- 2 days ago
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00:00:00Lovely escutcheon.
00:00:02Oh, it protects the door being scratched by the key.
00:00:06Practical and fancy at the same time.
00:00:08Good by me, innit?
00:00:10There you go, Dominic.
00:00:28Merry Christmas, Jean White.
00:00:29Oh, Merry Christmas, Dominic Hayes.
00:00:33Chin-chin!
00:00:34So, what's this massive painting about this?
00:00:37It's very beautiful.
00:00:38This is a sublime example of a Baroque fresco.
00:00:43Right.
00:00:44Very popular in Europe, but I've never seen one in Santa Clara before.
00:00:47It's really exciting.
00:00:49Yeah?
00:00:50Well, a fresco is basically a wall painting
00:00:54where the paint is brushed straight onto wet plaster.
00:00:57By someone called Baroque?
00:00:59No, actually.
00:01:01Baroque was an artistic movement of the 17th and 18th century.
00:01:05So, like, paintings, music, architecture.
00:01:09Everything was, like, big and bold.
00:01:11And sexy, Dominic.
00:01:13Very sexy.
00:01:14My absolute favourite era.
00:01:16Ah, ah.
00:01:17So, that is Dr Ali Pardy.
00:01:21He's head of the charity L'Art Change La Vie.
00:01:25Hmm?
00:01:26What's L'Art Change La Vie?
00:01:28Is that something about art helping ex-prisoners or something?
00:01:32Oh, that sounds great.
00:01:33Well, that must be his wife.
00:01:35I think her name is Sangeeta.
00:01:37I've invited her to several of my bridge evenings, but to no avail.
00:01:41Hmm?
00:01:42And they're talking to George and Auriel Alphonse.
00:01:47You've already drunk yours at the bar.
00:01:48Huh?
00:01:49As in Alphonse?
00:01:51From Alphonse Crush?
00:01:53What?
00:01:54The soft drink?
00:01:55Oh, I used to love that.
00:01:57Kept me awake at night when Claudia was a baby.
00:01:59They're an amazing couple.
00:02:00They just floated their company last year for 100 million euros.
00:02:03Lucky Sange.
00:02:04Oh, George.
00:02:05Apparently, they can't stand each other, but they can't leave because they are literally
00:02:09too rich.
00:02:11Ah-ha!
00:02:13Jeremy, ça va mon ami?
00:02:16If you say so.
00:02:18Ah, and Judith.
00:02:20Mwah!
00:02:21Mwah!
00:02:22Do, Jesus, will you ever age like us mere mortals?
00:02:26Oh, George, you really are too much.
00:02:28Let me introduce you to our dear friends, Jean and Dom.
00:02:31Very pleased to meet you.
00:02:32Oh, aren't you?
00:02:33I was just saying I used to love your drink.
00:02:35Ah, well, not my drink anymore, but thank you, Dom.
00:02:39I really appreciate that.
00:02:40That's very kind of you.
00:02:41Very kind.
00:02:42Thanks for witnessing my loan agreement, Andre.
00:02:52Not a problem, Patrick.
00:02:54I sometimes come across trouble with financial affairs, but having the chief of police as
00:03:00my witness, that should shut them up.
00:03:02Oh, no, Jean's left a phone.
00:03:05I am on my way home now.
00:03:07I can drop it off for her.
00:03:08What's she's got to do at the museum?
00:03:10No problem.
00:03:11That is near my house.
00:03:12Oh, brilliant.
00:03:13Au revoir.
00:03:15Thanks again, Andre.
00:03:16See you at the quiz later.
00:03:17You will indeed.
00:03:19I am bringing Richard.
00:03:20She's very good at politics questions.
00:03:23Merry Christmas.
00:03:24Joy Noel.
00:03:25I never thought I'd be mates with a cup, eh?
00:03:29Oh, my God.
00:03:30λ.
00:03:31No, eh.
00:03:32No, but...
00:03:33T'es-t-t-t'es où, là , ils sont déjà tous arrivés.
00:03:35Oui, bah je me recoiffais.
00:03:36Je sais que t'aimes quand je me fais beau pour toi.
00:03:37Non mais mon amour, t'es toujours magnifique.
00:03:40Ces derniers mois, c'était juste extraordinaire.
00:03:42Entre ma rencontre avec toi et puis ce job de rêve, c'est... c'est merveilleux.
00:03:47Mais moi aussi.
00:03:48But we also have a whole life in front of us, but we really need to work.
00:03:53Gabriel, you're the new conservator of this museum.
00:03:56Can you allow the quarter of the police?
00:03:58No, not at all, not at all.
00:04:00My only mission is to make this international museum.
00:04:04We have Alphonse who are ready to invest 10 million euros.
00:04:07That would change everything.
00:04:09It's absolutely important that it works.
00:04:12All right.
00:04:18Some dicks, haven't we?
00:04:24Ah, Gabriel. Here he is, our curator himself.
00:04:29Jeremy, Judith, good to see you both.
00:04:32You too, Gabriel.
00:04:34And this is Jean White. Delivered as promised.
00:04:38Delivered? Oh, hello.
00:04:41It's a pleasure to meet you, Mrs White. Your expertise precedes you.
00:04:44Thank you so much for being here.
