Jesus.
00:31:14It's got to be.
00:31:15Right.
00:31:16I think we're looking for a religious painting or sculpture.
00:31:20Well, there'll be a fair few of those, I'm sure.
00:31:22a fair few of those, I'm sure. Yes, but particularly the Madonna and Child.
00:31:27There is about six main rooms. OK. Let's split up, take a room each and report back.
00:31:32Right. Right. Thank you. Me and Dom will take medieval and renaissance.
00:31:38Judith, you do modern art. Oriel, you do metal work. And Ellie, you do jewellery and glasswork.
00:31:46And, yeah, and remember the Madonna and Child, OK?
00:31:51Let's go. Which way? This way.
00:31:59Richard, did you contact the bomb squad?
00:32:01Not great news, I'm afraid. The nearest active unit is Lyon, which is six hours by car.
00:32:05They're trying to activate the plan to get here quicker, but it's not looking good.
00:32:09What about overriding the security system?
00:32:11We have contacted the company, but with it being Christmas Eve, we have the same problem.
00:32:15The nearest engineer is in Marseille.
00:32:17Oh, no.
00:32:18There is no guarantee they will be here in time.
00:32:20If there was another way in, I think I could deactivate it.
00:32:23What?
00:32:24Before I joined the gendarmerie, I trained in the bomb squad at La Police Nationale.
00:32:28If it is a rudimentary device, I could deactivate it, I think.
00:32:32OK. Well, what about the tunnels underneath?
00:32:35Pardon?
00:32:36The museum's tunnels were part of the bomb shelter system during World War II.
00:32:39I remember the tour guide telling us when I brought Xavier on a visit.
00:32:43OK. I will go in.
00:32:45I cannot put my best officer in danger, Richard. I will go in, you can advise me.
00:32:49Sir, I...
00:32:50That is an order. Let's find a map.
00:32:54Madam.
00:32:56On the count of three, we all pull together.
00:32:59Ready?
00:33:00Ready?
00:33:01One, two, three!
00:33:03I haven't finished counting!
00:33:05I think I've trapped them over me shoulder.
00:33:07It's a little dramatic.
00:33:09If we all work together, we stand more chance. If we...
00:33:12Did you just call me a Jurassic?
00:33:14It was just an observation.
00:33:16You like making observations, don't you?
00:33:18What's that supposed to mean?
00:33:19Like observing other people's wives?
00:33:22I don't know what you're talking about.
00:33:25Do you think I was born yesterday?
00:33:27I'm sorry?
00:33:29The charity meetings with my wife.
00:33:34The dinners.
00:33:35Come on, Ali.
00:33:37I've been through her phone.
00:33:40I know what's going on with you two.
00:33:43Don't tell me I'm wrong.
00:33:45I said, tell me I'm wrong!
00:33:48Well, there you go. Just about says everything, doesn't it?
00:33:54George, I...
00:33:55Auriel is my wife!
00:33:59Come on, George.
00:34:01You haven't loved each other for years.
00:34:03Even a stranger would know that.
00:34:05Just our shtick!
00:34:06What?
00:34:07The couple's thing.
00:34:09The public act.
00:34:11But when we get behind closed doors,
00:34:14we are still husband and wife.
00:34:20Oh!
00:34:22So you think I'm lying, do you?
00:34:25Well, I don't know what yarn she's been spinning you,
00:34:29but it's true.
00:34:31And...
00:34:32I'll tell you something else that's true.
00:34:34I will do everything in my power
00:34:37to make sure that you never raise another penny
00:34:42for your stupid sh-
00:34:44Gentlemen, please, this is no time for a bloody showdown!
00:34:48Come on!
00:34:49Come on!
00:35:18Judith!
00:35:19I didn't find anything.
00:35:36Literally.
00:35:37Didn't even find a decent painting.
00:35:39We said we had a chance with a necklace,
00:35:41but there was no reference to the sun.
00:35:43Well, we can't give up.
00:35:45We still have two other rooms.
00:35:47Well, you two can go on looking,
00:35:48but I'll be very honest with you.
00:35:50I need a little top-up of Dutch courage.
00:35:54What?
00:35:55In here?
00:35:56Can you not hear that bomb ticking?
00:36:00Yes.
00:36:01Yes, I can.
00:36:02But I'll be perfectly honest with you, Oriel.
00:36:04If I am to get blown to smithereens,
00:36:08I'd really rather like not to remember it.
00:36:13Let's keep looking.
00:36:14I'll take sculpture.
00:36:15You take ancient modern art.
00:36:16Okay.
00:36:17Thank God the library was still open.
00:36:31Right.
00:36:32This map dates from around 1943.
00:36:36It shows the tunnels that were dug out and used as bomb shelters during World War II.
00:36:43Oh, désolé.
00:36:44Vous voulez que je parle en français, Richard?
00:36:46I think it is the map she can't quite understand, not you.
00:36:50I have always been terrible with maps.
00:36:52It's a bit of an Achilles heel for me.
00:36:54Je suis désolé.
00:36:55It's because you're so young, love.
00:36:56We forget we're the last generation that didn't have sat-nav.
00:36:59Hey, speak for yourself.
00:37:00I'm 20 years younger than you, which makes me a straddler.
00:37:03Double?
00:37:04I straddled pre- and post-technology.
00:37:06Doesn't matter what form a map takes, I'm a dab hand.
00:37:09Right, there's a labyrinth of tunnels under the museum.
00:37:12You can see the entrances all around here, but they can only be accessed from the inside.
00:37:17Hang on.
00:37:19This one looks like it's leading from the outside in.
