- 18 hours 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.
00:00:08You're like me, innit?
00:00:10There you go.
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,
00:00:46but I've never seen one in Santa Clarke before.
00:00:48It'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.
00:01:16Oh, so, 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.
00:01:47Huh?
00:01:48As in Alphonse?
00:01:50From Alphonse Crush?
00:01:52What?
00:01:53The soft drink?
00:01:54Oh, I used to love that.
00:01:56Kept 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.
00:02:04Apparently, they can't stand each other, but they can't leave,
00:02:07because they are literally too rich.
00:02:11Ah-ha!
00:02:13Jeremy!
00:02:14Ça 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,
00:02:57but having the chief of police as my witness,
00:03:01that should shut them up.
00:03:03Oh, no, Jean's left a phone.
00:03:06I am on my way home now.
00:03:07I can drop it off for her.
00:03:09What'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.
00:03:18You will indeed.
00:03:19I am bringing Richard.
00:03:20She's very good at politics questions.
00:03:23Merry Christmas.
00:03:24Joyeux Noël.
00:03:25I never thought I'd be mates with a cop, eh?
00:03:28I never thought I'd be mates with a cop, eh?
00:03:32No, no, no.
00:03:33No, no, no.
00:03:34No, no, no, no.
00:03:35No, no.
00:03:36No, no.
00:03:38for you?
00:03:39No, my love, you're always beautiful.
00:03:41These last months, it was just extraordinary.
00:03:43Between my meeting with you and this dream job,
00:03:46it was wonderful.
00:03:48But, too.
00:03:50We have the whole life in front of us,
00:03:51but we really need to work.
00:03:53Gabriel, you're the new conservator of this museum.
00:03:56Can you give me a quarter of the politeness?
00:03:58No, not at all.
00:03:59Not at all.
00:04:00My only mission,
00:04:02it's to make this international museum.
00:04:04We have the Alphonse who are ready to invest
00:04:0610 million euros,
00:04:08it would change everything.
00:04:10It's absolutely right that it works.
00:04:12Alphonse!
00:04:23Good dicks, haven't we?
00:04:25Ah, Gabriel.
00:04:27Here he is, our curator himself.
00:04:30Jérémy Giudice, good to see you, boss.
00:04:32You too, Gabriel.
00:04:34And this is Jean White.
00:04:37Delivered as promised.
00:04:39Delivered?
00:04:40Oh, hello.
00:04:41It's a pleasure to meet you, Mrs White.
00:04:43Your expertise precedes you.
00:04:44Thank you so much for being here.
00:04:46All right, it's a pleasure.
00:04:47This is my partner.
00:04:48Your fiancée.
00:04:49Oh, yes, fiancée, Dom.
00:04:51Yeah, it's quite a recent thing.
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 antiques dealer.
00:05:04Ah.
00:05:05How quaint.
00:05:06Hmm.
00:05:07Shall we grab a horse's dew friendly into it?
00:05:09Yes.
00:05:10Yes.
00:05:11Hmm.
00:05:13A bottle of fresh champagne, please.
00:05:15Thank you very much.
00:05:16Pardon.
00:05:17I said champagne on the way right now.
00:05:19Oh, you are a darling, Gabriel.
00:05:21I think you're going to fit in very well around here.
00:05:24Yes.
00:05:25And by the way, you threw that last glass down your neck.
00:05:28We wouldn't want you going Thursday, would we?
00:05:31Excuse me.
00:05:32I'm just going to run through my speech.
00:05:34Oh, Jean, this is Dr Ali Pardeep.
00:05:37We were telling you about his charity.
00:05:39Oh, le change-le-vie, is it?
00:05:41Oh, it sounds like you do some great work.
00:05:43Oh, he does.
00:05:45Oh, hi.
00:05:46I'm Auriel.
00:05:47Oh, hello.
00:05:49It's a vocation that absolutely consumes me, I'm afraid.
00:05:53As 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.
00:06:13So, 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 as being artists, then?
00:06:24You know, that's exactly what we do.
00:06:27You're encouraging the egos of murderers.
00:06:30Is that what you're saying?
00:06:31Don't worry, Ali.
00:06:32I 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.
00:06:57Oh, that's my key.
00:06:59Sorry.
00:07:01Sorry.
00:07:03Ah, merci, s'il vous plaît.
00:07:04Merci.
00:07:05Ah, merci, monsieur.
00:07:06Merci.
00:07:07Good job, eh?
00:07:08Quite lucky.
00:07:13Thank 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.
00:07:35Um, remember what we discussed a couple of weeks ago when you first took the job.
00:07:40If you have what you say you have, and it's the real deal,
00:07:44we 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.
00:07:53But I need you to prove to me that I am making the right choice.
00:07:59Of course.
00:08:00The stakes are very high for us.
00:08:04But I have contacts all over the world to make this museum great, I promise.
00:08:11Madame White, this is where we could use your help.
00:08:14Oh, right.
00:08:15We apologize for not warning you beforehand, but everything had to be completely top secret.
00:08:21Oh, I'm intrigued.
00:08:23Um, we have something very rare, and we need you to verify it.
00:08:30Uh, Jeremy and, uh, 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, uh, excuse me for one moment, ladies and gentlemen,
00:08:47we 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, Gabrielle didn't tell me the finer details, just who I knew, who I trusted.
00:09:01He was the best in the business, so I...
00:09:03Well, 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.
00:09:14Well, let's put it this way.
00:09:16This isn't my first rodeo.
00:09:19Oh, thank you, darling.
00:09:22What's your name, dear?
00:09:23Amy.
00:09:24Big cash tip, Ellie.
00:09:26If you keep our shampers topped up, if you know what I mean.
00:09:30I'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 ? J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:09:59D'accord.
00:10:00Euh... Par 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...
00:10:114...
00:10:120, 9, 5, 7.
00:10:15C'est bon.
00:10:21Alors...
00:10:24C'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, je suis...
00:10:56Je sais pas.
00:10:59Euh...
00:11:07Oh, c'est bon.
00:11:08Tiens, prends la moite et on y va.
00:11:12Hop.
00:11:13Non, vraiment, fais très attention, hein.
00:11:28Non, mais attends, t'as l'avenir du musée entre les mains, là, non ?
00:11:31Trop...
00:11:32Gabriel, laisse-moi ! Tu veux que j'a pas se tomber ?
00:11:34Oh, c'est bon, c'est bon.
00:11:35Oh, c'est bon.
00:11:36Oh, c'est bon.
00:11:37Oh, c'est bon.
00:11:38Oh, c'est bon.
00:11:39Oh, c'est bon.
00:11:40Georges, 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 has ruined my bespoke shirt.
00:11:48Are you stupid ?
00:11:49No, I...
00:11:50Don't speak to her like that, Georges.
00:11:54These things happen.
00:11:56We 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.
00:12:04Well, I would like to apologize for the neolithic behavior of my husband, Ellie.
00:12:10Georges, we're going to pay for the cleaning, of course, but I can't clean.
00:12:14Just leave it.
00:12:16I can do it.
00:12:17I can do it.
00:12:18I can do it.
00:12:19Okay.
00:12:20Perfect.
00:12:21So where's this damn box of yours?
00:12:22It's a...
00:12:32Is that what I think it is?
00:12:48Go on.
00:12:49What is it?
00:12:50Oh, this is a French Ormolu gilt jewelry case owned by, I think, Marie Antoinette herself.
00:12:59Am I right?
00:13:00Yes, exactly, Madame.
00:13:02Oh, well, I know there's one of these in the Museum of Tehran, but the only other one was bought by Russian buyers at Sotheby's in 2007. So how could it be here?
00:13:12Um, I have been totally obsessed with this box. So, um, I tracked it down over the years and persuaded them to sell.