00:04:46All right, it's a pleasure. This is my partner.
00:04:48Your fiancée.
00:04:49Oh, yes, fiancée, Dom.
00:04:51Yeah, it's quite a recent thing.
00:04:53Congratulations to both of you.
00:04:55And this is my partner, Eve.
00:04:58Hi.
00:04:59And your field of expertise is, Mrs White?
00:05:03I'm an antiques dealer.
00:05:05How quaint.
00:05:07Shall we grab a horse's dew friendly into it?
00:05:09Yes, sir.
00:05:10Yes, sir.
00:05:11Yeah.
00:05:12A bottle of fresh champagne, please.
00:05:15Thank you very much.
00:05:16Pardon, Judith, champagne on the way right now.
00:05:19Oh, you are a darling, Gabriel.
00:05:21I think you're going to fit in very well around here.
00:05:24Yes.
00:05:25And by the way, you threw that last glass down your neck,
00:05:28we wouldn't want you going Thursday, would we?
00:05:31Excuse me.
00:05:32I'm just going to run through my speech.
00:05:34Oh, Jean, this is Dr Ali Pardeep.
00:05:37We were telling you about his charity.
00:05:39Oh, Le Change Le Vie, is it?
00:05:41Oh, it sounds like you do some great work.
00:05:43Oh, he does.
00:05:45Oh, hi, I'm Auriel.
00:05:47Oh, hello.
00:05:49It's a vocation that absolutely consumes me, I'm afraid.
00:05:53As my wife could confirm.
00:05:55Lovely to finally meet you.
00:05:57So how did you find this vocation?
00:05:59Well, I'd been working in prisons for a few years
00:06:02as a visiting doctor,
00:06:04and I saw so much artistic talent
00:06:07just hidden away in the cells
00:06:09that I felt compelled to, er, liberate it.
00:06:12Mm-hm.
00:06:13So I started an art club for the prisoners
00:06:15and, well, the charity just grew from there.
00:06:18How interesting.
00:06:20You let criminals play its being artists, then?
00:06:24You know, that's exactly what we do.
00:06:27You're encouraging the egos of murderers.
00:06:30Is that what you're saying?
00:06:31Don't worry, Ali.
00:06:32I take care of the charity in our business.
00:06:35So you can ignore George.
00:06:38And your husband is a very inspiring man.
00:06:41Oh, he is indeed.
00:06:44Excuse me?
00:06:45Yes?
00:06:46Have we met somewhere before?
00:06:48I can't think where.
00:06:50Maybe at one of our outreach events?
00:06:53Very much doubted.
00:06:55I don't do presents or charity, dear.
00:06:58Oh, that's my key.
00:07:00Sorry!
00:07:02Sorry.
00:07:03Ah, merci, s'il vous plaît.
00:07:04Au revoir, monsieur.
00:07:05Merci.
00:07:06Mm.
00:07:07Good job, eh?
00:07:08Quite like it.
00:07:12Thank you, everyone, for being here tonight.
00:07:16For tonight is a very special night for the museum.
00:07:20Mr. and Mrs. Alphonse are very generously about to invest 10 million euros.
00:07:2710 million euros into our acquisition account.
00:07:30It will keep the museum afloat for many years.
00:07:33Just a minute, Gabriel.
00:07:34Remember what we discussed a couple of weeks ago when you first took the job.
00:07:40If you have what you say you have, and it's the real deal, we are more than happy to invest.
00:07:47I want to be part of a museum that draws people in from all over the world.
00:07:53But I need you to prove to me that I am making the right choice.
00:07:58Of course.
00:08:00The stakes are very high for us, but I have contacts all over the world to make this museum great.
00:08:07I promise.
00:08:08Madame White, this is where we could use your help.
00:08:14Oh, right.
00:08:15We apologize for not warning you beforehand, but everything had to be completely top secret.
00:08:21Oh, I'm intrigued.
00:08:23Um, we have something very rare, and we need you to verify it.
00:08:29Jeremy and Judy told me you are second to none in your field, so please, will you help?
00:08:37Well, I'm here now, so yeah, of course.
00:08:42If you will excuse me for one moment, ladies and gentlemen, we will go and fetch our treasure.
00:08:51Eve?
00:08:53Oh, so that's why I'm here.
00:08:55Makes sense now.
00:08:56Well, Gabrielle didn't tell me the finer details, just who I knew, who I trusted.
00:09:01Who was the best in the business, so I...
00:09:04Well, thank you.
00:09:06You'd better be good, Mrs. White.
00:09:08And ensure it is what he says it is.
00:09:11We wouldn't want any mistakes.
00:09:14Well, let's put it this way.
00:09:16This isn't my first rodeo.
00:09:19Oh, thank you, darling.
00:09:22What's your name, dear?
00:09:23Amy.
00:09:24Big cash tip, Ellie.
00:09:26If you keep our shampers topped up, if you know what I mean.
00:09:29I'll do my best, madame.
00:09:31But I've never worked here before, so I don't know how much we have in stock.
00:09:34Good girl.
00:09:35Off you pop.
00:09:36Oh, my God.
00:09:37Oh, my God.
00:09:44On t'a attribué ton code personnel de sécurité, maintenant ?
00:09:46Euh...
