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- 5 weeks ago
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TVTranscript
00:00:00You all look fantastic.
00:00:09Thank you, Gloria.
00:00:11It's a treat to have an opportunity to really make an effort.
00:00:14Yes, we've been very casual of late, haven't we, darling?
00:00:17We have.
00:00:18Where is he going to again? Is it just a Christmas party?
00:00:21To be perfectly honest, I'm not sure, Gloria.
00:00:23It's all very cloak and dagger.
00:00:25I'm on the board of the museum with Gabrielle Gelbar,
00:00:28our new curator.
00:00:30Very excitable chap.
00:00:31Says he wants to put our lovely old museum on the map.
00:00:34He insisted that this afternoon was very important
00:00:36for the future of the museum and that we all came,
00:00:39especially you, Jean.
00:00:41What?
00:00:42Oh, right.
00:00:44Very mysterious.
00:00:45But I do like a free drink.
00:00:47Eh, and it better be free champagne.
00:00:49It better be.
00:00:50This dress deserves more than cheap Prosecco.
00:00:52Now, where is Dominic? We really must be going soon.
00:00:55Give him a quick ring.
00:00:56Sorry. Sorry I'm late, everyone.
00:00:59Oh, it doesn't matter. Dominic, you're here now.
00:01:01Let me just finish my drink.
00:01:03Have a fab time.
00:01:05Yeah, come in.
00:01:06Oh, special invite only.
00:01:07Enjoy yourselves.
00:01:08Oh, thanks, love.
00:01:09You got plans, love?
00:01:10Yeah, Patrick's doing a Christmas quiz.
00:01:12Me and Douglas have been swatting up.
00:01:15You smell nice?
00:01:16Well, I've got me special aftershave on.
00:01:18You're very lucky, actually, because of my last bit.
00:01:20Well, you never know.
00:01:21Father Christmas might bring you some more tomorrow.
00:01:22Oh, that would be a nice surprise.
00:01:24Oh, Jean, your bag.
00:01:27Now, Dominic, this vintage dress will not love the back of your car.
00:01:33Would you mind awfully, Jean, if I sat in the front?
00:01:36Be by guest, Judith.
00:01:38Don't forget me.
00:01:39You know, it's so funny.
00:01:57In all the years I've lived in Saint-Bitois, I've never been in here.
00:02:01Really?
00:02:01No, I dropped Claudia off on a school trip once, but never been inside.
00:02:05Well, let's see what you've been missing.
00:02:06Ah, hello there.
00:02:17We are the invited guests of Gabriel's jail bar.
00:02:21Ah, oui, bien sûr.
00:02:23C'est dans la salle de réception.
00:02:25Vous n'avez qu'à suivre les indications.
00:02:29I think she wants us to head to the event room.
00:02:32Merci.
00:02:34Merci.
00:02:39Et voilà.
00:02:41I've never really seen the print in the museums.
00:02:45They preserve our history, Judith.
00:02:47Give people a chance to get up close to amazing works of art.
00:02:51Well, I suppose so.
00:02:52But there's so much to look at.
00:02:54I find them quite claustrophobic.
00:02:56I mean, where do you start?
00:02:59Hang on, darling.
00:03:00What about that trip we made to the Louvre when we first met?
00:03:03Yes.
00:03:05How could I ever forget that?
00:03:08I've never looked at a picture of the Mona Lisa in quite the same way again.
00:03:12You're in your element, aren't you?
00:03:23What?
00:03:25Oh, this way.
00:03:26I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:27I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:28I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:29I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:30I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:31I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:32I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:33I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:34I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:35I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:36I've never looked at a picture of the Mona Lisa in quite the same way.
00:03:37This is where the house is going.
00:03:40This is where the house is going.
00:03:42You're in trouble!
00:03:44You're out!
00:03:47That's how I'm going.
00:03:54This is where the house is.
00:03:57In my house, you can connect with another house to the house.
00:04:02Disactive alarm.
00:04:33Do you remember the first time that my eyes set on you?
00:04:43Your smile came from nowhere, for sometime never, or sometime soon.
00:04:52The road is a long one, I was only passing through.
00:05:00I was only passing through.
00:05:14At least they've got the good stuff.
00:05:17Priorities, priorities.
00:05:20Lovely escutcheon.
00:05:23It protects the door being scratched by the key.
00:05:25Practical and fancy at the same time.
00:05:28Without me, innit?
00:05:29Yeah.
00:05:34Sorry.
00:05:41Anyway, I'll be here.
00:05:45Here you go, Dominic.
00:05:46Merry Christmas.
00:05:47Oh, Merry Christmas, Dominic Hayes.
00:05:52So, what's this massive painting about them? It's very beautiful.
00:05:56This is a sublime example of a Baroque fresco.
00:06:01Right.
00:06:03Very popular in Europe, but I've never seen one in San Victor before. It's really exciting.
00:06:06Yeah?
00:06:07Well, a fresco is basically a wall painting where the paint is brushed straight onto wet plaster.
00:06:15By someone called Baroque?
00:06:17No, actually. Baroque was an artistic movement of the 17th and 18th century.
00:06:21So, like paintings, music, architecture. Everything was big and bold.
00:06:28And sexy, Dominic. Very sexy. My absolute favourite era.
00:06:33So, that is Dr. Ali Pardy.
00:06:37His head of the charity, L'Art Change la Vie.
00:06:42Huh?
00:06:43What's L'Art Change la Vie?
00:06:44Is that something about art helping ex-prisoners or something?
00:06:48Oh, that sounds great.
00:06:50Well, that must be his wife.
00:06:52I think her name is Sangeeta.
00:06:53I've invited her to several of my bridge evenings, but to no avail.
00:06:56And they're talking to George and Auriel Alphonse.
00:07:02Huh?
00:07:04As in Alphonse?
00:07:06From Alphonse Crush?
00:07:08What? The soft drink?
00:07:10Oh, I used to love that.
00:07:12Kept me awake at night when Claudia was a baby.
00:07:14An amazing couple.
00:07:15They just floated their company last year for a hundred million euros.
00:07:18Lucky sorts.
00:07:20Apparently, they can't stand each other, but they can't leave because they are literally too rich.
00:07:23Ah-ha!
00:07:27Jeremy, ça va mon ami?
00:07:30If you say so.
00:07:32Ah, and Judith.
00:07:34Mwah! Mwah!
00:07:36Do Jesus, will you ever age like us mere mortals?
00:07:39Oh, George, you really are too much.
00:07:41Let me introduce you to our dear friends, Jean and Dom.
00:07:44Very pleased to meet you.
00:07:45Oh, aren't you?
00:07:46I was just saying, I used to love your drink.
00:07:48Ah, well, not my drink anymore, but thank you, Dom.
00:07:51I really appreciate that.
00:07:53That's very kind of you.
00:07:54Very kind.
00:08:03Thanks for witnessing my loan agreement, Andre.
00:08:05Not a problem, Patrick.
00:08:06I sometimes come across trouble with financial affairs, but...
00:08:10Having the Chief of Police as my witness, that should shut them up.
00:08:14Oh, no, Jean's left a phone.
00:08:17I am on my way home now.
00:08:18I can drop it off for her.
00:08:20What's she's got to do at the museum?
00:08:21No problem, that is near my house.
00:08:23Oh, brilliant.
00:08:24Au revoir.
00:08:26Thanks again, Andre.
00:08:27See you at the quiz later.
00:08:28You will indeed.
00:08:29I am bringing Richard.
00:08:31She's very good at politics questions.
00:08:33Merry Christmas.
00:08:34Joy Noel.
00:08:35Joy Noel.
00:08:37I never thought I'd be mates with a carper.
00:08:42No, but...
00:08:43Where are you?
00:08:44They've already arrived.
00:08:45Yes, I'm going to get married.
00:08:46I know you love me when I do good for you.
00:08:48No, my love, you're always beautiful.
00:08:50These last months, it was just extraordinary.
00:08:52Between my meeting with you and this dream job, it's wonderful.
00:08:56But me too.
00:08:58Well, we have the whole life in front of us, but we really need to work.
00:09:02Gabriel, you're the new conservator of this museum.
00:09:04Can you allow the quarter of the police?
00:09:06No, no, not at all.
00:09:07Not at all.
00:09:08Not at all.
00:09:09My only mission is to make this international museum.
00:09:12We have the Alphonse who are ready to invest 10 million euros.
00:09:15That would change everything.
00:09:18It's not exactly how it works.
00:09:20Alphonse.
00:09:28You dicks, haven't I?
