- 2 days ago
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00:00:00...the key. Practical and fancy at the same time.
00:00:02Yeah. Good like me, innit?
00:00:04Yeah.
00:00:22Merry Christmas, Dreamworks.
00:00:24Oh! Merry Christmas, Dominic Hayes.
00:00:28Chin-ching!
00:00:28So, what's this massive painting about this?
00:00:31It's very beautiful.
00:00:32This is a sublime example of a Baroque fresco.
00:00:37Right.
00:00:38Very popular in Europe,
00:00:40but I've never seen one in Santa Clara before.
00:00:42It's really exciting.
00:00:43Yeah?
00:00:44Yeah.
00:00:45Well, a fresco is basically a wall painting
00:00:49where the paint is brushed straight onto wet plaster.
00:00:51By someone called Baroque?
00:00:53Er, no, actually.
00:00:55You know, Baroque was an artistic movement of the 17th and 18th century.
00:00:58Er, so, like, er, paintings, music, architecture.
00:01:03Everything was, like, big and bold.
00:01:05And sexy, Dominic.
00:01:07Very sexy.
00:01:08My absolute favourite era.
00:01:10Ah, ah, so, that is Dr Ali Pardy.
00:01:15He's head of the charity L'Art Change La Vie.
00:01:19What's L'Art Change La Vie?
00:01:22Is that something about, er, art helping ex-prisoners or something?
00:01:26Oh, that sounds great.
00:01:28Well, that must be his wife.
00:01:30I think her name is Sangeeta.
00:01:32I've invited her to several of my bridge evenings, but to no avail.
00:01:35Oh.
00:01:36I think it was interesting.
00:01:37And they're talking to George and Auriel Alphonse.
00:01:41You've already drunk yours at the bar.
00:01:42Huh?
00:01:43Yeah.
00:01:44As in Alphonse?
00:01:45From Alphonse Crush?
00:01:47What?
00:01:48The soft drink?
00:01:49Oh, I used to love that.
00:01:51Kept me awake at night when Claudia was a baby.
00:01:53They're an amazing couple.
00:01:55They just floated their company last year for 100 million euros.
00:01:58Lucky sorts.
00:01:59Apparently, they can't stand each other, but they can't leave because they are literally too rich.
00:02:05Ah-ha!
00:02:07Jeremy, ça va mon ami?
00:02:11If you say so.
00:02:13Ah, and Judith.
00:02:14Mwah!
00:02:15Mwah!
00:02:16Do, Jésus, will you ever age like us mere mortals?
00:02:20Oh, George, you really are too much.
00:02:22Let me introduce you to our dear friends, Jean and Dom.
00:02:25Very pleased to meet you.
00:02:26Oh, aren't you?
00:02:27I was just saying I used to love your drink.
00:02:30Ah, well, not my drink anymore, but thank you, Dom.
00:02:33I really appreciate that.
00:02:34That's very kind of you.
00:02:36Very kind.
00:02:45Thanks for witnessing my loan agreement, Andre.
00:02:47Not a problem, Patrick.
00:02:48I sometimes come across trouble with financial affairs, but, er,
00:02:52having the chief of police as my witness, that should shut them up.
00:02:57Oh, no, Jean's left a phone.
00:03:00I am on my way home now.
00:03:01I can drop it off for her.
00:03:03What's she's got to do at the museum?
00:03:04No problem, that is near my house.
00:03:06Oh, brilliant.
00:03:07Au revoir.
00:03:09Thanks again, Andre.
00:03:10See you at the quiz later.
00:03:12You will indeed.
00:03:13I am bringing Richard.
00:03:14She's very good at politics questions.
00:03:17Merry Christmas.
00:03:18Joyeux Noël.
00:03:19I never thought I'd be mates with a cop, eh?
00:03:23Right.
00:03:26No, but...
00:03:27Mais...
00:03:28T'es où, là?
00:03:29Ils sont déjà tous arrivés.
00:03:30Oui, ben, je me recoiffais.
00:03:31Je sais que t'aimes quand je me fais bien pour toi.
00:03:32Non, mais mon amour, t'es toujours magnifique.
00:03:34Ces derniers mois, c'était juste extraordinaire.
00:03:36Entre ma rencontre avec toi et puis ce job de rêve, c'est merveilleux.
00:03:41Mais moi aussi.
00:03:43We have a whole life in front of us, but we really need to work.
00:03:47Gabriel, you are the new conservator of this museum.
00:03:50Can you allow the quarter of the Polynesian?
00:03:52No, not at all.
00:03:53Not at all.
00:03:54My only mission is to make this international museum.
00:03:58We have the Alphonse who are ready to invest 10 million euros.
00:04:01That would change everything.
00:04:03It's not that it works.
00:04:06All right.
00:04:13The Dicks have one.
00:04:18Ah, Gabrielle, here he is, our curator himself.
00:04:24Jeremy, Judith, good to see you both.
00:04:26You too, Gabrielle.
00:04:28And this is Jean White.
00:04:31Delivered as promised.
00:04:33Delivered?
00:04:34Oh, hello.
00:04:35It's a pleasure to meet you, Mrs White.
00:04:37Your expertise precedes you.
00:04:38Thank you so much for being here.
00:04:40All right, it's a pleasure.
00:04:41This is my partner.
00:04:42Oh, fiance.
00:04:43Oh, yes, fiance, Dom.
00:04:44Yeah, it's quite a recent thing.
00:04:46Congratulations to both of you.
00:04:49And this is my partner, Eve.
00:04:52Hi.
00:04:53And your field of expertise is, Mrs White?
00:04:57I'm an antiques dealer.
00:04:59Ah.
00:05:00How quaint.
00:05:01Shall we grab a horse's stew friendly into it?
00:05:04Yes.
00:05:05Mm-hmm.
00:05:06Mm-hmm.
00:05:07Oh, you are a darling, Gabrielle.
00:05:08I think you're going to fit in very well around here.
00:05:10Yes.
00:05:11And by the way, you threw that last glass down your neck.
00:05:12We wouldn't want you going Thursday, would we?
00:05:13Excuse me.
00:05:14I'm just going to run through my speech.
00:05:16Oh, Jean, this is Dr Ali Pardeeb.
00:05:17We were telling you about his charity.
00:05:18Oh, Le Change Le Vie, is it?
00:05:19Oh, it sounds like you do some great work.
00:05:20Oh, he does.
00:05:21Oh, hi, I'm Oriel.
00:05:22Oh, hello.
00:05:24It's a vocation that absolutely consumes me, I'm afraid.
00:05:26That's my wife could confirm.
00:05:27Oh, lovely to finally meet you.
00:05:28Oh, you're going to do that last glass down your neck.
00:05:30Oh, you're going to do that last glass down your neck.
00:05:31We wouldn't want you going Thursday, would we?
00:05:33Excuse me.
00:05:34I'm just going to run through my speech.
00:05:35Oh, Jean, this is Dr Ali Pardeeb.
00:05:36We were telling you about his charity.
00:05:37Oh, Le Change Le Vie, is it?
00:05:38Oh, it sounds like you do some great work.
00:05:39Oh, he does.
00:05:40Oh, hi, I'm Oriel.
00:05:41Oh, hello.
00:05:43It's a vocation that absolutely consumes me, I'm afraid.
00:05:47As my wife could confirm.
00:05:51I hate you.
00:05:52So how did you find this vocation?
00:05:54Well, I've been working in prisons for a few years
00:05:57as a visiting doctor, and I saw so much artistic talent
00:06:01just hidden away in the cells that I felt compelled to liberate it.
00:06:06Mm-hm.
00:06:07So I started an art club for the prisoners, and, well,
00:06:11the charity just grew from there.
00:06:13How interesting.
00:06:14You let criminals play its being artists, then?
00:06:18You know, that's exactly what we do.
00:06:21You're encouraging the egos of murderers.
00:06:24Is that what you're saying?
00:06:25Don't worry, Ali.
00:06:26I take care of the charity in our business.
00:06:29So you can ignore George.
00:06:31And your husband is a very inspiring man.
00:06:35Oh, he is indeed.
00:06:37Excuse me.
00:06:39Yes?
00:06:40Have we met somewhere before?
00:06:42I can't think where.
