- 3 hours 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?
00:03:23Oh, oh, oh, oh.
00:03:26Non, mais...
00:03:27Mais...
00:03:28T'es où, là?
00:03:29Ils sont déjà tous arrivés.
00:03:30Oui, ben, je me encoiffais.
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 entre eux.
00:03:37Ma rencontre avec toi et puis ce job de rêve, c'est merveilleux.
00:03:42Mais moi aussi.
00:03:43Bon, et nous, on a toute la vie devant nous, mais là, il faut vraiment se mettre au travail, hein?
00:03:47Gabriel, you're the new conservator of this museum.
00:03:50Can you allow the quarter of the Polynesian?
00:03:52No, not at all.
00:03:54My only mission is to make this international museum.
00:03:58We have the Alphonse who are going to invest 10 million euros.
00:04:01That would change everything.
00:04:04It's impossible that it works.
00:04:17We're dicks, haven't we?
00:04:19Ah, Gabriel, here he is, our curator himself.
00:04:24Jeremy, Judith, good to see you both.
00:04:26You too, Gabriel.
00:04:28And this is Jean White.
00:04:31Delivered as promised.
00:04:33Delivered? Oh, hello.
00:04:35It's a pleasure to meet you, Mrs White.
00:04:37Your expertise precedes you. Thank you so much for being here.
00:04:40All right, it's a pleasure. This is my partner.
00:04:42Your fiancé.
00:04:43Oh, yes, fiancé, Dom.
00:04:45Yeah, it's quite a recent thing.
00:04:47Congratulations to both of you.
00:04:49And this is my partner, Eve.
00:04:52Oh, hi.
00:04:53And your field of expertise is, Mrs White?
00:04:57I'm an antiques dealer.
00:04:59How quaint.
00:05:01Shall we grab a horses do friendly into it?
00:05:04Yes.
00:05:07A bottle of champagne very fresh, please.
00:05:10Thank you very much.
00:05:11Pardon, Judith, champagne on the way.
00:05:13Oh, you are a darling, Gabriel.
00:05:15I think you're going to fit in very well round here.
00:05:18Yes.
00:05:19And by the way you threw that last glass down your neck,
00:05:22we wouldn't want you going thirsty, would we?
00:05:25Excuse me.
00:05:26I'm just going to run through my speech.
00:05:28Oh, Jean, this is Dr Ali Pardeep.
00:05:30We were telling you about his charity.
00:05:32Oh, Le Change Le Vie, is it?
00:05:35Oh, it sounds like you do some great work.
00:05:37Oh, he does.
00:05:39Oh, hi.
00:05:40I'm Auriel.
00:05:41Oh, hello.
00:05:43It's a vocation that absolutely consumes me, I'm afraid.
00:05:47As my wife could confirm.
00:05:49Lovely to finally meet you.
00:05:51So, how did you find this vocation?
00:05:53Well, I'd been working in prisons for a few years as a visiting doctor
00:05:58and I saw so much artistic talent just hidden away in the cells
00:06:03that I felt compelled to, er, liberate it.
00:06:06Mm-hm.
00:06:07So I started an art club for the prisoners and, well,
00:06:10the charity just grew from there.
00:06:12How interesting.
00:06:14You let criminals play it as 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.
00:06:32And your husband is a very inspiring man.
00:06:35Oh, he is indeed.
00:06:38Excuse 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.
00:06:51Oh, that's making.
00:06:53Sorry.
00:06:55Sorry.
00:06:57Ah, merci, s'il vous plaît.
00:06:58Au revoir, monsieur.
00:06:59Merci.
00:07:00Mm-hm.
00:07:01Good job, eh.
00:07:02Quite lucky.
00:07:06Thank you, er, everyone for being here tonight.
00:07:10For tonight is a very special night for the museum.
00:07:14Mr. and Mrs. Alphonse are very generously about to invest 10 million euros,
00:07:2110 million euros into our acquisition account.
00:07:24It will keep the museum afloat for many years.
00:07:27Just a minute, Gabriel.
00:07:29Um, remember what we discussed a couple of weeks ago when you first took the job.
00:07:34If you have what you say you have, and it's the real deal, we 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.
00:07:48But 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.
00:08:03Madam White, this is where we could use your help.
00:08:09Oh, right.
00:08:10We apologize for not warning you beforehand, but everything had to be completely top secret.
00:08:16Oh, I'm intrigued.
00:08:17Um, we have something very rare, and we need you to verify it.
00:08:24Uh, Jeremy and, uh, Judy told me you are second to none in your field, so please, will you help?
00:08:31Well, I'm here now, so, yeah, of course.
00:08:36If you will, uh, excuse me for one moment, ladies and gentlemen.
00:08:41We will go and fetch our treasure.
00:08:46If.
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...
00:08:58Well, 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.
00:09:07Well, let's put it this way.
00:09:10This isn't my first rodeo.
00:09:12Oh, thank you, darling.
00:09:15What's your name, dear?
00:09:17Amy.
00:09:18Big cash tip, Ellie.
00:09:20If you keep our shampers topped up, if you know what I mean.
00:09:24I'll do my best, madame.
00:09:25But I've never worked here before, so I don't know how much we have in stock.
00:09:28Good girl.
00:09:29Oh, my God.
00:09:30Oh, my God.
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 qui m'envoie un nouveau code chaque jour.
00:09:44C'est depuis que je suis revenu, j'ai eu tellement le truc à gérer que c'est un peu galère.
00:09:48Mais 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, parce 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...
00:10:034...
00:10:044...
00:10:054...
00:10:060, 9, 5, 7...
00:10:09C'est bon.
00:10:15Alors...
00:10:269...
00:10:30Eh bien, voilà ma petite merveille.
00:10:43Waouh.
00:10:44Non, par contre, ça, faut que tu le détruises immédiatement.
00:10:47Non, non, vraiment, tu...
00:10:49C'est bon.
00:10:53Euh...
00:10:55Tiens, prends la moitié, on y va.
00:10:56Ah...
00:10:57Tiens, prends la moitié, on y va.
00:10:58Ah...
00:10:59Ah...
00:11:00Tiens, prends la moitié, on y va.
00:11:01Ah...
00:11:02Tiens, prends la moitié, on y va.
00:11:03Ah...
00:11:04Non, vraiment, fais très attention, hein.
00:11:05Non, mais...
00:11:06Attends, t'as l'avenir du musée entre les mains, là, non ?
00:11:08T'as l'avenir du musée entre les mains, là, donc...
00:11:10T'as l'avenir du musée entre les mains, là, non ?
00:11:24Non, donc...
00:11:25Gabriel, laisse-moi !
00:11:27Tu veux que j'enne pas tomber ?
00:11:28George, George, George, so sorry, so sorry, what happened?