00:13:25Wow. Well, Gabrielle is right. I mean, if you can get stuff like this, well, this is like such a fantastic draw for the museum. Game changer, really.
00:13:37Well, so far so good.
00:13:39Okay.
00:13:44What?
00:13:45My God.
00:13:47Gene?
00:13:49Well, it...
00:13:50It looks like a...
00:13:51Like a bomb.
00:13:52Oh, what?
00:13:53Don!
00:13:57It doesn't just look like a bomb.
00:13:58It's a marzipan.
00:14:00Marzipan?
00:14:01Yeah.
00:14:02I was in the army for years. I've recognized that smell anywhere.
00:14:05What is it?
00:14:06It's Semtex.
00:14:07Semtex?
00:14:08What...
00:14:09What can that do?
00:14:10Put it this way, there's enough in there to blow this whole museum sky high.
00:14:20Come on!
00:14:38They won't move.
00:14:39Well, what if we all lift together?
00:14:41They're locked.
00:14:42Okay, okay. Um, well, why don't we try the other exits?
00:14:50No, no. Uh, they will all be locked too. And all the windows are bound.
00:14:55Oh, my God. What the hell are we gonna do?
00:14:57Stop with the hysterics, George.
00:14:59Yes, George.
00:15:00In case you hadn't heard, there is a Semtex bomb in that room.
00:15:03Yes!
00:15:04We all know that!
00:15:09Gabrielle?
00:15:10Yes?
00:15:11How do we open the shutters?
00:15:12Uh, as far as I know, the security guard has fingerprint recognition. She's the only one who can deactivate the code.
00:15:19Where is the guard?
00:15:20Uh, uh, in the security booth. Come on, come on, come on, come on.
00:15:25Oh, my God. Oh, my God.
00:15:29Oh, my God.
00:15:30Oh, my God.
00:15:32No.
00:15:33Don't.
00:15:34Don't.
00:15:35Don't.
00:15:36Don't.
00:15:37Don't go along.
00:15:38She's gone.
00:15:40Oh, my God.
00:15:42Wait.
00:15:45What's happening to her?
00:15:55All right, love.
00:16:11Yeah.
00:16:12Poor woman.
00:16:13I know.
00:16:15So, one fingerprint to control your entire security system.
00:16:20Stop it, George.
00:16:21Yes, 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?
00:16:36No.
00:16:36No idea.
00:16:41Well, then.
00:16:44Why don't we use her finger?
00:16:46George!
00:16:47Really?
00:16:48We can't.
00:16:50Why not?
00:16:52It's not like she's going to mind now, is she?
00:16:55It's not that.
00:16:56It's once tissue is dead, it loses its electrical charge.
00:16:59Hang on.
00:17:00Now, I saw this on one of those American crime dramas, and it worked a treat.
00:17:05So, let's give it a go, shall we?
00:17:07Good God, George.
00:17:09Oh, I see.
00:17:09You watched an entire box set, so, of course, now you know more than an actual doctor.
00:17:16I'm only saying, once the heartbeat dies, the electrical charge dies.
00:17:23It won't work.
00:17:25Can I ask a question, Gabriel?
00:17:41A security guard.
00:17:45What was her name?
00:17:46I...
00:17:47It was Suzanne.
00:17:48Shall we call her that, then?
00:17:51Look, I'm not suggesting we sever Suzanne's finger.
00:17:56George, leave it.
00:17:59Oh, hello!
00:18:01Oh!
00:18:02Oh!
00:18:02Oh!
00:18:03Oh!
00:18:04Oh!
00:18:05Oh!
00:18:06Oh!
00:18:07Oh!
00:18:08Oh!
00:18:09Oh!
00:18:10Oh!
00:18:11Oh!
00:18:12Oh!
00:18:13Oh!
00:18:14Oh!
00:18:16Oh!
00:18:17Oh!
00:18:18Oh!
00:18:19Oh!
00:18:37Why can't they hear us?
00:18:39No, no, no, because the front doors are solid oak, the shutters are solid steel, and
00:18:44the walls. It's a very thick Mediterranean stone.
00:18:47Oh, that's just great.
00:18:49So is the place bomb-proof as well?
00:18:51They're not helping, George!
00:18:53It's OK. I'll call Karen. Yeah.
00:18:58Oh, well, there's no signal.
00:18:59Oh, God. Ah, no, no, no.
00:19:01I haven't had any since I arrived,
00:19:03because we are quite high up, and the walls are to... to sit.
00:19:08OK, what's the Wi-Fi code?
00:19:10I'm going to share it with you. Yeah.
00:19:12What? I know I had my phone in the pub.
00:19:14I must have dropped it. Oh, God!
00:19:19No, the Wi-Fi is off, too.
00:19:21But don't worry. Don't worry.
00:19:23I have one moment. I remember something.
00:19:26Where's he going now?
00:19:42Someone has sabotaged the coals cupboard.
00:19:56It's beyond repair.
00:19:57Coals cupboard?
00:19:59It's where all the Wi-Fi hubs lead to, to keep us on the Internet.
00:20:02All the connections have been ripped to pieces.
00:20:04Oh.
00:20:05So we are completely trapped in here.
00:20:08Oh.
00:20:09Oh.
00:20:10Good God.
00:20:11You have got a foolproof security system
00:20:12that you don't even know how to operate.
00:20:13Who's a bloody fool now, eh?
00:20:14Hey!
00:20:15Hey!
00:20:16Hey!
00:20:17Hey!
00:20:18Hey!
00:20:19Hey!
00:20:20Hey!
00:20:21Hey!
00:20:22Hey!
00:20:23Hey!
00:20:24Hey!
00:20:25Hey!
00:20:26Hey!
00:20:27Hey!
00:20:28Hey!
00:20:29Hey!
00:20:30Hey!
00:20:31Hey!
00:20:32Hey!
00:20:33Hey!
00:20:34Hey!
00:20:35Hey!
00:20:36Hey!
00:20:37Hey!
00:20:37Hey!
00:20:38Hey!
00:20:38You bring me off of me, you brute!
00:20:39I'm four estão black-belt in karate 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.
00:20:49We have to calm down.
00:20:50I suppose you serve Valium as well as champagne?
00:20:52Valium, is that the cocktail?
00:20:55Never mind, dear.
00:20:58So.
00:20:59Someone knew that we were here tonight and
00:21:01and 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. He sent the invite.
00:21:11I don't think I would bomb my own museum, Judith, and trap myself inside.
00:21:15OK, can we just stop sniping at each other, OK?
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,
00:21:29they said once the shutters are activated,
00:21:32they close very fast and there is very little time to get out.
00:21:37You mean that the murderer might still be in the building?
00:21:42Possibly.
00:21:52Patrick, can you call Judith?
00:21:54I can't get hold of Dormor, Jeremy.
00:21:57Obviously, I have Jean's phone and I don't have Judith's number.
00:22:00There is no answer at the museum and the doors are locked.
00:22:04Something is not right.
00:22:13You OK?
00:22:15Yeah, I think so.
00:22:16Caron just asked me if I can get in touch with Judith,
00:22:19but 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
00:22:25and no-one's arching the door.
00:22:28Well, I don't like the sound of that.
00:22:30Nor do I.
00:22:32Diane can look after the bar for now.
00:22:35Electric Lady Van outside?
00:22:36Yeah.
00:22:38Let's go.
00:22:38What idiot takes the job as a curator of a massive museum
00:22:43and doesn't know how to work the security system?
00:22:47I have only been here three weeks, OK?
00:22:50There was so much to do that it didn't seem like a priority, OK?
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.
00:23:03It's the way.
00:23:05If you're going to say something,
00:23:07say it in a language we could all understand, eh?
00:23:10I beg your pardon.
00:23:12For one moment, I thought we were in France.