00:09:32Ah, Gabriel.
00:09:34Here he is, our curator himself.
00:09:37Jeremy, Judith, good to see you both.
00:09:39You too, Gabriel.
00:09:41And this is Jean White.
00:09:43Delivered as promised.
00:09:45Delivered?
00:09:46Oh, hello.
00:09:47It's a pleasure to meet you, Mrs. White.
00:09:49Your expertise precedes you.
00:09:50Thank you so much for being here.
00:09:52Right, it's a pleasure.
00:09:53This is my partner.
00:09:54Your fiancée.
00:09:55Oh, yes, fiancée, Dom.
00:09:57Yeah, it's quite a recent thing.
00:09:59Congratulations to both of you.
00:10:01And this is my partner, Eve.
00:10:04Oh, hi.
00:10:05And your field of expertise is, Mrs. White?
00:10:09I'm an antiques dealer.
00:10:10Ah, how quaint.
00:10:13Shall we grab a horse's deer from the end to it?
00:10:15Yes, ma'am.
00:10:16Oh, yeah.
00:10:18A bottle of champagne, please.
00:10:20Thank you very much.
00:10:21Pardon, Judith.
00:10:22Champagne on the way right now.
00:10:24You are done, Gabriel.
00:10:26I think you're going to fit in very well around here.
00:10:29Yes.
00:10:30And by the way, you threw that last glass down your neck,
00:10:33we wouldn't want you going thirsty, would we?
00:10:36Excuse me.
00:10:37I'm just going to run through my speech.
00:10:39Oh, Jean.
00:10:40This is Dr. Ali Pardeep.
00:10:41We were telling you about his charity.
00:10:43Oh, Le Change Levy, is it?
00:10:45Oh, it sounds like you do some great work.
00:10:47Oh, he does.
00:10:49Oh, hi.
00:10:50I'm Oriel.
00:10:51Oh, hello.
00:10:53It's a vocation that absolutely consumes me, I'm afraid,
00:10:56as my wife could confirm.
00:10:58Lovely to finally meet you.
00:11:00So, how did you find this vocation?
00:11:02Well, I've been working in prisons for a few years as a visiting doctor,
00:11:06and I saw so much artistic talent just hidden away in the cells
00:11:11that I felt compelled to liberate it.
00:11:14Mm-hm.
00:11:15So, I started an art club for the prisoners,
00:11:17and, well, the charity just grew from there.
00:11:20How interesting.
00:11:21You let criminals play as being artists, then?
00:11:25You know, that's exactly what we do.
00:11:28You're encouraging the egos of murderers.
00:11:31Is that what you're saying?
00:11:32Don't worry, Ali.
00:11:33I take care of the charity in our business,
00:11:36so you can ignore George.
00:11:38And your husband is a very inspiring man.
00:11:41Oh, he is indeed.
00:11:43Excuse me.
00:11:45Yes?
00:11:46Have we met somewhere before?
00:11:48I can't think where.
00:11:50Maybe at one of our outreach events.
00:11:53Very much doubted.
00:11:55I don't do presents or charity, dear.
00:11:58That's my kid.
00:12:00Sorry.
00:12:01Sorry.
00:12:02Ah, merci, vous plaît.
00:12:04Bon, monsieur.
00:12:05Merci.
00:12:06Good job, mate.
00:12:07Quite long.
00:12:11Thank you, everyone, for being here tonight.
00:12:15For tonight is a very special night for the museum.
00:12:19Mr. and Mrs. Alphonse are very generously about to invest 10 million euros,
00:12:2610 million euros into our acquisition account.
00:12:29It will keep the museum afloat for many years.
00:12:32Just a minute, Gabriel.
00:12:33Remember what we discussed a couple of weeks ago when you first took the job.
00:12:38If you have what you say you have, and it's the real deal, we are more than happy to invest.
00:12:45I want to be part of a museum that draws people in from all over the world.
00:12:51But I need you to prove to me that I am making the right choice.
00:12:56Of course.
00:12:57Of course.
00:12:58The stakes are very high for us.
00:13:01But I have contacts all over the world to make this museum great.
00:13:05I promise.
00:13:08Madame White, this is where we could use your help.
00:13:11Oh, right.
00:13:12We apologize for not warning you beforehand, but everything had to be completely top secret.
00:13:18Oh, I'm intrigued.
00:13:19We have something very rare, and we need you to verify it.
00:13:25Jeremy and Judy told me you are second to none in your field, so please, will you help?
00:13:32Well, I'm here now, so yeah, of course.
00:13:37If you will excuse me for one moment, ladies and gentlemen, we will go and fetch our treasure.
00:13:47If.
00:13:48Well, so that's why I'm here.
00:13:50Makes sense now.
00:13:51Well, Gabrielle didn't tell me the finer details, just who I knew, who I trusted.
00:13:55He was the best in the business, so I...
00:13:58Well, thank you.
00:14:00You'd better be good, Mrs. White.
00:14:02And ensure it is what he says it is.
00:14:04We wouldn't want any mistakes.
00:14:07Well, let's put it this way.
00:14:09This isn't my first rodeo.
00:14:12Oh, thank you, darling.
00:14:15What's your name, dear?
00:14:16Ellie.
00:14:17Big cash tip, Ellie.
00:14:19If you keep our shampers topped up, if you know what I mean.
00:14:22I'll do my best, madam.
00:14:24But I've never worked here before, so I don't know how much we have in stock.
00:14:27Good girl.
00:14:28Off you pop.
00:14:29We do not give one.
00:14:31See, we've got ...
00:14:36On t'a attribué ton code personnel de sécurité, maintenant ?
00:14:38Non, you know, it's always Susan of the security who sends me new code every day,
00:14:42it's depuis que je suis allongée, je me have so much to gérer,
00:14:45it's a bit of extra.
00:14:46Well, you can't open the back?
00:14:48I would like to see the secret cachette called you.
00:14:50Okay, just note the code correctly, because there is no second chance, otherwise it blocks you.
00:14:57So, it's the 32740957.
00:15:05C'est bon.
00:15:11Alors...
00:15:22Neuf.
00:15:28Ouh.
00:15:35Eh bien, voilà ma petite merveille.
00:15:39Waouh.
00:15:40Non, par contre, ça, il faut que tu le détruises immédiatement.
00:15:42Non, non, vraiment, tu...
00:15:45C'est bon.
00:15:56Tiens, prends la moite et on y va.
00:16:05Non, vraiment, faites très attention.
00:16:15Non, mais attends, t'as l'avenir du musée entre les mains là, non...
00:16:19Gabriel, laisse-moi ! Tu veux que je ne fasse tomber ?
00:16:21Now, George, George, George, so sorry, so sorry, what happened?
00:16:29I'll tell you what happened.
00:16:30This poor excuse of a waitress of yours has ruined my bespoke shirt.
00:16:34Are you stupid?
00:16:36No, I...
00:16:37Don't speak to her like that, George.
00:16:40These things happen.
00:16:42We can get it cleaned.
00:16:43What's your name?
00:16:45Ellie.
00:16:45I'm so sorry.
00:16:47I'm pretty new at this.
00:16:48I'm actually a student.
00:16:49Well, I would like to apologize for the neolithic behavior of my husband, Ellie.
00:16:56George, we're going to pay for the cleaning, of course, but I can't clean.
00:17:00No, just leave it.
00:17:02I can do it.
00:17:02I can do it.
00:17:03Okay, perfect.
00:17:04And where's this tan box of yours?
00:17:05The tan...
00:17:16Is that what I think it is?
00:17:19Go on.
00:17:33What is it?
00:17:34Oh, this is a French Ormolu gilt jewellery case owned by, I think, Marie Antoinette herself.
00:17:42Am I right?
00:17:42Yes, exactly, ma'am.
00:17:44Oh, well, I know there's one of these in the Museum of Tehran, but the only other one was bought by Russian buyers at Sotheby's in 2007.
00:17:54So how could it be here?
00:17:55Um, I have been totally obsessed with this box.
00:18:00So, um, I tracked it down over the years and persuaded them to sell.
00:18:07Wow.
00:18:09Well, Gabrielle is right.
00:18:10I mean, if you can get stuff like this, well, this is like such a fantastic draw for the museum.
00:18:16Game changer, really.
00:18:18Well, so far, so good.
00:18:20Okay.
00:18:25What?
00:18:26My God.
00:18:28Gene?
00:18:29But it looks like a...
00:18:31Like a bomb.
00:18:33Oh, my God.
00:18:34It doesn't just look like a bomb.