00:37:22What do you mean?
00:37:23Look.
00:37:24It starts off as a small one, then joins up with the bigger ones.
00:37:28What's its proximity?
00:37:30Just underneath the main entrance.
00:37:33Right around here somewhere.
00:37:35Gloria, can you pull the van back a bit, love?
00:37:49OK.
00:37:54Lovely.
00:37:55That's it.
00:37:56There's your way in.
00:38:02You're not going to open it up like that, are you?
00:38:05You got a crowbar in the van?
00:38:07Yeah.
00:38:08And, er, toolbox?
00:38:13There's a knack to this.
00:38:16It's another.
00:38:20All right.
00:38:22Are you ready?
00:38:35You are full of handy tricks, Patrick.
00:38:38I'm not going to ask where you land them.
00:38:40OK.
00:38:41I'm going in.
00:38:42Richard, get me an earpiece.
00:38:43You'll need this as well.
00:38:44It's my head torch.
00:38:45Thank you, Gloria.
00:38:51You're sure I can't go with you?
00:38:52Richard, I need you to take control here.
00:38:55You are now in charge.
00:38:57Oui, Major.
00:38:58Gloria, take this headset.
00:39:00I need you to stay on the map and on the radio.
00:39:02You will be my ears and eyes.
00:39:04When I reach the bomb, you will pass to Richard, OK?
00:39:06Will the signal be strong enough down there?
00:39:08This radio is analogue.
00:39:10It's like a walkie-talkie.
00:39:11It works over short distances because it doesn't need a signal to bounce up to the sky.
00:39:17OK.
00:39:18Be careful in there.
00:39:19I will.
00:39:20I will.
00:39:34Lawyer, can you hear me?
00:39:35Yeah.
00:39:36You OK?
00:39:37I'm fine.
00:39:38Which way?
00:39:39You go in to your left first.
00:39:40Bingo.
00:39:41The shutters are connected to the museum's mainframe.
00:39:54Meaning you don't need Wi-Fi?
00:39:56Exactly.
00:39:57I may be able to override it if both systems are kept connected.
00:40:07Where's your main computer?
00:40:09It's in my office next to the event room.
00:40:14What's your passcode?
00:40:16It's Yves1234.
00:40:19Yves, press your finger firmly on this pad.
00:40:24I may be able to change your fingerprint identity to yours.
00:40:27Gabriel, when a code pops up, press Enter straight away.
00:40:30Enter straight to.
00:40:31OK.
00:40:32OK.
00:40:33I'm going to your office.
00:40:39Eh ben.
00:40:40Eh ben.
00:40:41Qui aurait cru qu'elle serait transformée en Lara Croft?
00:40:43OK.
00:40:57Oh, hello.
00:40:58What are you doing here?
00:41:10I am a good boy.
00:41:12It's a great job.
00:41:13Thank you so much.
00:41:14Calm down!
00:41:15What are you doing here?
00:41:16Well, you're a terrible boy.
00:41:18I'm a good boy.
00:41:19Ok.
00:41:20Let's go.
00:41:21Why do you want to talk to him?
00:41:22Please do it all.
00:41:23Alright.
00:41:24Oh my God.
00:41:25I'm a good boy.
00:41:26You're a good boy.
00:41:27I'm a good boy.
00:41:28No way.
00:41:29Oh my God.
00:41:30We're going to get his mouth.
00:41:31Come on.
00:41:32You're welcome.
00:41:33Do you want to get out of here?
00:41:35Come on, he's a well.
00:41:38No way.
00:41:39I wanted to tell you, it's not a long time that we've been known, but you've got my life.
00:41:47Oh, really? It's so weird.
00:41:51Sorry Gabriel, it's just that I'm really scared.
00:41:54Sorry.
00:41:57The code will appear in an instant.
00:42:00It's okay, it's okay.
00:42:04What the hell is this?!
00:42:09What came first, medieval or renaissance?
00:42:13Medieval.
00:42:14Oh, right.
00:42:16So medieval was the 5th to the 14th century and renaissance was the 14th to the 17th?
00:42:22Correct.
00:42:23Yeah, no, it says it here on the card.
00:42:26This is beautiful.
00:42:30It's handspun wool and silk.
00:42:33And this is called a verdure tapestry, derives from the French word for green.
00:42:38Vel.
00:42:39Yeah.
00:42:40How do you do that?
00:42:41What?
00:42:42No, all that.
00:42:44It says it on the card.
00:42:46Touché.
00:42:49These two look how I feel.
00:42:51How come none of them ever smiled?
00:42:53There was a theory that they didn't want to show their bad teeth.
00:42:56Fair dues.
00:42:57I think it was just really hard work to maintain a smile whilst you're having your portrait painted.
00:43:02I mean, sitting there for hours like that, not like taking a selfie is it?
00:43:06That's true.
00:43:07Don.
00:43:08Come out.
00:43:09Okay, right.
00:43:10Look at the heart.
00:43:11Her fruit from above.
00:43:12Her face like the sun.
00:43:13Her heart full of love.
00:43:14I mean, I wouldn't exactly say her face is sunny.
00:43:15But...
00:43:16Tonatello, terracotta.
00:43:17You didn't look at the card.
00:43:18Oh.
00:43:19Well, he's one of my favourites.
00:43:20Mind you, there is a debate that it could have been Mabir, but...
00:43:21It says it's on loan from Florence.
00:43:23Well, it fits all the clues.
00:43:24Can I have your phone?
00:43:25Yeah.
00:43:26It says it's on loan from Florence.
00:43:27Well, it fits all the clues.