00:09:47Non, tu sais, c'est toujours Suzanne de la sécurité qui m'envoie un nouveau code chaque jour.
00:09:50C'est depuis que je suis revenu, j'ai eu tellement le truc à gérer que c'est un peu galère.
00:09:55Et dis-moi, je peux ouvrir le coffre ?
00:09:57J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:09:59D'accord.
00:10:00Euh...
00:10:01Par contre, juste, tu notes le code correctement, parce qu'il n'y a pas de seconde chance,
00:10:04sinon ça bloque toi.
00:10:06Alors, c'est le...
00:10:073, 2, 7, 4...
00:10:114...
00:10:120, 9, 5, 7.
00:10:15C'est bon.
00:10:16Alors...
00:10:289 ?
00:10:39Oh...
00:10:46Well, that's my little miracle.
00:10:49Wow.
00:10:50But you have to destroy it immediately.
00:10:53No, no, really, you...
00:10:55Okay.
00:11:07Well, let's go.
00:11:16Wait.
00:11:26No, really, really, focus on them.
00:11:28But wait.
00:11:29There's the future of the museum inside the hands.
00:11:31Whatever!
00:11:32Gabriel, let me make it!
00:11:33Do you want me to fall?
00:11:35No, go, go!
00:11:37Help!
00:11:39Oh, gosh.
00:11:40No, George, George, so sorry, we're so sorry.
00:11:42What happened?
00:11:43I'll tell you what happened.
00:11:44this poor excuse of a waitress of yours has ruined my bespoke shirt are you stupid no i don't speak
00:11:51to her like that george these things happen we can get it cleaned what's your name ellie i'm so
00:12:00sorry i'm pretty new at this i'm actually a student well i would like to apologize for the neolithic
00:12:06behavior of my husband ellie thank you george we are going to pay for the cleaning of course but
00:12:13i can't clean no just just leave it i can do it i can do it okay perfect so where's this damn box of
00:12:20yours is that what i think it is
00:12:43go on what is it oh this is a french ormolu gilt jewelry case owned by i think
00:12:57marie antoinette herself am i right yes exactly well i know there's one of these in the museum
00:13:05of tehran but the only other one was bought by russian buyers at sotheby's in 2007 so how could
00:13:11it be here um i have been totally obsessed with this box so um i tracked it down over the years
00:13:22and persuaded them to sell wow well gabrielle is right i mean if you can get stuff like this
00:13:31well this is like such a fantastic draw for the museum game changer really
00:13:36well so far so good okay what my god okay but it looks like a like a bomb
00:13:52doesn't just look like a bomb marzipan marzipan yeah i was in the army for years i've recognized that
00:14:04smell anywhere what is it it's semtex semtex what what can that do put it this way there's enough in
00:14:11there to blow this whole museum sky high
00:14:28you
00:14:40they won't move well well what have we all left together they're locked okay okay um well why
00:14:48don't we try the other exits no no uh they will all be locked too and all the windows are bound oh my
00:14:56god what the hell are we gonna do stop with the hysterics george in case you hadn't heard there
00:15:01is a semtex bomb in that room yes we all know that
00:15:08gabrielle yes how do we open the shutters uh as far as i know the security guard has fingerprint
00:15:15recognition she's the only one who can deactivate the code where is the guard
00:15:20uh uh in the security booth come on come on come on come on
00:15:37just go
00:15:50all right love yeah or woman i know
00:16:13so one fingerprint to control your entire security system stop it george
00:16:23yes i i let the security team arrange it between them i have only been here three weeks so if it was
00:16:31on my to-do list but good grief so you have no idea how to deactivate it no no idea
00:16:37well then why don't we use her finger george really we can't why not it's not like she's gonna
00:16:53mind now is she it's not that it's once tissue is dead it loses its electrical charge hang on
00:17:00now i saw this on one of those american crime dramas and it worked a treat so let's give it a go shall
00:17:06we good god george oh i see you watched an entire box set so of course now you know more than an actual
00:17:15doctor only saying once the heartbeat dies the electrical charge dies it won't work
00:17:30so
00:17:40can i ask a question gabriel the security guard what was her name it was susan should we call her that then
00:17:50look look i'm not suggesting we sever suzanne's finger george leave it
00:18:10don't know why can't they hear us
00:18:25Why can't they hear us?
00:18:39No, no, because the front doors are solid oak,
00:18:42the shutters are solid steel and the walls,
00:18:45it's very sick Mediterranean stone.
00:18:48Oh, that's just great.
00:18:50So is the place bomb-proof as well?
00:18:51They're not helping, George!
00:18:53It's OK, I'll call Karen.
00:18:54Yeah.
00:18:57Oh, well, there's no signal.
00:19:00Ah, no, no, no, I haven't had any since I arrived
00:19:03because we are quite high up and the walls are too sick.
00:19:08OK, what's the Wi-Fi code?
00:19:10I am going to share it with you.
00:19:12Yeah.
00:19:12What? I know I had my phone in the pub, I must have dropped it.
00:19:15Oh, God!
00:19:19No, the Wi-Fi is off too.
00:19:21But don't worry, don't worry, I have one moment.
00:19:24I remember something.
00:19:26Where's he going now?
00:19:27Thank you so much.