00:18:39It's a marzipan.
00:18:40Marzipan?
00:18:41I was in the army for years.
00:18:43I've recognised that smell anywhere.
00:18:45What is it?
00:18:45It's Semtex.
00:18:47Semtex?
00:18:47What can that do?
00:18:50Put it this way, there's enough in there to blow this whole museum sky high.
00:18:59Come on.
00:18:59Come on.
00:18:59Come on.
00:19:00Come on.
00:19:00Come on.
00:19:00Come on.
00:19:00Come on.
00:19:01Come on.
00:19:01Come on.
00:19:02Come on.
00:19:11They won't move.
00:19:20Well, well, what if we all lift together?
00:19:22They're locked.
00:19:24Okay, okay.
00:19:25Well, why don't we try the other exits?
00:19:28No, no.
00:19:29They will all be locked too.
00:19:30And all the windows are bad.
00:19:33Oh, my God.
00:19:34What the hell are we going to do?
00:19:35Stop with the hysterics, George.
00:19:37In case you hadn't heard, there is a Semtex bomb in that room.
00:19:40Yes, we all know that.
00:19:46Gabrielle?
00:19:46Yes?
00:19:47How do we open the shutters?
00:19:49As far as I know, the security guard has fingerprint recognition.
00:19:53She's the only one who can deactivate the code.
00:19:55Where is the guard?
00:19:57In the security booth.
00:19:59Come on.
00:19:59Come on.
00:19:59Come on.
00:20:00Come on.
00:20:03Oh, my God.
00:20:04Oh, my God.
00:20:09Oh, my God.
00:20:10She's gone.
00:20:13Oh, my God.
00:20:15Oh, my God.
00:20:15Oh, my God.
00:20:15What's going on?
00:20:17Oh, my God.
00:20:18What's happening?
00:20:20What's happening?
00:20:36How come the other?
00:20:37All right, love?
00:20:45Yeah.
00:20:46Or woman.
00:20:47Oh, no.
00:20:49So, one fingerprint to control your entire security system.
00:20:54Stop it, George.
00:20:55Yes, I let the security team arrange it between them.
00:20:59I have only been here three weeks.
00:21:02So, it was on my to-do list, but...
00:21:05Good grief.
00:21:06So, you have no idea how to deactivate it?
00:21:09No.
00:21:09No idea.
00:21:10Well, then.
00:21:16Why don't we use her finger?
00:21:19George!
00:21:19Really?
00:21:20We can't.
00:21:22Why not?
00:21:24It's not like she's going to mind now, is she?
00:21:27It's not that.
00:21:28It's once tissue is dead, it loses its electrical charge.
00:21:31Hang on.
00:21:32Now, I saw this on one of those American crime dramas, and it worked a treat.
00:21:36So, let's give it a go, shall we?
00:21:38Good God, George.
00:21:40Oh, I see.
00:21:41You watched an entire box set.
00:21:43So, of course, now you know more than an actual doctor.
00:21:47I'm only saying, once the heartbeat dies, the electrical charge dies.
00:21:54It won't work.
00:21:56Can I ask a question, Gabriel?
00:22:12A security guard.
00:22:14What was her name?
00:22:16I call her Suzanne.
00:22:18Should we call her that, then?
00:22:19Look, I'm not suggesting we sever Suzanne's finger.
00:22:26George, leave it.
00:22:28Ho!
00:22:43Ho!
00:22:45Ho!
00:22:46Ho!
00:22:46Ho!
00:22:47Ho!
00:22:52Ho!
00:22:57Ho!
00:22:58why can't they hear us no no because the front doors are solid oak the shutters are solid steel
00:23:11and the walls it's very uh sick mediterranean stone oh that's just great so is the place
00:23:17bomb proof as well they're not helping george it's okay i'll call carol yeah
00:23:21no no no i haven't had any uh since i arrived because uh we are quite high up and the walls
00:23:32are too sick okay what's the wi-fi code i'm going to share it with you yeah but i know i had my phone
00:23:39in the pub i must have dropped it oh god no the wi-fi is off too but don't worry don't worry i have
00:23:48one moment i remember something what's he doing now
00:24:18someone has sabotaged the comms cupboard it's beyond repair
00:24:33comms cupboard it's where all the wi-fi hubs lead to to to keep us on the internet
00:24:38all the connections have been ripped to pieces oh so we are completely trapped in here oh
00:24:47good god you have got a foolproof security system that you don't even know how to operate
00:24:55who's a bloody fool now hey hey get your hands off him you brute i'm fourth time black belt in jujitsu
00:25:03you lay one more finger on him and i will take you down do you understand gentlemen we have to calm
00:25:09down don't suppose you serve valium as well as champagne valium is that the cocktail never mind dear
00:25:17so someone knew that we were here tonight and trapped us under the threat of a ticking bomb
00:25:25this psycho must really hate one of us well it was gabriel who wanted us here he sent the invite
00:25:31i don't think i would bomb my own museum judith and trap myself inside okay can we just stop
00:25:36sniping at each other okay can't be anyone here can it i am not so sure
00:25:41what do you mean i do remember on my first debriefing they said once the shutters are activated
00:25:50they close very fast and there is a very little time to get out you mean that the murderer might still
00:25:58be in the building possibly
00:26:00patrick can you call judith i can't get hold of domo jeremy obviously i have jeans phone and i don't
00:26:16have judith's number there is no answer of the museum and the doors are locked something is not right
00:26:22you okay yeah i think so caron just asked me if i can get in touch with judith but there's no answer
00:26:36she's with jeremy and don't give them a call no he's already tried that and there's no reply from
00:26:40them either and no one's answering the door i don't like the sound of that nor do i
00:26:47diane can look after the bar for now electric lady vern outside yeah let's go what idiot takes the job as a
00:26:57curator of a massive museum and doesn't know how to work the security system i have only been here
00:27:03three weeks okay there was so much to do that it didn't seem like a priority okay well it's a priority
00:27:11now isn't it gabriel it's a priority now gabriel cd encore amuse if you're gonna say something
00:27:21say in a language we could all understand hey i beg your pardon for one moment i thought we were
00:27:29in france if you have something to say why don't you say it straight
00:27:36you clearly have something to hide monsieur bullying my partner shouting at your wife
00:27:45classic defense tactics how dare you suggest that i
00:27:51what's that what's that what listen
00:27:57hello hello can anyone hear me
00:28:21hello hello hello hello
00:28:36dom dom is that you oh thank god look we are trapped inside the museum uh the shutters are down the
00:28:42security guard's been murdered and there is a bomb ticking away what a bomb okay dom you need to say
00:28:48all that again but much slower there is a bomb someone has activated the security shutters they can
00:28:58only be deactivated by the fingerprint of the security guard but the the security guard has been murdered
00:29:07okay dom have you seen the bomb yes what does it look like
00:29:13hang on
00:29:14all right okay so it's like a big lump of orange uh block in here that it looks like semtex um there's a
00:29:28an old-fashioned phone on one side and in the middle is a digital clock counting down there's three wires a
00:29:35a blue one a red one and a yellow one
00:29:3850s
00:29:3950 minutes
00:29:45i would get help immediately i need you to keep this communication open
00:29:49okay we will get you all out
00:29:53dom dom you need to keep this channel open
00:29:56Andre, I can't hear you. Are you still there? Andre?
00:30:01Andre?
00:30:10Andre?
00:30:27What are you doing?
00:30:28Hang on a sec.
00:30:33He's got a bit of spare. He's got a bit of spare.
00:30:35Oh, bingo.
00:30:48Caron, can you hear me?
00:30:51Caron?
00:30:56Gloria, stop! Stop!
00:31:09Don't come in.
00:31:12I managed to speak to Caron. He's calling for help.
00:31:14Brilliant. How did you manage that?
00:31:16Well, for Suzanne's walkie-talkie.
00:31:17Oh, that's great. Well, we can use that, then.
00:31:19No, no, no. It's just died.
00:31:21Maybe it just needs any battery, or...?
00:31:22No, no, I tried that. It's no joy, sir.
00:31:24Oh, God.
00:31:26Well, at least we're getting some help from the professionals.
00:31:29Something you've needed for years, darling.
00:31:32Caron will help us, won't it, darling?
00:31:34Oh, absolutely, darling.
00:31:37Um...
00:31:38Jean.
00:31:40What? What's the matter?
00:31:42Um...
00:31:44I found this under the bomb.
00:31:47For me?
00:31:48I-I don't understand.
00:31:49Who would do something like this to you?