00:11:38I'll tell you what happened.
00:11:39This poor excuse of a waitress of yours has ruined my bespoke shirt.
00:11:43Are you stupid?
00:11:44No, I...
00:11:45Don't speak to her like that, George.
00:11:49These things happen.
00:11:51We can get it cleaned.
00:11:52What's your name?
00:11:54Ellie.
00:11:54I'm so sorry.
00:11:56I'm pretty new at this.
00:11:57I'm actually a student.
00:11:58Well, I would like to apologise for the neolithic behaviour of my husband, Ellie.
00:12:05George, we are going to pay for the cleaning, of course, but I can't clean.
00:12:09No, just leave it.
00:12:12I can do it.
00:12:12You can do it.
00:12:13Okay, perfect.
00:12:14So where's this damn box of yours?
00:12:15Is that what I think it is?
00:12:28Is that what I think it is?
00:12:28Go on.
00:12:44What is it?
00:12:44Oh, this is a French Ormolu gilt jewellery case owned by, I think, Marie Antoinette herself.
00:12:54Am I right?
00:12:54Yes, exactly.
00:12:56Oh, 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.
00:13:06So how could it be here?
00:13:07Um, I have been totally obsessed with this box, so I tracked it down over the years and persuaded them to sell.
00:13:19Wow, well, Gabrielle is right.
00:13:23I mean, if you can get stuff like this, well, this is like such a fantastic draw for the museum.
00:13:30Game changer, really.
00:13:32Well, so far, so good.
00:13:34Okay.
00:13:38What?
00:13:40My God.
00:13:42Jean?
00:13:43Well, it looks like a, like a bomb.
00:13:47Oh, my God.
00:13:48Don't.
00:13:48It doesn't just look like a bomb.
00:13:53It's a marzipan.
00:13:55Marzipan?
00:13:56I was in the army for years.
00:13:58I've recognized that smell anywhere.
00:14:00What is it?
00:14:00It's Semtex.
00:14:02Semtex?
00:14:02What can that do?
00:14:05Put it this way, there's enough in there to blow this whole museum sky high.
00:14:14Come on.
00:14:15They won't move.
00:14:28They won't move.
00:14:37Well, what if we all lift together?
00:14:39They're locked.
00:14:41Okay, okay.
00:14:42Well, why don't we try the other exits?
00:14:45No, no.
00:14:46They will all be locked too.
00:14:47And all the windows are burned.
00:14:50Oh, my God.
00:14:51What the hell are we going to do?
00:14:52Stop with the hysterics, George.
00:14:54In case you haven't heard, there is a Semtex bomb in that room.
00:14:58Yes, we all know that.
00:15:03Gabrielle?
00:15:04Yes?
00:15:05How do we open the shutters?
00:15:07As far as I know, the security guard has fingerprint recognition.
00:15:11She's the only one who can deactivate the code.
00:15:14Where is the guard?
00:15:15In the security booth.
00:15:17Come on, come on, come on.
00:15:21Oh, my God.
00:15:23Oh, my God.
00:15:24Oh, my God.
00:15:25Oh, my God.
00:15:28Do it.
00:15:29Can you tell me?
00:15:32She's gone.
00:15:33Oh, my God.
00:15:34Come on,
00:15:43Come on.
00:15:44All right, love.
00:16:06Yeah.
00:16:07Old woman.
00:16:08I know.
00:16:10So.
00:16:10One fingerprint to control your entire security system.
00:16:16Stop it, George.
00:16:18Yes, I let the security team arrange it between them.
00:16:21I have only been here three weeks, so it was on my to-do list, but...
00:16:27Good grief.
00:16:28So you have no idea how to deactivate it?
00:16:31No.
00:16:31No idea.
00:16:36Well then, why don't we use her finger?
00:16:41George!
00:16:42Really?
00:16:43We can't.
00:16:45Why not?
00:16:47It's not like she's going to mind now, is she?
00:16:50It's not that.
00:16:51It'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.
00:17:00So, let's give it a go, shall we?
00:17:01Good God, George.
00:17:04Oh, I see.
00:17:05You watched an entire box set, so, of course, now you know more than an actual doctor.
00:17:11I'm only saying, once the heartbeat dies, the electrical charge dies.
00:17:17It won't work.
00:17:20Can I ask a question, Gabriel?
00:17:36Gabriel, the security guard.
00:17:40What 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.
00:17:54Let's go.
00:17:55Oh, Roger!
00:18:17Oh, my God!
00:18:21Oh, my God!
00:18:22Why can't they hear us?
00:18:34No, no, no, because the front doors are solid oak, the shutters are solid steel and the walls.
00:18:40It's very sick Mediterranean stone.
00:18:43Oh, that's just great.
00:18:45So is the place bomb-proof as well?
00:18:46They're not helping, George!
00:18:48It's okay. I'll call Karen.
00:18:49Yeah.
00:18:52Oh, well, there's no signal.
00:18:55Ah, no, no, no. I haven't had any since I arrived because we are quite high up and the walls are too thick.
00:19:03Okay, what's the Wi-Fi code?
00:19:05I am going to share it with you.
00:19:07Yeah.
00:19:07I know I had my phone in the pub. I must have dropped it. Oh, God!
00:19:14No, the Wi-Fi is off too.
00:19:16But don't worry, don't worry. I have one moment. I remember something.
00:19:21Where's he going now?
00:19:22Where's he going now?
00:19:22Where's he going now?
00:19:24Well, I won't.
00:19:25Oh, my God.
00:19:26Oh, my.
00:19:27Oh, my God, I am going to be here.
00:19:27I don't know.
00:19:57Someone has sabotaged the comms cupboard. It's beyond repair.
00:20:06Coal's 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.
00:20:16So we are completely trapped in here.
00:20:20Oh.
00:20:22Good God.
00:20:23You 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-time 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.
00:20:44Don't suppose you serve Valium as well as champagne?
00:20:47Valium.
00:20:48Is that the cocktail?
00:20:50Never mind, dear.
00:20:52So, 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. He sent the invite.
00:21:06I don't think I would bomb my own museum, judith, and trap myself inside.
00:21:10Okay, can we just stop sniping at each other, okay?
00:21:14Can't be anyone here, can it?
00:21:16I am not so sure.
00:21:17What do you mean?
00:21:22I do remember on my first debriefing, they said once the shutters are activated,
00:21:27they close very fast, and there is very little time to get out.
00:21:32Do you 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. Give them a call.
00:22:17No, he's already tried that, and there's no reply from them either,
00:22:20and no-one's answering the 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
00:22:38and doesn't know how to work the 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.
00:22:55Gabrielle, if he says one word on you, I...
00:22:58No, no, no, no, no, no, wait a minute, wait a minute.
