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00:00:00You all look fantastic.
00:00:14Thank you, Gloria.
00:00:16It's a treat to have an opportunity to really make an effort.
00:00:19Yes, we've been very casual of late, haven't we, darling?
00:00:22We have.
00:00:23Where is he going to again?
00:00:24Is it just a Christmas party?
00:00:26To be perfectly honest, I'm not sure, Gloria.
00:00:28It's all very cloak and dagger.
00:00:30I'm on the board of the museum with Gabrielle Gelbar, our new curator.
00:00:35Very excitable chap.
00:00:36Says he wants to put our lovely old museum on the map.
00:00:39He insisted that this afternoon was very important for the future of the museum
00:00:43and that we all came, especially you, Jean.
00:00:46What?
00:00:47Oh.
00:00:48Right.
00:00:49Very mysterious.
00:00:50But I do like a free drink.
00:00:52Eh, and I bet be free champagne.
00:00:54It better be.
00:00:55This dress deserves more than cheap Prosecco.
00:00:57Now, where is Dominic?
00:00:58We really must be going soon.
00:00:59Oh, give him a quick ring.
00:01:02Sorry.
00:01:02Sorry I'm late, everyone.
00:01:04Oh, it doesn't matter.
00:01:05Dominic, you're here now.
00:01:06Let me just finish my drink.
00:01:08Have a fab time.
00:01:10Yeah, come in.
00:01:11Oh, special invite only.
00:01:12Enjoy yourselves.
00:01:13Oh, thanks, love.
00:01:14You got plans, Glove?
00:01:15Yeah, Patrick's doing a Christmas quiz.
00:01:17Me and Douglas have been swatting up.
00:01:20You smell nice.
00:01:21Well, I've got me special aftershave on.
00:01:23You're very lucky, actually, because I'm the last bit.
00:01:25Well, you never know.
00:01:26Father Christmas might bring you some more tomorrow.
00:01:27Oh, that'll be a nice surprise.
00:01:29Oh, Jean, your bag.
00:01:32Now, Dominic, this vintage dress will not love the back of your car.
00:01:38Would you mind awfully, Jean, if I sat in the front?
00:01:40Eat by guest, Judith.
00:01:43Go get me.
00:02:01It's so funny.
00:02:02In all the years I've lived in St-Bittois, I've never been in here.
00:02:05Really?
00:02:06No, I dropped the body off on a school trip once, but I've never been inside.
00:02:10Let's see what you've been missing.
00:02:11We are the invited guests of Gabriel's Jail Bar.
00:02:25Ah, oui, bien sûr.
00:02:28C'est dans la salle de réception.
00:02:30Vous n'avez qu'Ã suivre les indications.
00:02:34I think she wants us to head to the event room.
00:02:37Merci.
00:02:38Merci.
00:02:44Et voilà .
00:02:46I've never really seen the point in museums.
00:02:50They preserve our history, Judith.
00:02:52Give people a chance to get up close to amazing works of art.
00:02:55Well, I suppose so.
00:02:57But there's so much to look at.
00:02:59I find them quite claustrophobic.
00:03:02I mean, where do you start?
00:03:04Hang on, darling.
00:03:05What about that trip we made to the Louvre when we first met?
00:03:08Yes, how could I ever forget that?
00:03:13I've never looked at a picture of the Mona Lisa in quite the same way again.
00:03:17You're in your element, aren't you?
00:03:28What?
00:03:30Oh, this way.
00:03:31Nothing sewn.
00:03:45Non!
00:03:46Non!
00:03:46Non!
00:03:46Non!
00:03:46Non!
00:03:47Non!
00:03:48Non!
00:03:49Non!
00:03:50Disactive alarm.
00:04:20Disactive alarm.
00:04:50I came from nowhere, for sometime never, or sometime soon.
00:04:58The road is a long one.
00:05:01I was only passing through.
00:05:07I was only passing through.
00:05:15At least they've got the good stuff.
00:05:22Priorities, priorities.
00:05:25Lovely sculpting.
00:05:27It protects the door being scratched by the key.
00:05:30Practical and fancy at the same time.
00:05:33You're like me, innit?
00:05:34Yeah.
00:05:50Here you go, Dominic.
00:05:51Merry Christmas, Jean White.
00:05:52Oh!
00:05:53Merry Christmas, Dominic Hayes.
00:05:55Cha-ching!
00:05:56So, what's this massive painting about this?
00:06:00It's very beautiful.
00:06:01This is a sublime example of a Baroque fresco.
00:06:05Right.
00:06:06Very popular in Europe, but I've never seen one in Santa Clara before.
00:06:10It's really exciting.
00:06:11Yeah?
00:06:12Well, a fresco is basically a wall painting where the paint is brushed straight onto wet plaster.
00:06:19By someone called Baroque?
00:06:21No, actually, Baroque was an artistic movement of the 17th and 18th century.
00:06:26So, like, paintings, music, architecture, everything was, like, big and bold.
00:06:33And sexy, Dominic.
00:06:34Very sexy.
00:06:35My absolute favourite era.
00:06:38So, that is Dr Ali Pardy.
00:06:42His head of the charity, L'Art Change la Vie.
00:06:46Hm?
00:06:47What's L'Art Change la Vie?
00:06:49Is that something about art helping ex-prisoners or something?
00:06:53Oh, sounds great.
00:06:54Well, that must be his wife.
00:06:56I think her name is Sangeeta.
00:06:58I've invited her to several of my bridge evenings, but to no avail.
00:07:01Hm?
00:07:02And they're talking to George and Auriel Alphonse.
00:07:07Hm?
00:07:08Yeah.
00:07:09As in Alphonse?
00:07:10From Alphonse Crush?
00:07:12What?
00:07:13The soft drink?
00:07:14Oh, I used to love that.
00:07:16Kept me awake at night when Claudia was a baby.
00:07:18Huh.
00:07:19They're an amazing couple.
00:07:20They just floated their company last year for a hundred million euros.
00:07:23Lucky Sange.
00:07:24Apparently, they can't stand each other, but they can't leave because they are literally too rich.
00:07:29Ah-ha!
00:07:31Jeremy, ça va mon ami?
00:07:35If you say so.
00:07:36Ah, and Judith.
00:07:38Mwah!
00:07:39Mwah!
00:07:40Mwah!
00:07:41Do, Jésus, will you ever age like us mere mortals?
00:07:44George, you really are too much.
00:07:46Let me introduce you to our dear friends, Jean and Dom.
00:07:49Very pleased to meet you.
00:07:50Oh, aren't you?
00:07:51I was just saying, I used to love your drink.
00:07:53Ah, well, not my drink anymore, but thank you, Dom.
00:07:56I really appreciate that.
00:07:57That's very kind of you.
00:07:58Very kind.
00:07:59Thanks for witnessing my loan agreement, Andre.
00:08:00Not a problem, Patrick.
00:08:01I sometimes come across trouble with financial affairs, but having the chief of police as
00:08:16my witness, that should shut them up.
00:08:19Oh, no, Jean's left a phone.
00:08:22I am on my way home now.
00:08:23I can drop it off for her.
00:08:24Well, she's got to do at the museum.
00:08:26No problem, that is near my house.
00:08:27Oh, brilliant.
00:08:28Au revoir.
00:08:29Thanks again, Andre.
00:08:31See you at the quiz later.
00:08:33You will indeed.
00:08:34I am bringing Richard.
00:08:35She's very good at politics questions.
00:08:37Merry Christmas.
00:08:39Joyeux Noël.
00:08:40Joyeux Noël.
00:08:41I never thought I'd be mates with a cup, eh ?
00:08:43I never thought I'd be mates with a cup, eh ?
00:08:44Oh, oh, oh, oh.
00:08:47Non, mais...
00:08:48Mais t'es où, là ? Ils sont déjà tous arrivés.
00:08:50Oui, bah, je me re-coiffais.
00:08:51Je sais que t'aimes quand je me fais bien pour toi.
00:08:53Non, mais mon amour, t'es toujours magnifique.
00:08:55Ces derniers mois, c'était juste extraordinaire.
00:08:57Entre ma rencontre avec toi et puis ce job de rêve, c'est merveilleux.
00:09:01Mais moi aussi.
00:09:03Bon, et nous, on a toute la vie devant nous, mais là , il faut vraiment se mettre au travail.
00:09:06Hein ?
00:09:07Bon, Gabriel, t'es le nouveau conservateur de ce musée.
00:09:09Tu peux te permettre le quart d'heure de politesse.
00:09:11Non, non, pas du tout.
00:09:12Pas du tout.
00:09:13Ma seule mission, c'est de faire rayonner ce musée à l'international.
00:09:17On a les Alphonse qui sont prêts à investir 10 millions d'euros.
00:09:20Ça changerait tout.
00:09:22Faut absolument que ça marche.
00:09:24Hein ?
00:09:25Alphonse.
00:09:26But you're in content.
00:09:27Let's just look.
00:09:28Do you want to get the vigilance.
00:09:29Hein ?
00:09:30Did you be?
00:09:31You dicks, haven't you?
00:09:32Ah !
00:09:33Ah, Gabriel !
00:09:34Here he is.
00:09:35Our curator himself.
00:09:36Jeremy Giudice, good to see you boss.
00:09:37You too, Gabriel !
00:09:38And this...
00:09:39Is Jean White.
00:09:40Delivered as promised.
00:09:41Delivered.
00:09:42Oh hello.
00:09:43Hello.