00:31:50I've no idea.
00:31:51I mean...
00:31:52Thinking about it, I've put a few people away over the years, but...
00:31:53This is beyond the pale.
00:31:54Look at the heart.
00:31:55Her fruit from above.
00:31:56Her face like the sun, her heart full of love.
00:31:58But fate is not kind.
00:31:59And her future is bleak.
00:32:00But fate is not kind.
00:32:01And her future is bleak.
00:32:02And her future is bleak.
00:32:03Two attempts to survive, one date do you seek.
00:32:05You're not really, I mean...
00:32:06I'm not really, I'm not really, I'm not really, I'm...
00:32:07look at the heart her fruit from above her face like the sun her heart full of love
00:32:24but fate is not kind and her future is bleak two attempts to survive one date do you seek
00:32:32oh come on gene think okay two attempts to survive one date do you seek so what do you reckon well
00:32:44it appears that this sicko wants me to find a piece of art in the museum that that matches the
00:32:51riddle two attempts to survive one date do you seek so i'm guessing that you put the date in the
00:32:59keypad to stop the stop the bomb oh wow somebody must really hate me to go to all this trouble
00:33:11it's just a child's riddle we should wait for help for grief but wife help doesn't get here on time
00:33:17someone is out to get me this is all my fault i've got to do something to help slay
00:33:24okay gene you've absolutely got to solve this riddle come on chaps let's separate and find a way out
00:33:32of here and gabriel you attempt to override this god-awful security system well i think we should
00:33:38wait for the police something you are very welcome to do on your own george i for one i'm going to help
00:33:44jean yeah yeah me too i'm in anything is worth a try i do tech support for the charity can i help
00:33:52excellent come on let's go to the wood be careful you too i think it's essential that we keep dividing
00:34:02in order to conquer gentlemen follow me
00:34:05okay look at the heart the heart well the heart could mean love oh no that could be any work of
00:34:29art okay okay think gene think well um it could be the sacred heart especially if it's qualified
00:34:37with the fruit well how so well um jesus in art is often referred to as fruit of the womb yeah let's
00:34:45go with that okay face like the sun now there's obviously jesus was the son of god and the sun in
00:34:51the sky is often used as a metaphor for jesus so um fate is not kind well fate wasn't kind to mary
00:34:58certainly one too kind to jesus either was it well exactly but her future is bleak her i think it's
00:35:04got to be about mary and jesus it's got to be right i think we're looking for a religious painting or
00:35:11sculpture well there'll be a fair few of those i'm sure yes but particularly the madonna and child
00:35:16there is about six main rooms okay let's split up take a room each and report back
00:35:22right right thank you me and don will take medieval renaissance judith you do modern art
00:35:29and oriel you do metal work and ellie you do jewelry and glass work and um yeah and remember
00:35:37the madonna and child okay let's go which way this way
00:35:42richard did you contact the bomb squad not great news i'm afraid the nearest active unit is lyon
00:35:53which is six hours by car they're trying to activate the plan to get here quicker but it's not looking
00:35:57good what about overriding the security system we have contacted the company but with it being christmas
00:36:02eve we have the same problem the nearest engineer is in marseille oh no there is no guarantee they
00:36:08will be here in time if there was another way in i think i could deactivate it what before i joined
00:36:14the gendarmerie i trained in the bomb squad at la police nationale if it is a rudimentary device
00:36:18i could deactivate it i think okay what about the tunnels underneath pardon the museum's tunnels were
00:36:25part of the bomb shelter system during world war ii i remember the tour guide telling us when i brought
00:36:29you on a visit okay i will go in i cannot put my best officer in danger richard i will go in you
00:36:35can advise me that is an order let's find a map
00:36:39on the count of three we all pull together ready ready one two three i haven't finished counting
00:36:50oh i've chucked them over my shoulder it's a little dramatic if we all work together we stand more
00:36:56chance if we do you just call me dramatic there's just an observation you like making observations
00:37:02don't you what's that supposed to mean like observing other people's wives i don't know what
00:37:09you're talking about do you think i was born yesterday i'm sorry the charity meetings with my wife
00:37:18the dinners come on ali i've been through her phone
00:37:23i know what's going on with you two
00:37:27now tell me i'm wrong i said tell me i'm wrong
00:37:32there you go just about says everything doesn't it
00:37:38george i uh orielle is my wife come on george you haven't loved each other for years even a stranger
00:37:48would know just our shtick what the couples thing the public act but when we get behind closed doors
00:37:57we are still husband and wife oh
00:38:03so you think i'm lying do you
00:38:06i don't know what yarn she's been spinning you
00:38:10but it's true and i'll tell you something else that's true i will do everything in my power
00:38:19to make sure that you never raise another penny for your stupid
00:38:25gentlemen please this is no time for a bloody showdown
00:38:29come on
00:38:30come on
00:38:42come on
00:38:47come on
00:38:52come on
00:38:57Judith?
00:39:13I didn't find anything.
00:39:16Literally.
00:39:17Didn't even find a decent painting.
00:39:19We said we had a chance with a necklace, but there was no reference to the sun.
00:39:22Well, we can't give up.
00:39:23We still have two other rooms.
00:39:25Well, you two can go on looking, but I'll be very honest with you.
00:39:28I need a little top-up of Dutch courage.
00:39:32What? In here?
00:39:34Can you not hear that bomb ticking?
00:39:38Yes. Yes, I can.
00:39:39But I'll be perfectly honest with you, Auriel.
00:39:42If I am to get blown to smithereens, I'd really rather like not to remember it.
00:39:49Let's keep looking.
00:39:51I'll take sculpture and you take ancient modern art.
00:39:53Okay.
00:39:55Thank God the library was still open.
00:40:07Right.
00:40:08This map dates from around 1943.
00:40:12It shows the tunnels that were dug out and used as bomb shelters during World War II.
00:40:17Oh, desolée.
00:40:20Vous voulez que je parle en français, Richard?
00:40:22I think it is the map she can't quite understand, not you.
00:40:25I have always been terrible with maps.
00:40:27It's a bit of an achilles heel for me.
00:40:29Je suis désolée.
00:40:30It's because you're so young, love.
00:40:32We forget we're the last generation that didn't have sat-nav.
00:40:34Hey, speak for yourself.
00:40:35I'm 20 years younger than you, which makes me a straddler.
00:40:38Double?
00:40:39I straddle pre- and post-technology.
00:40:41Doesn't matter what form a map takes.
00:40:42I'm a dab hand.
00:40:43Right, there's a labyrinth of tunnels under the museum.
00:40:46You can see the entrances all around here, but they can only be accessed from the inside.
00:40:52Hang on.
00:40:54This one looks like it's leading from the outside in.
00:40:56What do you mean?
00:40:57Look.
00:40:58It starts off as a small one, then joins up with the bigger ones.
00:41:01What's its proximity?
00:41:04Just underneath the main entrance.
00:41:07Right around here somewhere.
00:41:08Gloria, can you pull the van back a bit, love?
00:41:22OK.
00:41:27Lovely, that's it.
00:41:29There's your way in.
00:41:31You're not going to open it up like that, are you?
00:41:37You got a crowbar in the van?
00:41:38Yeah.
00:41:40And, uh, toolbox?
00:41:44There's a knack to this.
00:41:47It's a level.
00:41:51Right.
00:41:53Are you ready?
00:41:54You are full of handy tricks, Patrick.
00:42:08I'm not going to ask where you land them.
00:42:11OK, I'm going in.
00:42:12Richard, get me an earpiece.
00:42:13You'll need this as well.
00:42:14It's my head torch.
00:42:15Thank you, Gloria.
00:42:20Are you sure I can't go with you?
00:42:22Richard, I need you to take control here.
00:42:25You are now in charge.
00:42:27Major.
00:42:28Gloria, take this headset.
00:42:30I need you to stay on the map and on the radio.
00:42:32You will be my ears and eyes.
00:42:33When I reach the bomb, you will pass to Richard, OK?
00:42:35Will the signal be strong enough down there?
00:42:38This radio is analogue.
00:42:39It's like a walkie-talkie.
00:42:40It works over short distances because it doesn't need a signal to bounce up to the sky.
00:42:45OK.
00:42:47Be careful in there.
00:42:48I will.
00:43:01I'm Gloria.
00:43:02Can you hear me?
00:43:03Yeah, you OK?
00:43:04I'm fine.
00:43:05Which way?
00:43:05OK, you go in to your left first.
00:43:16Bingo.
00:43:17The shutters are connected to the museum's mainframe.