00:06:44Maybe at one of our outreach events?
00:06:47Very much doubted.
00:06:49I don't do presents or charity, dear.
00:06:52Oh, that's making.
00:06:55Sorry.
00:06:56Sorry.
00:06:57Ah, merci, s'il vous plaît.
00:06:58Merci.
00:06:59Ah, merci, monsieur.
00:07:00Merci.
00:07:01Good job, mate.
00:07:02Quite lucky.
00:07:07Thank you, everyone, for being here tonight.
00:07:11For tonight is a very special night for the museum.
00:07:14Mr. and Mrs. Alphonse are very generously about to invest
00:07:1910 million euros, 10 million euros into our acquisition account.
00:07:24It will keep the museum afloat for many years.
00:07:27Just a minute, Gabriel.
00:07:29Remember what we discussed a couple of weeks ago
00:07:32when you first took the job.
00:07:34If you have what you say you have, and it's the real deal,
00:07:38we are more than happy to invest.
00:07:41I want to be part of a museum that draws people in from all over the world.
00:07:47But I need you to prove to me that I am making the right choice.
00:07:53Of course.
00:07:54The stakes are very high for us.
00:07:58But I have contacts all over the world to make this museum great.
00:08:02I promise.
00:08:06Madame White, this is where we could use your help.
00:08:08Oh, right.
00:08:09We apologize for not warning you beforehand,
00:08:12but everything had to be completely top secret.
00:08:15Oh, I'm intrigued.
00:08:17We have something very rare, and we need you to verify it.
00:08:24Jeremy and Judy told me you are second to none in your field,
00:08:28so please, will you help?
00:08:30Well, I'm here now, so, yeah, of course.
00:08:36If you will excuse me for one moment, ladies and gentlemen,
00:08:41we will go and fetch our treasure.
00:08:45Eve.
00:08:47Oh, so that's why I'm here.
00:08:49Makes sense now?
00:08:50Well, Gabrielle didn't tell me the finer details,
00:08:53just who I knew, who I trusted.
00:08:55Who was the best in the business, so I...
00:08:57Well, thank you.
00:09:00You'd better be good, Mrs White.
00:09:02And ensure it is what he says it is.
00:09:05We wouldn't want any mistakes.
00:09:08Well, let's put it this way.
00:09:10This isn't my first rodeo.
00:09:13Oh, thank you, darling.
00:09:16What's your name, dear?
00:09:17Amy.
00:09:18Big cash tip, Ellie.
00:09:20If you keep our shampers topped up,
00:09:22if you know what I mean.
00:09:24I'll do my best, madame.
00:09:25But I've never worked here before,
00:09:27so I don't know how much we have in stock.
00:09:28Good girl.
00:09:29Off you, pop.
00:09:38On t'a attribué ton code personnel de sécurité, maintenant?
00:09:40Euh...
00:09:41Non, tu sais, c'est toujours Suzanne de la Sécurité
00:09:43qui m'envoie un nouveau code chaque jour.
00:09:44C'est depuis que je suis revenu,
00:09:46j'ai tellement le truc à gérer que c'est un peu galère.
00:09:49Et dis-moi, je peux ouvrir le coffre?
00:09:51J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:09:53D'accord.
00:09:54Euh...
00:09:55Par contre, juste tu notes le code correctement,
00:09:57parce qu'il n'y a pas de seconde chance,
00:09:59sinon ça bloque toi.
00:10:00Alors, c'est le...
00:10:023, 2, 7, 4...
00:10:054...
00:10:060, 9, 5, 7.
00:10:09C'est bon.
00:10:10C'est bon, c'est bon.
00:10:11C'est bon.
00:10:12C'est bon.
00:10:15Alors...
00:10:26Neuf?
00:10:27The phone rings.
00:10:33Hello?
00:10:41This is my little miracle.
00:10:44Wow.
00:10:45You have to destroy it immediately.
00:10:48No, no, no.
00:10:50I don't know.
00:10:57No, no.
00:11:02Prends-le, on y va.
00:11:19Vraiment, fais très attention.
00:11:22T'as l'avenir du musée entre les mains, là.
00:11:25Gabrielle, let me!
00:11:27Do you want me to fall?
00:11:55Marie, I'm pretty new at this.
00:11:57I'm actually a student.
00:11:58Well, I would like to apologize
00:12:00for the neolithic behavior of my husband, Ellie.
00:12:04Georges, we're going to pay for the cleaning, of course,
00:12:07but I can't clean.
00:12:09Just leave it. I can do it.
00:12:12You can do it. Okay, perfect.
00:12:13So where's this damn box of yours?
00:12:25Is that what I think it is?
00:12:43Go on. What is it?
00:12:44Oh, this is a French Ormolu gilt jewelry case
00:12:48owned by, I think, Marie Antoinette herself.
00:12:53Am I right?
00:12:54Yes, exactly.
00:12:56Well, I know there's one of these in the Museum of Tehran,
00:13:00but the only other one was bought by Russian buyers
00:13:03at Sotheby's in 2007.
00:13:05So how could it be here?
00:13:07I have been totally obsessed with this box.
00:13:12So I tracked it down over the years
00:13:16and persuaded them to sell.
00:13:19Wow. Well, Gabrielle is right.
00:13:22I mean, if you can get stuff like this,
00:13:25well, this is, like, such a fantastic draw for the museum.
00:13:28Game-changer, really.
00:13:31Well, so far so good.
00:13:33Okay.
00:13:38What?
00:13:39Thank God.
00:13:40Do you?
00:13:42Well, it looks like a...
00:13:45like a bomb.
00:13:46Oh, my God.
00:13:47Don!
00:13:48It doesn't just look like a bomb.
00:13:52It's a marzipan.
00:13:54Marzipan?
00:13:55I was in the army for years.
00:13:57I've recognised that smell anywhere.
00:13:58What is it?
00:13:59It's Semtex.
00:14:00Semtex?
00:14:01What...
00:14:02What can that do?
00:14:04Put it this way, there's enough in there
00:14:05to blow this whole museum sky high.
00:14:08Come on!
00:14:09Come on!
00:14:10Come on!
00:14:11Come on!
00:14:12Come on!
00:14:13Come on!
00:14:14Come on!
00:14:35They won't move!
00:14:36Well, well, what have we all left together?
00:14:39They're locked.
00:14:40Okay, okay.
00:14:41Well, why don't we try the other exits?
00:14:44No, no.
00:14:45They will all be locked, too.
00:14:47And all the windows are bound.
00:14:49Oh, my God.
00:14:50What the hell are we going to do?
00:14:52Stop with the hysterics, George.
00:14:54In case you hadn't heard,
00:14:55there is a Semtex bomb in that room.
00:14:57Yes!
00:14:58We all know that!
00:15:03Gabrielle?
00:15:04Yes?
00:15:05Why don't you open the shutters?
00:15:06As far as I know,
00:15:07the security guard has fingerprint recognition.
00:15:10She's the only one who can deactivate the code.
00:15:13Where is the guard?
00:15:14In the security booth.
00:15:16Come on!
00:15:17Come on!
00:15:18Come on!
00:15:19Come on!
00:15:20Oh, my God!
00:15:22Oh, my God!
00:15:23Oh, my God!
00:15:24Oh, my God!
00:15:25Oh, my God!
00:15:26Oh, my God!
00:15:27Come on!
00:15:28Come on!
00:15:29Come on!
00:15:30Come on!
00:15:31Just go.
00:15:32Come on!
00:15:33Come on, Jeremy!
00:15:34Come on, Jeremy!
00:15:35Come on!
00:15:36Good
00:16:04You alright, love?
00:16:06Yeah, or woman.
00:16:08I know.
00:16:10So, one fingerprint to control your entire security system.
00:16:15Stop it, George.
00:16:17Yes, I let the security team arrange it between them.
00:16:21I have only been here three weeks, so...
00:16:25It was on my to-do list, but...
00:16:27Good grief. So you have no idea how to deactivate it?
00:16:30No, no idea.
00:16:34Well then, why don't we use her finger?
00:16:40George!
00:16:42Really?
00:16:43We can't.
00:16:44Why not?
00:16:46It's not like she's gonna mind now, is she?