00:19:28I'm thinking it's better if I see what's coming here, Bob.
00:19:29Thank you, Steve.
00:20:08at the comms cupboard. It's beyond repair.
00:20:11Comms cupboard?
00:20:12It's where all the Wi-Fi hubs lead to to keep us on the internet.
00:20:16All the connections have been ripped to pieces.
00:20:19Oh.
00:20:21So we are completely trapped in here.
00:20:25Oh.
00:20:27Good God.
00:20:29You have got a foolproof security system
00:20:32that you don't even know how to operate.
00:20:34Who's a bloody fool now, eh?
00:20:36Get your hands off him, you brute.
00:20:39I'm fourth down black belt in jujitsu.
00:20:42You lay one more finger on him, and I will take you down.
00:20:45Do you understand?
00:20:46Gentlemen, we have to calm down.
00:20:49Don't suppose you serve Valium as well as champagne?
00:20:52Valium.
00:20:54Is that the cocktail?
00:20:56Never mind, dear.
00:20:58So someone knew that we were here tonight
00:21:02and trapped us under the threat of a ticking bomb?
00:21:05This psycho must really hate one of us.
00:21:08Well, it was Gabriel who wanted us here.
00:21:10He sent the invite.
00:21:12I don't think I would bomb my own museum, judith,
00:21:14and trap myself inside.
00:21:15OK, can we just stop sniping at each other, OK?
00:21:19Can't be anyone here, can it?
00:21:21I am not so sure.
00:21:22What do you mean?
00:21:23I do remember on my first debriefing,
00:21:25they 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.
00:21:38Patrick, can you call Judith?
00:21:41I can't get hold of Dom or Jeremy.
00:21:43Obviously, I have Jean's phone and I don't have Judith's number.
00:21:47There is no answer at the museum and the doors are locked.
00:21:51Something is not right.
00:21:52You OK?
00:21:53Yeah, I think so.
00:21:54Caron just asked me if I can get in touch with Judith,
00:21:56but there's no answer.
00:21:57She's with Jeremy.
00:21:58She's with Jeremy.
00:21:59She's with Jeremy.
00:22:00She's with Jeremy.
00:22:01She's with Jeremy.
00:22:02She's with Jeremy.
00:22:03She's with Jeremy.
00:22:04She's with Jeremy.
00:22:05She's with Jeremy.
00:22:06You OK?
00:22:07Yeah, I think so.
00:22:08Caron just asked me if I can get in touch with Judith,
00:22:10but there's no answer.
00:22:11She's with Jeremy and Dom.
00:22:12Give them a call.
00:22:13No, he's already tried that and there's no reply from them either
00:22:15and no-one's answering the door.
00:22:16Well, I don't like the sound of that.
00:22:17Nor do I.
00:22:18Diane can look after the bar for an hour.
00:22:19The electric lady van outside.
00:22:20I'm sorry.
00:22:21I'm sorry.
00:22:22I'm sorry.
00:22:23I'm sorry.
00:22:24I'm sorry.
00:22:25I'm sorry.
00:22:26I'm sorry.
00:22:27I'm sorry.
00:22:28I'm sorry.
00:22:29I'm sorry.
00:22:30I'm sorry.
00:22:31I'm sorry.
00:22:32I'm sorry.
00:22:33I'm sorry.
00:22:34I'm sorry.
00:22:35The electric lady van outside.
00:22:36Yeah.
00:22:37Then let's go.
00:22:39What idiot takes the job as a curator of a massive museum
00:22:44and doesn't know how to work the security system?
00:22:46I have only been here three weeks.
00:22:49OK?
00:22:50There was so much to do that it didn't seem like a priority.
00:22:54OK?
00:22:55Well, it's a priority now.
00:22:57Isn't it, Gabrielle?
00:22:58It's a priority now.
00:23:00Gabrielle, if he says one more word on you, I...
00:23:03No, no, no, no, no.
00:23:04It's okay.
00:23:05If you're gonna say something, say it in a language we can all understand, hey?
00:23:10I beg your pardon.
00:23:12For one moment, I thought we were in France.
00:23:17If you have something to say, why don't you say it straight?
00:23:23You clearly have something to hide, monsieur.
00:23:29Bullying my partner.
00:23:30Shouting at your wife.
00:23:32Classic defense tactics.
00:23:35How dare you suggest that I...
00:23:38Shh!
00:23:39What's that?
00:23:41What?
00:23:42Listen.
00:24:08Hello? Hello? Can anyone hear me?
00:24:10Oh, come on.
00:24:12Hello? Hello? Hello?
00:24:13Hello?
00:24:18Hello?
00:24:19Hello?
00:24:20Anyone hear me?
00:24:21Help! Help!
00:24:25Dom?
00:24:26Dom, is that you?
00:24:27Oh, thank God.
00:24:28Look, we are trapped inside the museum.
00:24:30The shutters are down, the security guard's been murdered,
00:24:33and there is a bomb ticking away.
00:24:35What? A bomb?
00:24:36OK, Dom, you need to say all that again, but much slower.
00:24:39Much slower.
00:24:43There is a bomb.
00:24:45Someone has activated the security shutters.
00:24:48They can only be deactivated by the fingerprint of the security guard.
00:24:52But the...