00:43:29Can I have your phone?
00:43:30Yeah.
00:43:31I mean, it's on loan from Florence.
00:43:32You're just like the sun.
00:43:33I mean, it's like the sun, her heart full of love.
00:43:35I mean, I wouldn't exactly say her face is sunny.
00:43:36I mean, I wouldn't exactly say her face is sunny, but...
00:43:38Tonatello, terracotta.
00:43:39I mean, look at the card.
00:43:40Oh, well, he's one of my favourites.
00:43:41Mind you, there is a debate that it could have been Mabir, but...
00:43:45It says it's on loan from Florence.
00:43:46It fits all the clues.
00:43:48Can I have your phone?
00:43:49Yeah.
00:43:50Oh, we best get back to the others.
00:43:58Not much time left, is there?
00:44:01I love you, Jane White.
00:44:03Dom, we will get out of here.
00:44:06Yeah?
00:44:07Yeah, come on.
00:44:08One, two, three!
00:44:12Come on!
00:44:18All right, all right, all right. Let's just take a minute.
00:44:22Good idea.
00:44:34So, how did you find out about the affair?
00:44:38I wasn't sure at first, but I'd had my suspicions for months.
00:44:46What made you suspicious, if you don't mind?
00:44:50Oh, I don't mind, I don't mind.
00:44:52We run our businesses like clockwork,
00:44:55and then all of a sudden she becomes interested in charity.
00:44:58Now, I wouldn't mind,
00:45:01but we have an office set aside for charity or tax relief,
00:45:06as I'd like to call it.
00:45:08Absolutely.
00:45:09And the only charity she really did was just turn up,
00:45:12snip the ribbon,
00:45:14until she met him.
00:45:16Ah, Dr. Pardipa.
00:45:19Mm-hmm.
00:45:21We met him,
00:45:23and then she became obsessed
00:45:25with going to his meetings for his prison art malarkey.
00:45:30She couldn't get enough of it.
00:45:32Oh, we should see the difference it makes, blah, blah, blah.
00:45:35And then there's all the obvious signs.
00:45:42Never leaving her phone unattended.
00:45:44Always going in a different room to check her messages.
00:45:48You know, I've never loved another woman.
00:45:54I just thought...
00:45:56Maybe she didn't love me as much as she used to.
00:46:03Though we'd always have...
00:46:05Respect.
00:46:07You're right, old chap.
00:46:11Once the respect has gone...
00:46:14Come on, George.
00:46:17Come on, George.
00:46:19We've got to find a way out of here.
00:46:21Come on.
00:46:26Where on earth is everybody?
00:46:30Ah, hello.
00:46:31Who have we here?
00:46:36What a zero chance of my reading that tiny writing.
00:46:39You do have a look of a female, I suppose,
00:46:42but is that a child?
00:46:47Oh, bloody hell, I forgot to pick up my glasses.
00:46:51I know.
00:46:52Oh, I see.
00:46:53Not a child but a sheaf of wheat.
00:46:55Nearly.
00:46:56Come on, ladies and gentlemen.
00:46:57There's nothing to have here.
00:46:58Come on, sir.
00:46:59Come on, sir.
00:47:00Come on, sir.
00:47:01Come on, sir.
00:47:02Come on, sir.
00:47:03I don't know.
00:47:04You can go.
00:47:05I don't know.
00:47:06Come on, sir.
00:47:07Come on, sir.
00:47:08Come on, sir.
00:47:09Come on, sir.
00:47:10Come on, sir.
00:47:11Come on, sir.
00:47:12Come on.
00:47:13I can go.
00:47:14OK.
00:47:15The tunnel on your left appears to lead to another exit.
00:47:18But the tunnel ahead of you takes you to a door that leads you into the museum.
00:47:23OK.
00:47:24Give me a second.
00:47:37It's locked!
00:47:38The door's locked.
00:47:39Give me your hands, sir.
00:47:45Andre?
00:47:46Describe the lock to me as best you can.
00:47:51It is a rectangle with a large keyhole in the middle.
00:47:55Looks like a church door lock.
00:47:58And it is very rusted.
00:48:01Sounds like a rim lock.
00:48:03Not too tricky.
00:48:04So, use the screwdriver attachment on your multi-tool to turn the lock to your right.
00:48:14Okay.
00:48:15I'm ready.
00:48:16No.
00:48:17No.
00:48:18No.
00:48:19No.
00:48:20Well.
00:48:21No.
00:48:22No.
00:48:23No.
00:48:24No.
00:48:25No.
00:48:26No.
00:48:27No.
00:48:28I give in.
00:48:29What do you mean, George Niles?
00:48:30He just came straight out of me.
00:48:31Said he'd been looking through your phone.
00:48:32Looking through my phone?
00:48:33How?
00:48:34He never leaves my sight.
00:48:35We hardly see each other.
00:48:36We live separate lives.
00:48:37That's not what he said.
00:48:38What?
00:48:39He implied that the two of you are still very much in love.
00:48:40And that this whole dislike thing is just an act.
00:48:42Oh, Ali, that is rubbish.
00:48:43We don't even sleep in the same room.
00:48:44And the worst bit of it is...
00:48:45He said he's going to make sure that I don't know.
00:48:46No.
00:48:47No.
00:48:48No.
00:48:49No.
00:48:50No.
00:48:51No.
00:48:52No.
00:48:53No.
00:48:54No.
00:48:55No.
00:48:56No.
00:48:57No.
00:48:58No.
00:48:59No.
00:49:00No.
00:49:01No.
00:49:02No.
00:49:03No.