00:16:49It's not that. It's once tissue is dead, it loses its electrical charge.
00:16:54Hang on.
00:16:55Now, I saw this on one of those American crime dramas and it worked a treat.
00:16:59So, let's give it a go, shall we?
00:17:01Good God, George.
00:17:03Oh, I see.
00:17:04You watched an entire box set.
00:17:06So, of course, now you know more than an actual doctor.
00:17:10I'm only saying, once the heartbeat dies, the electrical charge dies.
00:17:17It won't work.
00:17:18It won't work.
00:17:20Can I ask a question, Gabriel?
00:17:37The security guard. What was her name?
00:17:41It was Suzanne.
00:17:43Shall we call her that then?
00:17:46Look, I'm not suggesting we sever Suzanne's finger.
00:17:51George, leave it.
00:18:07Oh, oh, oh, oh!
00:18:11Oh, oh, oh!
00:18:13Oh, oh, oh!
00:18:23Oh, oh, oh!
00:18:31Why can't they hear us?
00:18:33No, no, because the front doors are solid oak.
00:18:36The shutters are solid steel, and the walls,
00:18:39it's very thick Mediterranean stone.
00:18:41Oh, that's just great.
00:18:43So is the place bomb-proof as well?
00:18:45They're not helping, George!
00:18:47It's OK, I'll call Karen.
00:18:49Yeah.
00:18:52Oh, well, there's no signal.
00:18:54Oh, God.
00:18:55Ah, no, no, no.
00:18:56I haven't had any since I arrived,
00:18:58because we are quite high up,
00:19:00and the walls are too thick.
00:19:02OK, what's the Wi-Fi code?
00:19:04I am going to share it with you.
00:19:06Yeah.
00:19:07What?
00:19:08I know I had my phone in the pub.
00:19:09I must have dropped it.
00:19:10Oh, God!
00:19:14No, the Wi-Fi is off too.
00:19:16But don't worry, don't worry.
00:19:17I have one moment.
00:19:19I remember something.
00:19:20Where's he going now?
00:19:21Where's he going now?
00:19:22Well, I know.
00:19:32We got to go.
00:19:34Yeah.
00:19:35Oh, yeah.
00:19:44Let's go.
00:19:47Eh…
00:19:48Someone has sabotaged the comms cupboard.
00:20:04It's beyond repair.
00:20:06Comms cupboard?
00:20:07It's where all the Wi-Fi hubs lead to, to keep us on the Internet.
00:20:11All the connections have been ripped to pieces.
00:20:14Oh.
00:20:14So, we are completely trapped in here.
00:20:20Oh.
00:20:22Good God.
00:20:24You have got a foolproof security system that you don't even know how to operate.
00:20:29Who's a bloody fool now, eh?
00:20:31Get your hands off him, you brute.
00:20:34I'm fourth down black belt in jujitsu.
00:20:37You lay one more finger on him and I will take you down.
00:20:40Do you understand?
00:20:41Gentlemen, we have to calm down.
00:20:43I don't suppose you serve Valium as well as champagne?
00:20:47Valium.
00:20:48Is that the cocktail?
00:20:50Never mind, dear.
00:20:53So, someone knew that we were here tonight and trapped us under the threat of a ticking bomb?
00:21:00This psycho must really hate one of us.
00:21:03Well, it was Gabriel who wanted us here.
00:21:05He sent the invite.
00:21:06I don't think I would bomb my own museum, Judith, and trap myself inside.
00:21:10Okay.
00:21:11Can we just stop sniping at each other, okay?
00:21:14Can't be anyone here, can it?
00:21:16I am not so sure.
00:21:20What do you mean?
00:21:21I do remember on my first debriefing, they said once the shutters are activated, they close
00:21:28very fast and there is very little time to get out.
00:21:32You mean that the murderer might still be in the building?
00:21:37Possibly.
00:21:37Patrick, can you call Judith?
00:21:49I can't get hold of Dormor, Jeremy.
00:21:51Obviously, I have Gene's phone and I don't have Judith's number.
00:21:55There is no answer at the museum and the doors are locked.
00:21:59Something is not right.
00:22:00You okay?
00:22:10Yeah, I think so.
00:22:11Caron just asked me if I can get in touch with Judith, but there's no answer.
00:22:15She's with Jeremy and Dom.
00:22:16Give them a call.
00:22:17No, he's already tried that and there's no reply from them either and no one's answering
00:22:21the door.
00:22:23Well, I don't like the sound of that.
00:22:25Nor do I.
00:22:27Diane can look after the bar for a now.
00:22:29The electric lady verne outside?
00:22:31Yeah.
00:22:33Then let's go.
00:22:34What idiot takes the job as a curator of a massive museum and doesn't know how to work
00:22:40the security system?
00:22:41I have only been here three weeks, okay?
00:22:45There was so much to do that it didn't seem like a priority, okay?
00:22:50Well, it's a priority now, isn't it, Gabrielle?
00:22:53It's a priority now.
00:22:56Gabrielle, if he says one word on you, I...
00:22:58If you're going to say something, say it in a language we can all understand, hey?
00:23:05I beg your pardon.
00:23:07For one moment, I thought we were in France.
00:23:12If you have something to say, why don't you say it straight?
00:23:18You clearly have something to hide, monsieur.
00:23:24Bullying my partner, shouting at your wife.
00:23:28Classic defense tactics.
00:23:30How dare you suggest that I...
00:23:33Shh, shh, shh.
00:23:35What's that?
00:23:36What?
00:23:39Listen.
00:23:39Hello?
00:24:03Hello?
00:24:04Can anyone hear me?
00:24:05Hello, hello, hello?
00:24:20Dom?
00:24:21Dom, is that you?
00:24:22Oh, thank God.
00:24:23Look, we are trapped inside the museum.
00:24:25The shutters are down, the security guard's been murdered, and there is a bomb ticking away.
00:24:30What?
00:24:31A bomb?
00:24:32Okay, Dom, you need to say all that again, but much slower.
00:24:38There is a bomb.
00:24:41Someone has activated the security shutters.
00:24:43They can only be deactivated by the fingerprint of the security guard.
00:24:47But the security guard has been murdered.
00:24:55Okay, Dom, have you seen the bomb?
00:24:57Yes.
00:24:58What does it look like?
00:25:00Right on.
00:25:00All right.
00:25:06Okay, so...
00:25:08It's like a big lump of orange bloke in here so that it looks like Semtex.
00:25:14There's an old-fashioned phone on one side, and in the middle is a digital clock, counting down.
00:25:21There's three wires, a blue one, a red one, and a yellow one.
00:25:24And how much time does the bomb team have?
00:25:2859 minutes.
00:25:29I will get help immediately.
00:25:35I need you to keep this communication open.
00:25:37Okay.
00:25:38We will get you all out.
00:25:41Dom?
00:25:42Dom, you need to keep this channel open.
00:25:46Andre, I can't hear you.
00:25:47Are you still there?
00:25:50Andre?
00:25:50Andre?
00:25:50Andre?
00:25:55Andre?
00:25:59Andre?
00:26:00What are you doing?
00:26:18Hang on a sec.
00:26:23There's got to be a spare.
00:26:24There's got to be a spare.
00:26:26Oh, bingo.
00:26:30Karen, can you hear me?
00:26:42Karen!
00:26:43Karen!
00:27:00Gloria, stop! Stop!
00:27:02Go to me.
00:27:02Go to me.
00:27:04I managed to speak to Karen.
00:27:06He's calling for help.
00:27:07Brilliant.
00:27:08How did you manage that?
00:27:09Well, for Suzanne's walkie-talkie.
00:27:10Oh, that's great.
00:27:11Well, we can use that then.
00:27:12No, no, no.
00:27:13It's just died.
00:27:14Maybe it just needs a new battery, or...?
00:27:16No, no.
00:27:16I tried that.
00:27:17It was no joy, so...
00:27:18Oh, God.
00:27:19Well, at least we're getting some help from the professionals.
00:27:22Something you've needed for years, darling.
00:27:26Karen will help us, won't he, darling?
00:27:28Oh, absolutely, darling.
00:27:30Um...
00:27:31Jean.
00:27:34What?
00:27:35What's the matter?
00:27:36Um...