00:09:44It's a pleasure to meet you, Mrs White.
00:09:45Your expertise precedes you.
00:09:47Thank you very much.
00:09:48Faut overcome here, of course.
00:09:49The vieux de la femme.
00:09:50And here is Jean White.
00:09:52HotelGile.
00:09:53Hello.
00:09:54what your expertise precedes you thank you so much for being here it's a pleasure uh this is
00:09:59my partner oh fiance oh yes fiance dom yeah it's quite a recent thing congratulations to both of
00:10:05you and this is my partner eve all right and your field of expertise is mrs white i'm an antique
00:10:14dealer huh how quaint should we grab our horses do friendly into it yes in a boutique de champagne
00:10:25bien fraîche merci beaucoup pardon judy champagne on the way to treat you are darling gabriel i think
00:10:31you're going to fit in very well around here thank you yes and by the way you threw that last glass
00:10:37down your neck we wouldn't want you going thirsty would we excuse me i'm just going to to run through
00:10:43my speech oh gene this is dr ali pardee we were telling you about his charity oh le change la vie
00:10:49is it oh it sounds like you do some great work oh he does oh hi i'm orielle hello thank you it's a
00:10:58vocation that absolutely consumes me i'm afraid as my wife could confirm lovely to finally meet you
00:11:05so how did you find this vocation well i've been working in prisons for a few years as a visiting
00:11:11doctor and i saw so much artistic talent just hidden away in the cells that i felt compelled to
00:11:18liberate it so i started an art club for the prisoners and well the charity just grew from there
00:11:26how interesting you let criminals play it's being artists then you know that's exactly what we do
00:11:34you're encouraging the egos of murderers is that what you're saying don't worry ali i take care of the
00:11:40charity in our business so you can ignore george and your husband is a very inspiring man oh he is
00:11:47indeed excuse me yes have we met somewhere before i can't think where maybe at one of our outreach events
00:11:58very much doubt it i don't do presents or charity dear that's making sorry
00:12:15thank you thank you uh everyone for being here tonight for tonight is a very uh special night for the
00:12:23museum mr and mrs alphonse are very generously about to invest 10 million euros 10 million euros
00:12:32into our acquisition account it will keep the museum afloat for many years just a minute gabriel um
00:12:39remember what we discussed a couple of weeks ago when you first took the job if you have what you
00:12:45say you have and it's the real deal we are more than happy to invest i want to be part of a museum
00:12:53that draws people in from all over the world but i need you to prove to me that i am making the right
00:13:00choice of course the stakes are very high for us but i have contacts all over the world to make this museum great
00:13:09i promise madame why this is where we could use your help oh right we apologize for not warning you
00:13:19beforehand but everything had to be completely top secret oh i'm intrigued um we have something very rare
00:13:28and we need you to verify it jeremy and judy told me you are second to none in your field so please will you
00:13:36help well i'm here now so yeah of course thank you if you will uh excuse me for one moment ladies and
00:13:46gentlemen we will go and fetch our treasure if well so that's why i'm here make sense now gabriel didn't
00:13:56tell me the finer details just who i knew who i trusted was the best in the business so i well thank you
00:14:04you better be good mrs white and ensure it is what he says it is we wouldn't want any mistakes
00:14:12well let's put it this way this isn't my first rodeo oh thank you darling
00:14:20what's your name dear big cash tip ellie if you keep our shampas topped up if you know what i mean
00:14:27i'll do my best madam but i've never worked here before so i don't know how much we have in stock
00:14:32good luck oh it's a problem
00:14:41on t'a attribué ton code personnel de sécurité maintenant
00:14:43euh non tu sais c'est toujours suzanne de la sécurité qui m'envoie un nouveau code chaque jour
00:14:47c'est depuis que j'ai réglé j'ai vu tellement le truc algériques que c'est un peu galère
00:14:51et dis moi je peux ouvrir le coffre j'aimerais tellement voir la cachette secrète dont tu m'as parlé
00:14:55d'accord euh par contre juste tu notes le code correctement parce qu'il n'y a pas de seconde chance
00:15:00sinon ça bloque toi alors c'est le 3 2 7 4 4 0 9 5 7 c'est bon
00:15:11alors
00:15:16alors
00:15:17neuf
00:15:27Hello.
00:15:41This is my little merveille.
00:15:43Wow.
00:15:44It's necessary to destroy you immediately.
00:15:47No, no, no, no.
00:15:57Let's go.
00:15:59Let's go.
00:16:01Let's go.
00:16:17Really, very careful.
00:16:19Wait, wait, you're the future of the museum between the hands.
00:16:23Gabriel, let me.
00:16:25A little bit.
00:16:31No, Georges, Georges, Georges, so sorry, so sorry.
00:16:33What happened?
00:16:34I'll tell you what happened.
00:16:35This poor excuse of a waitress of yours has ruined my bespoke shirt.
00:16:39Are you stupid?
00:16:40No, I...
00:16:41Don't speak to her like that, Georges.
00:16:44These things happen.
00:16:46We can get it cleaned.
00:16:48What's your name?
00:16:49Ellie.
00:16:50I'm so sorry.
00:16:51I'm pretty new at this.
00:16:53I'm actually a student.
00:16:54Well, I would like to apologize for the neolithic behavior of my husband, Ellie.
00:17:00Georges, we're going to pay for the cleaning, of course, but I can't clean.
00:17:04Is there...
00:17:05Just leave it.
00:17:06I can do it.
00:17:07I can do it.
00:17:08Okay, perfect.
00:17:09And where's this tan box of yours?
00:17:10The tan...
00:17:11Is that what I think it is?
00:17:24Go on.
00:17:25What is it?
00:17:38Oh, this is a French Ormolu gilt jewellery case owned by, I think, Marie Antoinette herself. Am I right?
00:17:47Yes, exactly.
00:17:48Well, 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.
00:17:58So, how could it be here?
00:18:00I have been totally obsessed with this box.
00:18:04So, I tracked it down over the years and persuaded them to sell.
00:18:11Wow.
00:18:12Well, Gabrielle is right.
00:18:14I mean, if you can get stuff like this...
00:18:17Well, this is like such a fantastic draw for the museum. Game changer, really.
00:18:22Well, so far so good.
00:18:24Okay.
00:18:29What?
00:18:30My God.
00:18:32Tea?
00:18:34Well, it looks like a... like a bomb.
00:18:37What?
00:18:38Done.
00:18:39It doesn't just look like a bomb.
00:18:43It's a marzipan.
00:18:44Marzipan?
00:18:45Yeah.
00:18:46I was in the army for years.
00:18:47I've recognised that smell anywhere.
00:18:48What is it?
00:18:49It's Semtex.
00:18:50Semtex?
00:18:51What...
00:18:52What can that do?
00:18:53Put it this way, there's enough in there to blow this whole museum sky high.
00:19:03Come on!
00:19:04Don't worry mother, don't cry into that.
00:19:08Don't what they're in there.
00:19:10Don't.
00:19:11Oh bye!
00:19:12What's wrong?
00:19:13To LMN!
00:19:15You don't mind!
00:19:16Good.
00:19:17Well.
00:19:18You're sorry my mum.
00:19:19You don't mind...
00:19:21They're wrong.
00:19:22Mine!
00:19:23They won't move.
00:19:25Well, what have we all left together?
00:19:27They're locked.
00:19:29Okay, okay.
00:19:30Well, why don't we try the other exits?
00:19:33No, no.
00:19:34They will all be locked, too.
00:19:35And all the windows are bound.
00:19:38Oh, my God.
00:19:39What the hell are we going to do?
00:19:40Stop with the hysterics, George.
00:19:42In case you hadn't heard, there is a Semtex bomb in that room.
00:19:45Yes, we all know that.
00:19:50Gabrielle.
00:19:51Yes?
00:19:51How do we open the shutters?
00:19:54As far as I know, the security guard has fingerprint recognition.
00:19:57She's the only one who can deactivate the code.
00:20:00Where is the guard?
00:20:02In the security booth.
00:20:04Come on, come on, come on.
00:20:07Oh, my God.
00:20:09Oh, my God.
00:20:14Don't.
00:20:15Come on.
00:20:15She's gone.
00:20:19Oh, my God.
00:20:20All right, love.
00:20:50Yeah.
00:20:51Or woman.
00:20:52No, no.
00:20:54So, one fingerprint to control your entire security system.
00:20:59Stop it, George.
00:21:01Yes, I let the security team arrange it between them.
00:21:04I have only been here three weeks.
00:21:06So, it was on my to-do list, but good grief.
00:21:11So, you have no idea how to deactivate it?
00:21:14No.
00:21:14No idea.
00:21:15Well, then, why don't we use her finger?
00:21:24George!
00:21:24Oh, really?
00:21:25We can't.
00:21:27Why not?
00:21:28It's not like she's going to mind now, is she?
00:21:32It's not that.
00:21:32It's once tissue is dead, it loses its electrical charge.
00:21:36Hang on.
00:21:37Now, I saw this on one of those American crime dramas, and it worked a treat.
00:21:41So, let's give it a go, shall we?
00:21:43Good God, George.
00:21:45Oh, I see.
00:21:46You watched an entire box set, so, of course, now you know more than an actual doctor.
00:21:52I'm only saying, once the heartbeat dies, the electrical charge dies.
00:21:59It won't work.
00:22:15Can I ask a question, Gabriel?
00:22:17A security guard.
00:22:19What was her name?
00:22:21I was Susan.
