- 2 hours ago
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00:00:00Oh
00:00:17Merry Christmas dream wife. Oh, Merry Christmas Dominic Hayes
00:00:23So this massive painting about this very beautiful
00:00:27This is a sublime example of a baroque fresco
00:00:34Very popular in Europe, but I've never seen one in Santa Clara before. It's really exciting. Yeah
00:00:39But a fresco is a
00:00:42Basically a wall painting where the paint is brushed straight onto wet plaster by someone called baroque
00:00:49No, actually no, it brought was an artistic movement of the 17th and 18th century and so like a
00:00:55Paintings music architecture everything was like big and bold and sexy Dominic very sexy my absolute favorite era
00:01:08That is dr. Ali Pardee his head of the charity large shows you love me
00:01:15What's not change level something about art helping ex-prisoners or something. Oh, that's great
00:01:24That must be his wife. I think her name is Sangita. I've invited her to several of my bridge evenings, but to no avail
00:01:31Oh
00:01:33They're talking to George and Oriole Alphonse
00:01:37Hmm
00:01:38As in Alphonse
00:01:40From Alphonse crush
00:01:42What the soft drink?
00:01:44Oh, I used to love that kept me awake at night when Claudia was a baby
00:01:48Huh an amazing couple they just floated their company last year for a hundred million euros in that
00:01:53Apparently they can't stand each other, but they can't leave because they are literally too rich
00:02:03Jeremy
00:02:05Sa va mon ami, if you say so
00:02:08And Judith
00:02:12Do Jesus will you ever age like us mere mortals?
00:02:15Oh George you really are too much. Let me introduce you to our dear friends Jean and Dom
00:02:20Very pleased to meet you. Oh aren't you?
00:02:22I was just saying I used to love your drink. Ah well not my drink anymore, but thank you Dom
00:02:28I really appreciate that. That's very kind of you. Very kind
00:02:40Thanks for witnessing my loan agreement Andre. Not a problem Patrick
00:02:44Well sometimes I come across trouble with financial affairs, but
00:02:48Having the chief of police as my witness that should shut them up
00:02:54Oh no, Jean's left a phone
00:02:56I am on my way home now. I can drop it off for her
00:02:59But she's had to do at the museum
00:03:01No problem. That is near my house. Oh brilliant
00:03:03Au revoir
00:03:05Thanks again Andre. See you at the quiz later. You will indeed. I am bringing Richard
00:03:10She's very good at politics questions
00:03:12Merry Christmas
00:03:14Joy Noël
00:03:16I never thought I'd be mates with a cop
00:03:18Eh?
00:03:20No, but
00:03:22Where are you? They've already arrived.
00:03:24Yes, I'm getting married
00:03:26I know you love me when I do good for you
00:03:28No, but my love, you're always beautiful
00:03:30In the last few months, it was just extraordinary
00:03:32Between my meeting with you and this dream job
00:03:36It's wonderful
00:03:38But we also
00:03:40We have a whole life in front of us
00:03:41But we really need to work
00:03:42Gabriel
00:03:44You're the new conservator of this museum
00:03:45Can you allow the quarter of the police?
00:03:47No, no, not at all
00:03:48Not at all
00:03:49Not at all
00:03:50My only mission is to make this museum
00:03:53International
00:03:54We have the Alphonse
00:03:55Who are going to invest 10 million euros
00:03:57That would change everything
00:04:00It's impossible that it works
00:04:02All right
00:04:08It's a pleasure to meet you, Mrs. White
00:04:09Your expertise precedes you
00:04:10Thank you so much for being here
00:04:11All right, it's a pleasure
00:04:12This is my partner
00:04:13Your fiancé
00:04:14Oh, yes, fiancé, Dom
00:04:15Yeah, it's quite a recent thing
00:04:16Congratulations to both of you
00:04:18And this is my partner, Eve
00:04:21Hi
00:04:22Hi
00:04:23And you're feeling good
00:04:24It's good to see you both
00:04:25It's good to see you both
00:04:26You too, Gabrielle
00:04:27And this is Jean White
00:04:28Delivered as promised
00:04:29Delivered?
00:04:30Oh, hello
00:04:31It's a pleasure to meet you, Mrs. White
00:04:32It's a pleasure to meet you, Mrs. White
00:04:33Your expertise precedes you
00:04:34Thank you so much for being here
00:04:36All right, it's a pleasure
00:04:37This is my partner
00:04:38Your fiancé
00:04:39Oh, yes, fiancé
00:04:40Dom
00:04:41Yeah, it's quite a recent thing
00:04:42Congratulations to both of you
00:04:44And this is my partner, Eve
00:04:48Hi
00:04:49And your field of expertise is, Mrs. White?
00:04:53I'm an antiques dealer
00:04:54Ah
00:04:55How quaint
00:04:56Shall we grab a horse's dew friendly into it?
00:04:59Yes
00:05:00Yes
00:05:03A bottle of fresh champagne, please
00:05:05Thank you very much
00:05:06Pardon, I said champagne on the way right now
00:05:09Oh, you are a darling, Gabrielle
00:05:11I think you're going to fit in very well around here
00:05:13Thank you
00:05:14Yes
00:05:15And by the way, you threw that last glass down your neck
00:05:18We wouldn't want you going Thursday, would we?
00:05:21Excuse me
00:05:22I'm just going to run through my speech
00:05:24Ah, Jean, this is Dr. Ali Pardeep
00:05:26We were telling you about his charity
00:05:28Oh, Le Change Le Vie, is it?
00:05:31Oh, it sounds like you do some great work
00:05:33Oh, he does
00:05:35Oh, hi, I'm Auriel
00:05:37Oh, hello
00:05:38Thank you
00:05:39It's a vocation that absolutely consumes me, I'm afraid
00:05:43As my wife could confirm
00:05:45Oh, lovely to finally meet you
00:05:47So how did you find this vocation?
00:05:50Well, I've been working in prisons for a few years as a visiting doctor
00:05:54And I saw so much artistic talent just hidden away in the cells that I felt compelled to liberate it
00:06:02Mm-hm
00:06:03So I started an art club for the prisoners and, well, the charity just grew from there
00:06:09How interesting
00:06:10You let criminals play as being artists then?
00:06:14You know, that's exactly what we do
00:06:17You're encouraging the egos of murderers, is that what you're saying?
00:06:21Don't worry, Ali, I take care of the charity in our business, so you can ignore George
00:06:28And your husband is a very inspiring man
00:06:31Oh, he is indeed
00:06:34Excuse me
00:06:35Yes
00:06:36Have we met somewhere before?
00:06:38I can't think where
00:06:40Maybe at one of our outreach events?
00:06:43Very much doubt it
00:06:45I don't do presents or charity, dear
00:06:48Oh, that's my key
00:06:51Sorry
00:06:53Sorry
00:06:54Ah, merci, s'il vous plaît
00:06:55Merci
00:06:57Good job, eh?
00:06:58Quite lucky
00:07:01Thank you
00:07:03Thank you, everyone, for being here tonight
00:07:07For tonight is a very special night for the museum
00:07:10Mr. and Mrs. Alphonse are very generously about to invest 10 million euros
00:07:1710 million euros into our acquisition account
00:07:21It will keep the museum afloat for many years
00:07:24Just a minute, Gabriel
00:07:26Remember what we discussed a couple of weeks ago when you first took the job
00:07:30If you have what you say you have, and it's the real deal
00:07:35We are more than happy to invest
00:07:37I want to be part of a museum that draws people in from all over the world
00:07:43But I need you to prove to me that I am making the right choice
00:07:49Of course
00:07:50The stakes are very high for us
00:07:54But I have contacts all over the world to make this museum great
00:07:58I promise
00:08:01Madame White, this is where we could use your help
00:08:04Oh, right
00:08:05We apologise for not warning you beforehand, but
00:08:09Everything had to be completely top secret
00:08:12Ooh, I'm intrigued
00:08:14We have something very rare
00:08:17And we need you to verify it
00:08:20Jeremy and Judy told me you are second to none in your field
00:08:25So please, will you help?