00:43:21Meaning you don't need Wi-Fi?
00:43:24Exactly.
00:43:25I may be able to override it if both systems are kept connected.
00:43:32Where's your main computer?
00:43:34It's in my office, next to the event room.
00:43:40What's your passcode?
00:43:42It's Yves1234.
00:43:45Yves, press your finger firmly on this pad.
00:43:50I may be able to change your fingerprint identity to yours.
00:43:53Gabriel, when a code pops up, press Enter straight away.
00:43:56Enter straight away.
00:43:56OK, I'm going to your office.
00:44:04Eh ben.
00:44:05Qui aurait cru qu'elle serait ton fermeur, Lara Croft?
00:44:07OK.
00:44:08Oh, hello.
00:44:21What are you doing here?
00:44:22What are you doing here?
00:44:22Oh, my God.
00:44:52We're going to get out of here, we're going to get out of here, don't worry.
00:44:55And how do you think you're going to get out of here?
00:44:59In any case...
00:45:01I wanted to tell you, it's not been a long time that we're going to meet, but...
00:45:06you've got to get out of my life.
00:45:08Oh really? It's too bad.
00:45:12Sorry Gabriel, it's just that I'm really scared.
00:45:15Pardon.
00:45:18The code will appear in an instant,
00:45:20and the other one must be deciphering it.
00:45:24Okay, but what's crazy?
00:45:30What came first, medieval or Renaissance?
00:45:32Medieval.
00:45:33Oh right.
00:45:34So medieval was the 5th to the 14th century
00:45:38and Renaissance was the 14th to the 17th?
00:45:40Correct.
00:45:42Yeah, no, it says it here on the card.
00:45:46This is beautiful.
00:45:48It's hand spun wool and silk.
00:45:51This is called a verdu tapestry,
00:45:54derised from the French word for green.
00:45:56Vel?
00:45:57Yeah.
00:45:58How do you do that?
00:45:59What?
00:46:00No, all that.
00:46:02It says it on the card.
00:46:04Touché.
00:46:05These two, look how I feel.
00:46:08How come none of them ever smiled?
00:46:10There was a theory that they didn't want to show their bad teeth.
00:46:13In fair dues.
00:46:14I think it was just really hard work to maintain a smile
00:46:17whilst you're having your portrait painted.
00:46:19I mean, sitting there for hours like that.
00:46:21It's not like taking a selfie, is it?
00:46:23That's true.
00:46:26Dom, look at that.
00:46:28Okay, right.
00:46:35Look at the heart.
00:46:36Her fruit from above.
00:46:38Her face like the sun.
00:46:39Her heart full of love.
00:46:41I mean, I wouldn't exactly say her face is sunny.
00:46:43Donatello, terracotta.
00:46:45He didn't look at the card.
00:46:47Oh.
00:46:47Well, he's one of my favourites.
00:46:49Mind you, there is a debate that it could have been Mabir, but...
00:46:53It says it's on loan from Florence.
00:46:55Well, it fits all the clues.
00:46:57Can I have your phone?
00:47:09Oh.
00:47:10We best get back to the others.
00:47:12Not much time left, is there?
00:47:15I love you, Jane White.
00:47:17Dom.
00:47:18We will get out of here.
00:47:20Yeah?
00:47:21Yeah, come on.
00:47:22One.
00:47:23Two.
00:47:24Three.
00:47:25All right, all right, all right.
00:47:33Let's...
00:47:34Just take a minute.
00:47:35Good idea.
00:47:37So, how did you find out about the affair?
00:47:50I wasn't sure at first, but I had my suspicions for months.
00:48:00What made you suspicious, if you don't mind?
00:48:02I don't mind.
00:48:03I don't mind.
00:48:04We run our businesses like clockwork, and then all of a sudden she becomes interested
00:48:08in charity.
00:48:09Now, I wouldn't mind, but we have an office set aside for charity or tax relief, as I'd
00:48:18like to call it.
00:48:19Absolutely.
00:48:20And the only charity she really did was just turn up, snip the ribbon.
00:48:24And...
00:48:25Until...
00:48:26She met him.
00:48:27Ah.
00:48:28Dr. Padipa.
00:48:29Mm-hmm.
00:48:30We met him, and then she became obsessed with going to his meetings for his prison art malarkey.
00:48:40She couldn't get enough of it.
00:48:42Oh, we should see the difference it makes.
00:48:44Blah, blah, blah.
00:48:45And then, there's all the obvious signs, never leaving her phone unattended.
00:48:53Always going in a different room to check her messages.
00:48:58You know, I've never loved another woman.
00:49:03I just thought...
00:49:06Maybe she didn't love me as much as she used to.
00:49:11That we'd always have...
00:49:14Respect.
00:49:16You're right, old chap.
00:49:19Once the respect has gone...
00:49:22Come on, George.
00:49:26We've got to find a way out of here.
00:49:28Come on.
00:49:29Where on earth is everybody?
00:49:35Ah, hello.
00:49:36Who have we here?
00:49:40What a zero chance of my reading that tiny writing.
00:49:45You do have a look of a female, I suppose.
00:49:48But is that a child?
00:49:50Oh, bloody hell.
00:49:51I forgot to pick up my glasses.
00:49:53I know.
00:49:54Oh, I see.
00:49:55Not a child, but a sheaf of wheat.
00:49:56Nearly.
00:49:57Come on, ladies and gentlemen.
00:49:58Come on, ladies and gentlemen, just sometimes.
00:49:59Come on!
00:50:00Okay.
00:50:01The tunnel on your left appears to lead to another exit.
00:50:02Oh I see. Not a child but a chif of wheat. Nearly.
00:50:11Come on, ladies and gentlemen. There's nothing to do here.
00:50:18Okay, the tunnel on your left appears to lead to another exit.
00:50:23But the tunnel ahead of you takes you to a door that leads you into the museum.
00:50:27Okay, give me a second.
00:50:32It's locked!
00:50:42The door's locked. Give me a hand, sir.
00:50:48Andre?
00:50:50Describe the lock to me as best you can.
00:50:54It is a rectangle with a large keyhole in the middle.
00:50:58Looks like a church door lock. And it is very rusted.
00:51:04Sounds like a rim lock. Not too tricky.
00:51:06So, use the screwdriver attachment on your multi-tool to turn the lock to your right.
00:51:16Okay, I'm ready.
00:51:20No.
00:51:24No.
00:51:28Well...
00:51:34No.
00:51:36I give him.
00:51:38What do you mean George knows?
00:51:40He just came straight out with you.
00:51:42Said he'd been looking through your phone.
00:51:44Looking through my phone? How?
00:51:46He never leaves my sight.
00:51:48We hardly see each other.
00:51:50We live separate lives.
00:51:52That's not what he said.
00:51:54What?
00:51:56He implied that the two of you are still very much in love.
00:52:00And that this whole dislike thing is just an act.
00:52:04Oh, Ali, that is rubbish.
00:52:06We don't even sleep in the same room.
00:52:08And the worst bit of it is...
00:52:10He said he's gonna make sure that I don't receive another penny for the charity.
00:52:16Oh.
00:52:18That's the worst thing, yeah?
00:52:20Well, it's nice to hear you've got your priorities straight.
00:52:24No, Oriel, you are my priority.
00:52:28But if you're still in love with him...
00:52:30Ali, please, it's rubbish.
00:52:32He's just bitter, believe me.
00:52:34I love you.
00:52:36Did you find anything?
00:52:38Oh, I've taken a picture of a few pieces, but I haven't really got a clue what I'm looking for.
00:52:43Yeah, I mean, the riddle is a little vague.
00:52:46Yeah, that's the understatement of the century.
00:52:48But the bomb threat is very clear.
00:52:51Yeah, yeah, we should find the others and regroup, yeah?
00:52:53That's where I was heading.
00:53:06Oh, no, they're all locked.
00:53:12Oh.
00:53:13Surely that idiot Gabrielle has a set of keys.
00:53:15I think we've established, George, that Gabrielle has literally no idea where they are.
00:53:20Oh, hello, you two.
00:53:22Oh, hello, darling.
00:53:23Any success?
00:53:25Oh, it's bloody useless.
00:53:27I can't find one single religious painting.
00:53:29I've tried my utmost, and that's all I can do.
00:53:33It's all so hopeless.
00:53:35How are you getting on?
00:53:36We've fired all the doors.
00:53:37And windows.
00:53:38Nothing.
00:53:39How utterly infuriating.
00:53:41Maybe we should get back to the others.
00:53:43Good idea, George.