00:23:00If 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.
00:23:11If you have something to say, why don't you say it straight?
00:23:20You clearly have something to hide, monsieur.
00:23:24Bullying my partner, shouting at your wife.
00:23:28Classic defense tactics.
00:23:29How dare you suggest that I...
00:23:33Shh!
00:23:35What's that?
00:23:36What?
00:23:38Listen.
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.
00:24:26The shutters are down, the security guard's been murdered, and there is a bomb ticking away.
00:24:30What a 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.
00:24:48But the...
00:24:48The security guard...
00:24:51...has been murdered.
00:24:53Okay, Dom, have you seen the bomb?
00:24:57Uh, yes.
00:24:58What does it look like?
00:25:00Adios.
00:25:05Right.
00:25:06Okay.
00:25:07So, it's like a big lump of orange bloke in here so that it looks like Semtex.
00:25:14Um, there'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 say you have?
00:25:2859 minutes.
00:25:33I 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?
00:25:59Andre?
00:25:59Andre?
00:26:08Andre?
00:26:17What are you doing?
00:26:18Hang on a sec.
00:26:23It's got to be a spare.
00:26:24It's got to be a spare.
00:26:26Oh, bingo.
00:26:26Oh, bingo.
00:26:38Caron, can you hear me?
00:26:42Caron!
00:27:00Gloria, stop!
00:27:00Stop!
00:27:02Go to me.
00:27:02Go to me.
00:27:04I managed to speak to Caron.
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, I 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.
00:27:23Something you've needed for years, darling.
00:27:26Caron will help us, won't it, darling?
00:27:28Oh, absolutely, darling.
00:27:29Gene.
00:27:31Em.
00:27:32Gene.
00:27:34What?
00:27:35What's the matter?
00:27:36Em.
00:27:37I found this under the bomb.
00:27:42For me?
00:27:45I 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...
00:27:59I mean,
00:28:00this is beyond the pale.
00:28:01Oh!
00:28:01Oh!
00:28:01Look 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,
00:28:23and her future is bleak.
00:28:25Two attempts to survive,
00:28:27one date do you seek.
00:28:28Oh, come on, Gene, think.
00:28:31Think.
00:28:31Okay, do...
00:28:33Two attempts to survive,
00:28:35one date do you seek.
00:28:37So?
00:28:38What do you reckon?
00:28:40Well,
00:28:41it appears
00:28:42that this
00:28:43sicko
00:28:44wants me to find a piece of art
00:28:46in the museum
00:28:46that...
00:28:47that matches the riddle.
00:28:49Two attempts to survive,
00:28:51one date do you seek.
00:28:52So...
00:28:53Well,
00:28:53I'm guessing
00:28:54that
00:28:55you put the date
00:28:56in the keypad
00:28:58to stop the...
00:29:00to stop the bomb.
00:29:02Oh.
00:29:03Wow.
00:29:06Somebody must really hate me
00:29:07to go to all this trouble.
00:29:09It's just a child's riddle.
00:29:11We should wait for help.
00:29:12For grief.
00:29:13But what if help
00:29:14doesn'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, Gene,
00:29:25you've absolutely
00:29:26got 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
00:29:34this god-awful security system.
00:29:37Well,
00:29:37I think we should wait
00:29:38for the police.
00:29:39Something you are
00:29:40very welcome to do
00:29:41on your own, George.
00:29:42I, for one,
00:29:43am going to help Gene.
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.
00:30:00I think it's essential
00:30:01that we keep dividing
00:30:03in order to conquer.
00:30:04Gentlemen,
00:30:05follow me.
00:30:06Whoa.
00:30:07Okay, look at the heart.
00:30:26The heart.
00:30:27Well,
00:30:27the heart could mean love.
00:30:30Oh, no,
00:30:30that could be any work of art.
00:30:31Oh, okay.
00:30:33Okay, think, Gene.
00:30:34Think.
00:30:35Well,
00:30:36it could be the sacred heart,
00:30:38especially if it's qualified
00:30:40with the fruit.
00:30:41Well, how so?
00:30:43Well,
00:30:43Jesus in art
00:30:45is often referred to
00:30:46as fruit of the womb.
00:30:47Yeah,
00:30:47let's go with that.
00:30:48Okay.
00:30:49Face like the sun.
00:30:50Now,
00:30:51obviously,
00:30:52Jesus was the son of God
00:30:53and the sun in the sky
00:30:55is often used
00:30:56as a metaphor for Jesus,
00:30:57so fate is not kind.
00:31:00Well,
00:31:00fate wasn't kind to Mary.
00:31:02Certainly wasn't too kind
00:31:02to Jesus either,
00:31:03was it?
00:31:04Well,
00:31:04exactly,
00:31:04but her future is bleak.
00:31:06Her.
00:31:07I think it's got to be
00:31:08about Mary and Jesus.
00:31:10It's got to be.
00:31:11Right.
00:31:12I think we're looking for
00:31:13a religious painting
00:31:15or sculpture.
00:31:16Well,
00:31:17there'll be a fair few
00:31:17of those,
00:31:18I'm sure.
00:31:18Yes,
00:31:19but particularly
00:31:20the Madonna and child.
00:31:22There is about
00:31:23six main rooms.
00:31:24Okay.
00:31:25Let's split up,
00:31:25take a room each
00:31:26and report back.
00:31:28Right.
00:31:28Right.
00:31:30Me and Dom
00:31:31will take medieval
00:31:32and Renaissance.
00:31:33Judith,
00:31:33you do modern art.
00:31:35Auriel,
00:31:35you do metal work.
00:31:36And Ellie,
00:31:38you do jewellery
00:31:39and glass work.
00:31:41And,
00:31:41yeah,
00:31:42and remember
00:31:43the Madonna and child.
00:31:45Okay?
00:31:46Let's go.
00:31:47Which way?
00:31:47This way.
00:31:54Michelle,
00:31:55did you contact
00:31:56the bum squad?
00:31:57Not great news,
00:31:57I'm afraid.
00:31:58The nearest active unit
00:31:59is Lyon,
00:32:00which is six hours by car.
00:32:01They're trying to activate
00:32:02a plan to get here quicker,
00:32:03but it's not looking good.
00:32:04What about overriding
00:32:05the security system?
00:32:07We have contacted
00:32:07the company,
00:32:08but with it being Christmas Eve,
00:32:10we have the same problem.
00:32:11The nearest engineer
00:32:11is in Marseille.
00:32:13Oh, no.
00:32:13There is no guarantee
00:32:15they will be here in time.
00:32:16If there was another way in,
00:32:17I think I could deactivate it.
00:32:19What?
00:32:20Before I joined the gendarmerie,
00:32:22I trained in the bomb squad
00:32:23at la police nationale.