00:08:27Well, I'm here now, so yeah, of course
00:08:30Thank you
00:08:31If you will excuse me for one moment, ladies and gentlemen
00:08:37We will go and fetch our treasure
00:08:41Eve
00:08:43Oh, so that's why I'm here, makes sense now
00:08:46Well, Gabrielle didn't tell me the finer details
00:08:49Just who I knew, who I trusted
00:08:51Who was the best in the business, so I...
00:08:54Well, thank you
00:08:56You'd better be good, Mrs White
00:08:58And ensure it is what he says it is
00:09:01We wouldn't want any mistakes
00:09:03Well, let's put it this way
00:09:06This isn't my first rodeo
00:09:08Oh, thank you, darling
00:09:11What's your name, dear?
00:09:13Amy
00:09:15Big cash tip, Ellie
00:09:17If you keep our shampers topped up, if you know what I mean
00:09:20I'll do my best, madame
00:09:22But I've never worked here before, so I don't know how much we have in stock
00:09:25Good girl, off your pop
00:09:26Oh, my God
00:09:28Oh, my God
00:09:34On t'a attribué ton code personnel de sécurité, maintenant ?
00:09:37Non, tu sais, c'est toujours Suzanne de la sécurité qui m'envoie un nouveau code chaque jour
00:09:41C'est depuis que je suis revenu, j'ai eu tellement le truc à gérer que c'est un peu galère
00:09:45Mais dis-moi, je peux ouvrir le coffre ?
00:09:47J'aimerais tellement voir la cachette secrète dont tu m'as parlé
00:09:50D'accord, par contre, juste tu notes le code correctement
00:09:52Parce qu'il n'y a pas de seconde chance, sinon ça bloque toi
00:09:56Alors, c'est le...
00:09:583, 2, 7, 4...
00:10:014... 0, 9, 5, 7
00:10:05C'est bon
00:10:11Alors...
00:10:229...
00:10:25Oh...
00:10:29Oh...
00:10:37Eh ben voilà ma petite merveille
00:10:40Wow...
00:10:41Non, par contre, ça faut que tu le détruises immédiatement
00:10:44Non, non, vraiment, tu...
00:10:46D'accord
00:10:47Euh...
00:10:57Oh...
00:10:58Tiens, prends la moitié, on y va
00:11:02Hop
00:11:03Non mais, attends...
00:11:04T'as... t'as...
00:11:05T'as... t'as... t'as...
00:11:06T'as... t'a... t'as un avenir d'une musée entre les mains là , non ?
00:11:16Don't be careful.
00:11:18Wait, wait, there's a museum's future in your hands, right?
00:11:21Too bad.
00:11:22Gabrielle, let me!
00:11:23Do you want me to fall?
00:11:46We can get it cleaned.
00:11:48What's your name?
00:11:49Ellie.
00:11:50I'm so sorry.
00:11:51I'm pretty new at this.
00:11:53I'm actually a student.
00:11:54Well, I would like to apologise for the neolithic behaviour of my husband, Ellie.
00:12:00Georges, we're going to pay for the cleaning, of course, but I can't clean.
00:12:05Just leave it.
00:12:07I can do it.
00:12:08You can do it. Okay, perfect.
00:12:09So where's this tan box of yours?
00:12:16Is that what I think it is?
00:12:39Go on. What is it?
00:12:40Oh, this is a French Ormolu gilt jewellery case owned by...
00:12:45I think...
00:12:47Marie Antoinette herself.
00:12:49Am I right?
00:12:50Yes, exactly, madame.
00:12:52Well, 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.
00:13:01So how could it be here?
00:13:03I have been totally obsessed with this box.
00:13:08So I tracked it down over the years and persuaded them to sell.
00:13:15Wow.
00:13:16Well, Gabrielle is right.
00:13:18I mean, if you can get stuff like this, well, this is like such a fantastic draw for the Museum. Game changer, really.
00:13:26Well, so far so good.
00:13:29Okay.
00:13:34What?
00:13:35My God.
00:13:37Gene?
00:13:39It looks like a...
00:13:41Like a bomb.
00:13:42Oh, my God.
00:13:43It doesn't just look like a bomb.
00:13:48It's a marzipan.
00:13:50Marzipan?
00:13:51I was in the army for years.
00:13:53I've recognised that smell anywhere.
00:13:54What is it?
00:13:55It's Semtex.
00:13:56Semtex?
00:13:57What...
00:13:58What can that do?
00:14:00Put it this way, there's enough in there to blow this whole Museum sky high.
00:14:10Come on!
00:14:11We are all down, my God.
00:14:12That's...
00:14:13Don't fight them.
00:14:14Don't fight them!
00:14:18Oh, my God.
00:14:19Don't fight them!
00:14:20Don't fight them!
00:14:21Don't fight them!
00:14:22Don't fight them!
00:14:23Don't fight them!
00:14:24Don't fight them!
00:14:25Don't fight them!
00:14:28Don't fight them!
00:14:30They want me!
00:14:31Well...
00:14:33What have we all lived together?!
00:14:34They're locked!
00:14:35They're locked!
00:14:36Okay, okay, um...
00:14:38Well, why don't we try the other exits?
00:14:40No, no, they will all be locked, too, and all the windows are bound.
00:14:45Oh, my God, what the hell are we going to do?
00:14:47Stop with the hysterics, George.
00:14:49In case you hadn't heard, there is a Semtex bomb in that room.
00:14:53Yes, we all know that.
00:14:58Gabrielle?
00:14:59Yes?
00:15:00How do we open the shutters?
00:15:02As far as I know, the security guard has fingerprint recognition.
00:15:06She's the only one who can deactivate the code.
00:15:08Where is the guard?
00:15:10In the security booth.
00:15:12Come on, come on, come on.
00:15:27Just go.
00:15:38You all right, love?
00:16:01Yeah, or woman.
00:16:03I know.
00:16:05So, one fingerprint to control your entire security system.
00:16:11Stop it, George.
00:16:13Yes, I let the security team arrange it between them.
00:16:16I have only been here three weeks, so it was on my to-do list, but...
00:16:22Good grief.
00:16:23So you have no idea how to deactivate it?
00:16:25No, no idea.
00:16:31Well, then, why don't we use her finger?
00:16:36George!
00:16:37Really?
00:16:38We can't.
00:16:40Why not?
00:16:41It's not like she's going to mind now, is she?
00:16:45It's not that.
00:16:46It's once tissue is dead, it loses its electrical charge.
00:16:49Hang on.
00:16:50Now, I saw this on one of those American crime dramas, and it worked a treat.
00:16:55So, let's give it a go, shall we?
00:16:57Good God, George.
00:16:58Oh, I see.
00:17:00You watched an entire box set, so, of course, now you know more than an actual doctor.
00:17:06I'm only saying, once the heartbeat dies, the electrical charge dies.
00:17:13It won't work.
00:17:15Can I ask a question, Gabriel?
00:17:33The security guard.
00:17:35What was her name?
00:17:36It was Susan.
00:17:38Shall we call her that, then?
00:17:40Look, I'm not suggesting we sever Suzanne's finger.
00:17:46George, leave it.
00:17:49Come on, let's stop.
00:18:17Why can't they hear us?
00:18:29No, no, because the front doors are solid oak,
00:18:32the shutters are solid steel,
00:18:34and the walls, it's very sick Mediterranean stone.
00:18:38Oh, that's just great.
00:18:40So is the place bomb-proof as well?
00:18:41They're not helping, George!
00:18:43It's OK, I'll call Karen.
00:18:44Yeah.
00:18:47Oh, well, there's no signal.
00:18:49Oh, God.
00:18:50Ah, no, no, no.
00:18:51I haven't had any since I arrived,
00:18:53because we are quite high up,
00:18:56and the walls are too sick.
00:18:58OK, what's the Wi-Fi code?
00:19:00I am going to share it with you.
00:19:02Yeah.
00:19:02What? I know I had my phone in the pub.
00:19:04I must have dropped it here.
00:19:06God!
00:19:09No, the Wi-Fi is off too.
00:19:11But don't worry, don't worry.
00:19:13I have one moment.
00:19:14I remember something.
00:19:16Where's he going now?
00:19:17I have one moment.
00:19:28I don't know.
00:19:28It's not right.