00:22:23Shall we call her that, then?
00:22:24Look, I'm not suggesting we sever Suzanne's finger.
00:22:31George, leave it.
00:22:47Oh!
00:22:48Oh!
00:22:48Oh!
00:22:49Oh!
00:22:49Oh!
00:22:50Oh!
00:22:50Oh!
00:22:50Oh!
00:22:50Oh!
00:22:51Oh!
00:22:51Oh!
00:22:51Oh!
00:22:52Oh!
00:22:52Oh!
00:22:52Oh!
00:22:52Oh!
00:22:53Oh!
00:22:53Oh!
00:22:53Oh!
00:22:54Oh!
00:22:54Oh!
00:22:54Oh!
00:22:55Oh!
00:22:55Oh!
00:22:56Oh!
00:22:57Oh!
00:22:58Oh!
00:22:58Oh!
00:22:59Oh!
00:23:00Oh!
00:23:01Oh!
00:23:02Oh!
00:23:03Oh!
00:23:04Oh!
00:23:05Oh!
00:23:06Oh!
00:23:07Oh!
00:23:08Oh!
00:23:09Oh!
00:23:10Why can't they hear us?
00:23:11No, no, no, because the front doors are solid oak, the shutters are solid steel,
00:23:16and the walls, it's very, uh, thick Mediterranean stone.
00:23:19Oh, that's just great.
00:23:21So is the place bombproof as well?
00:23:23They're not helping, George!
00:23:24George!
00:23:25It's okay.
00:23:26I'll call Karen.
00:23:27Yeah.
00:23:28Uh...
00:23:29Oh, there's no signal.
00:23:30Oh, God.
00:23:31Oh, no, no, no.
00:23:32I haven't had any, uh, since I arrived, because, uh, we are quite high up, and the walls are
00:23:38too sick.
00:23:39What's the Wi-Fi code?
00:23:40I'm going to share it with you.
00:23:41Yeah.
00:23:42What?
00:23:43I know I had my phone in the pub.
00:23:44I must have dropped it.
00:23:45Oh, God!
00:23:46No, uh, the Wi-Fi is off too.
00:23:47But, uh, don't worry.
00:23:48Don't worry.
00:23:49Don't worry.
00:23:50I have, uh, one moment.
00:23:51I remember something.
00:23:52Is he going now?
00:23:53Is he going now?
00:23:54Oh, no, no, no, no, no, no, no, no, no.
00:23:55I don't know what he's doing.
00:23:56No, no, no, no, no, no, no.
00:23:59BIRDS CHIRP
00:24:29Someone has sabotaged the comms cupboard.
00:24:36It's beyond repair.
00:24:38Comms cupboard?
00:24:39It's where all the Wi-Fi hubs lead to, to keep us on the Internet.
00:24:43All the connections have been ripped to pieces.
00:24:46Oh.
00:24:48So we are completely trapped in here.
00:24:52Oh.
00:24:54Good God.
00:24:55You have got a foolproof security system that you don't even know how to operate.
00:25:00Who's a bloody fool now, eh?
00:25:02Hey!
00:25:03Get your hands off him, you brute!
00:25:06I'm fourth-time black belt in jujitsu.
00:25:08You lay one more finger on him, and I will take you down.
00:25:11Do you understand?
00:25:12Gentlemen, we have to calm down.
00:25:15Don't suppose you serve Valium as well as champagne?
00:25:18Valium.
00:25:19Is that the cocktail?
00:25:21Never mind, dear.
00:25:22So, someone knew that we were here tonight, and trapped us under the threat of a ticking bomb?
00:25:30This psycho must really hate one of us.
00:25:33Well, it was Gabriel who wanted us here.
00:25:35He sent the invite.
00:25:36I don't think I would bomb my own museum, judith, and trap myself inside.
00:25:40Okay.
00:25:40Can we just stop sniping at each other, okay?
00:25:43Can't be anyone here, can it?
00:25:45I am not so sure.
00:25:46What do you mean?
00:25:51I 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.
00:26:01You mean that the murderer might still be in the building?
00:26:05Possibly.
00:26:05Patrick, can you call Judith?
00:26:17I can't get hold of Dom or Jeremy.
00:26:19Obviously, I have Jean's phone, and I don't have Judith's number.
00:26:23There is no answer to the museum, and the doors are locked.
00:26:26Something is not right.
00:26:27You okay?
00:26:36Yeah, I think so.
00:26:38Caron just asked me if I can get in touch with Judith, but there's no answer.
00:26:41She's with Jeremy and Dom.
00:26:43Give them a call.
00:26:43No, he's already tried that, and there's no reply from them either, and no one's answering the door.
00:26:49Well, I don't like the sound of that.
00:26:51Nor do I.
00:26:53Diane can look after the bar for a now.
00:26:55Electric Lady Van outside?
00:26:57Yeah.
00:26:58Then let's go.
00:27:00What idiot takes the job as a curator of a massive museum and doesn't know how to work the security system?
00:27:07I have only been here three weeks, okay?
00:27:10There was so much to do that it didn't seem like a priority, okay?
00:27:15Well, it's a priority now, isn't it, Gabriel?
00:27:18It's a priority now.
00:27:20Gabriel, if he says one more word on you, I...
00:27:22No, no, no, no, no, it's okay, it's okay.
00:27:23If you're going to say something, say it in a language we can all understand, eh?
00:27:29I beg your pardon.
00:27:31For one moment, I thought we were in France.
00:27:35If you have something to say, why don't you say it straight?
00:27:43You clearly have something to hide, monsieur.
00:27:47Bullying my partner, shouting at your wife.
00:27:51Classic defense tactics.
00:27:52How dare you suggest that I...
00:27:56Shh!
00:27:58What's that?
00:27:59Fuck.
00:28:01Listen.
00:28:02Listen.
00:28:02Listen.
00:28:02Listen.
00:28:04Hello, hello, can anyone hear me?
00:28:27Oh, come on.
00:28:28Hello, hello, hello!
00:28:29Hello!
00:28:34Hello, hello, hello, can anyone hear me?
00:28:37Help, help!
00:28:40Dom?
00:28:41Dom, is that you?
00:28:43Oh, thank God.
00:28:43Look, we are trapped inside the museum.
00:28:46The shutters are down, the security guard's been murdered, and there is a bomb ticking away.
00:28:50What?
00:28:51A bomb?
00:28:52Okay, Dom, you need to say all that again, but much slower.
00:28:58There is a bomb.
00:29:00Someone has activated the security shutters.
00:29:03They can only be deactivated by the fingerprint of the security guard.
00:29:07But the...
00:29:08The security guard...
00:29:10Has been murdered.
00:29:14Okay, Dom, have you seen the bomb?
00:29:16Yes.
00:29:17What does it look like?
00:29:18I got...
00:29:19Right.
00:29:24Okay, so...
00:29:26It's like a big lump of orange block in here that it looks like Semtex.
00:29:32There's an old-fashioned phone on one side, and in the middle is a digital clock counting down.
00:29:38There's three wires, a blue one, a red one, and a yellow one.
00:29:42And how much time does the bomb say you have?
00:29:4659 minutes.
00:29:50I will get help immediately.
00:29:52I need you to keep this communication open.
00:29:54We will get you all out.
00:29:58Dom?
00:29:59Dom, you need to keep this channel open.
00:30:03Andre, I can't hear you.
00:30:04Are you still there?
00:30:06Andre?
00:30:15Andre?
00:30:15Andre?
00:30:24What are you doing?
00:30:33Hang on a sec.
00:30:38He's got a bit of spare.
00:30:39He's got a bit of spare.
00:30:40Oh, bingo.
00:30:41Andre, I'll...
00:30:41Caron, can you hear me?
00:30:54Caron!
00:30:54Can you hear me?
00:30:56Caron?
00:31:02Bye-bye.
00:31:03Gloria, stop! Stop!
00:31:14Don't come in.
00:31:17I managed to speak to Charon. He's calling for help.
00:31:20Really? How did you manage that?
00:31:21Well, Suzanne's walkie-talkie.
00:31:23Oh, that's great. We can use that then.
00:31:24No, no, no. It's just died.
00:31:26Maybe it just needs any battery, or...?
00:31:28No, no. I tried that. It's no joy, sir.
00:31:30Oh, God.
00:31:31Well, at least we're getting some help from the professionals.
00:31:34Something you've needed for years, darling.
00:31:38Charon will help us, won't he, darling?
00:31:40Oh, absolutely, darling.
00:31:42Em, Jean.
00:31:45What? What's the matter?
00:31:47Em, I found this under the bomb.
00:31:53For me?
00:31:56I don't understand.
00:31:58Who would do something like this to you?
00:32:01I've no idea.
00:32:03I mean, thinking about it, I've put a few people away over the years, but...
00:32:09This is beyond the pale.
00:32:11Oh.
00:32:11Look at the heart, her fruit from above, her face like the sun, her heart full of love.
00:32:30But fate is not kind, and her future is bleak.
00:32:34Too intense to survive, one date do you seek.
00:32:37Oh, come on, Jean, think.
00:32:40Okay, two attempts to survive, one date do you seek.
00:32:45So?
00:32:46What do you reckon?
00:32:47Well, it appears that this sicko wants me to find a piece of art in the museum that matches the riddle.
00:32:57Two attempts to survive, one date do you seek.
00:32:59So, I'm guessing that you put the date in the keypad to stop the bomb.
00:33:08Oh, wow.