00:23:16If you have something to say,
00:23:19why don't you say it straight?
00:23:25You clearly have something to hide, monsieur.
00:23:29Bullying my partner, shouting at your wife.
00:23:33Classic defense tactics.
00:23:35How dare you suggest that I...
00:23:38Shh!
00:23:40What's that?
00:23:41What?
00:23:43Listen.
00:23:49Hello?
00:24:09Hello?
00:24:09Can anyone hear me?
00:24:12Hello?
00:24:13Hello?
00:24:13Hello?
00:24:13Hello?
00:24:13I don't know if anyone hear me.
00:24:21Help!
00:24:22Help!
00:24:25Dom?
00:24:26Dom, is that you?
00:24:27Oh, thank God.
00:24:28Look, we are trapped inside the museum.
00:24:31The shutters are down,
00:24:32the security guard's been murdered,
00:24:33and there is a bomb ticking away.
00:24:35What?
00:24:36A bomb?
00:24:37OK, Dom, you need to say all that again,
00:24:39but much slower.
00:24:43There is a bomb.
00:24:46Someone has activated the security shutters.
00:24:48They can only be deactivated
00:24:50by the fingerprint of the security guard.
00:24:53But the...
00:24:53the security guard
00:24:55has been murdered.
00:25:00OK, Dom, have you seen the bomb?
00:25:02Yes.
00:25:03What does it look like?
00:25:05Hang on.
00:25:10Right.
00:25:11OK, so...
00:25:12It's like a big lump of orange
00:25:16bloke in here
00:25:17so that it looks like Semtex.
00:25:19There's an old-fashioned phone
00:25:21on one side,
00:25:22and in the middle
00:25:22there's a digital clock
00:25:24counting down.
00:25:26There's three wires,
00:25:27a blue one,
00:25:28a red one,
00:25:29and a yellow one.
00:25:30And how much time
00:25:31does the bomb team have?
00:25:3359 minutes.
00:25:38I will get help immediately.
00:25:39I need you to keep
00:25:41this communication open.
00:25:42OK.
00:25:43We will get you all out.
00:25:46Dom?
00:25:47Dom, you need to keep
00:25:48this channel open.
00:25:51Andre, I can't hear you.
00:25:52Are you still there?
00:25:55Andre?
00:25:55Andre?
00:26:03Andre?
00:26:04What are you doing?
00:26:23Hang on a sec.
00:26:28He's got a bit of spare.
00:26:29He's got a bit of spare.
00:26:31Oh, bingo.
00:26:31Caron, can you hear me?
00:26:47Caron!
00:26:48Caron!
00:26:48Gloria, stop!
00:27:06Stop!
00:27:07Go to me.
00:27:07Go to me.
00:27:09I managed to speak to Caron.
00:27:11He's calling for help.
00:27:12Brilliant.
00:27:13How did you manage that?
00:27:14Well, Suzanne's walkie-talkie.
00:27:15Oh, that's great.
00:27:16Well, we can use that then.
00:27:17No, no, no, it's just died.
00:27:19Maybe it just needs
00:27:20any battery, or...?
00:27:21No, no, I tried that.
00:27:22It's no joy, so...
00:27:23Oh, God.
00:27:24Well, at least we're getting
00:27:26some help from the professionals.
00:27:28Something you've needed
00:27:29for years, darling.
00:27:31Caron will help us,
00:27:32won't it, darling?
00:27:33Oh, absolutely, darling.
00:27:35Jane.
00:27:35Um,
00:27:37Jane.
00:27:39What?
00:27:40What's the matter?
00:27:41Um,
00:27:42I found this
00:27:45under the bomb.
00:27:46For me?
00:27:50I don't understand.
00:27:52Who would do something
00:27:53like this to you?
00:27:56I've no idea.
00:27:58I mean,
00:27:59thinking about it,
00:28:01I've put a few people away
00:28:03over the years,
00:28:04but
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,
00:28:24her heart full of love.
00:28:25But fate is not kind,
00:28:28and her future is bleak.
00:28:30Two attempts to survive,
00:28:32one date do you seek?
00:28:33Oh, come on, Jane,
00:28:35think.
00:28:37Okay,
00:28:37two attempts to survive,
00:28:40one date do you seek.
00:28:42So?
00:28:43What do you reckon?
00:28:45Well,
00:28:46it appears
00:28:47that this
00:28:48sicko
00:28:49wants me to find
00:28:50a piece of art
00:28:51in the museum
00:28:52that
00:28:52matches the riddle.
00:28:54Two attempts to survive,
00:28:56one date
00:28:56do you seek.
00:28:57So,
00:28:58well,
00:28:58I'm guessing
00:28:59that
00:29:00you put the date
00:29:01in the keypad
00:29:03to stop the bomb.
00:29:07Oh,
00:29:09wow.
00:29:11Somebody must
00:29:11really hate me
00:29:13to 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.
00:29:19But what if help
00:29:19doesn't get her here on time?
00:29:21Someone is out to get me.
00:29:23This is all my fault.
00:29:24I've got to do
00:29:26something to help.
00:29:28Slay.
00:29:29Okay,
00:29:30Jean,
00:29:30you've absolutely
00:29:31got to solve this riddle.
00:29:33Come on,
00:29:33chaps,
00:29:34let's separate
00:29:35and find a way out of here.
00:29:36And,
00:29:37Gabrielle,
00:29:37you attempt to override
00:29:39this god-awful
00:29:40security system.
00:29:42Well,
00:29:42I think we should
00:29:43wait for the police.
00:29:44Something you are
00:29:45very welcome to do
00:29:46on your own,
00:29:47George.
00:29:47I,
00:29:48for one,
00:29:48am going to help Jean.
00:29:49Yeah,
00:29:50yeah,
00:29:50me too.
00:29:51I'm in.
00:29:52Anything is worth
00:29:53a try.
00:29:54I do tech support
00:29:55for the charity.
00:29:57Can I help?
00:29:58Excellent.
00:30:00Come on,
00:30:00let's go to the wood.
00:30:02Be careful.
00:30:03You too.
00:30:05I think it's essential
00:30:06that we keep dividing
00:30:08in order to conquer.
00:30:09Gentlemen,
00:30:10follow me.
00:30:11Whoa.
00:30:12Whoa.
00:30:12Whoa.
00:30:12Whoa.
00:30:13Whoa.
00:30:13Whoa.
00:30:14Whoa.
00:30:14Whoa.
00:30:15Whoa.
00:30:16Whoa.
00:30:16Whoa.
00:30:17Whoa.
00:30:18Whoa.
00:30:18Whoa.
00:30:19Whoa.
00:30:19Whoa.
00:30:20Whoa.
00:30:20Whoa.
00:30:21Whoa.
00:30:21Whoa.
00:30:22Whoa.
00:30:22Whoa.
00:30:22Whoa.
00:30:23Whoa.
00:30:23Whoa.
00:30:24Whoa.
00:30:25Whoa.
00:30:25Whoa.
00:30:26Whoa.
00:30:27Whoa.
00:30:28Whoa.
00:30:28Whoa.
00:30:28Whoa.
00:30:28Whoa.
00:30:29Whoa.
00:30:30Whoa.
00:30:30Whoa.
00:30:30Whoa.
00:30:30OK, look at the heart.
00:30:31The heart.
00:30:32The heart, well, the heart could mean love.
00:30:35Oh, no, that could be any work of art.
00:30:36Oh, OK.
00:30:37OK.
00:30:38Think, Jean, think.
00:30:39Well, erm, it could be the sacred heart, especially if it's qualified with fruit.
00:30:46Well, how so?
00:30:47Well, um, Jesus in art is often referred to as fruit of the womb.
00:30:52Yeah, let's go with that. Okay.