00:49:04No.
00:49:05No.
00:49:06No.
00:49:07No.
00:49:08No.
00:49:09No.
00:49:10No.
00:49:11No.
00:49:12No.
00:49:13No.
00:49:14No.
00:49:15No.
00:49:16No.
00:49:17No.
00:49:18No.
00:49:19No.
00:49:20No.
00:49:21No.
00:49:22No, I'm still guaranty.
00:49:24No, no, no, no.
00:49:27No.
00:49:28No.
00:49:29You are motivation, but please it's rubbish.
00:49:31He's just bitter.
00:49:32Believe me.
00:49:34No.
00:49:35Lisa, believe me. I love you.
00:49:40Did you find anything?
00:49:42Oh, I've taken a picture of a few pieces,
00:49:44but I haven't really got a clue what I'm looking for.
00:49:46Yeah, I mean, the riddle is a little vague.
00:49:49Yeah, that's the understatement of the century.
00:49:52But the bomb threat is very clear.
00:49:54Yeah, yeah, we should find the others and regroup, yeah?
00:49:56That's where I was heading.
00:50:05Oh, no, they're all locked.
00:50:16Oh.
00:50:17Surely that idiot Gabrielle has a set of keys.
00:50:20I think we've established, George,
00:50:21that Gabrielle has literally no idea where they are.
00:50:24Oh, hello, you two.
00:50:26Oh, hello, darling. Any success?
00:50:29Oh, it's bloody useless.
00:50:31I can't find one single religious painting.
00:50:34No, I've tried my utmost, and that's all I can do.
00:50:38It's all so hopeless.
00:50:41How are you getting on?
00:50:42We've fried all the doors.
00:50:43And windows.
00:50:44Nothing.
00:50:45Oh, utterly infuriating.
00:50:47Maybe we should get back to the others.
00:50:49Good idea, George. Come on.
00:50:52We will get out of here, won't we, darling?
00:50:56Oh, come here.
00:50:59Of course we will, my darling.
00:51:01One way or the other.
00:51:05Very, very gently.
00:51:09Nothing seems to be biting.
00:51:11Take your time.
00:51:13That is something we do not have.
00:51:15Ah!
00:51:17I think I can kick the door in.
00:51:19No, no, no, no, don't do that.
00:51:21We don't want any unnecessary vibrations.
00:51:23Andre?
00:51:25Andre?
00:51:26Ah!
00:51:27Andre?
00:51:28Ah!
00:51:29Andre!
00:51:30Ah!
00:51:31Andre!
00:51:32Ah!
00:51:33Ah!
00:51:34Ah!
00:51:35Ah!
00:51:49Any joy?
00:51:50Yes?
00:51:54Aw.
00:51:55And now, um, this is a picture by Camille Corot, in 1860.
00:51:59Emile Corot in 1860, and it's of a normal,
00:52:03earthbound human and child.
00:52:05Sorry. No, it's okay.
00:52:08Ellie, anything? I couldn't find the card for this,
00:52:10but it looks like a modern art version of Mary and Jesus.
00:52:15Well, is it? No.
00:52:18I'm afraid not.
00:52:20It looks like modern art, but I think it's a copy
00:52:22of the famous Korotrophos,
00:52:24which is one of the earliest Neolithic finds in Greece,
00:52:286,000 B.C.
00:52:29Oh...
00:52:31Not with George and Jerry, then, Ellie?
00:52:33No, the, um...
00:52:35We couldn't... The doors.
00:52:41I've got something to tell you.
00:52:42Ooh, Dom.
00:52:44Oh, how did it go?
00:52:45We're really trapped.
00:52:46Tried everything.
00:52:48Every window, every door is either deadlocked or barred.
00:52:52Judith, did you find anything to match the poem?
00:52:55I found a painting that might be a mother and child,
00:52:57but I'm not entirely sure it's the right way up.
00:53:02No.
00:53:05Dom, can you get up that picture of the Donatello, please?
00:53:08No.
00:53:13OK.
00:53:14Do you think it's time to put our best option in?
00:53:26Don't really have a choice, do we?
00:53:27Or shouldn't we wait to see if Sangeetra and the others
00:53:30have had some success?
00:53:31I don't think there's any harm in trying.
00:53:33I don't think there's any harm in trying.
00:53:35No, thank you.
00:53:36Ah.
00:53:40Oh.
00:53:41BELL RINGS
00:54:07Hold on, Robbie. Can you hit me?
00:54:10Yes, Patrick.
00:54:12We lost you for a few moments. You had us worried.
00:54:15So, how are you doing?
00:54:18I'm a little trapped.
00:54:20Part of the roof has collapsed
00:54:22and formed a barrier between me and where I came in.
00:54:25Can you dig your way out?
00:54:27At the moment, that does not seem possible.
00:54:30OK, so we must keep trying the lock.
00:54:40The lock is so rusted, I just can't seem to get a grip.
00:54:52There's a blockage in the tunnel and he can't get out.
00:54:54How's he doing with the lock?
00:54:56He says he can't get a grip because it's all rusted up.
00:54:58Rusted up? Rusted.
00:55:00Give me the headset.
00:55:02Andre, this may seem like a stupid question,
00:55:05but what's your gun holster made of?
00:55:08Uh, mainly leather, I think,
00:55:10but with some rubber on the inside.
00:55:12Great. Take your knife and slice a thin piece of rubber off.
00:55:22OK, I've done that.
00:55:24Put it in the lock and rub as hard as you can.
00:55:34Is it working?
00:55:35Yes, it's working!
00:55:36Yeah, how did you know how to do that?