00:33:13Somebody must really hate me to go to all this trouble.
00:33:16It's just a child's riddle.
00:33:18We should wait for help.
00:33:19For grief.
00:33:20But what if help doesn't get here on time?
00:33:23Someone is out to get me.
00:33:24This is all my fault.
00:33:26I've got to do something to help.
00:33:29Slay.
00:33:30Okay, Jean, you've absolutely got to solve this riddle.
00:33:34Come on, chaps.
00:33:35Let's separate and find a way out of here.
00:33:37And, Gabrielle, you attempt to override this god-awful security system.
00:33:42Well, I think we should wait for the police.
00:33:44Something you are very welcome to do on your own, George.
00:33:48I, for one, am going to help Jean.
00:33:49Yeah.
00:33:50Yeah, me too.
00:33:51I'm in.
00:33:52Anything is worth a try.
00:33:54I do tech support for the charity.
00:33:57Can I help?
00:33:58Excellent.
00:33:58Come on.
00:34:00Let's go to the...
00:34:00Be careful.
00:34:02You too.
00:34:04I think it's essential that we keep dividing in order to conquer.
00:34:09Gentlemen, follow me.
00:34:10Whoa.
00:34:11Okay, look at the heart.
00:34:29The heart.
00:34:30Well, the heart could mean love.
00:34:33Oh, no.
00:34:33That could be any work of art.
00:34:34Oh, okay.
00:34:35Okay, think, Jean.
00:34:37Think.
00:34:38Well, um...
00:34:39It could be the sacred heart.
00:34:41Especially if it's qualified with the fruit.
00:34:44Well, how so?
00:34:44Well, um, Jesus in art is often referred to as fruit of the womb.
00:34:49Yeah, let's go with that.
00:34:50Okay.
00:34:51Face like the sun.
00:34:52Now, obviously, Jesus was the son of God.
00:34:56And the sun in the sky is often used as a metaphor for Jesus.
00:34:59So, um, fate is not kind.
00:35:01Well, fate wasn't kind to Mary.
00:35:03It wasn't too kind to Jesus either, was it?
00:35:05Well, exactly.
00:35:06But her future is bleak.
00:35:07Her.
00:35:08I think it's got to be about Mary and Jesus.
00:35:11It's got to be.
00:35:12Right.
00:35:13I think we're looking for a religious painting or sculpture.
00:35:17Well, there'll be a fair few of those, I'm sure.
00:35:19Yes, but particularly the Madonna and Child.
00:35:22There is about six main rooms.
00:35:24Okay.
00:35:25Let's split up, take a room each, and report back.
00:35:28Right.
00:35:28Right.
00:35:30Me and Dom will take medieval and renaissance.
00:35:33Judith, you do modern art.
00:35:35Auriel, you do metal work.
00:35:36And Ellie, you do jewellery and glass work.
00:35:41And, um, yeah, and remember the Madonna and Child.
00:35:44Okay?
00:35:45Let's go.
00:35:46Which way?
00:35:47This way.
00:35:47Richard, did you contact the bomb squad?
00:35:56Not great news, I'm afraid.
00:35:57The nearest active unit is Lyon, which is six hours by car.
00:35:59They're trying to activate the plan to get here quicker, but it's not looking good.
00:36:03What about overriding the security system?
00:36:05We have contacted the company, but with it being Christmas Eve, we have the same problem.
00:36:09The nearest engineer is in Marseille.
00:36:11Oh, no.
00:36:11There is no guarantee they will be here in time.
00:36:13If there was another way in, I think I could deactivate it.
00:36:17What?
00:36:18Before I joined the gendarmerie, I trained in the bomb squad at la police nationale.
00:36:22If it is a rudimentary device, I could deactivate it, I think.
00:36:25Okay, well, what about the tunnels underneath?
00:36:28Pardon?
00:36:28The museum's tunnels were part of the bomb shelter system during World War II.
00:36:32I remember the tour guide telling us when I brought Xavier on a visit.
00:36:35Okay, I will go in.
00:36:37I cannot put my best officer in danger, Richard.
00:36:40I will go in, you can advise me.
00:36:41But, sir, I...
00:36:41That is an order.
00:36:43Let's find a map.
00:36:46Well done.
00:36:48On the count of three, we all pull together.
00:36:50Ready?
00:36:51Ready?
00:36:52One, two, three...
00:36:53I haven't finished counting!
00:36:56Oh, I've got trapped in over my shoulder.
00:36:58It's a little dramatic.
00:37:00If we all work together, we stand more chance.
00:37:02If we...
00:37:03Did you just call me a Jurassic?
00:37:04It was just an observation.
00:37:06You like making observations, don't you?
00:37:08What's that supposed to mean?
00:37:10Like observing other people's wives.
00:37:13I, uh, don't know what you're talking about.
00:37:15Do you think I was born yesterday?
00:37:17I'm sorry?
00:37:20The charity meetings with my wife.
00:37:24The dinners.
00:37:25Come on, Ali.
00:37:26I've been through her phone.
00:37:30I know what's going on with you two.
00:37:33Now tell me I'm wrong.
00:37:35I said!
00:37:36Tell me I'm wrong!
00:37:37There you go.
00:37:41It just about says everything, doesn't it?
00:37:43George, I, uh...
00:37:44Auriel is my wife!
00:37:48Come on, George.
00:37:50You haven't loved each other for years.
00:37:52Even a stranger would know that.
00:37:53It's just our shtick!
00:37:54What?
00:37:55The couple's thing.
00:37:57The public act.
00:37:58But when we get behind closed doors,
00:38:02we are still husband and wife.
00:38:07Oh!
00:38:08So you think I'm lying, do you?
00:38:12Well, I don't know what yarn she's been spinning you,
00:38:16but it's true.
00:38:18And I'll tell you something else that's true.
00:38:21I will do everything in my power
00:38:24to make sure that you never raise another penny
00:38:29for your stupid...
00:38:31Gentlemen, please, this is no time for a bloody showdown!
00:38:35Come on!
00:38:51Judith?
00:39:19I didn't find anything.
00:39:20I...
00:39:21literally
00:39:21didn't even find a decent painting.
00:39:23We thought we had a chance with the necklace,
00:39:25but there was no reference to the sun.
00:39:27Well, we can't give up.
00:39:28We still have two other rooms.
00:39:30Well, you two can go on looking,
00:39:32but I'll be very honest with you.
00:39:33I need a little top-up of Dutch courage.
00:39:37What?
00:39:37What in here?
00:39:39Can you not hear that bomb ticking?
00:39:43Yes.
00:39:43Yes, I can.
00:39:44But I'll be perfectly honest with you, Auriel.
00:39:46Well, if I am to get blown to smithereens,
00:39:50I'd really rather like not to remember it.
00:39:54Let's keep looking.
00:39:56I'll take sculpture.
00:39:57You take Angel Moderna.
00:39:58Okay.
00:39:58Thank God the library was still open.
00:40:12Right.
00:40:13This map dates from around 1943.
00:40:17It shows the tunnels that were dug out
00:40:19and used as bomb shelters during World War II.
00:40:23Oh, désolé.
00:40:24Vous voulez que je parle en fronté, Richard?
00:40:27I think it is the map she can't quite understand, not you.
00:40:30I have always been terrible with maps.
00:40:32It's a bit of an acuity skill for me.
00:40:34Je suis désolé.
00:40:35Just because you're so young, love.
00:40:37We forget we're the last generation that didn't have sat-nav.
00:40:39Hey, speak for yourself.
00:40:40I'm 20 years younger than you, which makes me a straddler.
00:40:43Pardon?
00:40:44I straddle pre- and post-technology.
00:40:46Doesn't matter what form a map takes.
00:40:47I'm a dab hand.
00:40:49Right, there's a labyrinth of tunnels under the museum.
00:40:51You can see the entrances all around here.
00:40:54But they can only be accessed from the inside.
00:40:57Hang on.
00:40:59This one looks like it's leading from the outside in.
00:41:01What do you mean?
00:41:02Look.
00:41:03It starts off as a small one, then joins up with the bigger ones.
00:41:07What's its proximity?
00:41:09Just underneath the main entrance.
00:41:12Right around here somewhere.
00:41:13Gloria, can you pull the van back a bit, love?
00:41:18Lovely, that's it.
00:41:34There's your way in.
00:41:39You're not going to open it up like that, are you?
00:41:42You got a crowbar in the van?
00:41:43Yeah.
00:41:44And, uh, two books?
00:41:49There's a knack to this.
00:41:52It's a hell of you.
00:41:56Right.
00:41:58Are you ready?
00:42:02Andy.
00:42:04Come on.
00:42:05Help me, Mr. Vesa.
00:42:06You are full of handy tricks, Patrick.
00:42:13I'm not going to ask where you land them.
00:42:15Okay, I'm going in.
00:42:17Richard, get me an earpiece.
00:42:18You'll need this as well.
00:42:19It's my head torch.
00:42:20Thank you, Gloria.
00:42:25You're sure I can't go with you?
00:42:26Richard, I need you to take control here.
00:42:30You are now in charge.
00:42:32Major.
00:42:33Gloria, take this headset.
00:42:35I need you to stay on the map and on the radio.
00:42:37You will be my ears and eyes.
00:42:38When I reach the bomb, you will pass to Richard, okay?
00:42:40Will the signal be strong enough down there?
00:42:43This radio is analog.
00:42:44It's like a walkie-talkie.