00:27:36I found this under the bomb.
00:27:42For me?
00:27:43I don't understand.
00:27:47Who would do something like this to you?
00:27:50I've no idea.
00:27:53I mean...
00:27:54Thinking about it,
00:27:56I've put a few people away over the years,
00:27:59but...
00:27:59This is beyond the pale.
00:28:01Oh.
00:28:13Look at the heart.
00:28:15Her fruit from above.
00:28:17Her face like the sun,
00:28:19her heart full of love.
00:28:20But fate is not kind,
00:28:22and her future is bleak.
00:28:25Two attempts to survive,
00:28:27one date do you seek.
00:28:29Oh, come on, Jean, think.
00:28:32Okay, dear.
00:28:33Two attempts to survive,
00:28:35one date do you seek.
00:28:37So?
00:28:38What...
00:28:38What do you reckon?
00:28:40Well,
00:28:40it appears
00:28:42that this...
00:28:43sicko
00:28:44wants me to find
00:28:45a piece of art
00:28:46in the museum
00:28:46that matches the riddle.
00:28:49Two attempts to survive,
00:28:51one date do you seek.
00:28:52So...
00:28:53Well, I'm guessing
00:28:54that you put the date
00:28:56in the keypad
00:28:58to stop the...
00:29:00stop the bomb.
00:29:02Oh.
00:29:03Wow.
00:29:06Somebody must really hate me
00:29:08to go to all this trouble.
00:29:09It's just a child's riddle.
00:29:11We should wait for help.
00:29:12Of grief.
00:29:13But what if help doesn't get her here on time?
00:29:16Someone is out to get me.
00:29:18This is all my fault.
00:29:20I've got to do something to help.
00:29:23Slave.
00:29:24Okay, Jean,
00:29:25you've absolutely got to solve this riddle.
00:29:28Come on, chaps.
00:29:29Let's separate
00:29:30and find a way out of here.
00:29:31And, Gabrielle,
00:29:32you attempt to override this
00:29:34god-awful security system.
00:29:36Well, I think we should wait for the police.
00:29:39Something you are very welcome
00:29:41to do on your own, George.
00:29:42I, for one,
00:29:43am going to help Jean.
00:29:44Yeah.
00:29:45Yeah, me too.
00:29:46I'm in.
00:29:47Anything is worth a try.
00:29:49I do tech support
00:29:50for the charity.
00:29:52Can I help?
00:29:53Excellent.
00:29:54Come on.
00:29:55Let's go to the...
00:29:56Be careful.
00:29:58You too.
00:29:58I think it's essential
00:30:01that we keep dividing
00:30:03in order to conquer.
00:30:04Gentlemen, follow me.
00:30:06Whoa.
00:30:25Okay, look at the heart.
00:30:26The heart, well...
00:30:27The heart could mean love.
00:30:30Oh, no, that could be any work of art.
00:30:31Okay.
00:30:33Okay, think, Jean, think.
00:30:35Well, um...
00:30:36It could be the sacred heart,
00:30:38especially if it's qualified with the fruit.
00:30:41Well, how so?
00:30:43Well, um, Jesus in art
00:30:45is often referred to as fruit of the womb.
00:30:47Yeah, let's go with that.
00:30:48Okay.
00:30:49Face like the sun.
00:30:50Now, obviously,
00:30:52Jesus was the son of God,
00:30:54and the sun in the sky
00:30:55is often used as a metaphor for Jesus,
00:30:57so, um, fate is not kind.
00:31:00Well, fate wasn't kind to Mary.
00:31:02Certainly wasn't too kind to Jesus either, was it?
00:31:04Well, exactly, but her future is bleak.
00:31:06Her.
00:31:07I think it's got to be about Mary and Jesus.
00:31:10It's got to be.
00:31:11Right.
00:31:11I think we're looking for a religious painting or sculpture.
00:31:16Well, there'll be a fair few of those, I'm sure.
00:31:18Yes, but particularly the Madonna and Child.
00:31:22There is about six main rooms.
00:31:24Okay.
00:31:25Let's split up, take a room each,
00:31:26and report back.
00:31:27Right.
00:31:28Right.
00:31:30Me and Dom will take Medieval and Renaissance.
00:31:33Judith, you do modern art.
00:31:35And Auriel, you do metal work.
00:31:36And Ellie, you do jewellery and glass work.
00:31:41And, um, yeah, and remember the Madonna and Child, okay?
00:31:46Let's go.
00:31:47Which way?
00:31:47This way.
00:31:54Richard, did you contact the bomb squad?
00:31:57Not great news, I'm afraid.
00:31:58The nearest active unit is Lyon, which is six hours by car.
00:32:01They're trying to activate a plan to get here quicker,
00:32:03but it's not looking good.
00:32:04What about overriding the security system?
00:32:07We have contacted the company,
00:32:08but with it being Christmas Eve, we have the same problem.
00:32:11The nearest engineer is in Marseille.
00:32:13Oh, no.
00:32:13There is no guarantee they will be here in time.
00:32:15If there was another way in, I think I could deactivate it.
00:32:19What?
00:32:20Before I joined the gendarmerie,
00:32:22I trained in the bomb squad at La Police Nationale.
00:32:24If it is a rudimentary device, I could deactivate it, I think.
00:32:28Okay, well, what about the tunnels underneath?
00:32:31Pardon?
00:32:31The museum's tunnels were part of the bomb shelter system
00:32:34during World War II.
00:32:35I remember the tour guide telling us
00:32:37when I brought Xavier on a visit.
00:32:39Okay, I will go in.
00:32:40I cannot put my best officer in danger, Richard.
00:32:43I will go in, you can advise me.
00:32:44But, sir, I...
00:32:45That is an order.
00:32:47Let's find a map.
00:32:50Madam.
00:32:51On the count of three, we all pull together.
00:32:54Ready?
00:32:55Ready.
00:32:56One, two, three.
00:32:58I haven't finished counting!
00:33:00Oh, God.
00:33:00I think I've chopped them over me shoulder.
00:33:02It's a little dramatic.
00:33:04If we all work together, we stand more chance.
00:33:07If we...
00:33:07Do you just call me a dramatic?
00:33:09It's just an observation.
00:33:11You like making observations, don't you?
00:33:13What's that supposed to mean?
00:33:15Like observing other people's wives.
00:33:18I, uh, don't know what you're talking about.
00:33:20Do you think I was born yesterday?
00:33:21I'm sorry?
00:33:24I...
00:33:24The charity meetings with my wife.
00:33:30The dinners.
00:33:31Come on, Ali.
00:33:32I've been through her phone.
00:33:34I know what's going on with you two.
00:33:39But tell me I'm wrong.
00:33:41I said!
00:33:42Tell me I'm wrong!
00:33:46What?
00:33:47There you go.
00:33:48It just about says everything, doesn't it?
00:33:50George, I, uh...
00:33:51Oriel is my wife.
00:33:55Come on, George.
00:33:57You haven't loved each other for years.
00:33:59Even a stranger would know that.
00:34:00Just a shtick!
00:34:01What?
00:34:03The couples thing.
00:34:04The public act.
00:34:06But when we get behind closed doors,
00:34:09we are still husband and wife.
00:34:15Oh!
00:34:17So you think I'm lying, do you?
00:34:20Well, I don't know what yarn she's been spinning you,
00:34:24but it's true.
00:34:26And I'll tell you something else that's true.
00:34:30I will do everything in my power
00:34:33to make sure that you never raise another penny
00:34:38for your stupid...
00:34:40Gentlemen, please, this is no time for a bloody showdown!
00:34:43Come on!
00:35:13I'll tell you something else.
00:35:14I'll tell you something else.
00:35:15I'll tell you something else.
00:35:16I'll tell you something else.
00:35:17I'll tell you something else.
00:35:18I'll tell you something else.
00:35:19I'll tell you something else.
00:35:20I'll tell you something else.
00:35:21I'll tell you something else.
00:35:22I'll tell you something else.
00:35:23I'll tell you something else.
00:35:25I'll tell you something else.
00:35:26I'll tell you something else.
00:35:27I'll tell you something else.
00:35:28I'll tell you something else.
00:35:29I'll tell you something else.
00:35:30I'll tell you something else.