00:19:30I don't know.
00:19:35I don't know.
00:19:36I don't know.
00:19:41I can't remember.
00:19:42I can't remember.
00:19:42Someone has sabotaged the comms cupboard. It's beyond repair.
00:20:00Comms cupboard?
00:20:01It's where all the Wi-Fi hubs lead to to keep us on the internet.
00:20:05All the connections have been ripped to pieces.
00:20:08Oh.
00:20:10So we are completely trapped in here.
00:20:14Oh.
00:20:16Good God.
00:20:18You have got a foolproof security system that you don't even know how to operate.
00:20:23Who's a bloody fool now, eh?
00:20:25Get your hands off him, you brute!
00:20:28I'm fourth down black belt in jujitsu.
00:20:31You lay one more finger on him and I will take you down. Do you understand?
00:20:35Gentlemen, we have to calm down.
00:20:38Don't suppose you serve Valium as well as champagne?
00:20:41Valium. Is that the cocktail?
00:20:44Never mind, dear.
00:20:46So, someone knew that we were here tonight and trapped us under the threat of a ticking bomb?
00:20:54This psycho must really hate one of us.
00:20:56Well, it was Gabriel who wanted us here. He sent the invite.
00:21:00I don't think I would bomb my own museum to this and trap myself inside.
00:21:04OK, can we just stop sniping at each other, OK?
00:21:08Can't be anyone here, can it?
00:21:10I am not so sure.
00:21:14What do you mean?
00:21:16I do remember on my first debriefing, they said once the shutters are activated, they close very fast and there is very little time to get out.
00:21:26Do you mean that the murderer might still be in the building?
00:21:30Possibly.
00:21:32Patrick, can you call Judith?
00:21:43I can't get hold of Dom or Jeremy.
00:21:45Obviously, I have Jean's phone and I don't have Judith's number.
00:21:49There is no answer at the museum and the doors are locked.
00:21:52Something is not right.
00:22:02You OK?
00:22:03Yeah, I think so.
00:22:05Caron just asked me if I can get in touch with Judith but there is no answer.
00:22:09She is with Jeremy and Dom, give them a call.
00:22:11No, he has already tried that and there is no reply from them either and no one is answering the door.
00:22:16I don't like the sound of that.
00:22:18Nor do I.
00:22:20Diane can look after the bar for now.
00:22:23Electric lady van outside?
00:22:25Yeah.
00:22:26Then let's go.
00:22:28What idiot takes the job as a curator of a massive museum and doesn't know how to work the security system?
00:22:35I have only been here three weeks, OK?
00:22:39There was so much to do that it didn't seem like a priority, OK?
00:22:44Well, it's a priority now, isn't it, Gabrielle? It's a priority now.
00:22:49Gabriel, if he says one more word on you, I...
00:22:52No, no, no, no, no, no, no, no, no.
00:22:54If you're gonna say something, say it in a language we can all understand, eh?
00:22:58I beg your pardon. For one moment, I thought we were in France.
00:23:06If you have something to say, why don't you say it straight?
00:23:13You clearly have something to hide, Monsieur. Bullying my partner, shouting at your wife. Classic defense tactics.
00:23:24How dare you suggest that I... Shh!
00:23:29What's that? What?
00:23:33Listen.
00:23:54Hello? Hello? Can anyone hear me?
00:23:59Oh, come on. Hello? Hello? Hello?
00:24:03Hello? Can anyone hear me?
00:24:10Help! Help!
00:24:13Dom? Dom, is that you?
00:24:16Oh, thank God. Look, we are trapped inside the museum. The shutters are down, the security guard's been murdered, and there is a bomb ticking away.
00:24:24What? A bomb? Okay, Dom, you need to say all that again, but much slower.
00:24:29There is a bomb. Someone has activated the security shutters. They can only be deactivated by the fingerprint of the security guard.
00:24:42But the... the security guard... has been murdered.
00:24:49Okay, Dom, have you seen the bomb?
00:24:51Uh, yes.
00:24:52What does it look like?
00:24:54Hi, Dom.
00:24:59Right. Okay, so...
00:25:02It's like a big lump of orange.
00:25:05Uh, bloke in here so that it looks like Semtex.
00:25:08Um, there's an old-fashioned phone on one side, and in the middle is a... like a digital clock, counting down.
00:25:15There's three wires. A blue one, a red one, and a yellow one.
00:25:19And how much time does the bomb say you have?
00:25:2259 minutes.
00:25:24I will get help immediately. I need you to keep this communication open.
00:25:31Okay.
00:25:32We will get you all out.
00:25:35Dom?
00:25:36Dom, you need to keep this channel open.
00:25:39And...
00:25:40Andre, I can't hear you. Are you still there?
00:25:42Andre?
00:25:43Andre?
00:25:44Andre?
00:25:45Hang on a sec.
00:25:51Andre?
00:25:52Hang on a sec.
00:26:11Hang on a sec.
00:26:13There's got to be a spare, there's got to be a spare, oh, bingo.
00:26:33Caron, can you hear me?
00:26:36Caron?
00:26:43I managed to speak to Caron, he's calling for help.
00:27:01Brilliant, how did you manage that?
00:27:03Well, for Suzanne's walkie-talkie.
00:27:05Oh, that's great, well, we can use that then.
00:27:07No, no, no, it's just died.
00:27:08Maybe it just needs any battery, or...?
00:27:10No, no, I tried that, it was no joy, so...
00:27:12Oh, God.
00:27:13Well, at least we're getting some help from the professionals.
00:27:17Something you've needed for years, darling.
00:27:19Caron will help us, won't it, darling?
00:27:22Oh, absolutely, darling.
00:27:24Jean.
00:27:25What? What's the matter?
00:27:29I found this under the bomb.
00:27:35For me?
00:27:38I don't understand.
00:27:41Who would do something like this to you?
00:27:44I've no idea.
00:27:47I mean, thinking about it, I've put a few people away over the years,
00:27:53but this is beyond the pale.
00:27:56Look at the heart, her fruit from above.
00:28:11Her face like the sun, her heart full of love.
00:28:14But fate is not kind, and her future is bleak.
00:28:18Two attempts to survive, one date do you seek?
00:28:22Oh, come on, Jean, think.
00:28:25Okay, dear.
00:28:26Two attempts to survive, one date do you seek?
00:28:30So?
00:28:31What do you reckon?
00:28:33Well, it appears that this sicko wants me to find a piece of art in the museum
00:28:40that matches the riddle.
00:28:42Two attempts to survive, one date do you seek.
00:28:45So?
00:28:46Well, I'm guessing that you put the date in the keypad to stop the bomb.
00:28:56Oh.
00:28:57Wow.
00:28:58Somebody must really hate me to go to all this trouble.
00:29:03It's just a child's riddle.
00:29:05We should wait for help for grief.
00:29:07But what if help doesn't get her here on time?
00:29:10Someone is out to get me.
00:29:12This is all my fault.
00:29:14I've got to do something to help.
00:29:16Slave.
00:29:18Okay, Jean, you've absolutely got to solve this riddle.
00:29:22Come on, chaps, let's separate and find a way out of here.
00:29:25And, Gabrielle, you attempt to override this god-awful security system.
00:29:30Well, I think we should wait for the police.
00:29:33Something you are very welcome to do on your own, George.
00:29:36I, for one, am going to help Jean.
00:29:38Yeah.
00:29:39Yeah, me too.
00:29:40I'm in.
00:29:41Anything is worth a try.
00:29:43I do tech support for the charity.
00:29:46Can I help?
00:29:47Excellent.
00:29:48Come on.
00:29:49Let's go to the...
00:29:50Be careful.
00:29:51You too.
00:29:53I think it's essential that we keep dividing in order to conquer.
00:29:58Gentlemen, follow me.
00:30:00Okay, look at the heart. The heart. Well, the heart could mean love. Oh no, that could be any work of art. Okay. Okay, think, Jean, think.
00:30:16Well, um, it could be the sacred heart. Especially if it's qualified with the fruit.
00:30:35Well, how so?
00:30:36Well, um, Jesus in art is often referred to as fruit of the womb. Yeah, let's go with that. Okay.