00:42:45It works over short distances because it doesn't need a signal to bounce up to the sky.
00:42:50Okay.
00:42:52Be careful in that.
00:42:53I will.
00:42:53I'm a lawyer.
00:43:07Can you hear me?
00:43:08Yeah, you okay?
00:43:09I'm fine.
00:43:10Which way?
00:43:11Okay.
00:43:12You go into your left first.
00:43:13Bingo.
00:43:22The shutters are connected to the museum's mainframe.
00:43:26Meaning you don't need Wi-Fi?
00:43:29Exactly.
00:43:30I may be able to override it if both systems are kept connected.
00:43:37Where's your main computer?
00:43:39It's in my office next to the event room.
00:43:45What's your passcode?
00:43:47It's Eve1234.
00:43:51Eve, press your finger firmly on this pad.
00:43:55I may be able to change a fingerprint identity to yours.
00:43:57Gabriel, when a code pops up, press Enter straight away.
00:44:01Enter straight away.
00:44:01Okay.
00:44:02Okay.
00:44:02I'm going to your office.
00:44:04Okay.
00:44:05Okay.
00:44:09Eh ben, qui aurait cru qu'elle serait transformée en Lara Croft?
00:44:12Okay.
00:44:25Oh, hello.
00:44:26What are you doing here?
00:44:29Oh!
00:44:39Je n'aime pas mieux le petit doig.
00:44:53Nous t'en sors très très bien.
00:44:55Oui, ben là je ne sors plus mon pouls.
00:44:57On va s'en sortir qui ? On va s'en sortir.
00:44:59T'inquiète pas.
00:45:00Et comment tu peux en être si sûr ?
00:45:01In any case, I wanted to tell you, it's not very long that we're known, but you've taken my life.
00:45:12Oh, really? It's too chou.
00:45:17Sorry Gabriel, it's just that I'm really very afraid.
00:45:19Pardon.
00:45:23The code will appear in an instant.
00:45:25The hotel should be en train to be en train de le déchiffrer.
00:45:27What's wrong?
00:45:35What came first, medieval or renaissance?
00:45:37Medieval.
00:45:38Oh, right. So medieval was the 5th to the 14th century and renaissance was the 14th to the 17th?
00:45:45Correct.
00:45:46Yeah, no, it says it here on the card.
00:45:51This is beautiful. It's hand-spawn wool and silk.
00:45:56This is called a verdu tapestry, derised from the French word for green.
00:46:01Ver.
00:46:02Yeah.
00:46:03How do you do that?
00:46:04What?
00:46:05No, all that.
00:46:07It says it on the card.
00:46:09Touche.
00:46:11These two, look how I feel.
00:46:13How come none of them ever smiled?
00:46:15There was a theory that they didn't want to show their bad teeth.
00:46:18In fair dues.
00:46:19I think it was just really hard work to maintain a smile whilst you're having your portrait painted.
00:46:24I mean, sitting there for hours like that, not like taking a selfie, is it?
00:46:28Yeah.
00:46:29That's true.
00:46:30Don.
00:46:31Look at that.
00:46:33Okay.
00:46:34Right.
00:46:35Look at the heart.
00:46:36Her fruit from above.
00:46:37Her face like the sun.
00:46:38Her heart full of love.
00:46:39I mean, I wouldn't exactly say her face is sunny.
00:46:40Donatello, terracotta.
00:46:41You didn't look at the card.
00:46:42Oh.
00:46:43Well, he's one of my favourites.
00:46:44Mind you, there is a debate that it could have been my beer, but...
00:46:45It says it's on loan from Florence.
00:46:46Well, it fits all the clues.
00:46:47Can I have your phone?
00:46:48Yeah.
00:46:49Oh.
00:46:50We best get back to the others.
00:46:51Not much time left, is there?
00:46:52No.
00:46:53No.
00:46:54No.
00:46:55No.
00:46:56No.
00:46:57No.
00:46:58No.
00:46:59No.
00:47:00No.
00:47:01No.
00:47:02No.
00:47:03No.
00:47:04No.
00:47:05No.
00:47:06No.
00:47:07No.
00:47:08No.
00:47:09No.
00:47:10No.
00:47:11No.
00:47:12No.
00:47:13No.
00:47:14No.
00:47:15No.
00:47:16No.
00:47:17No.
00:47:18No.
00:47:19No.
00:47:20No.
00:47:21No.
00:47:22No.
00:47:23No.
00:47:24No.
00:47:25No.
00:47:26No.
00:47:27No.
00:47:28No.
00:47:29No.
00:47:30No.
00:47:31No.
00:47:32No.
00:47:33No.
00:47:34No.
00:47:35No.
00:47:36No.
00:47:37No.
00:47:38No.
00:47:39No.
00:47:40No.
00:47:41No.
00:47:42No.
00:47:43No.
00:47:44No.
00:47:45No.
00:47:46No.
00:47:47No.
00:47:48So, how did you find out about the affair?
00:47:59I wasn't sure at first, but I'd had my suspicions for months.
00:48:04What made you suspicious, if you don't mind?
00:48:07I don't mind, I don't mind.
00:48:10We run our businesses like clockwork, and then all of a sudden she becomes interested in charity.
00:48:14Now, I wouldn't mind, but we have an office set aside for charity, or tax relief, as I'd like to call it.
00:48:24Absolutely.
00:48:25And the only charity she really did was just turn up, snip the ribbon, until she met him.
00:48:33Ah, Dr. Padeepa.
00:48:35We met him, and then she became obsessed with going to his meetings for his prison.
00:48:44Art malarkey.
00:48:46You couldn't get enough of it.
00:48:48Oh, we should see the difference it makes.
00:48:49Blah, blah, blah.
00:48:54And then, there's all the obvious signs.
00:48:57Never leaving her phone unattended.
00:48:59Always going in a different room to check her messages.
00:49:02You know, I've never loved another woman.
00:49:09I just thought...
00:49:11Maybe she didn't love me as much as she used to.
00:49:18That we'd always have...
00:49:20Respect.
00:49:24You're right, old chap.
00:49:25Once the respect is gone...
00:49:28Come on, George.
00:49:33We've got to find a way out of here.
00:49:35Come on.
00:49:35Where on earth is everybody?
00:49:43Ah, hello.
00:49:44Who have we here?
00:49:48What a zero chance of my reading that tiny writing.
00:49:52You do have a look of a female, I suppose.
00:49:54But is that a child?
00:49:58Oh, bloody hell.
00:50:00I forgot to pick up my glasses.
00:50:03I know.
00:50:10Oh, I see.
00:50:11Not a child, but a sheaf of wheat.
00:50:16Nearly.
00:50:17Allez, allez, messieurs, dames, circule.
00:50:18Il n'y a rien à voir ici.
00:50:20Come on, messieurs.
00:50:21Allez, messieurs, ben.
00:50:22On peut passer.
00:50:24Okay.
00:50:25The tunnel on your left appears to lead to another exit.
00:50:28But the tunnel ahead of you takes you to a door that leads you into the museum.
00:50:33Okay.
00:50:34Give me a second.
00:50:46It's locked.
00:50:48The door's locked.
00:50:49Give me your hands, sir.
00:50:54Andre?
00:50:55Describe the lock to me as best you can.
00:51:00It is a rectangle with a large keyhole in the middle.
00:51:04Looks like a church door lock.
00:51:07And it is very rusted.
00:51:09Sounds like a rim lock.
00:51:11Not too tricky.
00:51:12So, use the screwdriver attachment on your multi-tool to turn the lock to your right.
00:51:20Okay, I'm ready.
00:51:25No.
00:51:30No.
00:51:34Well.
00:51:40No.
00:51:41Ugh.
00:51:42I give in.
00:51:43What do you mean George knows?
00:51:46He just came straight out of it.
00:51:48Said he'd been looking through your phone.
00:51:50Looking through my phone?
00:51:51How?
00:51:52It never leaves my sight.
00:51:54We hardly see each other.
00:51:56We live separate lives.
00:51:58That's not what he said.
00:52:00What?
00:52:01He implied that the two of you are still very much in love.
00:52:05Huh?
00:52:05And that this whole dislike thing is just an act.
00:52:09Oh, Ali, that is rubbish.
00:52:12We don't even sleep in the same room.
00:52:14And the worst bit of it is...
00:52:17He said he's going to make sure that I don't receive another penny for the charity.
00:52:22Oh.
00:52:23That's the worst thing, yeah?
00:52:26Well, it's nice to hear you've got your priorities straight.
00:52:29No, Oriel, you are my priority.
00:52:34But if you're still in love with him...
00:52:36Ali, please, it's rubbish.
00:52:38He's just bitter, believe me.
00:52:41I love you.
00:52:43Did you find anything?
00:52:45Oh, I've taken a picture of a few pieces, but I haven't really got a clue what I'm looking for.
00:52:49Yeah, I mean, the riddle is a little vague.
00:52:52Yeah, that's the understatement of the century.
00:52:54But the bomb threat is very clear.
00:52:57Yeah, yeah, we should find the others and regroup, yeah?
00:52:59That's where I was heading.
00:53:14Ah.
00:53:15Oh, no, they're all locked.
00:53:19Surely that idiot Gabrielle has a set of keys.
00:53:21I think we've established, George, that Gabrielle has literally no idea where they are.
00:53:26Oh, hello, you two.
00:53:28Oh, hello, Diane.
00:53:29Any success?
00:53:31No, it's bloody useless.