00:30:54Face like the sun. Now, obviously, Jesus was the son of God,
00:30:59and the sun in the sky is often used as a metaphor for Jesus,
00:31:02so fate is not kind. Fate wasn't kind to Mary.
00:31:06Certainly wasn't too kind to Jesus, either, was it?
00:31:09Well, exactly, but her future is bleak. Her.
00:31:12I think it's got to be about Mary and Jesus. It's got to be.
00:31:16Right. I think we're looking for a religious painting or sculpture.
00:31:21Well, there'll be a fair few of those, I'm sure.
00:31:23Yes, but particularly the Madonna and Child.
00:31:26There is about six main rooms.
00:31:29Okay. Let's split up, take a room each and report back.
00:31:32Right. Right. Thank you.
00:31:35Me and Dom will take medieval and renaissance.
00:31:38Judith, you do modern art.
00:31:40Auriel, you do metalwork. And Ellie, you do jewellery and glasswork.
00:31:46And, yeah, and remember the Madonna and Child, okay?
00:31:51Let's go. Right, 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,
00:32:04which is six hours by car. They're trying to activate the plan to get here quicker,
00:32:07but 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,
00:32:14we have the same problem. The nearest engineer is in Marseille.
00:32:17Oh, no. There 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?
00:32:25Before I joined the gendarmerie, I trained in the bomb squad at la police nationale.
00:32:29If it is a rudimentary device, I could deactivate it, I think.
00:32:32Okay. 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.
00:32:40I remember the tall guy telling us when I brought Xavier on a visit.
00:32:43Okay? 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.
00:32:52Well done.
00:32:53On the count of three, we all pull together. Ready? Ready? One, two, three!
00:33:02I haven't finished counting!
00:33:04Oh, I think I've chopped them over my shoulder.
00:33:07It's a little dramatic.
00:33:08If we all work together, we stand more chance. If we...
00:33:11Did you just call me a dramatic?
00:33:13It was just an observation.
00:33:15You 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?
00:33:30The 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.
00:33:46I said!
00:33:47Tell me I'm wrong!
00:33:52There you go.
00:33:53It just about says everything, doesn't it?
00:33:55George, I...
00:33:56Auriel is my wife.
00:34:00Come on, George.
00:34:02You haven't loved each other for years.
00:34:04Even a stranger would know that.
00:34:05Just our shtick!
00:34:07What?
00:34:08The couples 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!
00:34:21So you think I'm lying, do you?
00:34:24Well, I don't know what yarn she's been spinning you,
00:34:28but it's true.
00:34:30And...
00:34:32I'll tell you something else that's true.
00:34:34I will do everything in my power
00:34:38to make sure that you never raise another penny
00:34:43for your stupid...
00:34:44Gentlemen!
00:34:45Gentlemen!
00:34:46Please!
00:34:47This is no time for a bloody showdown!
00:34:49Come on!
00:35:00Your types of photographs!
00:35:01You say you did a lot of our own house.
00:35:03You're not ready!
00:35:04You say you're good, but you're not ready!
00:35:05You're not ready!
00:35:06You're not ready.
00:35:07You're not ready for any time!
00:35:08You're not ready?
00:35:09You're not ready for your own house.
00:35:10I like mine!
00:35:11You hardly have any time to get caught up there!
00:35:12You're not ready for someone to do that!
00:35:13I'm really happy!
00:35:14You have no idea!
00:35:15I'm a massage.
00:35:16There's a massage.
00:35:17I'm a massage.
00:35:18I'm a massage!
00:35:19I'm a massage.
00:35:20I'm really lucky!
00:35:21You're not ready for a while!
00:35:22Judith?
00:35:35I didn't find anything.
00:35:37Literally.
00:35:38Didn't even find a decent painting.
00:35:40We said we had a chance with a necklace, but there was no reference to the sun.
00:35:44Well, we can't give up.
00:35:45We still have two other rooms.
00:35:47Well, you two can go on looking, but I'll be very honest with you.
00:35:50I need a little top-up of Dutch courage.
00:35:54What in here?
00:35:57Can you not hear that bomb ticking?
00:36:00Yes, yes, I can.
00:36:02But I'll be perfectly honest with you, Auriel.
00:36:05If I am to get blown to smithereens, I'd really rather like not to remember it.
00:36:13Let's keep looking.
00:36:14I'll take sculpture and you take ancient modern art.
00:36:16Okay.
00:36:20Thank 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.
00:36:55Just because you're so young, love.
00:36:57We forget we're the last generation that didn't have sat-nav.
00:37:00Hey, speak for yourself.
00:37:01I'm 20 years younger than you, which makes me a straddler.
00:37:04Pardon?
00:37:04I straddle pre- and post-technology.
00:37:07Doesn'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.
00:37:15But they can only be accessed from the inside.
00:37:18Hang on.
00:37:20This one looks like it's leading from the outside in.
00:37:23What do you mean?
00:37:23Look, it starts off as a small one, then joins up with the bigger ones.
00:37:29What's its proximity?
00:37:31Just underneath the main entrance.
00:37:34Right around here somewhere.
00:37:35Gloria, can you pull the van back a bit, love?
00:37:49OK.
00:37:53Lovely, that's it.
00:37:57There's your way in.
00:38:03You're not going to open it up like that, are you?
00:38:06You got a crowbar in the van?
00:38:07Yeah.
00:38:08And, uh, toolbox?
00:38:13There's a knack to this.
00:38:16Tell them.
00:38:20Right.
00:38:21You are full of handy tricks, Patrick.
00:38:38I'm not going to ask where you land them.
00:38:41OK, I'm going in.
00:38:42Richard, get me an earpiece.
00:38:44You'll need this as well.
00:38:45It'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.
00:38:56You are now in charge.
00:38:58Oui, Major.
00:38:59Gloria, take this headset.
00:39:01I need you to stay on the map and on the radio.
00:39:03You will be my ears and eyes.
00:39:05When I reach the bomb, you will pass to Richard, OK?
00:39:07Will the signal be strong enough down there?
00:39:09Uh, this radio is analogue.
00:39:11It's like a walkie-talkie.
00:39:12It works over short distances because it doesn't need a signal to bounce up to the sky.
00:39:17OK.
00:39:19Be careful in there.
00:39:20I will.
00:39:20I'm a lawyer.
00:39:35Can you hear me?
00:39:36Yeah, you OK?
00:39:37I'm fine.
00:39:38Which way?
00:39:39OK.
00:39:40You go into your left first.
00:39:49Bingo.
00:39:50The shutters are connected to the museum's mainframe.
00:39:55Meaning you don't need Wi-Fi?
00:39:57Exactly.
00:39:58I may be able to override it if both systems are kept connected.
00:40:07Where's your main computer?
00:40:10It's in my office next to the event room.
00:40:14What's your passcode?
00:40:19It's YV1234.
00:40:20Yes.
00:40:20Eve, press your finger firmly on this pad.
00:40:25I may be able to change your fingerprint identity to yours.
00:40:28Gabriel, when a code pops up, press Enter straight away.
00:40:31Enter straight to, OK.
00:40:32OK, I'm going to your office.
00:40:34Hey, I'm going to your office.
00:40:35Oh, hello.
00:40:35What are you doing here?
00:40:36Oh, hello.
00:40:37What are you doing here?
00:40:40Who would think she would be transformed into Lara Croft?
00:40:43Yes.
00:40:56Oh hello, what are you doing here?
00:41:10The other one is that.
00:41:23I have no idea how to do it.
00:41:26You're going well.
00:41:28Yes, I'm going to buy my money.
00:41:30We're going to get out of here.
00:41:33How do you get out of here?
00:41:35In any case, I wanted to tell you, it's not very long that we've been known, but you've got my life.
00:41:47Oh, really? That's crazy.
00:41:50Sorry, Gabriel. Just that I'm really afraid.