00:24:54The security guard has been murdered.
00:25:00OK, Dom, have you seen the bomb?
00:25:02Uh, yes.
00:25:03What does it look like?
00:25:04Hang on.
00:25:10All right.
00:25:11OK.
00:25:12So...
00:25:13It's like a big lump of orange,
00:25:16bloke in here that it looks like Semtex.
00:25:19There's an old-fashioned phone on one side,
00:25:21and in the middle is a... like a digital clock counting down.
00:25:25There's three wires.
00:25:26A blue one, a red one, and a yellow one.
00:25:30And how much time does the bomb say you have?
00:25:3359 minutes.
00:25:35I will get help immediately.
00:25:39I need you to keep this communication open.
00:25:42OK.
00:25:43We will get you all out.
00:25:46Dom?
00:25:47Dom, you need to keep this channel open.
00:25:49Andre, I can't hear you.
00:25:52Are you still there?
00:25:54Andre?
00:26:04Andre?
00:26:19What were you doing?
00:26:20Hang on a sec.
00:26:29It's got to be a spare.
00:26:30It's got to be a spare.
00:26:31Oh, bingo.
00:26:44Caron, can you hear me?
00:26:47Caron!
00:26:49CLOSE
00:26:52STAFF
00:26:54STAFF
00:26:55CLOSE
00:26:57BLOWER
00:27:00CLOSE
00:27:01CLOSE
00:27:02CLOSE
00:27:03CLOSE
00:27:04CLOSE
00:27:05Gloria! Stop! Stop!
00:27:07Go for me. Go for me.
00:27:09I managed to speak to Caron.
00:27:11He's calling for help.
00:27:12Brilliant. How did you manage that?
00:27:13Well, for Susanne's walkie-talkie.
00:27:15Oh, that's great. Well, we can use that then.
00:27:17No, no, no. It's just died.
00:27:18No, no, it's just died.
00:27:19Maybe it just needs any battery, or...?
00:27:21No, no, I tried that. It was no joy, so...
00:27:23Oh, God.
00:27:25Well, at least we're getting some help from the professionals.
00:27:28Something you've needed for years, darling.
00:27:31Caron will help us, won't he, darling?
00:27:33Oh, absolutely, darling.
00:27:36Um...
00:27:37Jean.
00:27:39What? What's the matter?
00:27:41Um...
00:27:44I found this under the bomb.
00:27:48For me?
00:27:50I... I don't understand.
00:27:52Who would do something like this to you?
00:27:56I've no idea.
00:27:58I mean, thinking about it,
00:28:01I've put a few people away over the years, but...
00:28:04I mean, this is beyond the pale.
00:28:18Look at the heart, her fruit from above,
00:28:22her face like the sun, her heart full of love.
00:28:26But fate is not kind, and her future is bleak.
00:28:30Two attempts to survive, one date do you seek.
00:28:34Oh, come on, Jean, think.
00:28:36Okay, dear.
00:28:37Two attempts to survive, one date do you seek.
00:28:42So?
00:28:43What... what do you reckon?
00:28:44Well, it appears that this sicko
00:28:49wants me to find a piece of art in the museum
00:28:51that matches the riddle.
00:28:53Two attempts to survive, one date do you seek.
00:28:56So, well, I'm guessing that you put the date
00:29:01in the keypad to stop the...
00:29:05stop the bomb.
00:29:06Oh.
00:29:08Wow.
00:29:09Somebody must really hate me to go to all this trouble.
00:29:13It's just a child's riddle.
00:29:15We should wait for help for grief.
00:29:17But what if help doesn't get her here on time?
00:29:20Someone is out to get me.
00:29:22This is all my fault.
00:29:24I've got to do something to help.
00:29:26Slay.
00:29:28Okay, Jean, you've absolutely got to solve this riddle.
00:29:32Come on, chaps, let's separate and find a way out of here.
00:29:35And, Gabrielle, you attempt to override this god-awful security system.
00:29:41Well, I think we should wait for the police.
00:29:43Something you are very welcome to do on your own, George.
00:29:47I, for one, am going to help Jean.
00:29:49Yeah, yeah, me too.
00:29:50I'm in.
00:29:51Anything is worth a try.
00:29:53I do tech support for the charity.
00:29:56Can I help?
00:29:57Excellent.
00:29:58Come on.
00:29:59Let's go to the...
00:30:01Be careful.
00:30:02You too.
00:30:04I think it's essential that we keep dividing in order to conquer.
00:30:09Gentlemen, follow me.
00:30:10Whoa.
00:30:21Okay, look at the heart.
00:30:22The heart, well...
00:30:23The heart could mean love.
00:30:24Oh, no.
00:30:25That could be any work of art.
00:30:26Okay.
00:30:27Okay, think, Jean.
00:30:28Think.
00:30:29OK, look at the heart. The heart, well, the heart could mean love.
00:30:34Oh, no, that could be any work of art. OK.
00:30:37OK, think, Jean, think.
00:30:40Well, it could be the sacred heart,
00:30:43especially if it's qualified with the fruit.
00:30:46Well, how so?
00:30:47Well, Jesus in art is often referred to as fruit of the womb.
00:30:51Yeah, let's go with that. OK.
00:30:53A face like the sun.