00:53:44Come on.
00:53:46We will get out of here, won't we, darling?
00:53:49Oh, come here.
00:53:52Of course we will, my darling.
00:53:55Won't we all the other?
00:53:58Very, very gently.
00:54:03Nothing seems to be biting.
00:54:05Take your time.
00:54:07That is something we do not have.
00:54:11I think I can kick the door in.
00:54:13No, no, no, no.
00:54:14Don't do that.
00:54:15We don't want any unnecessary vibrations.
00:54:17Andre?
00:54:20Andre?
00:54:24Andre?
00:54:25Andre?
00:54:26Andre?
00:54:27Andre?
00:54:28Andre?
00:54:29Andre?
00:54:30Andre?
00:54:31Andre?
00:54:32Andre?
00:54:33Andre?
00:54:34Andre?
00:54:35Andre?
00:54:36Andre?
00:54:37Andre?
00:54:38Andre?
00:54:39Andre?
00:54:40Andre?
00:54:41Andre?
00:54:42Andre?
00:54:43Andre?
00:54:44Andre?
00:54:45Andre?
00:54:46Andre?
00:54:47Andre?
00:54:48Andre?
00:54:49Andre?
00:54:50Andre?
00:54:51Andre?
00:54:52Andre?
00:54:53Andre?
00:54:54Earth-bound human and child.
00:54:57Sorry.
00:54:57No, it's okay.
00:54:59Ellie, anything?
00:55:00I couldn't find the card for this,
00:55:01but it looks like a modern art version of Mary and Jesus.
00:55:05Well, is it?
00:55:07No.
00:55:08I'm afraid not.
00:55:10It looks like modern art,
00:55:12but I think it's a copy of the famous Korotrophos,
00:55:14which is one of the earliest Neolithic finds in Greece.
00:55:186000 B.C.
00:55:20Oh.
00:55:21Not with George and Jerry, then, Ellie?
00:55:24No, the, um, we couldn't...
00:55:26The doors.
00:55:29Hmm.
00:55:30I've got something to tell you.
00:55:32Oh, Dom.
00:55:33Oh, how did it go?
00:55:34We're really trapped.
00:55:36Tried everything.
00:55:38Every window, every door,
00:55:39is either deadlocked or barred.
00:55:41Judith, did you find anything to match the poem?
00:55:44I found a painting that might be a mother and child,
00:55:46but I'm not entirely sure it's the right way up.
00:55:50No.
00:55:53Don, can you get up that picture of the Donatello, please?
00:55:57No.
00:56:02Okay.
00:56:06Two attempts to survive, one date do we seek.
00:56:10Do you think it's time to put our best option in?
00:56:13Don't really have a choice, do we?
00:56:15Or shouldn't we wait to see if Sangita and the others have had some success?
00:56:18Because I don't think there's any harm in trying.
00:56:20I don't think there's any harm in trying.
00:56:20I don't know.
00:56:50Hold on, Robbie. Can you hit me?
00:56:56Yes, Patrick.
00:56:58We lost you for a few moments. You had us worried.
00:57:01So, how are you doing?
00:57:04I'm a little trapped.
00:57:06Part of the roof has collapsed and formed a barrier between me and where I came in.
00:57:11Can you dig your way out?
00:57:12At the moment, that does not seem possible.
00:57:15Okay, so we must keep trying the lock.
00:57:20The lock is so rusted, I just can't seem to get a grip.
00:57:36There's a blockage in the tunnel and he can't get out.
00:57:39How's he doing with the lock?
00:57:40He says he can't get a grip because it's all rusted up.
00:57:43Rusted?
00:57:43Give me the headset.
00:57:46Andre, this may seem like a stupid question, but what's your gun holster made of?
00:57:52Mainly leather, I think, but with some rubber on the inside.
00:57:56Great. Take your knife and slice a thin piece of rubber off.
00:57:59Okay, I've done that.
00:58:07Put it in the lock and rub as hard as you can.
00:58:11Okay.
00:58:16Is it working?
00:58:17Yes. Yes, it's working.
00:58:19How did you know how to do that?
00:58:20Oh, we can each trick. Ross hates rubber.
00:58:22I'm passing you back to Patrick.
00:58:23Right, I'm going to try the lock again.
00:58:26Okay, Andre, remember, screw driver up and to the right very gently.
00:58:36What's happening, Andre?
00:58:37Andre?
00:58:38It's not opening, Patrick!
00:58:40I want you to describe it for me again as best you can with every detail.
00:58:52Every detail you can.
00:58:57It's brass, I think, with a fancy design on it, like a fleur-de-lis, sort of.
00:59:04Oh, Patrick, you idiot, it's an old French lock.
00:59:07Look, I'm going to try something different, Andre.
00:59:11Turn it to the left very, very gently.
00:59:16Then turn it one more time.
00:59:25It's unlocked!
00:59:26Yes! Yes!
00:59:29Okay, Andre.
00:59:30Once you're through the door, you're going to your right.
00:59:32I can't believe I got it so wrong.
00:59:38But you can't blame yourself, Jane.
00:59:39Well, it's false, is it?
00:59:41I sent you all on a wild goose chase.
00:59:43It did something, though.
00:59:44Yeah, and I got it wrong.
00:59:45I don't want to die like this, Jeremy!
00:59:48Oh, I know, my darling, I know!
00:59:53Why didn't you tell me it'll all be all right?
00:59:57What?
00:59:57You always say it'll all be all right, darling, and all it is.
01:00:02Well...
01:00:04How much time have I got left?
01:00:19How much time has he got left?
01:00:21Only 17 minutes, I'm afraid.
01:00:2417 minutes, Andre.
01:00:25Keep going straight on.
01:00:27And every day, you're doing great.
01:00:44Bon, je l'ai marre.
01:00:45Mais là, surtout que tu bouges là, parce que là, tu vas ruiner toutes nos chances.
01:00:48Donc, tranquille.
01:00:49Non, non, mais c'est rien!
01:00:52Bon, je vais la trouver celle-là et voir ce qu'elle croit qu'elle est en train de faire.
01:00:55Bon, je vais la trouver.
01:01:08Do you want to know what I bought you for Christmas?
01:01:12You know I prefer a surprise.
01:01:15But you might not get to see it.
01:01:17I want to keep it a surprise.
01:01:25Thank you, Jeremy.
01:01:29What for?
01:01:31Our life together.
01:01:33I've had such a lovely time.
01:01:35I thought, after losing the twins, we wouldn't last.
01:01:41Lots of couples split over less, you know.
01:01:44I know, my darling.
01:01:46I know.
01:01:49Maybe, if there is something after this life, we can meet them again.
01:01:53That's a nice thought, isn't it?
01:01:58That's a wonderful thought, darling.
01:02:02Wonderful.
01:02:05Anyway, I'm glad we're here together.
01:02:08I've always dreaded the thought of going first and leaving you behind.
01:02:13Me too.
01:02:13Sangita, she's dead.
01:02:21No.
01:02:21What?
01:02:22Are you sure?
01:02:23Positive.
01:02:24How?
01:02:24She has been shot.
01:02:26Shot?
01:02:27She was trying to change the fingerprint control and needed access to the main computer in my office.
01:02:32So she left us and went to the office.
01:02:35Waited for ages.
01:02:36And you just found her there?
01:02:37Yes.
01:02:38I need to see her.
01:02:39No, no, no.
01:02:39I'm not sure you should.
01:02:40Look, I'm a doctor.
01:02:41Maybe she's still alive.
01:02:43Take me to her.
01:02:44Ali, Ali, listen.
01:02:45Look at me.
01:02:46I just need to see my wife.
01:02:50Show me to your office.
01:02:52Okay.
01:02:55Everyone needs to stay here.
01:02:57No one must leave.
01:02:58Don't come with me.
01:02:59Yeah.
01:03:00Oh, my love.
01:03:13Ali, you can't touch her.
01:03:15I am a doctor and her husband.
01:03:17I know, but this is a crime scene.
01:03:20What?
01:03:21There's still a very good chance that we could get out of here.
01:03:24And if we do, we want every shred of evidence intact, don't we?
01:03:45Ali is having an affair with Ariel.
01:03:48What?
01:03:49I saw them in the corridor together.
01:03:51Said him and George almost came to blows at one point.
01:03:54Well, that gives him a motive.
01:03:56To get rid of his wife so he can marry a billionaire.
01:03:59Exactly.
01:04:01Come on.
01:04:02If it is him, we can't leave him alone with Gabriel for too long.