00:41:54Sorry.
00:41:56The code will appear in an instant.
00:42:00It's going to be able to write it down.
00:42:04What are you doing?
00:42:10What came first, medieval or Renaissance?
00:42:13Medieval.
00:42:14Oh, right.
00:42:15So medieval was the 5th to the 14th century and Renaissance was the 14th to the 17th?
00:42:21Correct.
00:42:23Yeah, no, it says it here on the card.
00:42:28This is beautiful. It's hand-spun wool and silk.
00:42:33This is called a verdu tapestry, derives from the French word for green.
00:42:37Ver.
00:42:38Yeah.
00:42:39How do you do that?
00:42:41What?
00:42:42No, all that.
00:42:44It says it on the card.
00:42:46Touche.
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.
00:43:04It's not like taking a selfie, is it?
00:43:06That's true.
00:43:07Don, come out.
00:43:08Okay, right.
00:43:09Look at the heart.
00:43:10Her fruit from above.
00:43:11Her face like the sun.
00:43:12Her heart full of love.
00:43:13I mean, I wouldn't exactly say her face is sunny, but...
00:43:14Tonatello, terracotta.
00:43:15He didn't look at the card.
00:43:16Oh, well, he's one of me favourites.
00:43:17Mind you, there is a debate that it could have been Mabir, but...
00:43:20Says it's on loan from Florence.
00:43:21But it fits all the clues.
00:43:22Can I have your phone?
00:43:23Yeah.
00:43:24Last night you might have stayed here.
00:43:25The house that he should have stayed here.
00:43:26The house is locked.
00:43:27We've had a feeling like the sun.
00:43:28It's just like the sun, a heart full of love.
00:43:29I mean, I wouldn't exactly say her face is sunny.
00:43:30Tonatello, terracotta.
00:43:31He didn't look at the card.
00:43:32Oh.
00:43:33Well, he's one of me favourites.
00:43:34Mind you, there is a debate that it could have been Mabir, but...
00:43:37Says it's on loan from Florence.
00:43:40But it fits all the clues.
00:43:43Can I have your phone?
00:43:45Oh, we best get back to the others.
00:43:59Not 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.
00:44:11All right, all right, all right.
00:44:19Let's just take a minute.
00:44:23Good idea.
00:44:34So, how did you find out about the affair?
00:44:37I wasn't sure at first, but I'd had my suspicions for months.
00:44:47Then what made you suspicious, if you don't mind?
00:44:50No, I don't mind, I don't mind.
00:44:53We run our businesses like clockwork, and then all of a sudden she becomes interested in charity.
00:44:57Now, I wouldn't mind, but we have an office set aside for charity, or tax relief, as I'd like to call it.
00:45:08Absolutely.
00:45:09And the only charity she really did was just turn up, snip the ribbon, until she met him.
00:45:17Ah, Dr. Padipa.
00:45:18We met him, and then she became obsessed with going to his meetings for his prison art malarkey.
00:45:31She couldn't get enough of it.
00:45:33I should see the difference it makes, blah, blah, blah.
00:45:35And then there's all the obvious signs, never leaving her phone unattended, always going in a different room to check her messages.
00:45:48You know, I've never loved another woman.
00:45:55I just thought...
00:45:58Maybe she didn't love me as much as she used to.
00:46:04That we'd always have...
00:46:06Respect.
00:46:10You're right, old chap.
00:46:13Once the respect has gone...
00:46:15Come on, George.
00:46:20We've got to find a way out of here.
00:46:22Come on.
00:46:26Where on earth is everybody?
00:46:30Ah, hello.
00:46:32Who have we here?
00:46:36What a zero chance of my reading that tiny writing.
00:46:40You do have a look of a female, I suppose.
00:46:42But is that a child?
00:46:45Oh, bloody hell, I forgot to pick up my glasses.
00:46:51I know.
00:46:59Oh, I see.
00:47:01Not a child, but a sheaf of wheat.
00:47:06Nearly.
00:47:06Okay.
00:47:07The tunnel on your left appears to lead to another exit.
00:47:19But the tunnel ahead of you takes you to a door that leads you into the museum.
00:47:23Okay.
00:47:25Give me a second.
00:47:25It's locked.
00:47:26The door's locked.
00:47:27Give me a hand, sir.
00:47:27Give me a hand, sir.
00:47:28Give me a hand, sir.
00:47:29Give me a hand, sir.
00:47:30Give me a hand, sir.
00:47:31Give me a hand, sir.
00:47:37Andre, describe the lock to me as best you can.
00:47:50It is a rectangle with a large keyhole in the middle.
00:47:55Looks like a church door lock and it is very rusted.
00:48:01Sounds like a rim lock, not too tricky.
00:48:03So, use the screwdriver attachment on your multi-tool to turn the lock to your right.
00:48:13Okay, I'm ready.
00:48:18No.
00:48:23No.
00:48:27Well.
00:48:34No.
00:48:35Ugh, I give in.
00:48:37What do you mean George knows?
00:48:40He just came straight out with it.
00:48:41He said he'd been looking through your phone.
00:48:44Looking through my phone?
00:48:45How?
00:48:46It never leaves my sight.
00:48:49We hardly see each other.
00:48:50We live separate lives.
00:48:53That's not what he said.
00:48:54What?
00:48:56He implied that the two of you are still very much in love.
00:49:00Huh?
00:49:00And that this whole dislike thing is just an act.
00:49:04Oh, Ali, that is rubbish.
00:49:07We don't even sleep in the same room.
00:49:09And the worst bit of it is he said he's going to make sure that I don't receive another penny for the charity.
00:49:18Oh.
00:49:19That's the worst thing, yeah?
00:49:22Well, it's nice to hear you've got your priorities straight.
00:49:25No, no, no, no.
00:49:26No, no, no.
00:49:27No, Oriel, you are my priority.
00:49:30But if you're still in love with him...
00:49:32Ali, please, it's rubbish.
00:49:34He's just bitter, believe me.
00:49:37I love you.
00:49:39Did you find anything?
00:49:40Oh, I've taken a picture of a few pieces, but 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.
00:49:57Oh, no, they're all locked!
00:50:17Surely that idiot Gabrielle has a set of keys.
00:50:20I think we've established, George, that Gabrielle has literally no idea where they are.
00:50:25Oh, hello, you two.
00:50:26Oh, hello, darling.
00:50:28Any success?
00:50:30Oh, 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.
00:50:50Come on.
00:50:52We will get out of here, won't we, darling?
00:50:54Oh, come here.
00:50:58Of course we will, my darling.
00:51:03One way or the other.
00:51:07Very, very gently.
00:51:10Nothing seems to be biting.
00:51:12Take your time.
00:51:13That is something we do not have.
00:51:17I think I can kick the door in.
00:51:21No, no, no, no.
00:51:21Don't do that.
00:51:22We don't want any unnecessary vibrations.
00:51:25Andre?
00:51:28Andre?
00:51:32Andre!
00:51:32Andre!
00:51:32Any joy?
00:51:52Yes.
00:51:53And now, um, this is a picture by Camille Corot in 1860, and it's of a normal, earth-bound
00:52:03human child.
00:52:05Sorry.
00:52:06No, it's okay.
00:52:08Ellie, anything?
00:52:08I couldn't find the card for this, but it looks like a modern art version of Mary and
00:52:13Jesus.
00:52:15Well, is it?
00:52:16No, I'm afraid not.
00:52:20It looks like modern art, but I think it's a copy of the famous Corotrophos, which is
00:52:24one of the earliest Neolithic finds in Greece, 6000 BC.
00:52:30Oh.
00:52:31Not with George and Jeremy, then, Ellie?
00:52:33No, the, um, we couldn't, the doors.
00:52:39Hmm.
00:52:40I've got something to tell you.