00:32:24If it is a rudimentary device,
00:32:26I could deactivate it,
00:32:27I think.
00:32:28Okay,
00:32:29well,
00:32:29what about the tunnels underneath?
00:32:31Pardon?
00:32:31The museum's tunnels
00:32:32were part of the bomb shelter system
00:32:34during World War II.
00:32:35I remember the tour guide
00:32:36telling us
00:32:37when I brought Xavier on a visit.
00:32:39Okay,
00:32:39I will go in.
00:32:40I cannot put my best officer
00:32:42in danger, Richard.
00:32:43I will go in,
00:32:44you can advise me.
00:32:44But, sir,
00:32:45that is an order.
00:32:47Let's find a map.
00:32:50Madam.
00:32:51On the count of three,
00:32:53we all pull together.
00:32:54Ready?
00:32:55Ready.
00:32:56One,
00:32:56two,
00:32:57three.
00:32:58I haven't finished counting.
00:33:00Oh,
00:33:00I think I've chopped them
00:33:01over me shoulder.
00:33:02It's a little dramatic.
00:33:04If we all work together,
00:33:05we 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,
00:33:12don't you?
00:33:13What's that supposed to mean?
00:33:14Like observing
00:33:15other people's wives.
00:33:18I, uh,
00:33:19don't know what you're talking about.
00:33:20Do you think I was born yesterday?
00:33:23I'm sorry?
00:33:25The charity meetings
00:33:27with my wife,
00:33:30the dinners.
00:33:31Come on, Ali.
00:33:32I've been through her phone.
00:33:36I know what's going on
00:33:37with you two.
00:33:39Don't tell me I'm wrong.
00:33:41I said,
00:33:42tell me I'm wrong!
00:33:44Well,
00:33:46there you go.
00:33:48Just about says everything,
00:33:49doesn't it?
00:33:50George,
00:33:50I, uh...
00:33:51Oriel
00:33:51is my wife!
00:33:55Come on, George.
00:33:57You haven't loved each other
00:33:58for years.
00:33:59Even a stranger
00:34:00would know that.
00:34:00Just our shtick!
00:34:01What?
00:34:02The couple's thing.
00:34:04The public act.
00:34:06But when we get behind closed doors,
00:34:09we are still husband and wife.
00:34:14Oh!
00:34:15So you think I'm lying, do you?
00:34:20Well,
00:34:21I don't know what yarn
00:34:22she's been spinning you,
00:34:24but it's true.
00:34:26And
00:34:27I'll tell you something else
00:34:29that's true.
00:34:30I will do everything
00:34:31in my power
00:34:33to make sure
00:34:34that you never
00:34:35raise
00:34:36another penny
00:34:38for your stupid
00:34:39sh-
00:34:40Please,
00:34:41this is no time
00:34:42for a bloody showdown!
00:34:44Come on!
00:34:44Come on!
00:35:14Judith?
00:35:30I didn't find anything.
00:35:32Literally.
00:35:33Didn't even find a decent painting.
00:35:35We thought we had a chance with a necklace, but there was no reference to the sun.
00:35:39Well, we can't give up.
00:35:40We still have two other rooms.
00:35:41Well, you two can go on looking, but I'll be very honest with you.
00:35:45I need a little top-up of Dutch courage.
00:35:49What in here?
00:35:51Can you not hear that bomb ticking?
00:35:55Yes.
00:35:56Yes, I can.
00:35:57But I'll be perfectly honest with you, Auriel.
00:36:00If I am to get blown to smithereens, I'd really rather like not to remember it.
00:36:08Let's keep looking.
00:36:09I'll take sculpture and you take ancient modern art.
00:36:11Okay.
00:36:24Thank God the library was still open.
00:36:26Right.
00:36:27This map dates from around 1943.
00:36:30It shows the tunnels that were dug out and used as bomb shelters during World War II.
00:36:38Oh, désolé.
00:36:39Vous voulez que je parle en français, Richard?
00:36:41I think it is the map she can't quite understand, not you.
00:36:45I have always been terrible with maps.
00:36:47It's a bit of an achilles heel for me.
00:36:49Je suis désolé.
00:36:50That's because you're so young, love.
00:36:52We forget we're the last generation that didn't have sat-nav.
00:36:55Hey, speak for yourself.
00:36:56I'm 20 years younger than you, which makes me a straddler.
00:36:59Pardon?
00:36:59I straddle pre- and post-technology.
00:37:02Doesn't matter what form a map takes, I'm a dab hand.
00:37:04Right, there's a labyrinth of tunnels under the museum.
00:37:07You can see the entrances all around here.
00:37:09But they can only be accessed from the inside.
00:37:13Hang on.
00:37:15This one looks like it's leading from the outside in.
00:37:18What do you mean?
00:37:19Look, it starts off as a small one, then joins up with the bigger ones.
00:37:24What's its proximity?
00:37:26Just underneath the main entrance.
00:37:29Right around here somewhere.
00:37:30Gloria, can you pull the van back a bit, love?
00:37:39OK.
00:37:50Lovely, that's it.
00:37:52There's your way in.
00:37:58You're not going to open it up like that, are you?
00:38:01You got a crowbar in the van?
00:38:02Yeah.
00:38:03And, uh, toolbox?
00:38:05There's a knack to this.
00:38:11It's a level.
00:38:15All right.
00:38:18Are you ready?
00:38:26You are full of handy tricks, Patrick.
00:38:33I'm not going to ask where you land them.
00:38:36OK.
00:38:36I'm going in.
00:38:37Richard, get me an earpiece.
00:38:39You'll need this as well.
00:38:40It's my head torch.
00:38:41Thank you, Gloria.
00:38:46Are you sure I can't go with you?
00:38:47Richard, I need you to take control here.
00:38:51You are now in charge.
00:38:53No matter.
00:38:54Gloria, take this headset.
00:38:56I need you to stay on the map and on the radio.
00:38:58You will be my ears and eyes.
00:39:00When I reach the bomb, you will pass to Richard, OK?
00:39:02Will the signal be strong enough down there?
00:39:04Uh, this radio is analogue.
00:39:06It's like a walkie-talkie.
00:39:07It works over short distances because it doesn't need a signal to bounce up to the sky.
00:39:12OK.
00:39:14Be careful in there.
00:39:15I will.
00:39:15Come on, Joseph.