01:04:07All the banking codes, they are gone.
01:04:10Are you sure they were in there earlier?
01:04:12Yes.
01:04:12When I came to get the ormelo from the safe, I clearly remember seeing the file.
01:04:17And who else knew the combinations of the safe?
01:04:20Only me.
01:04:21And Eve, he helped me collect the ormelo earlier.
01:04:25Okay.
01:04:26Right, yeah.
01:04:28We all have to stay in the same place.
01:04:30It's what Karen would make us do.
01:04:31Yeah, yeah, you're right.
01:04:32Okay, right.
01:04:33We have to stick together.
01:04:34There's a murderer amongst us.
01:04:40Yeah.
01:04:40I've got to wait for it.
01:04:42Gloria, I must be near.
01:04:53I can hear voices.
01:04:54You're right underneath the events room.
01:04:56Carry on for about another ten yards,
01:04:58and you'll see a ladder on your right.
01:05:00That'll take you directly up to the museum.
01:05:02Are you okay, love?
01:05:07Yes.
01:05:08I'm fine.
01:05:11Yards to meters.
01:05:12Multiply the length given in yards by 0.9144.
01:05:18I found the ladder!
01:05:20He's found the ladder!
01:05:21I'm heading up now, Gloria!
01:05:28Well done, Andre.
01:05:29You're nearly there!
01:05:30The security engineer has now landed at the airport,
01:05:32and she's on her way now in a pretty scar.
01:05:34Brilliant!
01:05:35Use!
01:05:44Ah!
01:05:44Stop!
01:05:46Andre!
01:05:47Andre, are you okay?
01:05:49Andre, can you hear me?
01:05:51Maybe we should start praying to them paintings we found.
01:06:01It looks like that's our only choice.
01:06:03You'd like to have a choice, don't you?
01:06:05What's that meant to mean?
01:06:06You know exactly what that means.
01:06:09If you've got something to say, George,
01:06:10why don't you just come out with it?
01:06:12If I've got something to say,
01:06:14I will decide when I say it.
01:06:17Always loving the control, eh, George?
01:06:19Even when we're about to die,
01:06:21you still have to be in control.
01:06:23You know the best thing about this situation?
01:06:27We're both going to die together.
01:06:30Which means you won't inherit a thing.
01:06:37Wow.
01:06:39Just when I thought you couldn't go lower.
01:06:41What are you thinking?
01:06:57I'm trying to work out the murder in real time.
01:07:00Get Jeremy and Judith over to help, will you?
01:07:02Hey, you two.
01:07:04Jean needs help.
01:07:05I'm not sure I'm much help to anyone, Dominic.
01:07:08Judith's not feeling great.
01:07:09We're all not feeling great, Jeremy.
01:07:13Sorry.
01:07:14Sorry, I didn't mean to snap.
01:07:16No, actually, I did.
01:07:18Jean is over there trying so hard to help us,
01:07:21to help all of us.
01:07:22The very least you two can do is to help her.
01:07:24Okay?
01:07:25Oh, sorry, old chap.
01:07:27Yes, of course.
01:07:27Oh, great.
01:07:30Okay.
01:07:31So, whoever murdered Sangeeta and Suzanne
01:07:34has something to do with the bomb
01:07:36and this whole nightmare evening.
01:07:37It makes sense for everything to be connected.
01:07:39Yeah.
01:07:40Who would kill Sangeeta?
01:07:41Who would murder someone like that?
01:07:43Well, Ali's having an affair with Auriel.
01:07:46Oh, yeah, don't tell me.
01:07:47What?
01:07:48Yeah, George just poured his heart out of me.
01:07:50The poor chap is broken.
01:07:51Yeah, and I saw Ali and Auriel in the corridor earlier
01:07:54talking about it.
01:07:54Do you think he bumped off his wife
01:07:58to run off with a billionaireess?
01:08:00That's what I said.
01:08:01Or maybe George killed her to frame Ali.
01:08:04You're certainly on the verge of it.
01:08:05Or maybe Auriel killed her in a jealous rage
01:08:09because she couldn't wait a moment longer for Ali.
01:08:12In the office,
01:08:13Gabriel said all the codes to the museum's bank
01:08:16had been stolen from the safe.
01:08:18Yeah, and he was certain that they were there earlier.
01:08:21So could that have something to do with it?
01:08:23Oh, it's also confusing.
01:08:24My head hurts.
01:08:27Tom, come with me.
01:08:48There's only one person that used the map.
01:08:51Sweet.
01:08:52Of course.
01:09:08It's so small.
01:09:09It's a nose ring.
01:09:14Oh!
01:09:15It was Ali.
01:09:19It was all Ali.
01:09:20What?
01:09:21Ali is the murderer.
01:09:23No, no, no, no.
01:09:25But how did she do it?
01:09:26She couldn't be in two places at once.
01:09:29I mean,
01:09:29she was definitely here when we arrived.
01:09:33So,
01:09:33how could she be
01:09:34murdering the security guard at the same time?
01:09:37unless...
01:09:37unless...
01:09:41he's going to...
01:09:43Tom.
01:09:49Tom,
01:09:53give you some minutes.
01:09:54Yeah.
01:09:54she's still alive
01:10:08let's get her in here
01:10:24what the hell who on earth is this jean for god's sake explain what on earth is going on
01:10:31i'm intrigued
01:10:35we still have a few minutes before we escape
01:10:40how did you know if what are you doing
01:10:45go on madam white it didn't come to me straight away
01:10:51then i worked out that it was you who killed sangeeta
01:10:55and stole the bank codes you mistakenly
01:10:59left your map on the floor at the side of the safe
01:11:03i suppose when sangeeta came in to override the fingerprint control
01:11:10well she caught you red-handed
01:11:11and and then i worked it back i mean how did you get in the safe in the first
01:11:20place only gabrielle and eve knew the combination so it made sense
01:11:27one of them was your accomplice
01:11:30and then i remembered earlier in the evening
01:11:40sangeeta recognized you eve from a prison outreach event
01:11:46have we met somewhere before
01:11:47very much doubted i don't do prisons on charity
01:11:51i assume you've not been out of prison for very long
01:11:55for sangeeta to recognize you from something so recent
01:11:58eve is this true
01:12:00but you ellie yeah i couldn't work out how you could be in two places at once
01:12:09serving champagne here and well murdering the security guard down there
01:12:15but you weren't were you
01:12:18this is what i think
01:12:21you went to the museum
01:12:24and you forced a security guard to activate the shutters
01:12:28once you'd started the bomb
01:12:40you raced up here
01:12:43changed your outfit
01:12:45and you placed the bomb
01:12:48in the cabinet
01:12:49just outside this room
01:12:52then you accosted that poor waitress
01:13:03and you bundled her into the cupboard
01:13:07it's brilliant really
01:13:09all eve had to do was
01:13:11hire an agency waitress
01:13:13who looked a little bit like you
01:13:15no one had ever met either of you before
01:13:18so no one would realize that
01:13:20you were an entirely different person
01:13:22but how
01:13:24did you get the bomb
01:13:26inside the ormaloo
01:13:27well
01:13:29you
01:13:31throwing champagne over george
01:13:33was no accident was it
01:13:35the minute that you heard
01:13:37gabrielle and eve in the corridor
01:13:38that was your cue
01:13:40to cause a distraction
01:13:42giving eve
01:13:50just enough time
01:13:52to plant the note for me
01:13:53and to put the bomb
01:13:54in the box
01:13:56very good madame wait
01:14:08i sort of understand the murders
01:14:10to steal the bank codes
01:14:12but why the bomb
01:14:14why the poem
01:14:15well
01:14:18that is what you will all take to your graves
01:14:21without knowing
01:14:22well there's no way out
01:14:24not for you anyway
01:14:26the security engineer is almost here
01:14:45we've only got two minutes left
01:14:47two of the most important people in my life
01:15:03were in that building
01:15:03heads down please
01:15:05right
01:15:07i'm gonna smash this door down
01:15:08what's the point
01:15:09there's enough semtex in there
01:15:11to blow up the whole bloody building
01:15:12but they managed to escape didn't they
01:15:14oh
01:15:14god i didn't think i was gonna die
01:15:16from a bomb in a bloody jewellery box
01:15:19maybe the actual box is a clue
01:15:22it's an actual marie antoinette box
01:15:25this is a picture of marie antoinette
01:15:32dressed as a vestal virgin
01:15:33by charles le clark in 1777
01:15:36in relation to the poem
01:15:38fruit from above
01:15:40well marie antoinette's father
01:15:42was a pope
01:15:43faced like their son
01:15:44well um
01:15:45she was married to the great great grandson
01:15:47of the sun king
01:15:48and fate was not kind
01:15:49well it wasn't kind to her
01:15:51she had her head cut off
01:15:52i said we'd be alright
01:16:21oh
01:16:23judith
01:16:24judith you're a genius
01:16:25the box
01:16:26marie antoinette
01:16:27of course it was to do with her
01:16:28oh
01:16:29getting too old for this
01:16:30clever clever darling
01:16:32i'm so pleased i didn't tell you
01:16:33what i brought you for christmas
01:16:35what happened
01:16:41nothing
01:16:44hi
01:16:45listen
01:16:47i don't want to break up the party but we are still locked in
01:16:55i know we don't have the threat of the bomb anymore
01:16:57but we are still locked in
01:16:59come on let's get this door open
01:17:00right
01:17:01come on
01:17:02right okay
01:17:03count them to break
01:17:04count three
01:17:05one
01:17:06two
01:17:07three
01:17:08one
01:17:09i must have loosened it earlier
01:17:11loosened it
01:17:12it's a real dreamboat there hey my darling wife
01:17:34come on come on come on come on the shutters are opening come on come on come on
01:17:42come on you little beauty
01:17:44but
01:17:51here
01:17:54let's go
01:17:58whatever
01:18:00here
01:18:02this way
01:18:04this way please
01:18:06let me
01:18:09Oh, Dominic Merry Christmas. Well, yeah, I wouldn't exactly say that, but Merry Christmas.