00:52:42Oh, Dawn.
00:52:43Oh, how did it go?
00:52:45We're really trapped.
00:52:47Tried 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, but I'm not entirely sure it's the
00:52:59right way up.
00:53:02No.
00:53:05Don, can you get up that picture of the Domatello, please?
00:53:08No.
00:53:13Okay.
00:53:18Two attempts to survive, one date do we seek.
00:53:22Do 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 have had some success?
00:53:31I don't think there's any harm in trying.
00:53:33Don't try it.
00:53:55Andre, can you hit me?
00:54:11Yes, Patrick.
00:54:13We lost you for a few moments.
00:54:14You had us worried.
00:54:16So, how are you doing?
00:54:19I'm a little trapped.
00:54:21Part of the roof has collapsed and formed a barrier
00:54:24between me and where I came in.
00:54:26Can you dig your way out?
00:54:28At the moment, that does not seem possible.
00:54:31OK, so we must keep trying the lock.
00:54:49The lock is so rusted, I just can't seem to get a grip.
00:54:53There's a blockage in the tunnel and he can't get out.
00:54:55How's he doing with the lock?
00:54:57He says he can't get a grip because it's all rusted up.
00:54:59Rusted?
00:55:00Give me the headset.
00:55:03Andre, this may seem like a stupid question,
00:55:06but what's your gun holster made of?
00:55:09Uh, mainly leather, I think, but with some rubber on the inside.
00:55:13Great.
00:55:14Take your knife and slice a thin piece of rubber off.
00:55:23OK, I've done that.
00:55:25Put it in the lock and rub as hard as you can.
00:55:35Is it working?
00:55:35Yes.
00:55:36Yes, it's working.
00:55:37Yeah, how did you know how to do that?
00:55:39Oh, Mechanic's trick rustates rubber.
00:55:41I'm passing you back to Patrick.
00:55:43Right, I'm going to try the lock again.
00:55:45OK, Andre, remember, screwdriver up and to the right, very gently.
00:55:56What's happening, Andre?
00:55:57Andre?
00:55:58It's not opening, Patrick.
00:56:04OK.
00:56:07I want you to describe it for me again, as best you can,
00:56:10with every detail, every detail you can.
00:56:18It's brass, I think, with a fancy design on it,
00:56:22like a fleur-de-lis, sort of.
00:56:25Oh, Patrick, you idiot.
00:56:26It's an old French lock.
00:56:28I'm going to try something different, Andre.
00:56:33Turn it to the left, very, very gently, hmm?
00:56:37Then turn it one more time.
00:56:47It's unlocked!
00:56:48Yes!
00:56:49Yes!
00:56:51OK, Andre.
00:56:53Once you're through the door, you're going to your right.
00:56:58I can't believe I got it so wrong.
00:57:00Look, you can't blame yourself, Jane.
00:57:02Well, it's false, is it?
00:57:03I sent you all on a wild goose chase.
00:57:05You did something, though.
00:57:06Yeah, then I got it wrong.
00:57:07I don't want to die like this, Jeremy.
00:57:10Oh, I know, my darling, I know.
00:57:12Why 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, and it always is.
00:57:25Well, it won't.
00:57:28Oh, my God.
00:57:30How much time have I got left?
00:57:44How much time has he got left?
00:57:46Only 17 minutes, I'm afraid.
00:57:4917 minutes, Andre.
00:57:51Keep going straight on in any day.
00:57:53You're doing great.
00:57:54...
00:58:10And, sir, don't want to leave me.
00:58:12Don't leave me, so you'll ruin all my luck.
00:58:14So, sorry.
00:58:16No, no, no.
00:58:16No, no, no.
00:58:17I'm going to find her and see what she thinks she's doing.
00:58:20Do you want to know what I bought you for Christmas?
00:58:39You know I prefer a surprise.
00:58:43But you might not get to see it.
00:58:48I want to keep it a surprise.
00:58:50Thank you, Jeremy.
00:58:56What for?
00:58:58Our life together.
00:59:01I've had such a lovely time.
00:59:05I thought after losing the twins we wouldn't last.
00:59:09Lots of couples split over less, you know.
00:59:12I know, my darling.
00:59:15I know.
00:59:17Maybe, if there is something after this life, we can meet them again.
00:59:22That's a nice thought, isn't it?
00:59:27That's a wonderful thought, darling.
00:59:31Wonderful.
00:59:32Anyway, I'm glad we're here together.
00:59:36I've always dreaded the thought of going first and leaving you behind.
00:59:40Me too.
00:59:41Sangita, she's dead.
00:59:42No.
00:59:43What?
00:59:44Are you sure?
00:59:45Positive.
00:59:46How?
00:59:47She has been shot.
00:59:48Shot?
00:59:49She was trying to change the fingerprint control and needed access to the main computer in my office.
01:00:02So she left us and went to the office and waited for ages.
01:00:07And you just found her there?
01:00:08Yes.
01:00:09I need to see her.
01:00:10No, no, no.
01:00:11I'm not sure you should.
01:00:12Look, I'm a doctor.
01:00:13Maybe she's still alive.
01:00:14Take me to her.
01:00:15Ali, Ali, listen.
01:00:16Look at me.
01:00:17I just need to see my wife.
01:00:21Show me to your office.
01:00:24Okay.
01:00:27Everyone needs to stay here.
01:00:28No one must leave.
01:00:30Don't come with me.
01:00:31Yeah.
01:00:32Oh, my love.
01:00:45Ali, you can't touch her.
01:00:48I am a doctor and her husband.
01:00:50I know, but this is a crime scene.
01:00:53What?
01:00:54There's still a very good chance that we could get out of here.
01:00:57And if we do, we want every shred of evidence intact, don't we?
01:01:20Ali is having an affair with Ariel.
01:01:22What?
01:01:23I saw them in the corridor together.
01:01:25Said him and George almost came to blows at one point.
01:01:29Well, that gives him a motive.
01:01:31To get rid of his wife so he can marry a billionaire.
01:01:34Exactly.
01:01:36Come on.
01:01:37If it is him, we can't leave him alone with Gabrielle for too long.
01:01:43All the banking codes, they are gone.
01:01:46Are you sure they were in there earlier?
01:01:47Yes.
01:01:48When I came to get the Ormolu from the safe,
01:01:51I clearly remember seeing the file.
01:01:53And who else knew the combinations of the safe?
01:01:56Only me.
01:01:57And Eve, he helped me collect the Ormolu earlier.
01:02:01Okay.
01:02:03Right, yeah.
01:02:04We all have to stay in the same place.
01:02:06It's what Karen would make us do.
01:02:08Yeah, yeah, you're right.
01:02:09Okay.
01:02:10But we have to stick together.
01:02:11There's a murderer amongst us.
01:02:13Gloria.
01:02:14I must be near.
01:02:15I can hear voices.
01:02:16You're right underneath the event room.
01:02:17Carry on for about another ten yards and you'll see a ladder on your right.
01:02:20That will take you directly up to the museum.
01:02:21Oh!
01:02:22Ah!
01:02:23Ah!
01:02:24Ah!
01:02:25Ah!
01:02:26Ah!
01:02:27Ah!
01:02:28Ah!
01:02:29Ah!
01:02:30Ah!
01:02:31Are you okay, love?
01:02:33Yes.
01:02:34I'm fine.
01:02:35Yards to meters.
01:02:36Multiply the length given in yards by 0.9144.
01:02:40I found the ladder.
01:02:41He's found the ladder.
01:02:42I'm heading up now, Gloria.
01:02:43Well done, Andre.
01:02:44You're nearly there.
01:02:45The security engineer has now landed.
01:02:46Oh!
01:02:47Ah!
01:02:48Ah!
01:02:49Ah!
01:02:50Ah!