00:55:38Oh, but can each trick rustates rubber.
00:55:40I'm passing you back to Patrick.
00:55:42Right, I'm going to try the lock again.
00:55:44OK, Andre, remember,
00:55:46screwdriver up and to the right, very gently.
00:55:55What's happening, Andre? Andre?
00:55:57It's not opening, Patrick!
00:55:59OK, uh, I want you to describe it for me again
00:56:08as best you can with every detail.
00:56:11Every detail you can.
00:56:16Uh, it's brass, I think,
00:56:19with a fancy design on it,
00:56:21like a fleur-de-lis, sort of.
00:56:24Oh, Patrick, you idiot, it's an old French lock.
00:56:27Gonna try something different, Andre.
00:56:32Turn it to the left very, very gently.
00:56:36Hmm?
00:56:37Then turn it one more time.
00:56:47It's unlocked!
00:56:48Yes! Yes!
00:56:50OK, Andre.
00:56:52Once you're through the door,
00:56:53you're going to your right.
00:56:57I can't believe I got it so wrong.
00:56:59Look, you can't blame yourself, Jane.
00:57:01Well, it's false, is it?
00:57:02I sent you all on a wild goose chase.
00:57:04You did something, though.
00:57:06Yeah, and I got it wrong.
00:57:08I don't want to die like this, Jeremy!
00:57:10Oh, I know, my darling, I know!
00:57:15Why didn't you tell me it'll all be all right?
00:57:20What?
00:57:21You always say it'll all be all right, darling,
00:57:23and it always is.
00:57:25Well...
00:57:40How much time have I got left?
00:57:42Only 17 minutes, I'm afraid.
00:57:43Seventeen minutes, Andre!
00:57:44Keep going straight on!
00:57:45You're nearly there, you're doing great!
00:57:48Yeah!
00:57:49No, no, no, no, no, no, no!
00:57:50Go away!
00:57:51No, no, no, no, no, no!
00:57:53I'm sorry, we're giving you away.
00:57:55No, no, no, no.
00:57:57What's the question?
00:57:58Oh, come on, Bob?
00:57:59Well, what's next?
00:58:01Just go away, buddy?
00:58:02Yeah!
00:58:03Let's go away, mate.
00:58:04Oh!
00:58:05No, no, no.
00:58:06No, no, no, no, no.
00:58:07No, no, no, no, no!
00:58:10No, no.
00:58:11No, no, no, no.
00:58:13No, no, no, no.
00:58:15No!
00:58:16No, no, no, no!
00:58:17Do you want to know what I bought you for Christmas you know I prefer a surprise
00:58:41but you might not get to see it
00:58:47I want to keep it a surprise
00:58:53thank you Jeremy what for our life together I've had such a lovely time I
00:59:05thought after losing the twins we wouldn't last lots of couples split over
00:59:11this you know I know my darling I know maybe if there is something after this
00:59:20life we can meet them again that's a nice thought isn't it that's a wonderful thought
00:59:29wonderful anyway I'm glad we're here together I've always dreaded the thought of going first and leaving you behind
00:59:41me too
00:59:44sangita she's dead no what are you sure positive how she has been shot shot she was trying to change the
00:59:59fingerprint control and needed access to the main computer in my office so she left us and
01:00:04went to the office waited for ages and you just found her there yes I need to see her no no no I'm
01:00:11not sure you should look I'm a doctor maybe she's still alive take me to her Ali Ali listen look at me
01:00:17I just need to see my wife show me to your office okay
01:00:25Ali Ali
01:00:27everyone needs to stay here no one must leave don't come with me
01:00:31yeah
01:00:32my love
01:00:45Ali you can't touch her
01:00:48I am a doctor and her husband
01:00:51I know but this is a crime scene
01:00:53what there's still a very good chance that we could get out of here and if we do
01:00:59we want every shred of evidence intact don't we
01:01:03Ali is having an affair with Ariel
01:01:22what I saw them in the corridor together said him and George almost came to blows at one point
01:01:29that gives him a motive to get rid of his wife so we can marry a billionaire exactly
01:01:35come on if it is him we can't leave him alone with Gabrielle for too long
01:01:41all the banking codes they are gone are you sure they were in there earlier yes when I came to to get the armalue from the safe I clearly remember seeing the file and who else knew the combinations of the safe only me and if he helped me collect the armalue earlier
01:02:01we all have to stay in the same place it's what Karen would make
01:02:08would make us do yeah yeah you're right okay but we have to stick together there's a murderer amongst us
01:02:14Gloria I must be near I can hear voices
01:02:32you're right underneath the event room carry on for about another 10 yards and you'll see a ladder on your right
01:02:38that'll take you directly up to the museum
01:02:40are you okay love
01:02:43yes I'm fine
01:02:48yards to meters
01:02:51multiply the length
01:02:53given in yards
01:02:54by 0.9144
01:02:56I found the ladder
01:02:59he's found the ladder
01:03:04I'm heading up now Gloria
01:03:07well done Andrea you're nearly there
01:03:10the security engineer has now landed at the airport and she's on her way now in a pretty scar
01:03:14brilliant my sir
01:03:15you
01:03:16andre
01:03:26andre
01:03:27andre are you okay
01:03:29andre can you hear me
01:03:31maybe we should start praying to them paintings we found it looks like that's our only choice
01:03:43you like to have a choice don't you
01:03:46what's that meant to me
01:03:47you know exactly what that means
01:03:49if you've got something to say George why don't you just come out with it
01:03:53if I've got something to say I will decide when I say it
01:03:58always loving the control eh George
01:04:01even when we're about to die you still have to be in control
01:04:04you know the best thing about this situation
01:04:08we're both gonna die together
01:04:11which means you won't inherit a thing
01:04:17wow
01:04:20just when I thought you couldn't go lower
01:04:23what are you thinking?