01:18:28Where's Karen? What happened?
01:18:32He came in to get you. How? The tunnels underneath the museum. The what?
01:18:38There's a load of bomb shelters. It was my idea, but...
01:18:42His radio's gone silent.
01:18:46We think he has fallen.
01:18:49They had to wait and see if the bomb exploded before they went to check on him.
01:18:54Just preparing to go and find him now.
01:18:58Allez!
01:19:00Avancez!
01:19:03Peu, vite!
01:19:04Yes, c'est bon.
01:19:08I assume these two have something to do with all this?
01:19:11I thought I killed you.
01:19:14Not quite.
01:19:15Oh, André. It's so good to see you.
01:19:20Good to see you, mate.
01:19:23Jean?
01:19:25Richard.
01:19:28Jean, can you fill me in on what happened? Then I will interview those two in the morning.
01:19:32What? Now? Are you sure you're up to it?
01:19:36You know, I like to keep busy at Christmas.
01:19:38Yeah.
01:19:39I do.
01:19:44Oh, I have to stay.
01:19:46Oh, wait. I'll do this.
01:20:01Oh, wait. I'll do this.
01:20:03Karen, what have you done to your poor face?
01:20:19Oh, my God.
01:20:20Oh, my God.
01:20:25Oh, my God.
01:20:27I'm not sure I like brunch.
01:20:36What?
01:20:37Well, the word, the blending of two words to make another, like, um, motel.
01:20:42Portmanteau.
01:20:43Oh, bless you.
01:20:44No, portmanteau is the blending of two words to make another one.
01:20:49Although, portmanteau also means a leather case with two sections, but...
01:20:53Where would we be without your brain, eh?
01:20:55I think we're daft.
01:20:56No, I mean it.
01:20:57You saved a lot of lives yesterday.
01:20:59Oh, well, I just did what I had to do.
01:21:01Yeah, and what only you can.
01:21:04Well, thank you.
01:21:05Now, can I tempt you to a croissage?
01:21:09What?
01:21:09It's a croissant with a sausage inside and portmanteau in.
01:21:14Fresh coffee?
01:21:16Oh, thank you, Patrick.
01:21:19Why don't I do it, darling?
01:21:21I'm terribly hungry this morning.
01:21:23I think it's all the trauma.
01:21:24Of course, darling.
01:21:25It can do that.
01:21:27I remember when me gran was ill.
01:21:29All anybody could do was make sandwiches like it.
01:21:31Make everything better.
01:21:32Feeding the soul?
01:21:33Not with white slice and beef paste.
01:21:35We ended up feeding the ducks.
01:21:37There you are.
01:21:38Plenty more where that came from.
01:21:39Oh, lovely.
01:21:40Will you sit down?
01:21:41We've got loads here.
01:21:42We need to save a little bit of room for 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
01:21:51cake before breakfast.
01:21:52How old is he?
01:21:55Five?
01:21:57Fifteen, actually.
01:21:58I was a little bit worse for wear, but I didn't know that.
01:22:01Then I just needed a sugar rush.
01:22:02I have never really believed in hangovers.
01:22:05I think it's a case of mind over matter.
01:22:08I think that's why I've never heard one.
01:22:09Oh, excuse me.
01:22:15Ah, Carol is ready for me to go over.
01:22:18Oh, want me to come with you?
01:22:19No, it's all right.
01:22:20It won't be long.
01:22:21I've just got to bob over to the station and Andre needs my help.
01:22:25Take some food with you.
01:22:27Oh, no, I'm really full.
01:22:28For Andre and Ruchel.
01:22:30Oh, yeah, great idea.
01:22:32Tell them that they're both invited to lunch.
01:22:34Four o'clock start.
01:22:35Will do.
01:22:36Talking of starts, do you think it's too early for a little champagne?
01:22:40Wonderful idea, darling.
01:22:42Copy bloody diem after yesterday, that's what I say.
01:22:46I'll get some glasses.
01:22:50Hey.
01:22:52What?
01:22:54Merry Christmas.
01:22:57Merry Christmas?
01:22:59What's the matter?
01:23:01Well, after yesterday, I don't want to let you have me say.
01:23:06Don't be daft, it won't be gone long.
01:23:08Yeah, I know, but...
01:23:10I'll tell you what, why don't you get on the morning champers and you won't even know I'm missing?
01:23:14Okay.
01:23:16Come here.
01:23:16Happy Christmas.
01:23:32Well, it would be if we could get these two to speak.
01:23:35Oh, no joy.
01:23:36Nothing from him.
01:23:37He's just playing games.
01:23:39But the girl, I think, is starting to break.
01:23:41That's why I asked you here.
01:23:42She's upstairs.
01:23:43Oh, from Patrick.
01:23:46Merci.
01:23:53So, what happened?
01:23:56No comment.
01:23:56Why did he plant a bomb?
01:24:00No comment.
01:24:01And why the poem?
01:24:03No comment.
01:24:05Look, I can understand you killing who you needed to, to steal the bank codes.
01:24:10But why the bomb?
01:24:12Why the poem?
01:24:13Well, I don't know you and you don't know me.
01:24:15Well, the poem was obviously not my idea.
01:24:17So, there was someone else involved?
01:24:22Of course.
01:24:24I know nothing about bombs.
01:24:26Less about poems.
01:24:29And I had no idea who you were until yesterday.
01:24:32So, what happened?
01:24:37No comment.
01:24:38If you are trying to protect someone, I would ask you to consider how important they are
01:24:44to you.
01:24:45It will affect your sentence considerably.
01:24:55The last time I was in prison, I shared a cell with a woman who worked as a consultant
01:25:00at the museum.
01:25:01She knew everything about it.
01:25:04Every nook and cranny.
01:25:08She said if I kept in touch once I got out, she would be able to help me get inside, override
01:25:15the security system, steal the bank codes, and get out scot-free.
01:25:21Go on.
01:25:23So, I kept on visiting her.
01:25:25And, sure enough, we came up with a plan.
01:25:27I got my friend, Eve, involved, flirting with that idiot of a curator, Gabrielle, to get
01:25:35someone on the inside.
01:25:39Still, why me?
01:25:41Why the bomb?
01:25:43It was very strange.
01:25:45The last time I went to see her, she had found out through her contacts that you, Mrs.
01:25:52Jean White, would visit the museum on Christmas Eve.
01:25:56And?
01:25:58She was wild, cold with rage.
01:26:02God, she really hated you.
01:26:05So, instead of a simple robbery as planned, I was to plant a bomb and a letter to you.
01:26:15She said I would be safe, that there was a way out under the museum.
01:26:20She said it was a game she liked to play with you.
01:26:27It all seemed a bit psychotic to me.
01:26:30But then again, so did she.
01:26:34And I had nothing to lose.
01:26:36So I did what she said.
01:26:40What was her name?
01:26:43Barbara.
01:26:44Barbara.
01:26:44Barbara.
01:26:44Barbara.
01:26:50Barbara.
01:26:51What fun is this white?
01:27:21Till next time.
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