01:02:51Ah!
01:02:52Ah!
01:02:53Ah!
01:02:54Ah!
01:02:55Ah!
01:02:56Ah!
01:02:57Ah!
01:02:58Ah!
01:02:59Ah!
01:03:00Ah!
01:03:01Ah!
01:03:02Ah!
01:03:03Ah!
01:03:04Ah!
01:03:05Ah!
01:03:06Ah!
01:03:07Ah!
01:03:08Ah!
01:03:09Ah!
01:03:10Ah!
01:03:11Andre!
01:03:12Andre!
01:03:13Andre!
01:03:14Are you okay?
01:03:15Andre!
01:03:16Can you hear me?
01:03:17Maybe we should start praying to them painfully.
01:03:20Oh!
01:03:21Oh!
01:03:22Oh!
01:03:23Oh!
01:03:24Oh!
01:03:25Oh!
01:03:26Oh!
01:03:27Oh!
01:03:28Oh!
01:03:29Oh!
01:03:30Oh!
01:03:31Oh!
01:03:32Oh!
01:03:33Oh!
01:03:34Oh!
01:03:35Oh!
01:03:36Oh!
01:03:37Oh!
01:03:38Oh!
01:03:39Oh!
01:03:40Oh!
01:03:41Oh!
01:03:42Oh!
01:03:43Oh!
01:03:44Oh!
01:03:45Oh!
01:03:46don't you? What's that meant to mean? You know exactly what that means. If you've got something
01:03:52to say, George, why don't you just come out with it? If I've got something to say, I will decide
01:03:58when I say it. Always loving the control, eh, George? Even when we're about to die, you still
01:04:05have to be in control. You know the best thing about this situation? We're both going to die
01:04:11together, which means you won't inherit a thing. Wow. Just when I thought you couldn't
01:04:24go lower.
01:04:25What are you thinking? I'm trying to work out the murder in real time. Get Jeremy and Judith
01:04:45over to help, will you? Hey, you too. Jean needs help. I'm not sure I'm much help to anyone,
01:04:52Dominic. Judith's not feeling great. We're all not feeling great, Jeremy. Sorry. Sorry,
01:04:59I didn't mean to snap. No, no, actually, I did. Jean is over there trying so hard to help
01:05:07us, to help all of us. The very least you two can do is to help her. Okay? Oh, sorry, old
01:05:13chap. Yes, of course. Oh, great. Okay. So whoever murdered Sangeet and Suzanne has something
01:05:22to do with the bomb and this whole nightmare evening. Yeah, it makes sense for everything
01:05:25to be connected. Yeah. Who would kill Sangeet? Who would murder someone like that? Well,
01:05:30Ali's having an affair with Auriel. Oh, yeah, don't tell me. What? Yeah, George just poured
01:05:36his heart out to me. The poor chap is broken. Yeah, and I saw Ali and Auriel in the corridor
01:05:41earlier talking about it. Yeah. Do you think he bumped off his wife to run off with a billionaires?
01:05:47That's what I said. Or maybe George killed her to frame Ali. You're certainly on the verge
01:05:53of it. Or maybe Auriel killed her in a jealous rage because she couldn't wait a moment longer
01:05:58for Ali. Well, in the office, Gabrielle said all the codes to the museum's bank had been stolen
01:06:05from the safe. Yeah, and he was certain that they were there earlier. So could that have something
01:06:11to do with it? Oh, it's all so confusing. My head hurts. Tom, come with me.
01:06:18Come with me. There's only one person that used the map. Sweet.
01:06:43Of course. It's so small. It's a nose ring. Oh. It was Ali. It was all Ali. Well,
01:07:12Ali is the murderer. Don't, don't, don't look. But how did she do it?
01:07:18Oh, she couldn't be in two places at once. I mean, she was definitely here when we arrived.
01:07:24So how could she be murdering the security guard at the same time? Unless...
01:07:33Don't. Don't. Don't. Don't. Don't. Give us a hand with this. Yeah.
01:07:48Oh, my God. She's still alive.
01:08:03Oh, my God. Let's go in here. What the hell? Who on earth is this?
01:08:23Jean, for God's sake, explain. What on earth is going on?
01:08:26Only then. Just a minute. I'm intrigued. We still have a few minutes before we escape.
01:08:36How did you know? Eve, what are you doing? Go on, Madame White. It didn't come to me straight away. Then I worked out that it was you who killed Sangeeta and stole the bank codes. You mistakenly left your map on the floor, at the side of the safe. I suppose when Sangeeta came in to override the fingers of the bank code.
01:08:54Well, she caught you red-handed. Well, she caught you red-handed. And then I worked it back. I mean, how did you get in the safe in the first place? Only Gabrielle and Eve knew the combination.
01:09:23So it made sense. One of them was your accomplice.
01:09:29I don't know.
01:09:36And then I remembered, earlier in the evening, Sangeeta recognized you, Eve, from a prison outreach event.
01:09:45Have we met somewhere before? I very much doubted. I don't do prisons or 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?
01:10:00But you, Ellie, I couldn't work out how you could be in two places at once. Serving champagne here and murdering the security guard down there. But you weren't, were you?
01:10:21This is what I think. You entered the museum. And you forced a security guard to activate the shutters.
01:10:28Once you'd started the bomb, you raced up here, changed your outfit, and you placed the bomb in the cabinet. Just outside this room.
01:10:50Then you accosted that poor waitress. And you bundled her into the cupboard. It's brilliant, really. All Eve had to do was hire an agency waitress who looked a little bit like you.
01:11:05I mean, no one had ever met either of you before. So no one would realize that you were an entirely different person. But how did you get the bomb inside the Ormalu?
01:11:12Well, you throwing champagne over George was no accident, was it? The minute that you heard Gabriela, you said you were 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? Well, you throwing champagne over George was no accident, was it?
01:11:40The minute that you heard Gabriela and Eve in the corridor, that was your cue to cause a distraction.
01:11:54Giving Eve just enough time to plant the note for me and to put the bomb in the box.
01:12:01Very good, Madame White.
01:12:15I sort of understand the murders to steal the bank codes. But why the bomb? Why the poem?
01:12:22Well, that is what you would all take to your graves without knowing.
01:12:29Well, there's no way out.
01:12:31Not for you anyway.
01:12:33The security engineer is almost here.
01:12:52Well, we've only got two minutes left.
01:12:54Two of the most important people in my life are in that building, can't they?
01:13:12Heads down, please.
01:13:13Right. I'm gonna smash this door down.
01:13:17What's the point? There's enough Semtex in there to block the whole bloody building.
01:13:21But they managed to escape, didn't they?
01:13:23Oh, God, I didn't think I was gonna 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.
01:13:35This is a picture of Marie Antoinette dressed as a Vestral Virgin by Charles Le Clarke in 1777.
01:13:47In 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.
01:14:00Well, it wasn't kind to her. She had her head cut off.
01:14:11One.
01:14:13Seven.
01:14:14Seven.
01:14:15Seven.
01:14:16One.
01:14:17Two.
01:14:19Seven.
01:14:27Oh, okay.
01:14:29This is nice, it would be all right.
01:14:32Oh, Judith! Judith, you're a genius. The boss, Marie Antoinette, of course it has to do with her.
01:14:41with her oh i'm getting too old for this clever clever darling i'm so pleased i didn't tell you
01:14:46what i bought you for christmas
01:14:54what happened nothing
01:15:05listen i don't want to break up the party but we are still locked in i know we don't have the threat
01:15:10of the bomb anymore but we are still locked in come on let's get this door open right come on
01:15:17right i can't let everybody cry i got three one two three one
01:15:40it's a real dream boat there hey my darling wife
01:15:50come on come on come on the shutters are opening come on come on come on
01:15:59here on you little beauty
01:16:10You need to come meet.