01:04:40I'm trying to work out the murder in real time
01:04:43get Jeremy and Judith over to help will you?
01:04:46hey
01:04:47you two
01:04:48Jean need your help
01:04:49I'm not sure I'm not help to anyone Dominic
01:04:52Judith's not feeling great
01:04:53we're all not feeling great Jeremy
01:04:57sorry
01:04:58sorry I didn't mean to snap
01:05:00no I
01:05:01no actually
01:05:02I did
01:05:03Jean is over there
01:05:04trying so hard to help us
01:05:06to help all of us
01:05:07the very least you two can do
01:05:08is to help her
01:05:09okay?
01:05:10oh
01:05:11sorry old chap
01:05:12yes of course
01:05:13oh great
01:05:15okay
01:05:16so
01:05:17whoever murdered
01:05:18Sangeeta and Suzanne
01:05:20has something to do with the bomb
01:05:22and this whole nightmare evening
01:05:23it makes sense for everything to be connected
01:05:25yeah
01:05:26who would kill Sangeeta?
01:05:27who would murder someone like that?
01:05:29well
01:05:30Ali's having an affair with Auriel
01:05:32oh yeah don't tell me
01:05:33what?
01:05:34yeah George just poured his heart out of me
01:05:36the poor chap is broken
01:05:37yeah
01:05:38and I saw Ali and Auriel in the corridor earlier
01:05:40talking about it
01:05:41do you think
01:05:43he bumped off his wife
01:05:44to run off with a billionaireess?
01:05:46that's what I said
01:05:47or maybe
01:05:48George killed her
01:05:50to frame Ali
01:05:51you're certainly on the verge of it
01:05:52or
01:05:53maybe
01:05:54Auriel killed her in a jealous rage
01:05:56because she couldn't wait a moment longer for Ali
01:05:58well in the office
01:06:00Gabrielle said
01:06:01all the codes to the museum's bank
01:06:03had been stolen from the safe
01:06:05yeah and he was certain
01:06:06that they were there earlier
01:06:07so could that have something to do with it?
01:06:10oh it's all so confusing
01:06:12my head hurts
01:06:14don't
01:06:16come with me
01:06:17come with me
01:06:38there was only one person that used the map
01:06:40switch
01:06:41swing
01:06:57of course
01:06:58it's so small
01:06:59it's
01:07:01it's a nose ring
01:07:05oh
01:07:06It was Ellie. It was all Ellie.
01:07:12What? Ellie is the murderer.
01:07:15Don't, don't, don't, look.
01:07:16How did she do it?
01:07:18She couldn't be in two places at once.
01:07:21I mean, she was definitely here when we arrived.
01:07:25So how could she be murdering the security guard at the same time?
01:07:32Unless...
01:07:33Oh.
01:07:34This good shit.
01:07:36Tom.
01:07:45Tom, give us a hand with this.
01:07:48Yeah.
01:07:55Oh my God.
01:08:01She's still alive.
01:08:02Let's get her in here.
01:08:20What the hell?
01:08:22Who on earth is this?
01:08:23Jean, for God's sake, explain. What on earth is going on?
01:08:27Ellie, can you just a minute?
01:08:29I'm intrigued.
01:08:30Oh.
01:08:31We still have a few minutes before we escape.
01:08:37How did you know?
01:08:39Eve, what are you doing?
01:08:43Go on, Madam White.
01:08:45It didn't come to me straight away.
01:08:49Then I worked out that it was you who killed Sangeeta and stole the bank codes.
01:08:53You mistakenly left your map on the floor, at the side of the safe.
01:09:00I suppose when Sangeeta came in to override the fingerprint control, well, she caught you red-handed.
01:09:09Oh!
01:09:13And then I worked it back.
01:09:14I mean, how did you get in the safe in the first place?
01:09:19Only Gabrielle and Eve knew the combination, so it made sense one of them was your accomplice.
01:09:28And then I remembered, earlier in the evening, Sangeeta recognized you, Eve, from a prison outreach event.
01:09:45Have we met somewhere before?
01:09:47Very much doubted. I don't do prisons on charity here.
01:09:51I assume you've not been out of prison for very long, for Sangeeta to recognize you from something so recent.
01:09:58Eve, is this true?
01:10:03But you, Ellie, yeah?
01:10:06I couldn't work out how you could be in two places at once.
01:10:10Serving champagne here and, well, murdering the security guard down there.
01:10:17But you weren't, were you?
01:10:21This is what I think.
01:10:22You went to the museum, and you forced a security guard to activate the shutters.
01:10:40Once you'd started the bomb, you raced up here.
01:10:45You changed your outfit, and you placed the bomb in the cabinet, just outside this room.
01:10:55Then you accosted that poor waitress.
01:11:08And you bundled her into the cupboard.
01:11:11It's brilliant, really.
01:11:13All Eve had to do was hire an agency waitress who looked a little bit like you.
01:11:19I mean, no one had ever met either of you before, so no one would realize that you were an entirely different person.
01:11:27But how did you get the bomb inside the Ormalu?
01:11:31Well, you throwing champagne over George was no accident, was it?
01:11:40The minute that you heard Gabrielle and Eve in the corridor, that was your cue to cause a distraction.
01:11:47Giving Eve just enough time to plant the note for me, and to put the bomb in the box.