00:35:31I'll tell you something else.
00:35:32I'll tell you something else.
00:35:33I'll tell you something else.
00:35:34I'll tell you something else.
00:35:35I'll tell you something else.
00:35:36I'll tell you something else.
00:35:37I'll tell you something else.
00:35:38I'll tell you something else.
00:35:39I'll tell you something else.
00:35:40I've had a chance with a necklace, but there was no reference to the sun.
00:35:41Well, we can't give up.
00:35:42We still have two other rooms.
00:35:43Well, you two can go on looking.
00:35:44But I'll be very honest with you.
00:35:45I need a little top up of Dutch courage.
00:35:49what in here can you not hear that bomb ticking yes yes I can but I'll be
00:35:57perfectly honest with you or real if I am to get blown to smithereens I'd
00:36:04really rather like not to remember it let's keep looking I'll take sculpture
00:36:10and you take Angel Madonna okay
00:36:19thank God the library was still open right this map dates from around 1943 it shows the tunnels
00:36:33that were dug out and used as bomb shelters during World War two oh desolée vous voulez que je parle
00:36:40en français Richard I think it is the map she can't quite understand not you I have always been
00:36:46terrible with maps it's a bit of an achilles heel for me desolée that's because you're so young
00:36:51love we forget we're the last generation that didn't have sat nav hey speak for yourself I'm
00:36:5620 years younger than you which makes me a straddler double I straddle pre and post technology doesn't
00:37:02matter what for my map takes I'm a dab hand right there's a labyrinth of tunnels under the museum
00:37:07you can see the entrances all around here but they can only be accessed from the inside hang
00:37:14on this one looks like it's leading from the outside in what do you mean look it starts off
00:37:20as a small one then joins up with the bigger ones what's its proximity just underneath the main
00:37:28entrance right around here somewhere Gloria can you pull the van back a bit love
00:37:49lovely that's it there's your way in
00:37:58you're not going to open it up like that you've got a crowbar in the van yeah and to a box
00:38:05there's a knack to this
00:38:09tell them
00:38:12all right
00:38:16are you ready
00:38:18you are full of handy tricks Patrick I'm not going to ask where you land them okay I'm going in
00:38:37Richard get me an earpiece you'll need this as well it's my head torch thank you Gloria
00:38:41take this headset I need you to stay on the map and on the radio you will be my ears and eyes when I
00:39:00reach the bomb you will pass to Richard okay will the signal be strong enough down there this radio is
00:39:05analog it's like a walkie-talkie it works over short distances because it doesn't need a signal to bounce up
00:39:11to this guy okay be careful in there I will
00:39:29lawyer can you hear me yeah you okay I'm fine which way okay you're going to your left first
00:39:41bingo the shutters are connected to the museum's mainframe meaning you don't need Wi-Fi exactly I may
00:39:54be able to override it if both systems are kept connected where's your main computer it's in my office
00:40:07next to the event room what's your passcode it's Eve one two three four Eve press your finger firmly on
00:40:18this pad I may be able to change a fingerprint identity to yours Gabriel when a code pops up press
00:40:25enter straight away I'm just right okay I'm going to your office
00:40:29oh hello what are you doing here
00:40:54oh
00:41:05oh
00:41:07oh
00:41:10Transcription by CastingWords
00:41:40Transcription by CastingWords
00:42:10Transcription by CastingWords
00:42:40Transcription by CastingWords
00:43:10Transcription by CastingWords
00:43:40Transcription by CastingWords
00:44:10Transcription by CastingWords
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00:45:10Transcription by CastingWords
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00:46:40Transcription by CastingWords
00:47:10The tunnel on your left appears to lead to another exit
00:47:13but the tunnel ahead of you takes you to a door that leads you into the museum
00:47:18Okay.
00:47:19Okay.
00:47:20Okay.
00:47:21Give me a second.
00:47:25It's locked!
00:47:33What?
00:47:34The door's locked.
00:47:36The door's locked in your handset.
00:47:37The door's locked in your handset.
00:47:41Andre, describe the lock to me as best you can.
00:47:45It is a rectangle with a large keyhole in the middle.
00:47:50Looks like a church door lock and it is very rusted.
00:47:55Sounds like a rim lock, not too tricky.
00:47:58So, use the screwdriver attachment on your multi-tool to turn the lock to your right.
00:48:08Okay.
00:48:09Okay.
00:48:10Okay.
00:48:11Okay.
00:48:12Okay.
00:48:13Okay.
00:48:14I'm ready.
00:48:15No.
00:48:16Well...
00:48:17No.
00:48:18Well...
00:48:19No.
00:48:20Ugh.
00:48:21I give him.
00:48:22What do you mean George knows?
00:48:23He just came straight out of me.
00:48:24Said he'd been looking through your phone.
00:48:25Looking through my phone?
00:48:26How?
00:48:27It never leaves my sight.
00:48:28We hardly see each other.
00:48:29We live separate lives.
00:48:30Well, that's not what he said.
00:48:31What?
00:48:32He implied that George knows.
00:48:33Well...
00:48:34No.
00:48:35No.
00:48:36No.
00:48:37No.
00:48:38No.
00:48:39No.
00:48:40No.
00:48:41No.
00:48:42No.
00:48:43No.
00:48:44No.
00:48:45No.
00:48:46No.
00:48:47No.
00:48:48No.
00:48:49No.
00:48:50No.
00:48:51He implied that the two of you are still very much in love.
00:48:55And that this whole dislike thing is just an act.
00:48:59Oh, Ali, that is rubbish.
00:49:02We don't even sleep in the same room.
00:49:05And the worst bit of it is...
00:49:07He said he's gonna make sure that I don't receive another penny for the charity.
00:49:13Oh.
00:49:14That's the worst thing, yeah?
00:49:16Well, it's nice to hear you've got your priorities straight.
00:49:20No, Oriel, you are my priority.
00:49:24But if you're still in love with him...
00:49:27Annie, please, it's rubbish.
00:49:29He's just bitter, believe me.
00:49:32I love you.
00:49:34Did you find anything?
00:49:36Oh, I've taken a picture of a few pieces,
00:49:39but I haven't really got a clue what I'm looking for.
00:49:41Yeah, I mean, the riddle is a little vague.
00:49:44Yeah, that's the understatement of the century.
00:49:46But the bomb threat is very clear.
00:49:49Yeah, yeah, we should find the others and regroup, yeah?
00:49:51That's where I was heading.
00:50:07Ah.
00:50:08Oh, no, they're all locked!
00:50:11Oh.
00:50:12Surely that idiot Gabrielle has a set of keys.
00:50:14I think we've established, George,
00:50:16that Gabrielle has literally no idea where they are.
00:50:19Oh, hello, you two.
00:50:21Hello.
00:50:22Hello, darling.
00:50:23Any success?
00:50:24Oh, it's bloody useless.
00:50:26I can't find one single religious painting.
00:50:29No, I've tried my utmost, and that's all I can do.
00:50:33It's all so hopeless.
00:50:35How are you getting on?
00:50:37We've fried all the doors.
00:50:38And windows.
00:50:39Nothing.
00:50:40Oh, utterly infuriating.
00:50:42Maybe we should get back to the others.
00:50:44Good idea, George.
00:50:45Come on.
00:50:47We will get out of here, won't we, darling?
00:50:51Oh, come here.
00:50:54Of course we will, my darling.
00:50:58One way or the other.
00:51:00Very, very gently.
00:51:05Nothing seems to be biting.
00:51:07Take your time.
00:51:09That is something we do not have.
00:51:12Ah.
00:51:13I think I can kick the door in.
00:51:15No, no, no, no.
00:51:16Don't do that.
00:51:17We don't want any unnecessary vibrations.
00:51:20Andre?
00:51:22Andre?
00:51:27Andre?
00:51:28BUZZER
00:51:34Oh!
00:51:51And now, this is a picture by Camille Corot in 1860,
00:51:56and it's of a normal, earth-bound human and child.
00:52:00Sorry. No, it's OK.
00:52:02Ellie, anything?
00:52:03I couldn't find the card for this,
00:52:05but it looks like a modern art version of Mary and Jesus.
00:52:08Well, is it?
00:52:11No. I'm afraid not.