00:39:23Gloria can you hear me yeah you okay I'm fine which way okay you're going to
00:39:35your left first
00:39:44bingo the shutters are connected to the museum's mainframe meaning you don't
00:39:51need Wi-Fi exactly I may be able to override it if both systems are kept
00:39:57connected where's your main computer it's in my office next to the event room
00:40:09what's your passcode it's Eve one two three four Eve press your finger firmly
00:40:18on this pad I may be able to change a fingerprint identity to yours Gabriel
00:40:23when a code pops up press enter straightaway okay I'm going to your
00:40:28office
00:40:33eh ben
00:40:35qui aurait cru qu'elle serait transformée en Lara Croft
00:40:38ok
00:40:39oh hello what are you doing here
00:40:53here
00:40:58oh
00:41:00oh
00:41:02oh
00:41:04oh
00:41:06oh
00:41:08oh
00:41:10oh
00:41:12oh
00:41:14I'm not going to put it in my pocket.
00:41:19I'm going to put it in my pocket.
00:41:21I'm going to put it in my pocket.
00:41:23I'm going to put it in my pocket.
00:41:25We're going to put it in my pocket.
00:41:27Don't worry about it.
00:41:28And how do you put it in my pocket?
00:41:32In any case,
00:41:34I wanted to tell you,
00:41:36it's been a long time that we've been known,
00:41:39but you've got my life.
00:41:41Oh, really?
00:41:43It's too bad.
00:41:46Sorry, Gabriel.
00:41:47It's just that I'm really scared.
00:41:49Sorry.
00:41:52The code will appear in a moment,
00:41:54and it must be deleted.
00:41:56It's okay.
00:41:59What's crazy?
00:42:05What came first? Medieval or Renaissance?
00:42:07Medieval.
00:42:08Oh, right.
00:42:10So medieval was the 5th to the 14th century
00:42:13and Renaissance was the 14th to the 17th?
00:42:16Correct.
00:42:18Yeah, no, it says it here on the card.
00:42:23This is beautiful.
00:42:24It's handspun wool and silk.
00:42:27This is called a verdu tapestry,
00:42:30derives from the French word for green.
00:42:32Ver.
00:42:33Yeah.
00:42:35How do you do that?
00:42:36What?
00:42:37No, all that.
00:42:39It says it on the card.
00:42:41Touché.
00:42:43These two look how I feel.
00:42:45How come none of them ever smiled?
00:42:47Well, there was a theory
00:42:48that they didn't want to show their bad teeth.
00:42:50In fair dues.
00:42:51I think it was just really hard work
00:42:53to maintain a smile
00:42:54whilst you're having your portrait painted.
00:42:56I mean, sitting there for hours like that,
00:42:58not like taking a selfie, is it?
00:43:00That's true.
00:43:01Don, look at that.
00:43:10Okay, right.
00:43:12Look at the heart.
00:43:14Her fruit from above.
00:43:15Her face like the sun.
00:43:17Her heart full of love.
00:43:18I mean, I wouldn't exactly say her face is sunny.
00:43:21Tonatello, terracotta.
00:43:23You didn't look at the card?
00:43:25Oh, well, he's one of my favourites.
00:43:27Mind you, there is a debate
00:43:30that it could have been my beer, but...
00:43:32It says it's on loan from Florence.
00:43:34But it fits all the clues.
00:43:38Can I have your phone?
00:43:49Oh.
00:43:50We best get back to the others.
00:43:52Not much time left, is there?
00:43:55I love you, Jane White.
00:43:56I love you, Jane White.
00:43:58Dom.
00:43:59We will get out of here.
00:44:00Yeah, yeah?
00:44:01Yeah, come on.
00:44:03One.
00:44:04Two.
00:44:05Three.
00:44:06Oh!
00:44:07God!
00:44:13All right, all right, all right.
00:44:14Let's...
00:44:15Just take a minute.
00:44:17Good idea.
00:44:18Good idea.
00:44:29So, how did you find out about the affair?
00:44:36I wasn't sure at first.
00:44:38But I had my suspicions for months.
00:44:41Then what made you suspicious, if you don't mind?
00:44:44No, I don't mind, I don't mind.
00:44:47We run our businesses like clockwork,
00:44:49and then all of a sudden she becomes interested in charity.
00:44:53Now, I wouldn't mind, but we have an office set aside for charity,
00:44:59or tax relief, as I'd like to call it.
00:45:02Absolutely.
00:45:03And the only charity she really did was just turn up, snip the ribbon.
00:45:08Until she met him.
00:45:11Ah.
00:45:12Dr. Pardipa.
00:45:13Mm-hmm.
00:45:15We met him.
00:45:17And then she became obsessed with going to his meetings for his prison.
00:45:24Art malarkey.
00:45:26She couldn't get enough of it.
00:45:27Oh, we should see the difference it makes.
00:45:29Blah, blah, blah.
00:45:34And then there's all the obvious signs.
00:45:37Never leaving her phone unattended.
00:45:39Always going in a different room to check her messages.
00:45:42You know, I've never loved another woman.
00:45:49I just thought...
00:45:53Maybe she didn't love me as much as she used to.
00:45:58Though we'd always have...
00:46:01Respect.
00:46:05You're right, old chap.
00:46:07Once the respect has gone...
00:46:09Come on, George.
00:46:14We've got to find a way out of here.
00:46:16Come on.
00:46:18Oh.
00:46:21Where on earth is everybody?
00:46:25Ah, hello.
00:46:26Who have we here?
00:46:30What a zero chance of my reading that tiny writing.
00:46:34You do have a look of a female, I suppose.
00:46:36But is that a child?
00:46:38Oh, bloody hell, I forgot to pick up my glasses.
00:46:45I know.
00:46:53Oh, I see.
00:46:55Not a child, but a sheaf of wheat.
00:46:59Nearly.
00:47:00Come on.
00:47:01Come on.
00:47:02Come on.
00:47:03Come on.
00:47:04Come on.
00:47:05Come on.
00:47:06Come on.
00:47:08Okay.
00:47:10The tunnel on your left appears to lead to another exit.
00:47:14But the tunnel ahead of you takes you to a door that leads you into the museum.
00:47:18Okay.
00:47:20Give me a second.
00:47:21It's locked.
00:47:22The door's locked.
00:47:23Give me your handset.
00:47:27Andre.
00:47:29Describe the lock to me as best you can.
00:47:32It is a rectangle with a large keyhole in the middle.
00:47:37Looks like a...
00:47:38...a...
00:47:39...a...
00:47:40...a...
00:47:41...a...
00:47:42...a...
00:47:43...a...
00:47:44...a...
00:47:45...a...
00:47:46...a...
00:47:47...a...
00:47:48...a...
00:47:49...a...
00:47:50...church door lock.
00:47:53And...
00:47:54...it is...
00:47:55...very...
00:47:56...rusted.
00:47:57Sounds like a rim lock.
00:47:58Not too tricky.
00:47:59So...
00:48:00...use the screwdriver attachment on your multi-tool...
00:48:04...to turn the lock...
00:48:06...to...