00:30:43A face like the sun. Now, obviously, Jesus was the son of God. And the sun in the sky is often used as a metaphor for Jesus.
00:30:51So, um, fate is not kind. Well, fate wasn't kind to Mary.
00:30:56Certainly wasn't too kind to Jesus either, was it?
00:30:58Well, exactly. But her future is bleak. Her. I think it's got to be about Mary and Jesus. It's got to be.
00:31:05Right. I think we're looking for a religious painting or sculpture.
00:31:10Well, there'll be a fair few of those, I'm sure.
00:31:12Yes, but particularly the Madonna and Child.
00:31:15There is about six main rooms.
00:31:18Okay. Let's split up, take a room each, and report back.
00:31:21Right.
00:31:22Right.
00:31:24Me and Dom will take Medieval and Renaissance.
00:31:27Judith, you do modern art.
00:31:28Oh.
00:31:29Auriel, you do metal work.
00:31:31And Ellie, you do jewellery and glass work.
00:31:35And, um, yeah, and remember the Madonna and Child. Okay?
00:31:39Let's go. Right, which way? This way.
00:31:48Richard, did you contact the bomb squad?
00:31:51Not great news, I'm afraid. The nearest active unit is Lyon, which is six hours by car.
00:31:55They're trying to activate the plan to get here quicker, but it's not looking good.
00:31:58What about overriding the security system?
00:32:01We have contacted the company, but with it being Christmas Eve, we have the same problem.
00:32:05The nearest engineer is in Marseille.
00:32:07Oh, no.
00:32:08There is no guarantee they will be here in time.
00:32:10If there was another way in, I think I could deactivate it.
00:32:13What?
00:32:14Before I joined the gendarmerie, I trained in the bomb squad at La Police Nationale.
00:32:18If it is a rudimentary device, I could deactivate it, I think.
00:32:22Okay, well, what about the tunnels underneath?
00:32:24Pardon?
00:32:25The museum's tunnels were part of the bomb shelter system during World War II.
00:32:29I remember the tour guide telling us when I brought Xavier on a visit.
00:32:32Okay, I will go in.
00:32:34I cannot put my best officer in danger, Richard.
00:32:37I will go in.
00:32:38You can advise me.
00:32:39But, sir, I...
00:32:40That is an order.
00:32:41Let's find a map.
00:32:44Madam.
00:32:46On the count of three, we all pull together.
00:32:48Ready?
00:32:49Ready?
00:32:50One, two, three!
00:32:52I haven't finished counting!
00:32:54I think I've chucked them over my shoulder.
00:32:57It's a little dramatic.
00:32:58If we all work together, we stand more chance.
00:33:01If we...
00:33:02Did you just call me a dramatic?
00:33:03It was just an observation.
00:33:05You like making observations, don't you?
00:33:07What's that supposed to mean?
00:33:09Like observing other people's wives.
00:33:12I don't know what you're talking about.
00:33:14Do you think I was born yesterday?
00:33:16I'm sorry?
00:33:18The charity meetings with my wife.
00:33:23The dinners.
00:33:25Come on, Ali.
00:33:26I've been through her phone.
00:33:28I know what's going on with you two.
00:33:32Don't tell me I'm wrong.
00:33:35I said!
00:33:36Tell me I'm wrong!
00:33:40Well...
00:33:41There you go.
00:33:42Just about says everything, doesn't it?
00:33:44George, I...
00:33:45I...
00:33:46Auriel...
00:33:47Is my wife!
00:33:49Come on, George.
00:33:51You haven't loved each other for years.
00:33:53Even a stranger would know that.
00:33:54Just our shtick!
00:33:55What?
00:33:56The couples thing.
00:33:58The public act.
00:34:00But when we get behind closed doors...
00:34:04We are still husband and wife.
00:34:09Oh!
00:34:11So you think I'm lying, do you?
00:34:14Well...
00:34:15I don't know what yarn she's been spinning you...
00:34:18But it's true.
00:34:20And...
00:34:21I'll tell you something else that's true.
00:34:23I will do everything in my power...
00:34:27To make sure that you never...
00:34:30Raise...
00:34:31Another penny...
00:34:32For your stupid...
00:34:33Shut up!
00:34:34Gentlemen!
00:34:35Gentlemen!
00:34:36Please!
00:34:37This is no time for a bloody showdown!
00:34:38Come on!
00:34:57The versuchen of Jeиц
00:35:03Zero could be for a bloody show in your hot dress.
00:35:06Yeah...
00:35:07Where inaudible?
00:35:08Cada Miss安全
00:35:09What?
00:35:10To make sure that you and how you're dressed,
00:35:11And it'll have your way on here.
00:35:12Let's go.
00:35:13On your assigned executive line...
00:35:14Judith...
00:35:15I didn't find anything.
00:35:16Literally...
00:35:17It dedicates to your house...
00:35:18What about your pillows?
00:35:20For us?
00:35:20Did I go.
00:35:21Wendy's.
00:35:22These are secret people tonight might give you...
00:35:23The stuff that hung up...
00:35:24You eat you eat you eat you...
00:35:25anything literally didn't even find a decent painting we said we had a chance
00:35:31with the necklace but there was no reference to the Sun well we can't give
00:35:34up we still have two other rooms well you two can go on looking but I'll be
00:35:39very honest with you I need a little top-up of courage what in here can you
00:35:47not hear that bomb ticking yes yes I can but I'll be perfectly honest with you
00:35:53or real if I am to get blown to smithereens I'd really rather like not
00:36:00to remember it let's keep looking I'll take sculpture and you take it to my
00:36:06daughter now okay
00:36:09thank God the library was still open right this map dates from around 1943 it shows the tunnels
00:36:28that were dug out and used as bomb shelters during World War two oh desolée vous voulez que je parle
00:36:35and falls a rush I think it is the map she can't quite understand not you I have
00:36:41always been terrible with maps it's a bit of an Achilles heel for me desolée
00:36:45that's because you're so young love we forget we're the last generation that
00:36:49didn't have sat-nav hey speak for yourself I'm 20 years younger than you which
00:36:52makes me a straddle double I straddle pre and post technology doesn't matter what
00:36:57for my map takes I'm a dab hand right there's a labyrinth of tunnels under the
00:37:01museum you can see the entrances all around here but they can only be accessed
00:37:06from the inside hang on this one looks like it's leading from the outside in
00:37:12what do you mean look it starts off as a small one then joins up with the bigger
00:37:17ones what suits proximity just underneath the main entrance right around here
00:37:25somewhere Gloria can you pull the van back a bit love
00:37:32okay lovely that's it there's your way in
00:37:48you're not going to open it up like that well you got crowbar in the van yeah and toolbox
00:38:00you are full of handy tricks Patrick I'm not going to ask where you lent them
00:38:30okay I'm going in Richard get me an earpiece you'll need this as well it's my head torch thank
00:38:36you Gloria thank you you're sure I can't go with you Richard I need you to take control here
00:38:44you are now in charge no yeah take this headset I need you to stay on the map and on the radio
00:38:53you will be my ears and eyes when I reach the bomb you will pass to Richard okay will the signal be
00:38:58strong enough down there this radio is analog it's like a walkie-talkie it works over short distances
00:39:03because he doesn't need a signal to bounce up to the sky okay be careful in there
00:39:10I will
00:39:20I'm lawyer can you hear me yeah you okay I'm fine which way okay you go into your left first
00:39:31Bingo. The shutters are connected to the museum's mainframe.
00:39:43Meaning you don't need Wi-Fi?
00:39:47Exactly. I may be able to override it if both systems are kept connected.
00:39:53Where's your main computer?
00:39:58It's in my office next to the event room.
00:40:04What's your passcode?
00:40:07It's Yves1234.
00:40:10Yves, press your finger firmly on this pad.
00:40:14I may be able to change the fingerprint identity to yours.
00:40:17Gabriel, when a code pops up, press Enter straight away.
00:40:21Enter straight away.
00:40:22Okay, I'm going to your office.
00:40:28Who would have thought she would be with Lara Croft?
00:40:33Okay.
00:40:35Oh, hello. What are you doing here?
00:40:48What are you doing here?
00:40:51Oh!