01:16:30Jean, you all right?
01:16:33Am I glad to see you.
01:16:34You too, sir.
01:16:36I must have been so scary.
01:16:38It certainly had its moments.
01:16:40Oh, Dominic, Merry Christmas.
01:16:42Well, yeah, I wouldn't exactly say that, but Merry Christmas.
01:16:47Where's Karen?
01:16:49What happened?
01:16:52He came in to get you.
01:16:54How?
01:16:55The tunnel's underneath the museum.
01:16:57The what?
01:16:58There's a load of bomb shelters.
01:17:00It was my idea, but I...
01:17:03His radio's gone silent.
01:17:06We think he has fallen.
01:17:08What?
01:17:09I had to wait and see if the bomb exploded before they went to check on him.
01:17:14Just preparing to go and find him now.
01:17:17Allez.
01:17:18I assume these two have something to do with all this?
01:17:32I thought I'd killed you.
01:17:34Not quite.
01:17:36Oh, Andre.
01:17:38It's so good to see you all.
01:17:41Good to see you, mate.
01:17:43Oh.
01:17:44Jean?
01:17:45Richard.
01:17:46Jean.
01:17:47Jean, 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.
01:18:01I do.
01:18:02I do.
01:18:06Yes.
01:18:07I have to stay with you.
01:18:09Yeah.
01:18:10Oh, yes.
01:18:11I have to stay with you.
01:18:12No.
01:18:13No.
01:18:14Maria, don't you.
01:18:15No.
01:18:16No.
01:18:17Oh, wait, please, I'll do this.
01:18:40Carol, what have you done to your poor face?
01:18:43Oh, my God.
01:18:47I'm not sure I like brunch.
01:19:01What?
01:19:02Well, the word, the blending of two words to make another, like, erm, motel.
01:19:08Portmanteau.
01:19:09Oh, bless you.
01:19:11Portmanteau is the blending of two words to make another one,
01:19:15although portmanteau also means a leather case with two sections, but...
01:19:19Where would we be without your brain, eh?
01:19:21I think we're daft.
01:19:22No, I 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.
01:19:30Oh, thank you.
01:19:32Now, can I tempt you to a croissage?
01:19:35What?
01:19:36What?
01:19:36It's a croissant with a sausage inside and portmanteau in.
01:19:41Fresh coffee?
01:19:42Oh, thank you, Patrick.
01:19:45Oh, why aren't we, darling?
01:19:48I'm terribly hungry this morning.
01:19:50I think it's all the trauma.
01:19:52Of course, darling.
01:19:53It can do that.
01:19:55I remember when me gran was ill,
01:19:57all anybody could do was make sandwiches,
01:19:59like, make everything better.
01:20:00Feeding the soul?
01:20:01Not with white slice and beef paste.
01:20:03We ended up feeding the ducks.
01:20:05There you are.
01:20:06Plenty more where that came from.
01:20:07Oh, lovely.
01:20:08Will you sit down?
01:20:09We've got loads here.
01:20:10We need to save a little bit of room for Christmas dinner.
01:20:12You sound just like I did when you were a nipper.
01:20:15Do you know, one Christmas morning,
01:20:17he ate three packets of mince pies and half a Christmas cake
01:20:20before breakfast.
01:20:21How old was he?
01:20:24Four?
01:20:25Fifteen, actually.
01:20:27I was a little bit worse for wear,
01:20:29but I didn't know that then.
01:20:30I just needed a sugar rush.
01:20:31I have never really believed in hangovers.
01:20:34I think it's a case of mind over matter.
01:20:37I think that's why I've never heard one.
01:20:41Oh, excuse me.
01:20:45Ah.
01:20:46Calron is ready for me to go over.
01:20:48Oh, want me to come with you?
01:20:49No, no, it's all right.
01:20:50It won't be long.
01:20:51Um, I've just got to bob over to the station
01:20:53and Andre needs my help.
01:20:55Take some food with you.
01:20:57Oh, no, I'm really full.
01:20:58For Andre and Richelle.
01:21:00Oh, yeah.
01:21:01Great idea.
01:21:02Tell them that they're both invited to lunch.
01:21:04Four o'clock start.
01:21:05Will do.
01:21:06Talking of starts, do you think it's too early for a little champagne?
01:21:11Wonderful idea, darling.
01:21:13Carpe bloody diem after yesterday.
01:21:16That's what I say.
01:21:17I'll get some glasses.
01:21:22Hey.
01:21:24What?
01:21:26Merry Christmas.
01:21:27Merry Christmas.
01:21:30Merry Christmas?
01:21:31What's the matter?
01:21:33Well, after yesterday, I don't want to let you have me say.
01:21:38Don't be daft.
01:21:39I won't be gone long.
01:21:40Yeah, I know, but...
01:21:42I'll tell you what.
01:21:43Why don't you get on the morning champers
01:21:45and you won't even know I'm missing?
01:21:46Okay.
01:21:49Come here.
01:22:04Happy Christmas.
01:22:06Well, it would be if we could get these two to speak.
01:22:08Oh, no joy.
01:22:10Nothing from him.
01:22:11He's just playing games.
01:22:13But the girl, I think he's starting to break.
01:22:15That's why I asked you here.
01:22:17She's upstairs.
01:22:18Oh, from Patrick.
01:22:20Merci.
01:22:28So, what happened?
01:22:31No comment.
01:22:33Why did he plant a bomb?
01:22:35No comment.
01:22:36And why the poem?
01:22:38No 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?
01:22:47Why the poem?
01:22:48Well, I don't know you and you don't know me.
01:22:51Well, the poem was obviously not my idea.
01:22:55So, there was someone else involved?
01:22:57Of course.
01:22:58Of course.
01:22:59I know nothing about bombs.
01:23:03Less about poems.
01:23:05And I had no idea who you were until yesterday.
01:23:09So, what happened?
01:23:14No comment.
01:23:15If you are trying to protect someone, I 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, I shared a cell with a woman who worked as a consultant at the museum.
01:23:40She knew everything about it.
01:23:43Every nook and cranny.
01:23:47She said if I kept in touch once I got out, she would be able to help me get inside, override the security system, steal the bank codes, and get out scot-free.
01:24:00Gone?
01:24:02So, I kept on visiting her.
01:24:04And, sure enough, we came up with a plan.
01:24:08I got my friend, Eve, involved, flirting with that idiot of a curator, Gabrielle, to get someone on the inside.
01:24:19But still, why me? Why the bomb?
01:24:22It was very strange.
01:24:25The last time I went to see her, she had found out through her contacts that you, Mrs. Jean White, would visit the museum on Christmas Eve.
01:24:38And?
01:24:40She was wild.
01:24:42Cold with rage.
01:24:44God, she really hated you.
01:24:46So, instead of a simple robbery, as planned, I was to plant a bomb and a letter to you.
01:24:58She said I would be safe.
01:25:00That there was a way out under the museum.
01:25:04She said it was a game she liked to play with you.
01:25:09It all seemed a bit psychotic to me.
01:25:13But then again, so did she.
01:25:16And I had nothing to lose.
01:25:19So I did what she said.
01:25:23What was her name?
01:25:27Barbara.
01:25:33What are you doing?
01:25:35Are you watching nothing too***?
01:25:36Why?
01:25:41I don't know I wanted us to go out on their rights and I don't even know where you should be a lot other people.
01:25:47Probably not.
01:25:50However, dozens of people we thought were
01:25:51about to import this because of nieces.
01:25:53You haven't really hated it.
01:25:54You know what?
01:25:56What you wants for the new life was to master.
01:25:58The dream was for students' full school Muslim,
01:26:00his mastermind wrote theями a garment of Vanilles LLC.
01:26:02What fun, Mrs. White.
01:26:09Till next time.
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