00:53:32I can't find one single village expecting.
00:53:35No, I've tried my utmost, and that's all I can do.
00:53:39It's all so hopeless.
00:53:41How are you getting on?
00:53:42We've fried all the doors.
00:53:43And windows.
00:53:44Nothing.
00:53:45Oh, utterly infuriating.
00:53:47Maybe we should get back to the others.
00:53:49Good idea, George.
00:53:50Come on.
00:53:50We will get out of here, won't we, darling?
00:53:55Oh, come here.
00:53:58Of course we will, my darling.
00:54:02One way or the other.
00:54:03Very, very gently.
00:54:09Nothing seems to be biting.
00:54:11Take your time.
00:54:13That is something we do not have.
00:54:16Ah.
00:54:16I think I can kick the door in.
00:54:19No, no, no, no.
00:54:20Don't do that.
00:54:21We don't want any unnecessary vibrations.
00:54:23Andre?
00:54:26Andre?
00:54:26Andre?
00:54:30Andre?
00:54:30Andre?
00:54:30Andre?
00:54:48Any joy?
00:54:49Yes.
00:54:53And now, this is a picture by Camille Carreau in 1860,
00:54:58and it's of a normal, earth-bound human and child.
00:55:02Sorry.
00:55:02No, it's okay.
00:55:04Ellie, anything?
00:55:05I couldn't find the card for this,
00:55:06but it looks like a modern art version of Mary and Jesus.
00:55:10Well, is it?
00:55:12No, I'm afraid not.
00:55:15It looks like modern art,
00:55:17but I think it's a copy of the famous Korotrophos,
00:55:19which is one of the earliest Neolithic finds in Greece,
00:55:236,000 B.C.
00:55:25Oh.
00:55:26Not with George and Jerry then, Ellie?
00:55:28No, the, um, we couldn't...
00:55:31The doors.
00:55:35I've got something to tell you.
00:55:37Oh, Dom.
00:55:38Oh, how did it go?
00:55:39We're really trapped.
00:55:41Tried everything.
00:55:43Every window, every door is either deadlocked or barred.
00:55:46Judith, did you find anything to match the poem?
00:55:49I found a painting that might be a mother and child,
00:55:51but I'm not entirely sure it's the right way up.
00:55:55No.
00:55:56Don, can you get up that picture of the Donatello, please?
00:56:02No.
00:56:07Okay.
00:56:11Two attempts to survive one date do we seek.
00:56:15Do you think it's time to put our best option in?
00:56:18Don't really have a choice, do we?
00:56:20Or shouldn't we wait to see if Sangeetra and the others have had some success?
00:56:24I don't think there's any harm in trying.
00:56:25You wonder if Sangeetra would wait to see if Sangeetra will be there for me.
00:56:31Oh, my God.
00:56:33I don't know.
00:56:39I don't know.
00:56:41Holden, Roy.
00:56:59Kevin, you hit me.
00:57:01Yes, Patrick.
00:57:03We lost you for a few moments.
00:57:05You had us worried.
00:57:06So, how are you doing?
00:57:09I'm a little trapped.
00:57:10Part of the roof has collapsed and formed a barrier between me and where I came in.
00:57:16Can you dig your way out?
00:57:17At the moment, that does not seem possible.
00:57:20Okay, so we must keep trying the lock.
00:57:23The lock is so rusted, I just can't seem to get a grip.
00:57:41There's a blockage in the tunnel and he can't get out.
00:57:44How's he doing with the lock?
00:57:45He says he can't get a grip because it's all rusted up.
00:57:48Rusted?
00:57:48Give me the headset.
00:57:49Andre, this may seem like a stupid question, but what's your gun holster made of?
00:57:56Uh, mainly leather, I think, but with some rubber on the inside.
00:58:00Great.
00:58:01Take your knife and slice a thin piece of rubber off.
00:58:04Okay, I've done that.
00:58:12Put it in the lock and rub as hard as you can.
00:58:16Okay.
00:58:17Is it working?
00:58:22Yes.
00:58:22Yes, it's working.
00:58:24Yes.
00:58:24How did you know how to do that?
00:58:25Oh, but can each trick rustates rubber.
00:58:27I'm passing you back to Patrick.
00:58:29Right, I'm going to try the lock again.
00:58:31Okay, Andre.
00:58:32Remember, screwdriver up and to the right very gently.
00:58:41What's happening, Andre?
00:58:42Andre?
00:58:43It's not opening, Patrick.
00:58:48Okay.
00:58:50Uh, I want you to describe it for me again as best you can with every detail.
00:58:57Every detail you can.
00:59:00Oh, uh, it's brass, I think, with a fancy design on it, like a fleur-de-lis, sort of.
00:59:09Oh, Patrick, you idiot, it's an old French lock.
00:59:12Look, I'm going to try something different, Andre.
00:59:16Turn it to the left very, very gently.
00:59:20Then turn it one more time.
00:59:30It's unlocked!
00:59:31Yes!
00:59:32Yes!
00:59:34Okay, Andre.
00:59:34Once you're through the door, you're going to your right.
00:59:41Can't believe I got it so wrong.
00:59:43Look, you can't blame yourself, Jane.
00:59:44Well, it's false, is it?
00:59:46I sent you all on a wild goose chase.
00:59:47You did something, though.
00:59:49Yeah, and I got it wrong.
00:59:50I don't want to die like this, Jeremy.
00:59:53Oh, I know, my darling, I know.
00:59:54I know.
00:59:54Why didn't you tell me it'll all be all right?
01:00:02What?
01:00:03You always say it'll all be all right, darling, and it always is.
01:00:07Well, it...
01:00:09How much time have I got left?
01:00:24How much time has he got left?
01:00:26Only 17 minutes, I'm afraid.
01:00:2917 minutes, Andre.
01:00:31Keep going straight on.
01:00:32In any day, you're doing great.
01:00:33I'm sorry.
01:00:49Bon, je l'ai marre.
01:00:50Mais là , surtout que tu bouges pas, parce que là , tu vas ruiner toutes nos chances.
01:00:53Tranquille.
01:00:54Non, non, mais c'est rien.
01:00:56Bon, je vais la trouver, celle-là , et voir ce qu'elle croit qu'elle est en train de faire.
01:01:03Do you want to know what I bought you for Christmas?
01:01:17You know I prefer a surprise.
01:01:20But you might not get to see it.
01:01:25I want to keep it a surprise.
01:01:30Thank you, Jeremy.
01:01:33What for?
01:01:36Our life together.
01:01:38I've had such a lovely time.
01:01:42I thought, after losing the twins, we wouldn't last.
01:01:46Lots of couples split over less, you know.
01:01:49I know, my darling.
01:01:51I know.
01:01:54Maybe, if there is something after this life, we can meet them again.
01:02:00That's a nice thought, isn't it?
01:02:02That's a wonderful thought, darling.
01:02:07Wonderful.
01:02:10Anyway, I'm glad we're here together.
01:02:13I've always dreaded the thought of going first and leaving you behind.
01:02:17Me too.
01:02:24Miss Sangita, she's dead.
01:02:25No.
01:02:26What?
01:02:26Are you sure?
01:02:28Positive.
01:02:29How?
01:02:29She has been shot.
01:02:31Shot?
01:02:32She was trying to change the fingerprint control and needed access to the main computer in
01:02:36my office.
01:02:36So she left us and went to the office, waited for ages.
01:02:41And you just found her there?
01:02:42Yes.
01:02:42I need to see her.
01:02:44No, no, no.
01:02:44I'm not sure you should.
01:02:45Look, I'm a doctor.
01:02:46Maybe she's still alive.
01:02:48Take me to her.
01:02:49Ali, Ali, listen.
01:02:50Look at me.
01:02:51I just need to see my wife.
01:02:55Show me to your office.
01:02:57Okay.
01:03:00Everyone needs to stay here.
01:03:02No one must leave.
01:03:03Don't come with me.
01:03:04Yeah.
01:03:04Oh, my love.
01:03:17Ali, you can't touch her.
01:03:20I am a doctor and her husband.
01:03:22I know, but this is a crime scene.
01:03:25What?
01:03:26There's still a very good chance that we could get out of here.
01:03:29And if we do, we want every shred of evidence intact, don't we?
01:03:33Ali is having an affair with Ariel.
01:03:53What?
01:03:54I saw them in the corridor together.
01:03:55Said him and George almost came to blows at one point.
01:03:59Well, that gives him a motive.
01:04:01To get rid of his wife so he can marry a billionaire.
01:04:04Exactly.
01:04:06Come on.
01:04:07If it is him, we can't leave him alone with Gabrielle for too long.
01:04:12All the banking codes, they are gone.
01:04:15Are you sure they were in there earlier?
01:04:17Yes.
01:04:17When I came to get the Ormolu from the safe, I clearly remember seeing the file.
01:04:22And who else knew the combination to the safe?
01:04:25Only me.
01:04:26And Eve, he helped me collect the Ormolu earlier.
01:04:30Okay.
01:04:31Right, yeah.
01:04:33We all have to stay in the same place.
01:04:34It's what Karen would make us do.
01:04:36Yeah, yeah, you're right.
01:04:37Okay.
01:04:37Right, we have to stick together.
01:04:39There's a murderer amongst us.
01:04:41Gloria, I must be near.
01:04:58I can hear voices.
01:04:59You're right underneath the events room.
01:05:01Carry on for about another ten yards and you'll see a ladder on your right.
01:05:05That'll take you directly up to the museum.