00:52:14It looks like modern art,
00:52:15but I think it's a copy of the famous Korotrophos,
00:52:18which is one of the earliest Neolithic finds in Greece.
00:52:226000 BC.
00:52:24Oh...
00:52:26Not with George and Jerry, then, Ellie?
00:52:28No, the, um...
00:52:30We couldn't... the doors.
00:52:35I've got something to tell you.
00:52:37Ooh, Dawn.
00:52:38Oh, how did it go?
00:52:40We're really trapped.
00:52:41Tried everything.
00:52:43Every window, every door is either deadlocked or barred.
00:52:47Judith, did you find anything to match the poem?
00:52:49I found a painting that might be a mother and child,
00:52:52but I'm not entirely sure it's the right way up.
00:52:56No.
00:53:00Don, can you get up that picture of the Donatello, please?
00:53:03No.
00:53:04Mm-hmm.
00:53:08OK.
00:53:09Two attempts to survive, one date do we seek.
00:53:18Do you think it's time to put our best option in?
00:53:21Don't really have a choice, do we?
00:53:22Or shouldn't we wait to see if Sangeetra and the others
00:53:25have had some success?
00:53:26I don't think there's any harm in trying.
00:53:27Eeeh.
00:53:30Eeeh.
00:53:31Eeeh.
00:53:40Eeeeh.
00:53:41Eeeh.
00:53:43Eeeeh.
00:53:45Eeeh.
00:53:48Eeeh.
00:53:50Eeeh.
00:53:50Eeeh.
00:53:51Eeeh.
00:53:52Eeeh.
00:53:52Eeeh!
00:53:52Eeeh.
00:53:53Eeeh.
00:53:54Eeeh.
00:53:55Eeeh.
00:53:56Yes Patrick oh we lost you for a few moments you had us worried so how you doing I'm a little
00:54:14trapped part of the roof has collapsed and formed a barrier between me and where I came in at the
00:54:23moment that does not seem possible okay so we must keep trying the lock the lock is so rusted I just
00:54:45can't seem to get a grip there's a blockage in the tunnel he can't get out how's he doing with the
00:54:51lock he says you can't get a grip because it's all rusted up rusted give me the headset Andre this
00:54:59may seem like a stupid question but what's your gun holster made of mainly leather I think but with
00:55:06some rubber on the inside great take your knife and slice a thin piece of rubber off okay I've done
00:55:19that put it in the lock and rub as hard as you can yes yes it's working how did you know how to do
00:55:33that oh mechanic's trick rustates rubber I'm passing you back to Patrick right I'm going to try the lock
00:55:39again okay Andre remember screwdriver up and to the right what's happening Andre Andre it's not opening
00:55:54Patrick okay I want you to describe it for me again as best you can with every detail every detail you can
00:56:09uh it's brass I think with a fancy design on it like a fleur-de-lis sort of oh Patrick you idiot
00:56:21it's an old French lock gonna try something different Andre turn it to the left very very gently hmm
00:56:31then turn it one more time
00:56:35it's unlocked yes yes okay Andre once you're through the door you're going to your right
00:56:50can't believe I got it so wrong but you can't blame yourself Jane well it's false is it
00:56:58I sent you on a wild goose chase you did something though yeah got it wrong I don't want to die like
00:57:05this Jeremy oh I know my darling I know why didn't you tell me it'll all be all right
00:57:13what you always say it'll all be all right darling and always these
00:57:20how much time have I got left how much time has he got left only 17 minutes I'm afraid 17 minutes
00:57:44on Drake keep going straight on in any day you're doing great
00:57:48you
00:58:02ok
00:58:06non
00:58:07no matter what's your looks of course you're ruining our chances don't you read
00:58:10no no matter
00:58:13no i will love you to the decide whether
00:58:16Do you want to know what I bought you for Christmas?
00:58:34You know I prefer a surprise.
00:58:38But you might not get to see it.
00:58:43I want to keep it a surprise.
00:58:46Thank you, Jeremy.
00:58:51What for?
00:58:54Our life together.
00:58:57I've had such a lovely time.
00:59:00I thought after losing the twins we wouldn't last.
00:59:05Lots of couples split over less, you know.
00:59:08I know, my darling.
00:59:10I know.
00:59:11Maybe, if there is something after this life, we can meet them again.
00:59:20That's a nice thought, isn't it?
00:59:22That's a wonderful thought, darling.
00:59:27Wonderful.
00:59:30Anyway, I'm glad we're here together.
00:59:32I've always dreaded the thought of going first and leaving you behind.
00:59:38Me too.
00:59:45Sangita, she's dead.
00:59:46No.
00:59:47What?
00:59:48Are you sure?
00:59:49Positive.
00:59:49How?
00:59:50She has been shot.
00:59:52Shot?
00:59:53She was trying to change the fingerprint control and needed access to the main computer in my office.
00:59:58So she left us and went to the office.
01:00:01Waited for ages.
01:00:02And you just found her there?
01:00:04Yes.
01:00:04I need to see her.
01:00:05No, no, no.
01:00:06I'm not sure you should.
01:00:07Look, I'm a doctor.
01:00:08Maybe she's still alive.
01:00:10Take me to her.
01:00:11Ali, Ali, listen.
01:00:12Look at me.
01:00:13I just need to see my wife.
01:00:17Show me to your office.
01:00:20Okay.
01:00:22Everyone needs to stay here.
01:00:24No one must leave.
01:00:25Don't come with me.
01:00:27Yeah.
01:00:27Yeah.
01:00:38Oh, my love.
01:00:41Ali, you can't touch her.
01:00:43I am a doctor and her husband.
01:00:46I know, but this is a crime scene.
01:00:48What?
01:00:50There's still a very good chance that we could get out of here.
01:00:53And if we do, we want every shred of evidence intact, don't we?
01:00:58Ali is having an affair with Arielle.
01:01:18What?
01:01:19I saw them in the corridor together.
01:01:21Said him and George almost came to blows at one point.
01:01:25Well, that gives him a motive.
01:01:26To get rid of his wife so he can marry a billionaire.
01:01:29Exactly.
01:01:32Come on.
01:01:33If it is him, we can't leave him alone with Gabrielle for too long.
01:01:38All the banking codes, they are gone.
01:01:41Are you sure they were in there earlier?
01:01:43Yes.
01:01:43When I came to get the Ormolu from the safe, I clearly remember seeing the file.
01:01:49And who else knew the combination to the safe?
01:01:52Only me.
01:01:52And Eve, he helped me collect the Ormolu earlier.
01:01:57Okay.
01:01:58Right, yeah.
01:01:59We all have to stay in the same place.
01:02:02It's what Karen would make us do.
01:02:04Yeah, yeah, you're right.
01:02:05Okay, but we have to stick together.
01:02:07There's a murderer amongst us.
01:02:08Gloria, I must be near.
01:02:26I can hear voices.
01:02:27You're right underneath the events room.
01:02:30Carry on for about another ten yards, and you'll see a ladder on your right.
01:02:33Thou take it directly up to the museum.
01:02:37Are you okay, love?
01:02:41Yes.
01:02:42I'm fine.
01:02:45Yards to meters.
01:02:47Multiply the length given in yards by 0.9144.
01:02:53I found the ladder!
01:02:55He's found the ladder!
01:02:55I'm heading up now, Gloria!
01:03:03Well done, André.
01:03:04You're nearly there!
01:03:05The security engineer has now landed at the airport, and she's on her way now in a pretty scar.
01:03:09Brilliant!
01:03:10Use!
01:03:20Ah!
01:03:20Ah!
01:03:21André!
01:03:23André, are you okay?
01:03:24André, can you hear me?
01:03:34Maybe we should start praying to them paintings we found.
01:03:37It looks like that's our only choice.
01:03:40You like to have a choice, don't you?
01:03:42What's that meant to mean?
01:03:43You know exactly what that means.
01:03:46If you've got something to say, George, why don't you just come out with it?
01:03:49If I've got something to say, I will decide when I say it.
01:03:55Always loving the control, eh, George?
01:03:57Even when we're about to die, you still have to be in control.
01:04:00You know the best thing about this situation?
01:04:05We're both going to die together.
01:04:08Which means you won't inherit a thing.