00:30:55Now, obviously, Jesus was the son of God,
00:30:58and the sun in the sky is often used as a metaphor for Jesus,
00:31:02so fate is not kind.
00:31:04Well, fate wasn't kind to Mary.
00:31:06Certainly wasn't too kind to Jesus either, was it?
00:31:08Well, exactly, but her future is bleak. Her.
00:31:12I think it's got to be about Mary and Jesus, it's got to be.
00:31:15Right.
00:31:16I think we're looking for a religious painting or sculpture.
00:31:21Well, there'll be a fair few of those, I'm sure.
00:31:23Yes, but particularly the Madonna and Child.
00:31:26There is about six main rooms.
00:31:29OK. Let's split up, take a room each, and report back.
00:31:32Right.
00:31:33Right.
00:31:35Me and Dom will take Medieval and Renaissance.
00:31:37Judith, you do modern art.
00:31:39Oh.
00:31:40Auriel, you do metal work.
00:31:41Mm-hmm.
00:31:42And Ellie, you do jewellery and glass work.
00:31:45And, yeah, and remember the Madonna and Child, OK?
00:31:49Let's go, which way?
00:31:50This way.
00:31:51Richard, did you contact the bomb squad?
00:31:52Not great news, I'm afraid.
00:31:53The 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.
00:31:56What about overriding the security system?
00:31:58We have contacted the company, but with it being Christmas Eve, we have the same problem.
00:32:02The nearest engineer is in Marseille.
00:32:03Oh, no.
00:32:04There is no guarantee they will be here in time.
00:32:05If there was another way in, I think I could deactivate it.
00:32:06What?
00:32:07Before I joined the gendarmerie, I trained in the bomb squad at La Police Nationale.
00:32:11If it is a rudimentary device, I could deactivate it.
00:32:12If it is a rudimentary device, I could deactivate it.
00:32:14I could deactivate it.
00:32:15OK, well, what about the tunnels underneath?
00:32:16Pardon?
00:32:17The museum's tunnels were part of the bomb shelter system during World War Two.
00:32:18I remember the tour guide telling us when I brought Xavier on a visit.
00:32:21OK, I will go in.
00:32:22He's in the same problem.
00:32:23The nearest engineer is in Marseille.
00:32:24Oh, no.
00:32:25There is no guarantee they will be here in time.
00:32:26If there was another way in, I think I could deactivate it.
00:32:27What?
00:32:28Well, before I joined the gendarmerie, I trained in the bomb squad at La Police Nationale.
00:32:29If it is a rudimentary device, I could deactivate it, I think.
00:32:34OK, well, what about the tunnels underneath?
00:32:35Pardon?
00:32:36The museum's tunnels were part of the bomb shelter system during World War Two.
00:32:40I remember the tour guide telling us when I brought Xavier on a visit.
00:32:43it okay i will go in i cannot put my best officer in danger i will go in you can advise me that is
00:32:50an order let's find a map on the count of three we all pull together ready ready one two i haven't
00:33:03finished counting oh i think i've chopped them over my shoulder it's a little dramatic if we
00:33:09all work together we stand more chance if we do you just call me dramatic there's just an observation
00:33:16you like making observations don't you what's that supposed to mean like observing other people's
00:33:21wives i uh don't know what you're talking about do you think i was born yesterday i'm sorry
00:33:31the charity meetings with my wife the dinners come on ali i've been through her phone
00:33:39i know what's going on with you two now tell me i'm wrong i said tell me i'm wrong
00:33:51well there you go just about says everything doesn't it george i uh orielle is my wife
00:34:00come on george you haven't loved each other for years even a stranger would know just our stick
00:34:07what the couple's thing the public act but when we get behind closed doors
00:34:15we are still husband and wife oh
00:34:23so you think i'm lying do you well i don't know what yarn she's been spinning you
00:34:28but it's true and i'll tell you something else that's true i will do everything in my power
00:34:38to make sure that you never raise another penny for your stupid
00:34:44shut up please this is no time for a bloody showdown come on
00:35:03so
00:35:12i didn't find anything
00:35:36literally didn't even find a decent painting we said we had a chance with the necklace but there
00:35:42was no reference to the sun well we can't give up we still have two other rooms well you
00:35:48two can go on looking but i'll be very honest with you i need a little top up of dutch courage
00:35:53what what in here can you not hear that bomb ticking yes yes i can but i'll be perfectly honest with you
00:36:04oriel if i am to get blown to smithereens i'd really rather like not to remember it
00:36:11let's keep looking i'll take sculpture and you take ancient modern art okay
00:36:25thank god the library was still open right this map dates from around 1943
00:36:36it shows the tunnels that were dug out and used as bomb shelters during world war ii
00:36:42i think it is the map she can't quite understand not you i have always been terrible with maps it's a
00:36:52bit of an achilles heel for me