00:40:53What are you doing here?
00:40:54What are you doing here?
00:40:56What are you doing here?
00:40:58What are you doing here?
00:40:59What are you doing here?
00:41:01What are you doing here?
00:41:02What are you doing here?
00:41:03What's up, what are you doing here?
00:41:04What are you doing here?
00:41:05I'm doing so well.
00:41:06I don't think so.
00:41:07What do you do here?
00:41:08You're working.
00:41:10What's that happened then?
00:41:11I don't even have to put my little finger on it.
00:41:16You're going to get very good.
00:41:18Yeah, I'm going to get my tongue.
00:41:20We're going to get out of here, don't worry about it.
00:41:23And how do you think you're going to be so sure?
00:41:26In any case, I wanted to tell you,
00:41:31it's been a long time that we've been known,
00:41:34but you've got my life.
00:41:37Oh, really? That's so cool.
00:41:40Sorry, Gabriel. It's just that I'm really scared.
00:41:44Excuse me.
00:41:47The code will appear in a moment.
00:41:50It must be deleted.
00:41:52What's crazy?
00:42:00What came first, medieval or Renaissance?
00:42:03Medieval.
00:42:04Oh, right.
00:42:05So medieval was the 5th to the 14th century
00:42:09and Renaissance was the 14th to the 17th.
00:42:12Correct.
00:42:13Yeah, no, it says it here on the card.
00:42:18This is beautiful.
00:42:20It's handspun wool and silk.
00:42:23And this is called a verdure tapestry,
00:42:25derived from the French word for green.
00:42:27Ver.
00:42:28Ver.
00:42:29Yeah.
00:42:30How do you do that?
00:42:31What?
00:42:32No, all that.
00:42:34It says it on the card.
00:42:36Touché.
00:42:39These two look how I feel.
00:42:41How come none of them ever smiled?
00:42:43There was a theory that they didn't want to show their bad teeth.
00:42:46Fair dues.
00:42:47I think it was just really hard work to maintain a smile
00:42:50whilst you're having your portrait painted.
00:42:52I mean, sitting there for hours like that,
00:42:54not like taking a selfie, is it?
00:42:56That's true.
00:43:00Don.
00:43:01Look at that.
00:43:02Look at the heart.
00:43:03Her fruit from above.
00:43:04Her face like the sun.
00:43:05Her heart full of love.
00:43:06I mean, I wouldn't exactly say her face is sunny.
00:43:07Donatello, terracotta.
00:43:08He didn't look at the card.
00:43:09Oh.
00:43:10Well, he's one of my favourites.
00:43:11Mind you, there is a debate that it could have been Rebea, but...
00:43:12Says it's on loan from Florence.
00:43:13But it fits all the clues.
00:43:14Can have your phone?
00:43:15Yeah.
00:43:16OK
00:43:44Oh, we best get back to the others.
00:43:48Not much time left, is there?
00:43:51I love you, Jane White.
00:43:53Dom, we will get out of here.
00:43:56Yeah?
00:43:57Yeah, come on.
00:43:58One, two, three!
00:44:08All right, all right, all right. Let's just take a minute.
00:44:13Good idea.
00:44:24So, how did you find out about the affair?
00:44:31I wasn't sure at first, but I had my suspicions for months.
00:44:36But what made you suspicious, if you don't mind?
00:44:40Oh, I don't mind, I don't mind.
00:44:43We run our businesses like clockwork, and then all of a sudden she becomes interested in charity.
00:44:48Now, I wouldn't mind, but we have an office set aside for charity or tax relief, as I'd like to call it.
00:44:58Absolutely.
00:44:59And the only charity she really did was just turn up, snip the ribbon.
00:45:04Until she met him.
00:45:07Ah, Dr. Pardipa.
00:45:09Mm-hmm.
00:45:10We met him, and then she became obsessed with going to his meetings for his prison art malarkey.
00:45:21She couldn't get enough of it.
00:45:22Oh, we should see the difference it makes. Blah, blah, blah.
00:45:25And then there's all the obvious signs.
00:45:32Never leaving her phone unattended.
00:45:34Always going in a different room to check her messages.
00:45:38You know, I've never loved another woman.
00:45:44I just thought...
00:45:47Maybe she didn't love me as much as she used to.
00:45:53Though we'd always have...
00:45:55Respect.
00:45:57Respect.
00:46:00You're right, old chap.
00:46:02Once the respect has gone...
00:46:08Come on, George.
00:46:09We've got to find a way out of here.
00:46:11Come on.
00:46:16Where on earth is everybody?
00:46:20Ah, hello. Who have we here?
00:46:23What a zero chance of my reading that tiny writing.
00:46:30You do have a look of a female, I suppose.
00:46:32But is that a child?
00:46:37Oh, bloody hell, I forgot to pick up my glasses.
00:46:41I know.
00:46:49Oh, I see.
00:46:50It's not a child, but a sheaf of wheat.
00:46:55Really.
00:46:56Come on, ladies and gentlemen, circule.
00:46:58There's nothing to do here.
00:47:04OK.
00:47:05The tunnel on your left appears to lead to another exit.
00:47:09But the tunnel ahead of you takes you to a door
00:47:11that leads you into the museum.
00:47:14OK.
00:47:15Give me a second.
00:47:20It's locked.
00:47:21The door's locked.
00:47:22Give me your handset.
00:47:23Andre?
00:47:24Describe the lock to me as best you can.
00:47:26It is a rectangle with a large keyhole in the middle.
00:47:29Looks like a church door lock.
00:47:30And it is very rusted.
00:47:31Sounds like a rim lock.
00:47:32Not too tricky.
00:47:33So, use the screwdriver attachment on your multi-tool to turn the door.
00:47:36to your right.
00:47:37Okay.
00:47:38Okay.
00:47:39I am ready to turn the lock to the door.
00:47:40All right, Andre.
00:47:41Describe the lock to me as best you can.
00:47:43It is a rectangle with a large keyhole in the middle.
00:47:46Looks like a church door lock.
00:47:48And it is very rusted.
00:47:50rusted. Sounds like a rim lock, not too tricky. So, use the screwdriver
00:47:56attachment on your multi-tool to turn the lock to your right.
00:48:04Okay, I'm ready. No. No. Well. No. I give in.
00:48:27What do you mean George knows? He just came straight out with it. Said he'd been looking through your phone.
00:48:33Looking through my phone? How? It never leaves my sight. We hardly see each other. We live separate lives.
00:48:42That's not what he said. What? He implied that the two of you are still very much in love.
00:48:50And that this whole dislike thing is just an act. Oh, Ali, that is rubbish. We don't even sleep in the same room.
00:48:59And the worst bit of it is he said he's going to make sure that I don't receive another penny for the charity.
00:49:06Oh. That's the worst thing, yeah? Well, it's nice to hear you've got your priorities straight.
00:49:14No, Oriel, you are my priority. But if you're still in love with him...
00:49:21Ali, please, it's rubbish. He's just bitter, believe me. I love you.
00:49:29Did you find anything? Oh, I've taken a picture of a few pieces, but I haven't really got a clue what I'm looking for.
00:49:36Yeah, I mean, the riddle is a little vague. Yeah, that's the understatement of the century.
00:49:41But the bomb threat is very clear. Yeah, yeah. We should find the others and regroup, yeah?
00:49:46That's where I was heading.
00:50:02Oh. Oh, no. They're all locked!
00:50:05Oh. Surely that idiot Gabrielle has a set of keys.
00:50:09I think we've established, George, that Gabrielle has literally no idea where they are.
00:50:14Oh, hello, you two. Hello. Hello, darling. Any success?
00:50:19Oh, it's bloody useless. I can't find one single religious painting.
00:50:24No, I've tried my utmost, and that's all I can do. It's all so hopeless.
00:50:30How are you getting on? We've fried all the doors. And windows.
00:50:33Nothing. How utterly infuriating.
00:50:36Maybe we should get back to the others.
00:50:38Good idea, George. Come on.
00:50:42We will get out of here, won't we, darling?
00:50:45Oh, come here.
00:50:48Of course we will, my darling.
00:50:52One way or the other.
00:50:56Very, very gently.