00:48:07...your...
00:48:08...right.
00:48:09Okay.
00:48:10I'm ready.
00:48:13No...
00:48:18No...
00:48:20...
00:48:30...I give him.
00:48:32What do you mean George knows?
00:48:34He just came straight out of me.
00:48:36Said he'd been looking through your phone.
00:48:38Looking through my phone? How?
00:48:41He never leaves my sight.
00:48:43We hardly see each other.
00:48:45We live separate lives.
00:48:47Well...
00:48:48...that's not what he said.
00:48:49What?
00:48:50He implied that the two of you are still very much in love.
00:48:54What?
00:48:55And that this whole...
00:48:56...dislike thing is just an act.
00:48:58Oh, Ali, that is rubbish.
00:49:01We don't even sleep in the same room.
00:49:04And the worst bit of it is...
00:49:06He said he's gonna make sure that I don't receive another penny for the charity.
00:49:12Oh.
00:49:13That's the worst thing.
00:49:15Yeah?
00:49:16Well...
00:49:17It's nice to hear you've got your priorities straight.
00:49:20No, Oriel, you are my priority.
00:49:25But if you're still in love with him...
00:49:27Ali, please, it's rubbish.
00:49:29He's just bitter, believe me.
00:49:32I love you.
00:49:34Did you find anything?
00:49:35Oh, I've taken a picture of a few pieces, but I haven't really got a clue what I'm looking for.
00:49:40Yeah, I mean, the riddle is a little vague.
00:49:43Yeah, that's the understatement of the century.
00:49:46But the bomb threat is very clear.
00:49:48Yeah, yeah.
00:49:49We should find the others and regroup, yeah?
00:49:51That's where I was heading.
00:50:06Oh.
00:50:08Oh, no.
00:50:09They're all locked.
00:50:10Oh.
00:50:12Surely that idiot Gabrielle has a set of keys.
00:50:14I think we've established, George, that Gabrielle has literally no idea where they are.
00:50:20Oh, hello, you two.
00:50:21Hello.
00:50:22Oh, hello, 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?
00:50:36We've tried all the doors.
00:50:37And windows.
00:50:38Nothing.
00:50:39Oh, utterly infuriating.
00:50:41Maybe we should get back to the others.
00:50:43Good idea, George.
00:50:44Come on.
00:50:47We will get out of here, won't we, darling?
00:50:50Oh, come here.
00:50:53Of course we will, my darling.
00:50:57One way or the other.
00:51:01Very, very gently.
00:51:05Nothing seems to be biting.
00:51:07Take your time.
00:51:08That is something we do not have.
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.
00:51:19Andre?
00:51:22Andre?
00:51:26Andre!
00:51:27Andre!
00:51:28Oh, no, no.
00:51:42any joy yes oh no and this is a picture by Camille Corot in 1860 and it's of a
00:51:57normal earthbound human and child sorry no it's okay Ellie anything I couldn't
00:52:04find the card for this but it looks like a modern art version of Mary and Jesus
00:52:09well is it no I'm afraid not it looks like modern art but I think it's a copy of
00:52:17the famous Corotrophos which is one of the earliest Neolithic finds in Greece 6,000
00:52:23BC no we're George and Jerry then Ellie no the we couldn't the doors I've got
00:52:36something to tell you oh don oh how did it go we're really trapped it's right
00:52:42everything every window every door is either deadlocked or barred Judith did
00:52:48you find anything to match the poem I found a painting that might be a mother and
00:52:52child but I'm not entirely sure it's the right way up no
00:52:59Tom can you get up that picture of the Donatello please
00:53:03no
00:53:05okay
00:53:09two attempts to survive one date do we seek do you think it's time to put our best
00:53:19option in don't really have a choice do we or shouldn't we wait to see if
00:53:24engage in the others have had some success I don't think there's any harm in
00:53:28trying
00:53:54yes Patrick oh we lost you for a few moments you had us worried so how you doing I'm a
00:54:14little trapped part of the roof has collapsed and formed a barrier between me and where I came in
00:54:20can you dig your way out at the moment that does not seem possible okay so we
00:54:28must keep trying the lock
00:54:43the lock is so rusted I just can't seem to get a grip there's a blockage in the
00:54:49tunnel we can't get out how's he doing with the lock he says you can't get a grip because
00:54:53it's all rusted up rusted give me the headset Andre this may seem like a stupid question but
00:55:01what's your gun holster made of mainly leather I think but with some rubber on the inside great
00:55:08take your knife and slice a thin piece of rubber off
00:55:11okay I've done that put it in the lock and rub as hard as you can
00:55:22is it work yes yes it's working yes how did you know how to do that oh we can each
00:55:34trick rustates rubber I'm passing you back to Patrick right I'm going to try the lock
00:55:39again okay Andre remember screw driver up and to the right what's happening Andre Andre it's not
00:55:54opening Patrick okay I want you to describe it for me again as best you can with every detail every
00:56:08detail you can it's brass I think with a fancy design on it like a fleur-de-lis sort of
00:56:20oh Patrick you idiot it's an old French lock gonna try something different Andre turn it to the left very
00:56:30very very gently hmm then turn it one more time
00:56:42it's unlocked yes
00:56:46okay 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 I sent you all on a
00:56:59wild goose chase you did something though yeah got it wrong I don't want to die like this Jeremy oh I
00:57:06know my darling I know why didn't you tell me it'll all be alright what you always say it'll all be
00:57:18all be alright darling and always is well
00:57:25oh
00:57:27how much time have I got left how much time has he got left only 17 minutes I'm afraid 17 minutes Andre
00:57:45keep going straight on and early there you're doing great
00:57:48you
00:57:52you
00:57:54you
00:57:56you
00:57:58you
00:58:00you
00:58:02you
00:58:04you
00:58:05you
00:58:07you
00:58:09now
00:58:11I
00:58:13I
00:58:15you
00:58:17you
00:58:19Do 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.
00:58:44Thank 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.
00:59:33I've always dreaded the thought of going first and leaving you behind.
00:59:38Me too.
00:59:39Sangita, she's dead.
00:59:46No.
00:59:47What?
00:59:48Are you sure?
00:59:49Positive.
00:59:50How?
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, waited for ages.
01:00:02And you just found her there?
01:00:04Yes.
01:00:05I 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, look 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.
01:00:27Oh, my love.
01:00:40Ali, you can't touch her.
01:00:43I am a doctor and her husband.
01:00:45I 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 Ariel.
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.
01:01:23Oh, well, 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.
01:01:48And who else knew the combinations of the safe?
01:01:52Only me.
01:01:53And 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.
01:02:13Yeah.
01:02:14Come back.
01:02:18Gloria, 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,
01:02:32and you'll see a ladder on your right.