00:36:53it's because you're so young love we forget we're the last generation that didn't have sat nav
00:36:59hey speak for yourself i'm 20 years younger than you which makes me a stradler double i straddle pre and
00:37:05post technology doesn't matter what for my map takes i'm a dab hand right there's a labyrinth of
00:37:11tunnels under the museum you can see the entrances all around here but they can only be accessed from the
00:37:16inside hang on this one looks like it's leading from the outside in what do you mean look it starts
00:37:25off as a small one then joins up with the bigger ones what's its proximity just underneath the main
00:37:33entrance right around here somewhere gloria can you pull the van back a bit love
00:37:50okay lovely that's it there's your way in
00:38:03you're not going to open it up like that you've got a crowbar in the van yeah and uh toolbox
00:38:13there's a knack to this
00:38:20all right are you ready
00:38:33you are full of handy tricks patrick i'm not going to ask where you land them
00:38:41okay i'm going in richard get me an earpiece
00:38:43you'll need this as well it's my head torch thank you gloria
00:38:50you're sure i can't go with you i need you to take control here
00:38:56you are now in charge
00:38:59gloria take this headset i need you to stay on the map and on the radio you will be my ears and eyes
00:39:05when i reach the bomb you will pass to richard okay will the signal be strong enough down there
00:39:09uh this radio is analog it's like a walkie-talkie it works over short distances because it doesn't
00:39:14need a signal to bounce up to the sky okay be careful in there i will
00:39:28see you
00:39:34i'm lawyer can you hear me yeah you okay i'm fine which way okay you're going to your left first
00:39:41bingo the shutters are connected to the museum's mainframe meaning you don't need a wi-fi exactly
00:39:58i may be able to override it if both systems are kept connected
00:40:03where's your main computer um it's in my office uh next to the event room what's your passcode
00:40:17it's eve uh one two three four eve press your finger firmly on this pad
00:40:25i may be able to change the fingerprint identity to yours gabriel when a code pops up press enter
00:40:30straight away i'm just right okay i'm going to your office
00:40:35oh hello what are you doing here
00:41:05oh
00:41:11oh
00:41:13oh
00:41:15oh
00:41:17oh
00:41:19oh
00:41:21oh
00:41:23oh
00:41:25oh
00:41:27oh
00:41:29oh
00:41:39oh
00:41:41oh
00:41:43oh
00:41:45oh
00:41:47oh
00:41:49oh
00:41:51oh
00:41:53oh
00:42:03oh
00:42:05oh
00:42:07oh
00:42:09oh
00:42:11oh
00:42:13oh
00:42:15oh
00:42:17oh
00:42:27oh
00:42:29oh
00:42:31oh
00:42:33oh
00:42:35oh
00:42:37oh
00:42:39oh
00:42:45oh
00:42:47oh
00:42:49oh
00:42:51oh
00:42:53oh
00:42:55oh
00:42:57oh
00:42:59oh
00:43:01oh
00:43:07oh
00:43:11oh
00:43:13oh
00:43:15oh
00:43:17oh
00:43:19oh
00:43:21oh
00:43:23oh
00:43:25i mean i wouldn't exactly say her face is sunny
00:43:27tonatello terracotta
00:43:29he didn't look at the card
00:43:31oh
00:43:33well he's one of my favorites mind you there is a debate that it could have been my beer but
00:43:39says it's on loan from florence
00:43:41but it fits all the clues
00:43:43oh
00:43:45can i have your phone
00:43:55oh
00:43:57we best get back to the others
00:43:59not much time left is there
00:44:01i love you jane white
00:44:03dom
00:44:05we will get out of here
00:44:07yeah come on
00:44:09one
00:44:10two
00:44:11three
00:44:13oh
00:44:15oh
00:44:17all right
00:44:19all right let's
00:44:21just take a minute
00:44:23good idea
00:44:35so how did you find out about the affair
00:44:41i wasn't sure at first
00:44:43but i had my suspicions for months
00:44:47what made you suspicious if you don't mind
00:44:51i don't mind i don't mind
00:44:53we run our businesses like clockwork
00:44:55and then all of a sudden she becomes interested in charity
00:44:59now i wouldn't mind
00:45:01oh we have an office set aside for charity or tax relief
00:45:07as i'd like to call it
00:45:09absolutely
00:45:11all he did was just turn up
00:45:13snip the ribbon
00:45:15until
00:45:17she met him
00:45:19uh
00:45:21we met him
00:45:23and then she became obsessed
00:45:25with going to his meetings
00:45:27for his prison
00:45:29art malarkey
00:45:31you couldn't get enough of it
00:45:33i should see the difference it makes
00:45:35blah blah blah
00:45:37and then
00:45:41there's all the obvious signs
00:45:43never leaving her phone unattended
00:45:45always going in a different room
00:45:47to check her messages
00:45:49you know i've never loved another woman
00:45:55i just thought
00:45:57maybe she didn't love me
00:46:01as much as she used to
00:46:03that we'd always have
00:46:05respect
00:46:07respect
00:46:09you're right old chap
00:46:11once the respect has gone
00:46:17come on george
00:46:19we've got to find a way out of here
00:46:21come on
00:46:23oh
00:46:25where on earth is everybody
00:46:29ah
00:46:31hello who have we here
00:46:33here
00:46:35what a zero chance
00:46:37of my reading that tiny writing
00:46:39you do have a look