01:04:15Wow.
01:04:17Just when I thought you couldn't go lower.
01:04:19What are you thinking?
01:04:36I'm trying to work out the murder in real time.
01:04:39Get Jeremy and Judith over to help, will you?
01:04:42Hey.
01:04:43You two.
01:04:44Jean need your help.
01:04:45I'm not sure I'm much help to anyone, Dominic.
01:04:48Judith's not feeling great.
01:04:49We're all not feeling great, Jeremy.
01:04:53Sorry.
01:04:54Sorry, I didn't mean to snap.
01:04:57No, actually, I did.
01:04:59Jean is over there trying so hard to help us.
01:05:02To help all of us.
01:05:03The very least you two can do is to help her.
01:05:05Okay?
01:05:06Oh, sorry, old chap.
01:05:08Yes, of course.
01:05:09Oh, great.
01:05:11Okay.
01:05:12So, whoever murdered Sangeeta and Suzanne
01:05:15has something to do with the bomb
01:05:17and this whole nightmare evening.
01:05:19It makes sense for everything to be connected.
01:05:21Yeah.
01:05:22Who would kill Sangeeta?
01:05:23Who would murder someone like that?
01:05:25Well, Ali's having an affair with Auriel.
01:05:28Oh, yeah, don't tell me.
01:05:29What?
01:05:30Yeah, George just poured his heart out of me.
01:05:32The poor chap is broken.
01:05:33Yeah, and I saw Ali and Auriel in the corridor earlier
01:05:36talking about it.
01:05:37Do you think he bumped off his wife
01:05:40to run off with a billionairess?
01:05:42That's what I said.
01:05:43Or maybe George killed her to frame Ali.
01:05:47You're certainly on the verge of it.
01:05:48Or maybe Auriel killed her in a jealous rage
01:05:52because she couldn't wait a moment longer for Ali.
01:05:55Well, in the office,
01:05:57Gabriel said all the codes to the museum's bank
01:06:00had been stolen from the safe.
01:06:01Yeah, and he was certain that they were there earlier.
01:06:03So could that have something to do with it?
01:06:07Oh, it's all so confusing.
01:06:09My head hurts.
01:06:11Tom, come with me.
01:06:13There was only one person that used the map.
01:06:37Sweet.
01:06:37Of course.
01:06:53It's so small.
01:06:55It's...
01:06:55It's a nose ring.
01:07:00Oh.
01:07:01It was Ali.
01:07:06It was all Ali.
01:07:07What?
01:07:08Ali is the murderer.
01:07:10Don't, don't, don't, don't.
01:07:11But how did she do it?
01:07:13She couldn't be in two places at once.
01:07:16I mean, she was definitely here when we arrived.
01:07:20So how could she be
01:07:22murdering the security guard at the same time?
01:07:27Unless...
01:07:28Oh.
01:07:28This good shit.
01:07:35Tom.
01:07:40Tom, give us a hand with this.
01:07:43Yeah.
01:07:50Oh, my God.
01:07:51Come on.
01:07:56She's still alive.
01:07:57Let's get her in here.
01:08:15What the hell?
01:08:17Who on earth is this?
01:08:18Jean, for God's sake, explain.
01:08:20What on earth is going on?
01:08:22Ali, Ken, just a minute.
01:08:24I'm intrigued.
01:08:25We still have a few minutes before we escape.
01:08:32How did you know?
01:08:34Eve, what are you doing?
01:08:38Go on, Madam White.
01:08:40It didn't come to me straight away.
01:08:44Then I worked out that it was you who killed Sangeeta
01:08:47and stole the bank codes.
01:08:48You mistakenly left your map on the floor
01:08:53at the side of the safe.
01:08:56I suppose when Sangeeta came in
01:08:59to override the fingerprint control,
01:09:02well, she caught you red-handed.
01:09:03And then I worked it back.
01:09:09I mean, how did you get in the safe in the first place?
01:09:14Only Gabrielle and Eve knew the combination,
01:09:19so it made sense one of them was your accomplice.
01:09:23At all.
01:09:31And then I remembered, earlier in the evening,
01:09:35Sangeeta recognized you, Eve,
01:09:38from a prison outreach event.
01:09:40Have we met somewhere before?
01:09:42We very much doubted.
01:09:43I don't do prisons on charity here.
01:09:46I assume you've not been out of prison for very long.
01:09:50For Sangeeta to recognize you from something so recent.
01:09:54Eve, is this true?
01:09:58But you, Ellie, yeah.
01:10:01I couldn't work out how you could be in two places at once.
01:10:05Serving champagne here and, well,
01:10:08murdering the security guard down there.
01:10:12But you weren't, were you?
01:10:13This is what I think.
01:10:18You went to the museum
01:10:20and you forced a security guard to activate the shutters.
01:10:35Once you'd started the bomb,
01:10:38you raced up here,
01:10:41changed your outfit,
01:10:43and you placed the bomb
01:10:45in the cabinet
01:10:47just outside this room.
01:10:59Then you accosted that poor waitress
01:11:01and you bundled her into the cupboard.
01:11:05Oh, it's brilliant, really.
01:11:08All Eve had to do was hire an agency waitress
01:11:12who looked a little bit like you.
01:11:14I mean,
01:11:15no-one had ever met either of you before,
01:11:17so no-one would realize that
01:11:19you were an entirely different person.
01:11:22But how did you get the bomb
01:11:25inside the Ormalu?
01:11:26Well, you throwing champagne over George was no accident, was it?
01:11:35The minute that you heard Gabrielle and Eve in the corridor,
01:11:39that was your cue to cause a distraction.
01:11:42giving Eve just enough time
01:11:52to plant the note for me
01:11:53and to put the bomb in the box.
01:11:56Very good, Madam White.
01:12:09I sort of understand the murders
01:12:11to steal the bank codes.
01:12:14But why the bomb?
01:12:16Why the poem?
01:12:17Well, that is what you would all take to your graves
01:12:22without knowing.
01:12:25Well, there's no way out.
01:12:27Not for you, anyway.
01:12:28The security engineer is almost here.
01:12:48Well, we've only got two minutes left.
01:12:58Two of the most important people in my life
01:13:06were in that building.
01:13:08Heads down, please.
01:13:10Right.
01:13:11I'm going to smash this door down.
01:13:13What's the point?
01:13:14There's enough Semtex in there
01:13:15to block the whole bloody building.
01:13:16But they managed to escape, didn't they?
01:13:18Oh, God, I didn't think I was going to die
01:13:20from a bomb in a bloody jewellery box.
01:13:25Maybe the actual box is a clue.
01:13:27It's an actual Marie Antoinette box.
01:13:35This is a picture of Marie Antoinette
01:13:37dressed as a vestal virgin
01:13:38by Charles Leclerc in 1777.
01:13:42In relation to the poem,
01:13:45Fruit from Above, well,
01:13:46Marie Antoinette's father was a pope,
01:13:49faced like their son.
01:13:50Well, she was married to the great-great-grandson
01:13:53of the Sun King,
01:13:55and fate was not kind.
01:13:56Well, it wasn't kind to her.
01:13:57She had her head cut off.
01:14:06One.
01:14:07Seven.
01:14:09Seven.
01:14:10Seven.
01:14:10All right.
01:14:27I said it would be all right.
01:14:31Judy.
01:14:31Judy, you're a genius.
01:14:33Here's the box, Marie Antoinette. Of course it has to do with her.
01:14:36Oh, I'm getting too old for this.
01:14:38Clever, clever darling.
01:14:40I'm so pleased I didn't tell you what I brought you for Christmas.
01:14:49What happened?
01:14:52Nothing.
01:14:53Hi!
01:14:54Listen, I don't want to break up the party, but we are still locked in.
01:15:04I know we don't have the threat of the bomb any more, but we are still locked in.
01:15:08Come on, let's get this door open.
01:15:10Right, come on.
01:15:12Right, okay.
01:15:13I count three.
01:15:14One, two, three!
01:15:19I must have loosened it earlier.
01:15:21Loosened it.
01:15:24Oh!
01:15:42It's a real dreamboat there, hey, my darling wife.
01:15:49Come on, come on, come on!
01:15:51The shutters are opening, come on!