01:12:09Very good, Madame Waite.
01:12:11I sort of understand the murders to steal the bank codes.
01:12:19But why the bomb?
01:12:21Why the poem?
01:12:24Well, that is what you would all take to your graves without knowing.
01:12:30But there's no way out.
01:12:32Not for you, anyway.
01:12:41The security engineer is almost here.
01:12:53Oh, we've only got two minutes left.
01:12:55Two of the most important people in my life were in that building.
01:13:13Heads down, please.
01:13:15Right.
01:13:16I'm going to smash this door down.
01:13:18What's the point?
01:13:19There's enough Semtex in there to blow up the whole bloody building.
01:13:21But they managed to escape, didn't they?
01:13:23Oh, God, I didn't think I was going to die from a bomb in a bloody jewellery box.
01:13:30Maybe the actual box is a clue.
01:13:33It's an actual Marie Antoinette box.
01:13:40This is a picture of Marie Antoinette dressed as a vestal virgin by Charles Leclerc in 1777.
01:13:46In relation to the poem, Fruit from Above, well, Marie Antoinette's father was a pope, faced like their son.
01:13:55Well, she was married to the great-great-grandson of the Sun King, and fate was not kind.
01:14:01Well, it wasn't kind to her.
01:14:02She had her head cut off.
01:14:03Oh, my God.
01:14:04Oh, my God.
01:14:04I'm sorry.
01:14:05It's good.
01:14:05What?
01:14:07Seven.
01:14:09Seven.
01:14:11Seven.
01:14:13Seven.
01:14:15Seven.
01:14:25Oh!
01:14:27Oh!
01:14:29Oh!
01:14:31Oh!
01:14:33It would be alright.
01:14:35Oh, Judith.
01:14:37Judith, you're a genius.
01:14:39The box, Marie Antoinette, of course it was to do with her.
01:14:41Oh, I'm going too old for this.
01:14:43Clever, clever darling.
01:14:45I'm so pleased I didn't tell you what I brought you for Christmas.
01:14:53What happened?
01:14:57Nothing.
01:14:59Hi!
01:15:03Listen.
01:15:05I don't want to break up the party, but we are still locked in.
01:15:09I know we don't have the threat of the bomb anymore,
01:15:11but we are still locked in.
01:15:13Come on, let's get this door open.
01:15:15Right, come on.
01:15:17Right, okay.
01:15:19One, two,
01:15:21three!
01:15:23Oh!
01:15:25I must have loosened it earlier.
01:15:27Loosened it.
01:15:29It's a real dreamboat there, hey, my darling wife.
01:15:39Come on!
01:15:41Come on, come on!
01:15:43The shutters are opening!
01:15:45Come on! Come on, come on!
01:15:47Oh, Sharon, you little beauty!
01:15:49Come on, come on, come on!
01:15:51Come on, come on!
01:15:53Come on, come on!
01:15:55Come on, come on!
01:15:56The shutters are opening!
01:15:57Come on!
01:15:58Come on, come on!
01:15:59Oh, Sharon, you little beauty!
01:16:01Excuse me!
01:16:05Excuse me, excuse me, me!
01:16:07Excuse me!
01:16:09Excuse me!
01:16:10Excuse me, excuse me!
01:16:16Allez, c'est bon, bené, venez!
01:16:18How you's doing?
01:16:19You should have let us sit.
01:16:21This way.
01:16:22This way, please!
01:16:23Come here!
01:16:24This way, please!
01:16:25This way?
01:16:26Yeah, yeah.
01:16:27This way.
01:16:28Oh
01:16:40Dominic Merry Christmas. Well, yeah, I wouldn't exactly say that but Merry Christmas
01:16:47Where's Karen what happened?
01:16:52He came in to get you how the tunnels underneath the museum the what?
01:16:58There's a load of bomb shelters. It was my idea but
01:17:03His radio has gone silent
01:17:06We think he has fallen
01:17:10Had to wait and see if the bomb exploded before they went to check on him just preparing to go and find him now
01:17:28I
01:17:30Assume these two have something to do with all this
01:17:33I thought I killed you
01:17:35Not quite
01:17:37Oh André, it's so good to see you
01:17:40Oh
01:17:42Good to see you mate
01:17:44Oh
01:17:46Richard
01:17:48Jean
01:17:50Jean, can you fill me in on what happened?
01:17:52Then I will interview those two in the morning
01:17:54What?
01:17:55Now?
01:17:56Are you sure you're up to it?
01:17:58You know, I like to keep busy at Christmas
01:18:00Yeah, I do
01:18:02Yes
01:18:04Yes
01:18:06Yes
01:18:07Ah
01:18:08I understand
01:18:10Yes
01:18:12Yes
01:18:14Yes
01:18:16Yes
01:18:18Yes
01:18:20Yes
01:18:22Yes
01:18:23Yes
01:18:24Yes
01:18:25Yes
01:18:31Yes
01:18:35Yes
01:18:37Yes
01:18:39Yes
01:18:41Yes
01:18:43Yes
01:18:45Yes
01:18:47I'm not sure I like brunch.
01:19:01What?
01:19:03Well, the word, the blending of two words to make another, like, um, motel.
01:19:08Portmanteau.
01:19:09God bless you.
01:19:11Portmanteau is the blending of two words to make another one.
01:19:14Although, portmanteau also means a leather case with two sections, but...
01:19:19Where would it be without your brain, eh?
01:19:21I think we're daft.
01:19:22You don't mean it.
01:19:23You saved a lot of lives yesterday.
01:19:25Oh, well, I just did what I had to do.