00:51:00Nothing seems to be biting.
00:51:02Take your time.
00:51:04That is something we do not have.
00:51:06I think I can kick the door in.
00:51:10No, no, no, no. Don't do that.
00:51:12We don't want any unnecessary vibrations.
00:51:15Andre?
00:51:17Andre?
00:51:18Andre?
00:51:22Andre!
00:51:23Andre!
00:51:25Andre!
00:51:29Andre!
00:51:30Andre!
00:51:34Petersburg ISO!!!
00:51:35PHONE RINGS
00:51:41Penny Joy? Yes.
00:51:46And now, this is a picture by Camille Corot in 1860,
00:51:51and it's of a normal, earthbound human child.
00:51:55Sorry. No, it's OK.
00:51:57Ellie, anything? I couldn't find the card for this,
00:52:00but it looks like a modern art version of Mary and Jesus.
00:52:04Well, is it? No.
00:52:07I'm afraid not.
00:52:09I mean, it looks like modern art,
00:52:11but I think it's a copy of the famous Corotrophos,
00:52:14which is one of the earliest Neolithic finds in Greece.
00:52:176000 BC.
00:52:19Oh.
00:52:21Not with George and Jeremy, then, Ellie?
00:52:23No, the, um...
00:52:25We couldn't...the doors.
00:52:30I've got something to tell you.
00:52:32Oh, Dawn.
00:52:33Oh, how did it go?
00:52:35We're really trapped.
00:52:36Tried everything.
00:52:38Every window, every door is either deadlocked or barred.
00:52:42Judith, did you find anything to match the poem?
00:52:44I found a painting that might be a mother and child,
00:52:47but I'm not entirely sure it's the right way up.
00:52:52No.
00:52:53Don, can you get up that picture of the Donatello, please?
00:52:58No.
00:53:03Okay.
00:53:08Two attempts to survive, one date do we seek.
00:53:12Do you think it's time to put our best option in?
00:53:15Don't really have a choice, do we?
00:53:17Or shouldn't we wait to see if Sangeetra and the others have had some success?
00:53:21I don't think there's any harm in trying.
00:53:23Do you think it's time to try it?
00:53:25No.
00:53:27You're lying.
00:53:28No.
00:53:30I'm lying.
00:53:31I'm lying.
00:53:32Yes, Patrick.
00:54:02Oh.
00:54:03We lost you for a few moments, you had us worried.
00:54:06So, how you doing?
00:54:09I'm a little trapped.
00:54:11Part of the roof has collapsed and formed a barrier
00:54:14between me and where I came in.
00:54:16Can you dig your way out?
00:54:18At the moment, that does not seem possible.
00:54:21OK, so we must keep trying the lock.
00:54:32The lock is so rusted, I just can't seem to get a grip.
00:54:43There's a blockage in the tunnel and he can't get out.
00:54:45How's he doing with the lock?
00:54:47He says he can't get a grip because it's all rusted up.
00:54:49Rusted?
00:54:50Give me the headset.
00:54:53Andre, this may seem like a stupid question,
00:54:56but what's your gun holster made of?
00:54:59Mainly leather, I think, but with some rubber on the inside.
00:55:03Great.
00:55:04Take your knife and slice a thin piece of rubber off.
00:55:13OK, I've done that.
00:55:15Put it in the lock and rub as hard as you can.
00:55:24Is it working?
00:55:25Yes.
00:55:26Yes, it's working.
00:55:27Get fat if you know how to do that.
00:55:29Oh, but can each trick rustates rubber.
00:55:31I'm passing you back to Patrick.
00:55:33Right, I'm going to try the lock again.
00:55:35OK, Andre, remember, screwdriver up and to the right, very gently.
00:55:46What's happening, Andre?
00:55:47Andre?
00:55:48It's not opening, Patrick.
00:55:50OK.
00:55:54I want you to describe it for me again, as best you can, with every detail.
00:56:02Every detail you can.
00:56:08It's brass, I think, with a fancy design on it, like a fleur de lis, sort of.
00:56:15Oh, Patrick, you idiot, it's an old French lock.
00:56:18I'm going to try something different, Andre.
00:56:23Turn it to the left, very, very gently, hmm?
00:56:27Then turn it, one more time.
00:56:37It's unlocked!
00:56:38Yes!
00:56:39Yes!
00:56:41OK, Andre.
00:56:42Once you're through the door, you're going to your right.
00:56:45I can't believe I got it so wrong.
00:56:50Look, you can't blame yourself, Jane.
00:56:52Well, it's false, is it?
00:56:53I sent you all on a wild goose chase.
00:56:55You did something, though.
00:56:56Yeah, then I got it wrong.
00:56:58I don't want to die like this, Jeremy.
00:57:01Oh, I know, my darling, I know.
00:57:06Why didn't you tell me it'll all be all right?
00:57:10What?
00:57:11You always say it'll all be all right, darling, and it always is.
00:57:31How much time have I got left?
00:57:33How much time has he got left?
00:57:36Only 17 minutes, I'm afraid.
00:57:3717 minutes, Andre.
00:57:39Keep going straight on.
00:57:41You're nearly there.
00:57:42You're doing great.
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01:01:29with Gabrielle for too long.
01:01:34All the banking codes, they are gone.
01:01:37Are you sure they were in there earlier?
01:01:38Yes, when I came to get the Ormolu from the safe,
01:01:41I clearly remember seeing the file.
01:01:44And who else knew the combination to the safe?
01:01:47Only me.
01:01:48And Yves, he helped me collect the Ormolu earlier.
01:01:52Okay.
01:01:55We all have to stay in the same place.
01:01:57It's what Karen would make us do.
01:01:59Yeah, yeah, you're right.
01:02:00But we have to stick together.
01:02:02There's a murderer amongst us.
01:02:19Gloria, I must be near, I can hear voices.
01:02:22You're right underneath the events room.
01:02:25Carry on for about another 10 yards,
01:02:27and you'll see a ladder on your right.
01:02:29That'll take you directly up to the museum.
01:02:33Are you okay, love?
01:02:36Yes, I'm fine.
01:02:40Yards to meters, multiply the length given in yards
01:02:44by 0.9144.
01:02:47I found the ladder.
01:02:48He's found the ladder.
01:02:50I'm heading up now, Gloria.
01:02:52Well done, André, you're nearly there.
01:02:54The security engineer has now landed at the airport
01:02:56and she's on her way now in a pretty scar.
01:02:57Brilliant, my sir.
01:02:58You, sir.
01:02:58You, sir, you, sir.
01:03:00Oh, God, André, you're nearly there.
01:03:02The security engineer has now landed at the airport
01:03:04and she's on her way now in a pretty scar.
01:03:05Brilliant, my sir.
01:03:06You, sir.
01:03:07André, André, are you okay?
01:03:20André, can you hear me?
01:03:29Maybe we should start praying to them paintings we found.
01:03:32It looks like that's our only choice.
01:03:35You like to have a choice, don't you?
01:03:37What's that meant to mean?
01:03:38You know exactly what that means.
01:03:41If you've got something to say, George,
01:03:43why don't you just come out with it?
01:03:44If I've got something to say, I will decide when I say it.
01:03:50Always loving the control, eh, George?
01:03:52Even when we're about to die, you still have to be in control.
01:03:56You know the best thing about this situation?
01:04:00We're both going to die together.
01:04:02We're both going to die together.
01:04:04Which means you won't inherit a thing.
01:04:10Wow.
01:04:12Just when I thought you couldn't go lower.
01:04:14I'm trying to work out the murder in real time.
01:04:29What are you thinking?
01:04:30I'm trying to work out the murder in real time.
01:04:33I'll get Jeremy and Judith over to help, will you?
01:04:37Hey, you two.
01:04:39Jean needs help.
01:04:40I'm not sure I'm much help to anyone, Dominic.
01:04:42Judith's not feeling great.
01:04:44We're all not feeling great, Jeremy.
01:04:46Sorry, sorry, I didn't mean to snap.
01:04:51No, no, actually, I did.
01:04:54Jean is over there trying so hard to help us, to help all of us.
01:04:58The very least you two can do is to help her.
01:05:00Okay?