01:02:34That'll take you directly up to the museum.
01:02:37Are you okay, love?
01:02:41Yes, I'm fine.
01:02:45Yards to meters.
01:02:46Multiply the length given in yards by 0.9144.
01:02:53I found the ladder.
01:02:55He's found the ladder.
01:03:01I'm heading up now, Gloria.
01:03:03Well done, Andrea.
01:03:04You're nearly there.
01:03:05The security engineer has now landed at the airport,
01:03:08and she's on her way now in a pretty scar.
01:03:09Brilliant, my sir.
01:03:10Use.
01:03:11Use.
01:03:11Use.
01:03:16André.
01:03:17André, are you okay?
01:03:26André, 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.
01:03:39You 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,
01:03:47why don't you just come out with it?
01:03:49If I've got something to say,
01:03:51I will decide when I say it.
01:03:55Always loving the control, eh, George?
01:03:57Even when we're about to die,
01:03:59you 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, you 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.
01:05:05OK?
01:05:06Oh, sorry, old chap.
01:05:08Yes, of course.
01:05:09Oh, great.
01:05:11OK.
01:05:12So, whoever murdered Sangeet 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 Sangeet?
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 to 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 to 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,
01:05:57Gabrielle 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.
01:06:04So 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's only one person that used the map.
01:06:37Sweet.
01:06:37Of course.
01:06:53It's so small.
01:06:55It's a nose ring.
01:07:00Oh.
01:07:04It 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 murdering the security guard
01:07:23at the same time?
01:07:27Unless...
01:07:28Oh.
01:07:29This could she...
01:07:35Tom.
01:07:35Don, give us a hand with this.
01:07:43Yeah.
01:07:52She's still alive.
01:07:57Let's get her in here.
01:08:07Let'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 what on earth is going on?
01:08:22Ali, then.
01:08:22Just a minute.
01:08:25I'm intrigued.
01:08:28We still have a few minutes before we escape.
01:08:32How did you know?
01:08:34Eve, what are you doing?
01:08:36Go on, Madam White.
01:08:39It didn't come to me straight away.
01:08:43Then I worked out that it was you who killed Sangeeta
01:08:46and stole the bank codes.
01:08:49You mistakenly left your map on the floor
01:08:53at the side of the safe.
01:08:55I suppose when Sangeeta came in
01:08:59to override the fingerprint control,
01:09:01well, she caught you red-handed.
01:09:04Oh!
01:09:08And then I worked it back.
01:09:10I mean, how did you get in the safe in the first place?
01:09:13Only Gabrielle and Eve knew the combination,
01:09:19so it made sense one of them was your accomplice.
01:09:24At all.
01:09:30And 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?
01:09:41I'm 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.
01:10:11But you weren't, were you?
01:10:16This is what I think.
01:10:19You went to the museum
01:10:20and you forced a security guard to activate the shutters.
01:10:24Once you'd started the bomb,
01:10:37you raced up here,
01:10:41changed your outfit,
01:10:43and you placed the bomb in the cabinet,
01:10:47just outside this room.
01:10:50Then you accosted that poor waitress,
01:11:01and you bundled her into the cupboard.
01:11:06It's brilliant, really.
01:11:08All you've had to do was hire an agency waitress
01:11:11who 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 Ormolu?
01:11:26Well,
01:11:28you throwing champagne over George
01:11:33was no accident, was it?
01:11:35The minute that you heard
01:11:36Gabrielle and Eve in the corridor,
01:11:39that was your cue
01:11:40to 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.
01:12:04Very good, Madam White.
01:12:06I sort of understand the murders
01:12:11to steal the bank codes.
01:12:14But why the bomb?
01:12:16Why the poem?
01:12:19Well,
01:12:19that is what you would all take to your graves
01:12:22without knowing.
01:12:25But there's no way out.
01:12:27Not for you, anyway.
01:12:36The security engineer is almost here.
01:12:48Well, we've only got two minutes left.
01:12:50Two 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 blow up the whole bloody building.
01:13:16But they managed to escape, didn't they?
01:13:18Oh, God!
01:13:19I 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.
01:13:28It'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,
01:13:46well, Marie Antoinette's father
01:13:48was 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
01:13:54and fate was not kind.
01:13:56Well, it wasn't kind to her.
01:13:57She had her head cut off.
01:13:58She...
01:13:58One.
01:14:07Seven.
01:14:09Seven.
01:14:10Seven.
01:14:10Seven.
01:14:14Seven.
01:14:15Four.
01:14:16Eight.
01:14:16Seven.
01:14:17Two.
01:14:19Six.
01:14:19Nine.
01:14:29Each.
01:14:29Five.
01:14:29Five.
01:14:31Nine.
01:14:31Nine.
01:14:32Judith, you're a genius. The box, Marie Antoinette, of course it was 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 bought 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.
01:15:12I count three.
01:15:14One, two, three!
01:15:19I must have loosened it earlier.
01:15:21Loosened it.
01:15:24It's a real dreamboat there, eh, my darling wife?
01:15:45Come on! Come on, come on! The shutters are opening! Come on!
01:15:53Come on, come on!
01:15:54Oh, Karen, you little beauty!
01:16:04Excuse me. Excuse me.
01:16:05Excuse me.
01:16:06Excuse me.
01:16:11Come on, come on. Come on. Come on. Come on.
01:16:13Come on.
01:16:14Come on.
01:16:15This way.
01:16:16This way, please.
01:16:17Gene!
01:16:18Gene!
01:16:19You all right?
01:16:20I'm glad to see you.
01:16:21You too, sir.
01:16:22I must have been so scary!
01:16:23Certainly had its moments.
01:16:24Oh, Dominic, Merry Christmas!
01:16:26Well, yeah, I wouldn't exactly say that, but...
01:16:27Merry 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...
01:16:36His radio's gone silent.
01:16:40We think he has fallen.
01:16:41What?
01:16:42What?
01:16:43I had to wait and see if the bomb exploded before they went to check on him.
01:16:44Just preparing to go and find him.
01:16:45What?
01:16:46What?
01:16:47What?
01:16:48What?
01:16:49What?
01:16:50What?
01:16:51What?
01:16:52What?
01:16:53What?
01:16:54What?
01:16:55What?
01:16:56What?
01:16:57What?
01:16:58What?
01:16:59What?
01:17:00What?
01:17:01What?
01:17:02What?
01:17:03What?
01:17:04I've had to wait and see if the bomb exploded before they went to check on him.
01:17:09Just preparing to go and find him now.
01:17:13Allez!
01:17:15Avancer!
01:17:17Réveille!
01:17:20OK, c'est bon.
01:17:22I assume these two have something to do with all this.
01:17:27I thought I'd killed you.
01:17:30Not quite.