01:05:08Are you okay, love?
01:05:12Yes.
01:05:13I'm fine.
01:05:16Yards to meters.
01:05:17Multiply the length given in yards by 0.9144.
01:05:22I found the ladder.
01:05:25He's found the ladder.
01:05:31I'm heading up now, Gloria.
01:05:33Well done, Andre.
01:05:34You're nearly there.
01:05:35The security engineer has now landed at the airport and she's on her way now in a pretty scar.
01:05:39Brilliant.
01:05:40Excuse.
01:05:51Andre.
01:05:52Andre, are you okay?
01:05:54Andre, can you hear me?
01:06:02Maybe we should start praying to them paintings we found.
01:06:06It looks like that's our only choice.
01:06:08You'd like to have a choice, don't you?
01:06:10What's that meant to mean?
01:06:11You know exactly what that means.
01:06:13If you've got something to say, George, why don't you just come out with it?
01:06:17If I've got something to say, I will decide when I say it.
01:06:22Always loving the control, eh, George?
01:06:24Even when we're about to die, you still have to be in control.
01:06:28You know the best thing about this situation?
01:06:32We're both going to die together.
01:06:34Which means you won't inherit a thing.
01:06:41Wow.
01:06:43Just when I thought you couldn't go lower.
01:06:46What are you thinking?
01:07:01I'm trying to work out the murder in real time.
01:07:04Get Jeremy and Judith over to help, will you?
01:07:07Hey.
01:07:08You two.
01:07:09Jean needs help.
01:07:10I'm not sure I'm much help to anyone, Dominic.
01:07:13Judith's not feeling great.
01:07:14We're all not feeling great, Jeremy.
01:07:18Sorry.
01:07:19Sorry, I didn't mean to snap.
01:07:21No, actually, I did.
01:07:23Jean is over there trying so hard to help us.
01:07:26To help all of us.
01:07:27The very least you two can do is to help her.
01:07:29Okay?
01:07:31Sorry, old chap.
01:07:32Yes, of course.
01:07:34Oh, great.
01:07:35Okay.
01:07:36So, whoever murdered Sangeeta and Suzanne
01:07:39has something to do with the bomb
01:07:41and this whole nightmare evening.
01:07:42It makes sense for everything to be connected.
01:07:44Yeah.
01:07:45Who would kill Sangeeta?
01:07:46Who would murder someone like that?
01:07:49Well...
01:07:49Ali's having an affair with Auriel.
01:07:51Oh, yeah, don't tell me.
01:07:52What?
01:07:53Yeah, George just poured his heart out of me.
01:07:55The poor chap is broken.
01:07:56Yeah, and I saw Ali and Auriel
01:07:58in the corridor earlier talking about it.
01:08:00Do you think he bumped off his wife
01:08:03to run off with a billionaireess?
01:08:04That's what I said.
01:08:05Or maybe George killed her to frame Ali.
01:08:09You're certainly on the verge of it.
01:08:11Or maybe Auriel killed her in a jealous rage
01:08:14because she couldn't wait a moment longer for Ali.
01:08:17In the office, Gabrielle said,
01:08:19all the codes to the museum's bank
01:08:21had been stolen from the safe.
01:08:23Yeah, and he was certain
01:08:24that they were there earlier.
01:08:26So, could that have something to do with it?
01:08:28Oh, it's all so confusing.
01:08:30My head hurts.
01:08:32Don, come with me.
01:08:49There's only one person that used the map.
01:08:56Oh, sweet.
01:09:11Of course.
01:09:12It's so small.
01:09:14It's a nose ring.
01:09:19Oh.
01:09:23It was Ali.
01:09:24It was all Ali.
01:09:25What?
01:09:26Ali is the murderer.
01:09:28Don't, don't, don't, don't.
01:09:30How did she do it?
01:09:31She couldn't be in two places at once.
01:09:34I mean, she was definitely here when we arrived.
01:09:37So, how could she be murdering the security guard
01:09:41at the same time?
01:09:44Unless, this could she?
01:09:52Don.
01:09:57Don, give us a hand with this.
01:09:59She's still alive.
01:10:22Let's get in here.
01:10:29What the hell?
01:10:32Who on earth is this?
01:10:33Jean, for God's sake, explain.
01:10:35What on earth is going on?
01:10:36Ali, again.
01:10:37Just a minute.
01:10:39I'm intrigued.
01:10:43We still have a few minutes before we escape.
01:10:46How did you know?
01:10:48Eve, what are you doing?
01:10:52Go on, Madame White.
01:10:54It didn't come to me straight away.
01:10:56Then I worked out that it was you who killed Sangeeta
01:11:00and stole the bank codes.
01:11:03You mistakenly left your map on the floor
01:11:06at the side of the safe.
01:11:09I suppose when Sangeeta came in
01:11:12to override the fingerprint control,
01:11:15well, she caught you red-handed.
01:11:20And then I worked it back.
01:11:23I mean, how did you get in the safe in the first place?
01:11:27Only Gabrielle and Eve knew the combination,
01:11:31so it made sense one of them was your accomplice.
01:11:36I don't know.
01:11:42And then I remembered, earlier in the evening,
01:11:46Sangeeta recognized you, Eve,
01:11:49from a prison outreach event.
01:11:51Have we met somewhere before?
01:11:52I very much doubt it.
01:11:54I don't do prisons or charity here.
01:11:57I assume you've not been out of prison for very long.
01:12:00For Sangeeta to recognize you from something so recent.
01:12:04Eve, is this true?
01:12:08But you, Ellie,
01:12:09I couldn't work out how you could be in two places at once.
01:12:14Serving champagne here and, well,
01:12:17murdering the security guard down there.
01:12:22But you weren't, were you?
01:12:25This is what I think.
01:12:28You entered the museum
01:12:29and you forced a security guard
01:12:32to activate the shutters.
01:12:43Once you'd started the bomb,
01:12:46you raced up here,
01:12:49changed your outfit,
01:12:50and you placed the bomb
01:12:53in the cabinet
01:12:54just outside this room.
01:13:06Then you accosted that poor waitress
01:13:08and you bundled her into the cupboard.
01:13:13It's brilliant, really.
01:13:14All Eve had to do was
01:13:16hire an agency waitress
01:13:18who looked a little bit like you.
01:13:20No one had ever met either of you before,
01:13:24so no one would realize that
01:13:25you were an entirely different person.
01:13:28But how did you get the bomb
01:13:31inside the Ormolu?
01:13:33Well,
01:13:36you throwing champagne over George
01:13:38was no accident, was it?
01:13:39The minute that you heard
01:13:42Gabrielle and Eve in the corridor,
01:13:44that was your cue
01:13:45to cause a distraction.
01:13:50Giving Eve
01:13:55just enough time
01:13:56to plant the note for me
01:13:58and to put the bomb
01:13:59in the box.
01:14:01Very good, Madam White.
01:14:13I sort of understand
01:14:15the murders
01:14:15to steal the bank codes.
01:14:18But why the bomb?
01:14:19Why the poem?
01:14:22Well,
01:14:23that is what you will all
01:14:25take to your graves
01:14:26without knowing.
01:14:28But there's no way out.
01:14:29Not for you, anyway.
01:14:48The security engineer
01:14:49is almost here.
01:14:50Oh, we've only got
01:14:51two minutes left.
01:14:59Two of the most important people
01:15:07in my life
01:15:08were in that building.
01:15:09Heads down, please.
01:15:11Right.
01:15:12I'm going to smash this door down.
01:15:14What's the point?
01:15:15There's enough Semtex in there
01:15:16to block the whole bloody building.
01:15:17But they managed to escape,
01:15:18didn't they?
01:15:19Oh, God,
01:15:20I didn't think I was going to die
01:15:21from a bomb
01:15:22in a bloody jewellery box.
01:15:24Maybe the actual box
01:15:26is a clue.
01:15:28It's an actual
01:15:29Marie Antoinette box.
01:15:35This is a picture
01:15:36of Marie Antoinette
01:15:36dressed as a vestal virgin
01:15:38by Charles Leclerc
01:15:39in 1777.
01:15:42In relation to the poem,
01:15:44Fruit from Above,
01:15:45well,
01:15:46Marie Antoinette's father
01:15:47was a pope,
01:15:48faced like the sun.
01:15:49Well,
01:15:49she was married
01:15:50to the great-great-grandson
01:15:52of the sun king
01:15:53and fate was not kind.
01:15:54Well,
01:15:55it wasn't kind to her.
01:15:56She had her head cut off.
01:16:05Seven.
01:16:07Seven.
01:16:08Seven.
01:16:08Seven.
01:16:27Oh,
01:16:28Judy.
01:16:28Judy's a geniose.
01:16:30The box,
01:16:31Marie Antoinette,
01:16:32of course it was
01:16:33going to do it with her.
01:16:34Oh,
01:16:34I'm going too old for this.
01:16:35Clever,
01:16:36clever,
01:16:36darling.
01:16:37I'm so pleased
01:16:37I didn't tell you
01:16:38when I bought you for Christmas.
01:16:45What happened?
01:16:48Nothing.
01:16:49Hi!
01:16:56Listen, I don't want to break up the party,
01:16:58but we are still locked in.
01:17:00I know we don't have the threat of the bomb anymore,
01:17:02but we are still locked in.
01:17:04Come on, let's get this door open.
01:17:06Right, come on.
01:17:07Right, I can't let me cry.
01:17:08I can't three.