01:05:01Oh, sorry, old chap.
01:05:03Yes, of course.
01:05:04Oh, great.
01:05:06Okay, so whoever murdered Sangeet and Suzanne
01:05:11has something to do with the bomb and this whole nightmare evening.
01:05:14It makes sense for everything to be connected.
01:05:16Yeah.
01:05:17Who would kill Sangeet?
01:05:18Who would murder someone like that?
01:05:20Well, Ali's having an affair with Auriel.
01:05:23Oh, yeah, don't tell me.
01:05:24What?
01:05:25Yeah, George just poured his heart out to me.
01:05:27The poor chap is broken.
01:05:28Yeah, and I saw Ali and Auriel in the corridor earlier talking about it.
01:05:32Do you think he bumped off his wife to run off with a billionaires?
01:05:37That's what I said.
01:05:38Or maybe George killed her to frame Ali.
01:05:42You're certainly on the verge of it.
01:05:43Or maybe Auriel killed her in a jealous rage
01:05:47because she couldn't wait a moment longer for Ali.
01:05:50Well, in the office,
01:05:52Gabrielle said all the codes to the museum's bank had been stolen from the safe.
01:05:56Yeah, and he was certain that they were there earlier.
01:06:00So could that have something to do with it?
01:06:02Oh, it's all so confusing.
01:06:04My head hurts.
01:06:06Dom, come with me.
01:06:13There was only one person that used the map.
01:06:30It's sweet.
01:06:47Of course.
01:06:49It's so small.
01:06:50It's a nose ring.
01:06:53It was Ellie. It was all Ellie.
01:07:02What?
01:07:03Ellie is the murderer.
01:07:05Don't, don't, don't, look.
01:07:06But how did she do it?
01:07:08She couldn't be in two places at once.
01:07:11I mean, she was definitely here when we arrived.
01:07:15So how could she be murdering the security guard at the same time?
01:07:20Unless, oh, this question.
01:07:30Don.
01:07:36Don, give us a hand with this.
01:07:38Yeah.
01:07:45Oh, my God.
01:07:50She's still alive.
01:08:01Let's get her in here.
01:08:10What the hell?
01:08:11Who on earth is this?
01:08:12Jean, for God's sake, explain. What on earth is going on?
01:08:16Only then, just a minute.
01:08:19I'm intrigued.
01:08:23We still have a few minutes before we escape.
01:08:27How did you know?
01:08:28Eve, what are you doing?
01:08:33Go on, Madam White.
01:08:34And it didn't come to me straight away.
01:08:38Then I worked out that it was you who killed Sangeeta and stole the bank codes.
01:08:44You mistakenly left your map on the floor at the side of the safe.
01:08:49I suppose when Sangeeta came in to override the fingerprint control, well, she caught you red-handed.
01:09:03And then I worked it back.
01:09:05I mean, how did you get in the safe in the first place?
01:09:08Only Gabrielle and Eve knew the combination, so it made sense one of them was your accomplice.
01:09:26And then I remembered, earlier in the evening, Sangeeta recognised you, Eve, from a prison outreach event.
01:09:34Have we met somewhere before?
01:09:36I very much doubted.
01:09:38I don't do prisons or charity here.
01:09:40I assume you've not been out of prison for very long.
01:09:44For Sangeeta to recognise you from something so recent.
01:09:47Eve, is this true?
01:09:50But you, Ellie, yeah.
01:09:54I couldn't work out how you could be in two places at once.
01:09:58Serving champagne here and, well,
01:10:02murdering the security guard down there.
01:10:07But you weren't, were you?
01:10:11This is what I think.
01:10:14You entered the museum
01:10:15and you forced the security guard to activate the shutters.
01:10:19Once you'd started the bomb,
01:10:32you raced up here,
01:10:35changed your outfit,
01:10:37and you placed the bomb in the cabinet,
01:10:41just outside this room.
01:10:44Then you accosted that poor waitress.
01:10:56And you bundled her into the cupboard.
01:11:00It's brilliant, really.
01:11:02All Eve had to do was hire an agency waitress
01:11:06who looked a little bit like you.
01:11:08I mean,
01:11:09no-one had ever met either of you before,
01:11:12so no-one would realise that
01:11:14you were an entirely different person.
01:11:16But how did you get the bomb inside the Ormalu?
01:11:22Well,
01:11:23you throwing champagne over George was no accident, was it?
01:11:29The minute that you heard Gabrielle and Eve in the corridor,
01:11:33that was your cue to cause a distraction.
01:11:37Go, go, go, go!
01:11:39What the hell?
01:11:44Giving Eve just enough time to plant the note for me
01:11:49and to put the bomb in the box.
01:11:59Very good, Madame Waite.
01:12:01I sort of understand the murders to steal the bank codes.
01:12:08But why the bomb?
01:12:10Why the poem?
01:12:12Well,
01:12:14that is what you would all take to your graves
01:12:17without knowing.
01:12:19But there's no way out.
01:12:21Not for you, anyway.
01:12:23The security engineer is almost here.
01:12:42Oh, we've only got two minutes left.
01:12:44Two of the most important people in my life were in that building.
01:13:02Heads down, please.
01:13:05Right.
01:13:06I'm gonna smash this door down.
01:13:07What's the point?
01:13:08There's enough Semtex in there to block the whole bloody building.
01:13:11But they managed to escape, didn't they?
01:13:13Oh, God, I didn't think I was gonna die from a bomb
01:13:16in a bloody jewellery box.
01:13:20Maybe the actual box is a clue.
01:13:23It's an actual Marie Antoinette box.
01:13:30This is a picture of Marie Antoinette dressed as a vestal virgin
01:13:33by Charles Le Clarke in 1777.
01:13:37In relation to the poem,
01:13:40Fruit From Above, well,
01:13:41Marie Antoinette's father was a pope.
01:13:44Faced like their son.
01:13:45Well, um,
01:13:46she was married to the great-great-grandson
01:13:48of the Sun King,
01:13:50and fate was not kind.
01:13:51Well, it wasn't kind to her.
01:13:52She had her head cut off.
01:13:53The king's son was married to Queen.
01:14:03I love us,
01:14:03Seven.
01:14:04Seven.
01:14:05Seven.
01:14:06I said we'd be all right.
01:14:24Oh, Judith. Judith, you're a genius.
01:14:28The boss, Marie Antoinette, of course it was to do with her.
01:14:31Oh, I'm going too old for this.
01:14:33Clever, clever darling.
01:14:35I'm so pleased I didn't tell you what I bought you for Christmas.
01:14:44What happened?
01:14:47Nothing.
01:14:48Hi!
01:14:55Listen, I don't want to break up the party, but we are still locked in.
01:14:59I know we don't have the threat of the bomb anymore, but we are still locked in.
01:15:03Come on, let's get this door open.
01:15:05Right.
01:15:06Come on.
01:15:07Right, okay.
01:15:08I'm counting three.
01:15:09One.
01:15:10Two.
01:15:11Three.
01:15:12One.
01:15:13One!
01:15:14Oh!
01:15:15Charlie!
01:15:16I must have loosened it earlier.
01:15:17Loosen it.
01:15:19It's a real dreamboat there, hey, my darling wife.
01:15:45Come on, come on, come on.
01:15:46The shutters are opening.
01:15:48Come on.
01:15:48Come on, come on.
01:15:49Oh, Karen, you little musy.
01:15:59Excuse me.
01:15:59Excuse me, excuse me, excuse me, excuse me.
01:16:06Venis, c'est bon, venis, venis, venis.
01:16:08Venis.
01:16:09This way.
01:16:10This way, please.
01:16:12This way, please.
01:16:13Venis.
01:16:14Come on, s'assoir.
01:16:15Thank you so much.
01:16:15This way.
01:16:16Yeah, yeah, yeah.
01:16:17Oh, my God.
01:16:18Oh.
01:16:19Gene, you all right?
01:16:21Oh.
01:16:22Am I glad to see you.
01:16:24You too, sir.
01:16:26Oh.
01:16:27That must have been so scary.
01:16:29Certainly had its moments.
01:16:30Oh, Dominic, Merry Christmas.
01:16:31Merry Christmas.