01:17:31Oh, Andre, it's so good to see you for more.
01:17:36Good to see you, mate.
01:17:39Jean?
01:17:41Grisha.
01:17:44Jean, can you fill me in on what happened?
01:17:47Then I will interview those two in the morning.
01:17:49What? Now?
01:17:51Are you sure you're up to it?
01:17:53You know, I like to keep busy at Christmas.
01:17:56I do.
01:18:01Oh, my God, it's so good to see you.
01:18:31Oh, wait, please. Now, how do you do this?
01:18:35Carol, what have you done to your poor face?
01:18:38Oh, my God.
01:18:40Oh, my God.
01:18:42I'm not sure I like brunch.
01:18:56What?
01:18:57Well, the word, the blending of two words to make another, like, erm, motel.
01:19:02Portmanteau.
01:19:03Oh, bless you.
01:19:04Portmanteau is the blending of two words to make another one.
01:19:09Although, portmanteau also means a leather case with two sections, but...
01:19:13Where would it be without your brain, eh?
01:19:15Don't be daft.
01:19:16You don't mean it.
01:19:17You saved a lot of lives yesterday.
01:19:19Oh, well, I just did what I had to do.
01:19:22Yeah, and what only you can.
01:19:24Oh, thank you.
01:19:26Now, can I tempt you to a croissage?
01:19:30What?
01:19:31It's a croissant with a sausage inside and portmanteau in.
01:19:36Fresh coffee?
01:19:37Oh, thank you, Patrick.
01:19:41Why aren't we, darling?
01:19:43I'm terribly hungry this morning.
01:19:45I think it's all the trauma.
01:19:47Of course, darling.
01:19:48It can do that.
01:19:49I remember when my gran was ill.
01:19:51All anybody could do was make sandwiches, like, make everything better.
01:19:55Feeding the soul?
01:19:56Not with white slice and beef paste.
01:19:58We ended up feeding the ducks.
01:20:00There you are.
01:20:01Plenty more where that came from.
01:20:02Oh, lovely.
01:20:03Will you sit down?
01:20:04We've got loads here.
01:20:05We need to save a little bit of room for Christmas dinner.
01:20:07You sound just like I did when you were a nipper.
01:20:10Do you know, one Christmas morning, he ate three packets of mince pies
01:20:13and half a Christmas cake before breakfast.
01:20:16How old is he?
01:20:19Five.
01:20:21Fifteen, actually.
01:20:22I was a little bit worse for wear, but I didn't know that then.
01:20:25I just needed a sugar rush.
01:20:26I have never really believed in hangovers.
01:20:29I think it's a case of mind over matter.
01:20:32I think that's why I've never heard one.
01:20:37Oh, excuse me.
01:20:40Ah.
01:20:41Carol is ready for me to go over.
01:20:43Oh, do you want me to come with you?
01:20:44No, it's all right.
01:20:45It won't be long.
01:20:46I've just got to bob over to the station and Andre needs my help.
01:20:50Take some food with you.
01:20:52Oh, now I'm really full.
01:20:53For Andre and Richelle.
01:20:55Oh, yeah.
01:20:56Great idea.
01:20:57Tell them that they're both invited to lunch.
01:20:59Four o'clock start.
01:21:00Will do.
01:21:01Talking of starts, do you think it's too early for a little champagne?
01:21:06Wonderful idea, darling.
01:21:08Carpe bloody diem after yesterday, that's what I say.
01:21:12I'll get some glasses.
01:21:17Hey.
01:21:19What?
01:21:21Merry Christmas.
01:21:24Merry Christmas?
01:21:26What's the matter?
01:21:28Well, after yesterday, I don't want to let you have me say.
01:21:33Don't be daft, it won't be gone long.
01:21:35Yeah, I know, but...
01:21:37I'll tell you what, why don't you get on the morning champers
01:21:40and you won't even know I'm missing.
01:21:42Okay.
01:21:43Come here.
01:21:59Happy Christmas.
01:22:00Well, it would be if we could get these two to speak.
01:22:03Oh, no joy.
01:22:04Nothing from him.
01:22:05He's just playing games.
01:22:07But the girl, I think, is starting to break.
01:22:10That's why I asked you here.
01:22:11She's upstairs.
01:22:13Oh.
01:22:14From Patrick.
01:22:15Merci.
01:22:23So, what happened?
01:22:26No comment.
01:22:28Why did he plant a bomb?
01:22:30No comment.
01:22:31And why the poem?
01:22:33No comment.
01:22:35Look, I can understand you killing who you needed to,
01:22:38to steal the bank codes.
01:22:41But why the bomb?
01:22:42Why the poem?
01:22:44Well, I don't know you and you don't know me.
01:22:46Well, the poem was obviously not my idea.
01:22:50So, there was someone else involved?
01:22:52Of course.
01:22:53I know nothing about bombs.
01:22:58Less about poems.
01:23:00And I had no idea who you were until yesterday.
01:23:04So, what happened?
01:23:09No comment.
01:23:12If you are trying to protect someone,
01:23:13I would ask you to consider how important they are to you.
01:23:17It will affect your sentence considerably.
01:23:28The last time I was in prison,
01:23:30I shared a cell with a woman who worked as a consultant at the museum.
01:23:35She knew everything about it.
01:23:38Every nook and cranny.
01:23:40She said if I kept in touch once I got out,
01:23:45she would be able to help me get inside,
01:23:48override the security system,
01:23:51steal the bank codes,
01:23:53and get out scot-free.
01:23:55Go on.
01:23:57So, I kept on visiting her.
01:23:59And sure enough,
01:24:01we came up with a plan.
01:24:03I got my friend, Eve, involved,
01:24:06flirting with that idiot of a curator, Gabrielle.
01:24:10To get someone on the inside.
01:24:14But still,
01:24:16why me? Why the bomb?
01:24:18It was very strange.
01:24:20The last time I went to see her,
01:24:23she had found out through her contacts,
01:24:26that you,
01:24:28Mrs. Jean White,
01:24:30would visit the museum on Christmas Eve.
01:24:33And?
01:24:35She was wild.
01:24:37Cold with rage.
01:24:39God, she really hated you.
01:24:41So, instead of a simple robbery,
01:24:45as planned,
01:24:47I was to plant a bomb and a letter to you.
01:24:52She said I would be safe.
01:24:54That there was a way out under the museum.
01:24:58She 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.
01:25:10And I had nothing to lose.
01:25:13So I did what she said.
01:25:15What was her name?
01:25:19Baba.
01:25:21Baba.
01:25:25Baba.
01:25:26Baba.
01:25:40Baba.
01:25:42Baba.
01:25:43Baba
01:25:44What fun, Mrs. White.
01:26:04Till next time.
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