01:17:09One, two, three!
01:17:12One!
01:17:14I must have listened to it earlier.
01:17:16Listen to it.
01:17:17It's a real dreamboat there, hey, my darling wife.
01:17:39Come on, come on, come on,
01:17:45the shutters are opening, come on, come on, come on, come on.
01:17:47Oh, Karen, you little beauty!
01:17:49Jane!
01:17:55Here we go.
01:17:57Nice to meet.
01:18:03Well, it's good.
01:18:04Come on, come on.
01:18:05Come on.
01:18:06.
01:18:07.
01:18:08This way. This way, please.
01:18:10Denis.
01:18:11Can you s'asso?
01:18:14Sit down there.
01:18:16Jean! You alright?
01:18:18Am I glad to see you.
01:18:21You too, sir.
01:18:23It must have been so scary.
01:18:25He certainly had his moments.
01:18:27Oh, Dominic, Merry Christmas.
01:18:29Well, yeah, I wouldn't exactly say that, but...
01:18:31Merry Christmas.
01:18:33Miss Karen?
01:18:35What happened?
01:18:37He came in to get you.
01:18:39How?
01:18:40The tunnels underneath the museum.
01:18:42The what?
01:18:43There's a load of bomb shelters.
01:18:45It was my idea, but...
01:18:47His radio's gone silent.
01:18:50We think he has fallen.
01:18:52What?
01:18:54They had to wait and see if the bomb exploded
01:18:56before they went to check on him.
01:18:58They're just preparing to go and find him now.
01:19:02Ali!
01:19:04Let's go!
01:19:05Let's go!
01:19:06Let's go!
01:19:07Okay, it's good.
01:19:08I assume these two have something to do with all this?
01:19:11I thought I killed you.
01:19:12Not quite.
01:19:13Oh, André.
01:19:14It's so good to see you for more.
01:19:15Good to see you, mate.
01:19:17Hello?
01:19:18Richard.
01:19:19Richard.
01:19:20Jean, can you fill me in on what happened?
01:19:22Then I will interview those two in the morning.
01:19:23What?
01:19:24Now?
01:19:25Are you sure you're up to it?
01:19:26You know I like to keep busy at Christmas.
01:19:27I do.
01:19:28I have it?
01:19:29Joder?
01:19:30Richard.
01:19:31Jean, can you fill me in on what happened?
01:19:35Then I will interview those two in the morning.
01:19:37What?
01:19:38Now?
01:19:39You sure you're up to it?
01:19:40You know I like to keep busy at Christmas.
01:19:43Thank you!
01:19:44I do.
01:19:49Oh, Theole!
01:19:50Oh, my God, I have to stay here.
01:19:52Oh, wait, please.
01:20:20I'll deal with this.
01:20:20I'm not sure I like brunch.
01:20:40What?
01:20:41Well, the word, the blending of two words to make another, like, erm, motel.
01:20:46Portmanteau.
01:20:47Oh, bless you.
01:20:48No.
01:20:49Portmanteau is the blending of two words to make another one, although portmanteau also
01:20:55means a leather case with two sections, but...
01:20:57Where would we be without your brain, eh?
01:20:59I think we're daft.
01:21:00No, I mean it.
01:21:01You saved a lot of lives yesterday.
01:21:03Oh.
01:21:04Well, I just did what I had to do.
01:21:06Yeah.
01:21:07And what only you can.
01:21:08Oh, thank you.
01:21:09Oh, thank you.
01:21:10Now, can I tempt you to a croissage?
01:21:13What?
01:21:14It's a croissant with a sausage inside.
01:21:15It's a croissant with a sausage inside.
01:21:16And portmanteau in.
01:21:17Yeah.
01:21:18Fresh coffee?
01:21:19Ah.
01:21:20Oh, thank you, Patrick.
01:21:21Oh.
01:21:22Why aren't we, darling?
01:21:23I'm terribly hungry this morning.
01:21:24I think it's all the trauma.
01:21:25Of course, darling.
01:21:26It can do that.
01:21:27I remember when my gran was ill.
01:21:28All anybody could do was make sandwiches like it.
01:21:29Make everything better.
01:21:30Feeding the soul?
01:21:31Not with white slice and beef paste.
01:21:32We ended up feeding the ducks.
01:21:33There you are.
01:21:34Plenty more where that came from.
01:21:35Oh, lovely.
01:21:36Will you sit down?
01:21:37We've got loads here.
01:21:38We need to save a little bit of room for Christmas dinner.
01:21:39You sound just like I did when you were a nipper.
01:21:41Do you know, one Christmas morning, he ate three packets of mince pies and half a Christmas
01:21:43cake before Christmas dinner.
01:21:44You sound just like I did when you were a nipper.
01:21:47Do you know, one Christmas morning, he ate three packets of mince pies and half a Christmas cake before
01:21:55breakfast.
01:21:56How old is he?
01:21:58Five?
01:21:59Fifteen, actually.
01:22:00I was a little bit worse for wear, but I didn't know that then.
01:22:05I just needed a sugar rush.
01:22:06I have never really believed in hangovers.
01:22:08I think it's a case of mind over matter.
01:22:11I think that's why I've never heard one.
01:22:16Oh, excuse me.
01:22:19Ah, Carol is ready for me to go over.
01:22:22Oh, want me to come with you?
01:22:23No, no, it's all right, it won't be long.
01:22:26I've just got to bob over to the station and Andre needs my help.
01:22:29Take some food with you.
01:22:31Oh, no, I'm really full.
01:22:32For Andre and Richelle.
01:22:34Oh, yeah, great idea.
01:22:36Tell them that they're both invited to lunch.
01:22:38Four o'clock start.
01:22:39Will do.
01:22:40Talking of starts, do you think it's too early for a little champagne?
01:22:44Wonderful idea, darling.
01:22:46Carpe bloody diem after yesterday, that's what I say.
01:22:50I'll get some glasses.
01:22:55Hey.
01:22:57What?
01:22:59Merry Christmas.
01:23:02Merry Christmas?
01:23:03What's the matter?
01:23:05Well, after yesterday, I don't want to let you have me say it.
01:23:10Don't be daft, it won't be gone long.
01:23:12Yeah, I know, but...
01:23:14I'll tell you what, why don't you get on the morning champers and you won't even know I'm missing?
01:23:18Okay.
01:23:20Come here.
01:23:35Happy Christmas.
01:23:37Well, it would be if we could get these two to speak.
01:23:39Oh, no joy.
01:23:40Nothing from him.
01:23:41He's just playing games.
01:23:43But the girl, I think, is starting to break.
01:23:45That's why I asked you here.
01:23:46She's upstairs.
01:23:48Oh.
01:23:49From Patrick.
01:23:50Merci.
01:23:57So, what happened?
01:24:00No comment.
01:24:02Why did he plant a bomb?
01:24:04No comment.
01:24:05And why the poem?
01:24:07No comment.
01:24:09Look, I can understand you killing who you needed to, to steal the bank codes.
01:24:14But why the bomb?
01:24:15Why the poem?
01:24:16Well, I don't know you and you don't know me.
01:24:17Well, the poem was obviously not my idea.
01:24:19So, there was someone else involved?
01:24:20Of course.
01:24:21I know nothing about bombs.
01:24:22Less about poems.
01:24:23And I had no idea who you were until yesterday.
01:24:24So, what happened?
01:24:25No comment.
01:24:26If you are trying to protect someone, I would ask you to consider how important they are
01:24:31to you.
01:24:32It will affect your sentence considerably.
01:24:33The last time I was in prison.
01:24:34I shared a cell with a woman who worked at the hospital.
01:24:35And I had no idea who you were until yesterday.
01:24:36And I had no idea who you were until yesterday.
01:24:37So, what happened?
01:24:42No comment.
01:24:43No comment.
01:24:44You know all about it.
01:24:45Oh.
01:24:46That case.
01:24:47So, what happened?
01:24:48No comment.
01:24:50It will affect your sentence considerably.
01:25:00The last time I was in prison,
01:25:02I shared a cell with a woman who worked as a consultant at the museum.
01:25:07She knew everything about it.
01:25:09Every nook and cranny.
01:25:13She said if I kept in touch once I got out,
01:25:17she would be able to help me get inside,
01:25:19override the security system,
01:25:21steal the bank codes,
01:25:23and get out scot-free.
01:25:26Go on.
01:25:28So I kept on visiting her.
01:25:30And sure enough, we came up with a plan.
01:25:32I got my friend Eve involved,
01:25:36flirting with that idiot of a curator, Gabrielle,
01:25:40to get someone on the inside.
01:25:44Still, why me? Why the bomb?
01:25:47It was very strange.
01:25:50The last time I went to see her,
01:25:52she had found out through her contacts
01:25:54that you, Mrs. Jean White,
01:25:59would visit the museum on Christmas Eve.
01:26:02And?
01:26:02She was wild, cold with rage.
01:26:07God, she really hated you.
01:26:10So, instead of a simple robbery as planned,
01:26:15I was to plant a bomb and a letter to you.
01:26:18She said I would be safe.
01:26:23That there was a way out under the museum.
01:26:27She said it was a game she liked to play with you.
01:26:32It all seemed a bit psychotic to me.
01:26:35But then again, so did she.
01:26:39And I had nothing to lose.
01:26:41So I did what she said.
01:26:42What was her name?
01:26:48Baba.
01:26:49Oh, my God.
01:27:19What fun is this white?
01:27:28Till next time.
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