01:19:28Yeah, and what only you can.
01:19:31Well, thank you.
01:19:32Now, can I tempt you to a croissage?
01:19:35What?
01:19:37It's a croissant with a sausage inside and portmanteau in.
01:19:42Fresh coffee?
01:19:43Oh, thank you, Patrick.
01:19:47Why aren't we, darling?
01:19:48I'm terribly hungry this morning.
01:19:51I think it's all the trauma.
01:19:52Of course, darling.
01:19:54It can do that.
01:19:55I remember when my gran was ill,
01:19:57all anybody could do was make sandwiches, like, make everything better.
01:20:00Feeding the soul?
01:20:02Not with white slice and beef paste.
01:20:03We ended up feeding the ducks.
01:20:06There you are. Plenty more where that came from.
01:20:08Oh, lovely.
01:20:09Will you sit down?
01:20:10We've got loads here.
01:20:11We need to save a little bit of room for Christmas dinner.
01:20:13You sound just like I did when you were a nipper.
01:20:16Do you know, one Christmas morning,
01:20:17he ate three packets of mince pies and half a Christmas cake before breakfast.
01:20:22How old is he?
01:20:25Five.
01:20:25Fifteen, actually.
01:20:28I was a little bit worse for wear, but I didn't know that then.
01:20:31I just needed a sugar rush.
01:20:32I have never really believed in hangovers.
01:20:35I think it's a case of mind over matter.
01:20:37I think that's why I've never heard one.
01:20:39Oh, excuse me.
01:20:45Ah.
01:20:47Karen is ready for me to go over.
01:20:49Oh, want me to come with you?
01:20:50No, no, it's all right.
01:20:51It won't be long.
01:20:52I've just got to bob over to the station and Andre needs my help.
01:20:56Can I have some food with you?
01:20:57Oh, no, I'm really full.
01:20:59For Andre and Richelle.
01:21:01Oh, yeah, great idea.
01:21:03Tell them that they're both invited to lunch.
01:21:05Four o'clock start.
01:21:06Will do.
01:21:07Talking of starts, do you think it's too early for a little champagne?
01:21:12Wonderful idea, darling.
01:21:14Carpe bloody diem after yesterday, that's what I say.
01:21:18I'll get some glasses.
01:21:22Hey.
01:21:24What?
01:21:26Merry Christmas.
01:21:29Merry Christmas?
01:21:31What's the matter?
01:21:33Well, after yesterday, I...
01:21:37I don't want to let you have me say.
01:21:39Don't be daft.
01:21:40I won't be gone long.
01:21:41Yeah, I know, but...
01:21:43I'll tell you what.
01:21:44Why don't you get on the morning champers
01:21:46and you won't even know I'm missing?
01:21:48Okay.
01:21:49Come in.
01:21:50Happy Christmas.
01:22:05Well, it would be if we could get these two to speak.
01:22:09Oh, no joy.
01:22:10Nothing from him.
01:22:11He's just playing games.
01:22:13But the girl, I think, is starting to break.
01:22:15That's why I asked you here.
01:22:17She's upstairs.
01:22:19Oh, from Patrick.
01:22:21Merci.
01:22:21So, what happened?
01:22:31No comment.
01:22:33Why did he plant a bomb?
01:22:35No comment.
01:22:37And why the poem?
01:22:39No comment.
01:22:40No comment.
01:22:41Look, I can understand you killing who you needed to
01:22:44to steal the bank codes.
01:22:46But why the bomb?
01:22:48Why the poem?
01:22:50Well, I don't know you and you don't know me.
01:22:52Well, the poem was obviously not my idea.
01:22:56So, there was someone else involved?
01:22:58Of course.
01:23:00I know nothing about bombs.
01:23:03Less about poems.
01:23:06And I had no idea who you were until yesterday.
01:23:09So, what happened?
01:23:15No comment.
01:23:16If you are trying to protect someone,
01:23:20I would ask you to consider how important they are to you.
01:23:23It will affect your sentence considerably.
01:23:33The last time I was in prison,
01:23:36I shared a cell with a woman who worked as a consultant
01:23:39at the museum.
01:23:41She knew everything about it.
01:23:43Every nook and cranny.
01:23:45She said if I kept in touch once I got out,
01:23:51she would be able to help me get inside,
01:23:54override the security system,
01:23:56steal the bank codes,
01:23:58and get out scot-free.
01:23:59Go, go on.
01:24:02So, I kept on visiting her.
01:24:04And, sure enough, we came up with a plan.
01:24:09I got my friend Eve involved,
01:24:11flirting with that idiot of a curator, Gabrielle,
01:24:15to get someone on the inside.
01:24:17But still, why me?
01:24:21Why the bomb?
01:24:23It was very strange.
01:24:26The last time I went to see her,
01:24:28she had found out through her contacts
01:24:30that you, Mrs. Jean White,
01:24:35would visit the museum on Christmas Eve.
01:24:38And?
01:24:39She was wild, cold with rage.
01:24:44God, she really hated you.
01:24:47So, instead of a simple robbery as planned,
01:24:52I was to plant a bomb and a letter to you.
01:24:55She said I would be safe.
01:25:00That there was a way out under the museum.
01:25:05She said it was a game she liked to play with you.
01:25:10It all seemed a bit psychotic to me.
01:25:13But then again, so did she.
01:25:17And I had nothing to lose.
01:25:20So, I did what she said.
01:25:24What was her name?
01:25:25Barbara.
01:25:54Barbara.
01:25:55What fun, Mrs. White.
01:26:10Till next time.
01:26:11Ho, ho.
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