01:16:32Well, yeah, I wouldn't exactly say that, but Merry Christmas.
01:16:37Where's Karen?
01:16:39What happened?
01:16:41He came in to get you.
01:16:42He came in to get you.
01:16:44How?
01:16:45The tunnels underneath the museum.
01:16:47The what?
01:16:48There's a load of bomb shelters.
01:16:50It was my idea, but I'm-
01:16:53His radio's gone silent.
01:16:56We think he has fallen.
01:16:57What?
01:16:58What?
01:16:59What?
01:17:00They had to wait and see if the bomb exploded before they went to check on him.
01:17:04Just preparing to go and find him now.
01:17:08Allez.
01:17:09I assume these two have something to do with all this?
01:17:22I thought I'd killed you.
01:17:25Not quite.
01:17:26Oh.
01:17:27André.
01:17:28It's so good to see you for all.
01:17:31Good to see you, mate.
01:17:34Jean.
01:17:35Jean.
01:17:36Richard.
01:17:37Jean, can you fill me in on what happened?
01:17:42Then I will interview those two in the morning.
01:17:44What?
01:17:45Now?
01:17:46Are you sure you're up to it?
01:17:48You know, I like to keep busy at Christmas.
01:17:51I do.
01:17:52Yes.
01:17:53Oh, my God.
01:17:58Oh.
01:18:15I don't know what happened.
01:18:17Ain't no need to do anything.
01:18:19I'm afraid you didn't, of course.
01:18:21And we'll be an минут at that time, so we could get even.
01:18:26Oh, wait, please. Now, how do you do this?
01:18:30Caroline, darn to your poor face.
01:18:49I'm not sure I like brunch.
01:18:51What?
01:18:53Well, the word, the blending of two words to make another,
01:18:55like, um, motel.
01:18:58Portmanteau.
01:18:59Oh, bless you.
01:19:00No, portmanteau is the blending of two words
01:19:03to make another one.
01:19:05Although, portmanteau also means a leather case
01:19:07with two sections, but...
01:19:09Where would it be without your brain, eh?
01:19:11I think we're daft.
01:19:12You don't mean it.
01:19:13You saved a lot of lives yesterday.
01:19:15Oh, well, I just did what I had to do.
01:19:18Yeah, and what only you can.
01:19:21Well, thank you.
01:19:22Now, can I tempt you to a quassage?
01:19:26What?
01:19:27It's a croissant with a sausage inside.
01:19:28And portmanteau in.
01:19:32Fresh coffee?
01:19:33Oh, thank you, Patrick.
01:19:37Why don't we, darling?
01:19:38I'm terribly hungry this morning.
01:19:41I think it's all the trauma.
01:19:42Of course, darling.
01:19:44It can do that.
01:19:45I remember when me gran was ill,
01:19:47all anybody could do was make sandwiches,
01:19:49like, make everything better.
01:19:50Feeding the soul?
01:19:52Not with white slice and beef paste.
01:19:53We ended up feeding the ducks.
01:19:56There you are.
01:19:56Plenty more where that came from.
01:19:58Oh, lovely.
01:19:58Will you sit down?
01:20:00We've got loads here.
01:20:01We need to save a little bit of room for Christmas dinner.
01:20:03You sound just like I did when you were a nipper.
01:20:06Do you know, one Christmas morning,
01:20:07he ate three packets of mince pies
01:20:09and half a Christmas cake before breakfast.
01:20:12How old is he?
01:20:15Five.
01:20:15Fifteen, actually.
01:20:18I was a little bit worse for wear,
01:20:20but I didn't know that then.
01:20:21I just needed a sugar rush.
01:20:22I have never really believed in hangovers.
01:20:25I think it's a case of mind over matter.
01:20:27I think that's why I've never heard one.
01:20:32Oh, excuse me.
01:20:35Ah.
01:20:37Carol is ready for me to go over.
01:20:39Oh, want me to come with you?
01:20:40No, it's all right.
01:20:41It won't be long.
01:20:42I've just got to bob over to the station
01:20:44and Andre needs my help.
01:20:46Take some food with you.
01:20:47Oh, no, I'm really full.
01:20:49For Andre and Richelle.
01:20:51Oh, yeah, great idea.
01:20:53Tell them that they're both invited to lunch.
01:20:55Four o'clock start.
01:20:56Will do.
01:20:57Talking of starts,
01:20:58do you think it's too early for a little champagne?
01:21:02Wonderful idea, darling.
01:21:04Carpe bloody diem after yesterday,
01:21:06that's what I say.
01:21:08I'll get some glasses.
01:21:12Hey.
01:21:14What?
01:21:17Merry Christmas.
01:21:20Merry Christmas?
01:21:21What's the matter?
01:21:23Well,
01:21:24after yesterday,
01:21:26I don't want to let you have me say.
01:21:29Don't be daft.
01:21:30It won't be gone long.
01:21:31Yeah, I know, but...
01:21:32I'll tell you what,
01:21:34why don't you get on the morning champers
01:21:36and you won't even know I'm missing?
01:21:38Okay.
01:21:39Come here.
01:21:40Happy Christmas.
01:21:55Well, it would be if we could get these two to speak.
01:21:59Oh, no joy.
01:22:00Nothing from him.
01:22:01He's just playing games.
01:22:03But the girl, I think, is starting to break.
01:22:06That's why I asked you here.
01:22:07She's upstairs.
01:22:09Oh, from Patrick.
01:22:11Merci.
01:22:11So, what happened?
01:22:21No comment.
01:22:23Why did you plant a bomb?
01:22:25No comment.
01:22:26And why the poem?
01:22:29No comment.
01:22:31Look, I can understand
01:22:33you killing who you needed to
01:22:34to steal the bank codes.
01:22:37But why the bomb?
01:22:38Why the poem?
01:22:40Well, I don't know you
01:22:41and you don't know me.
01:22:42Well, the poem was obviously not my idea.
01:22:46So,
01:22:46there was someone else involved?
01:22:48Of course.
01:22:49I know nothing about bombs.
01:22:53Less about poems.
01:22:56And I had no idea
01:22:57who you were until yesterday.
01:22:59So, what happened?
01:23:04No comment.
01:23:07If you are trying to protect someone,
01:23:10I would ask you to consider
01:23:11how important they are to you.
01:23:13It will affect your sentence considerably.
01:23:15The last time I was in prison,
01:23:26I shared a cell with a woman
01:23:27who worked as a consultant
01:23:29at the museum.
01:23:31She knew everything about it.
01:23:33Every nook and cranny.
01:23:37She said if I kept in touch
01:23:39once I got out,
01:23:41she would be able to help me get inside,
01:23:44override the security system,
01:23:45steal the bank codes,
01:23:48and get out scot-free.
01:23:51Go on.
01:23:52So, I kept on visiting her.
01:23:55And, sure enough,
01:23:57we came up with a plan.
01:23:59I got my friend Eve involved,
01:24:01flirting with that idiot
01:24:03of the curator, Gabrielle,
01:24:05to get someone on the inside.
01:24:09But still,
01:24:11why me?
01:24:12Why the bomb?
01:24:14It was very strange.
01:24:16The last time I went to see her,
01:24:18she had found out
01:24:19through her contacts
01:24:20that you,
01:24:23Mrs. Jean White,
01:24:25would visit the museum
01:24:26on Christmas Eve.
01:24:28And?
01:24:30She was wild,
01:24:32cold with rage.
01:24:33She, God,
01:24:34she really hated you.
01:24:37So,
01:24:38instead of a simple robbery,
01:24:40as planned,
01:24:43I was to plant a bomb
01:24:44and a letter to you.
01:24:48She said I would be safe,
01:24:50that there was a way out
01:24:52under the museum.
01:24:53she said it was a game
01:24:57she liked to play with you.
01:25:00It all seemed a bit psychotic to me.
01:25:03But then again,
01:25:04so did she.
01:25:07And I had nothing to lose.
01:25:10So I did what she said.
01:25:14What was her name?
01:25:15Barbara.
01:25:18Barbara.
01:25:18Barbara.
01:25:40You,
01:25:41you and me.
01:25:42What fun, Mrs. White.
01:25:59Till next time.
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