01:15:53Come on, come on!
01:15:54Oh, Karen, you little beauty!
01:16:03Excuse me.
01:16:04Excuse me, excuse me, excuse me.
01:16:05Excuse me.
01:16:10Hey, Stébo, come here, come here, come here.
01:16:12Come here.
01:16:13All right.
01:16:14All right.
01:16:15This way.
01:16:16This way, please.
01:16:17Come here.
01:16:18Gene, you all right?
01:16:19I'm glad to see you.
01:16:20You too, sir.
01:16:21I must have been so scary.
01:16:22Certainly had its moments.
01:16:23Oh, Dominic, Merry Christmas.
01:16:24Well, yeah, I wouldn't exactly say that, but Merry Christmas.
01:16:28Where's Carol?
01:16:29What happened?
01:16:30He came in to get you.
01:16:31How?
01:16:32The tunnels underneath the museum.
01:16:33The what?
01:16:34There's a load of bomb shelters.
01:16:35It was my idea, but...
01:16:37His radio's gone silent.
01:16:38We think he has fallen.
01:16:39What?
01:16:40They had to wait and see if the bomb exploded before they went.
01:16:41Oh, yeah.
01:16:42Oh, yeah.
01:16:43I wouldn't exactly say that, but...
01:16:44Well, yeah, I wouldn't exactly say that, but...
01:16:45Merry Christmas.
01:16:46Where's Carol?
01:16:47What happened?
01:16:48He came in to get you.
01:16:49How?
01:16:50The tunnels underneath the museum.
01:16:51The what?
01:16:52There's a load of bomb shelters.
01:16:54It was my idea, but...
01:16:56His radio's gone silent.
01:16:59We think...
01:17:00We think he has fallen.
01:17:02What?
01:17:03They had to wait and see if the bomb exploded before they went to check on him.
01:17:08Just preparing to go and find him now.
01:17:13Allez!
01:17:15Avancé!
01:17:18Previte!
01:17:20I assume these two have something to do with all this?
01:17:27I thought I killed you.
01:17:30Not quite.
01:17:31Oh.
01:17:32André.
01:17:33It's so good to see you all.
01:17:36Good to see you, mate.
01:17:39Jean?
01:17:41Grisha.
01:17:44Jean, can you fill me in on what happened?
01:17:46Then I will interview those two in the morning.
01:17:49What?
01:17:50Now?
01:17:51Are you sure you're up to it?
01:17:53You know, I like to keep busy at Christmas.
01:17:55Yeah.
01:17:56I do.
01:17:59Yes.
01:18:01Oh, my God of steel.
01:18:25Oh.
01:18:26Oh, wait, please.
01:18:27Now, I'll do this.
01:18:28Carol, what have you done to your poor face?
01:18:29Oh, my God.
01:18:30Oh, my God.
01:18:31Oh, my God.
01:18:32Oh, my God.
01:18:33Oh, my God.
01:18:34Oh, my God.
01:18:35Oh, my God.
01:18:36Oh, my God.
01:18:37Oh, my God.
01:18:38Oh, my God.
01:18:39Oh, my God.
01:18:40Oh, my God.
01:18:41Oh, my God.
01:18:42Oh, my God.
01:18:44Oh, my God.
01:18:54I'm not sure I'd like brunch.
01:18:55What?
01:18:56What what the word that the blending of two words to make another like
01:19:01motel
01:19:03portmanteau oh bless you so
01:19:06Portmanteau is the blending of two words to make another one
01:19:10Although call man so also means a leather case or two sections, but where would it be without your brain?
01:19:15I don't mean it saved a lot of lives yesterday. Oh
01:19:21Well, I just did what I had to do. Yeah, and what only you can
01:19:24Oh, thank you now can I tempt you to a croissage what it's a croissant with a sausage inside and portmanteau in
01:19:37Fresh coffee. Oh, thank you, Patrick
01:19:43I'm terribly hungry this morning. I think it's all the trauma of course darling
01:19:49It can do that I remember when my gram was ill all anybody could do was make sandwiches like
01:19:54It make everything better feeding the soul not with white slice and beef paste. We ended up feeding the ducks
01:20:01Plenty more with that came from
01:20:03Will you sit down? We've got loads here
01:20:06We need to save a little bit of room for Christmas dinner you sound just like I did when you were a nipper
01:20:10Do you know one Christmas morning?
01:20:12He ate three packets of mince pies and half a Christmas cake before
01:20:16breakfast
01:20:18Five
01:20:20Fifteen actually I was a little bit worse for wear, but I didn't know that then I just needed a sugar rush
01:20:27I have never really believed in hangovers. I think it's a case of mind over matter. I think that's why I've never heard one
01:20:34Oh
01:20:38Excuse me. Ah
01:20:42Carol is ready for me to go over. Oh, you want me to come with you?
01:20:44No, no, it's all right. I won't be long and I've just got to bob over to the station and Andre needs my help
01:20:51So some food with you. Oh, no, I'm really full for Andre and Richelle. Oh
01:20:56Yeah, great idea. Tell them that they're both invited to lunch four o'clock start will do
01:21:01Talking of starts. Do you think it's too early for a little champagne?
01:21:07Wonderful idea darling copy bloody DM after yesterday. That's what I say. I'll get some glasses
01:21:17Hey
01:21:19What
01:21:22Merry Christmas
01:21:25Merry Christmas
01:21:26What's the matter?
01:21:28Well
01:21:30After yesterday and
01:21:32Don't let me say
01:21:34Don't be daft. It won't be gone long. Yeah, I know but
01:21:38I'll tell you what why don't you get on the morning champers and you want him no missing
01:21:43Okay
01:21:45Come in
01:22:00Happy Christmas
01:22:02Well, it would be if we could get these two to speak
01:22:04Oh, no joy
01:22:05Nothing from him. He's just playing games, but the girl. I think he's starting to break. That's why I asked you here. She's upstairs
01:22:13Oh
01:22:15From Patrick
01:22:17Merci
01:22:19So
01:22:21What happened?
01:22:23No comment
01:22:25No comment
01:22:27Why did he plant a bomb?
01:22:29No comment
01:22:31And why the poem?
01:22:33No comment
01:22:35Look I can understand you killing who you needed to to steal the bank codes
01:22:41But why the bomb?
01:22:43Why the poem?
01:22:45Well, I don't know you and you don't know me
01:22:47Well, the poem was obviously not my idea
01:22:51So there was someone else involved
01:22:53Of course
01:22:55I know nothing about bombs
01:22:58Less about poems
01:23:00And I had no idea who you were until yesterday
01:23:03So what happened?
01:23:09No comment
01:23:11If you are trying to protect someone, I would ask you to consider how important they are to you
01:23:17It will affect your sentence considerably
01:23:27The last time I was in prison
01:23:29I shared a cell with a woman who worked as a consultant at the museum
01:23:35She knew everything about it
01:23:37Every nook and cranny
01:23:41She said if I kept in touch once I got out
01:23:43She would be able to help me get inside
01:23:47Override the security system
01:23:49Steal the bank codes
01:23:51And get out scot-free
01:23:53Go on
01:23:55So I kept on visiting her
01:23:57And sure enough
01:23:59We came up with a plan
01:24:01I got my friend Eve involved
01:24:03Flirting with that idiot of a curator Gabrielle
01:24:05To get someone on the inside
01:24:09But still
01:24:11Why me? Why the bomb?
01:24:13It was very strange
01:24:15The last time I went to see her
01:24:17She had found out through her contacts
01:24:19That you, Mrs. Jean White
01:24:21Would visit the museum on Christmas Eve
01:24:25And?
01:24:27She was wild
01:24:29Cold with rage
01:24:31God, she really hated you
01:24:33So instead of a simple robbery as planned
01:24:45I was to plant a bomb and a letter to you
01:24:49She said I would be safe
01:24:51That there was a way out under the museum
01:24:53She said it was a game she liked to play with you
01:25:03It all seemed a bit psychotic to me
01:25:07But then again, so did she
01:25:11And I had nothing to lose
01:25:13So I did what she said
01:25:15So I did what she said
01:25:19What was her name?
01:25:22Barbara
01:25:45What fun, Mrs. White
01:26:05Till next time
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