00:46:41of a female i suppose
00:46:43but is that a child
00:46:47oh
00:46:49bloody hell i forgot to pick up my glasses
00:46:51i know
00:46:59oh i see
00:47:01not a child but a sheaf
00:47:03of wheat
00:47:05nearly
00:47:07all right
00:47:11okay
00:47:15the tunnel on your left
00:47:17appears to lead to another exit
00:47:19but the tunnel ahead of you
00:47:21takes you to a door that leads you into the museum
00:47:23okay
00:47:25give me a second
00:47:31it's locked
00:47:33the door's locked
00:47:35give me your handset
00:47:37andre
00:47:39describe the lock to me
00:47:41as best you can
00:47:43it is a rectangle
00:47:45with a large keyhole in the middle
00:47:47looks like a church door lock
00:47:49and
00:47:59it is very rusted
00:48:01sounds like a rimlock
00:48:03not too tricky
00:48:05so
00:48:07use the screwdriver attachment on your multi-tool
00:48:09to turn the lock
00:48:11to your right
00:48:13okay
00:48:15okay i'm ready
00:48:17no
00:48:19no
00:48:23no
00:48:27well
00:48:29i give him
00:48:31what do you mean george knows
00:48:33he just came straight out of me
00:48:35said he'd been looking through your phone
00:48:37looking through my phone
00:48:39how
00:48:41he never leaves my sight
00:48:43we hardly see each other
00:48:45we live separate lives
00:48:47well that's not what he said
00:48:49what
00:48:51he implied that the two of you are still very much in love
00:48:57and that this whole dislike thing is just an act
00:49:01oh ali that is rubbish
00:49:03we don't even sleep in the same room
00:49:05and the worst bit of it is
00:49:07he said he's gonna make sure that i don't receive another penny for the charity
00:49:11oh
00:49:19that's the worst thing yeah
00:49:21well
00:49:23it's nice to hear you've got your priorities straight
00:49:25no
00:49:27no oriel you are my priority
00:49:29but
00:49:31if you're still in love with him
00:49:33please it's rubbish
00:49:35he's just bitter believe me
00:49:37i love you
00:49:39did you find anything
00:49:41oh i've taken a picture of a few pieces
00:49:43but i haven't really got a clue what i'm looking for
00:49:45yeah i mean
00:49:47the riddle is a little vague
00:49:49yeah that's the understatement of the century
00:49:51but the
00:49:53bomb threat is very clear
00:49:55yeah yeah we should find the others and regroup yeah
00:49:57that's where i was heading
00:50:09oh
00:50:11oh
00:50:13oh no
00:50:15they're all locked
00:50:17surely that idiot gabrielle has a set of keys
00:50:19i think we've established
00:50:21george that gabrielle has literally no idea where they are
00:50:25oh hello you two
00:50:27oh hello darling
00:50:29any success
00:50:31i can't find one single religious painting
00:50:33no i've tried my utmost
00:50:35and that's all i can do
00:50:37it's all so hopeless
00:50:39how are you getting on
00:50:41we've fried all the doors
00:50:43and windows
00:50:44nothing
00:50:45oh utterly infuriating
00:50:47maybe we should get back to the others
00:50:49good idea george
00:50:51we will get out of here won't we darling
00:50:55oh come here
00:50:59of course we will my darling
00:51:03one way or the other
00:51:07very very gently
00:51:09nothing seems to be biting
00:51:11take your time
00:51:13that is something we do not have
00:51:15ah
00:51:17i think i can kick the door in
00:51:19no no no don't do that
00:51:21we don't want any unnecessary vibrations
00:51:23andre
00:51:25andre
00:51:27andre
00:51:29andre
00:51:31andre
00:51:33andre
00:51:35oh
00:51:41oh
00:51:43oh
00:51:45oh
00:51:47andre
00:51:49andre
00:51:51any joy
00:51:53yes
00:51:55oh
00:51:57i know um
00:51:59this is a picture by camille corot
00:52:01in 1860
00:52:03and it's of a normal earthbound human child
00:52:05sorry
00:52:07no it's okay
00:52:09ellie anything i couldn't find the card for this but it looks like a modern art version of mary and jesus
00:52:13well
00:52:15when is it
00:52:17no
00:52:19i'm afraid not
00:52:21it looks like modern art but i think it's a copy of the famous corotrophos
00:52:23which is one of the earliest neolithic finds in greece
00:52:276000 bc
00:52:29uh
00:52:31not with george and jerry then ellie
00:52:33no the um
00:52:35we couldn't
00:52:37the doors
00:52:39hmm
00:52:41i've got something to tell you
00:52:43oh don
00:52:44oh how did it go
00:52:45we're really trapped
00:52:47tried everything
00:52:49every window every door is either deadlocked or barred
00:52:51judith
00:52:53did you find anything to match the poem
00:52:55i found a painting that might be a mother and child but i'm not entirely sure it's the right way up
00:53:01no
00:53:05don can you get up that pitch of the donatello please
00:53:09no
00:53:13okay
00:53:15two attempts to survive one date do we seek
00:53:23do you think it's time to put our best option in
00:53:25don't really have a choice do we
00:53:27or shouldn't we wait to see if sangita and the others have had some success
00:53:31i don't think there's any harm in trying
00:53:33no
00:53:53no
00:53:57no
00:53:59no
00:54:01Andre, can you hit me?
00:54:10Yes, Patrick.
00:54:13We lost you for a few moments.
00:54:14You had us worried.
00:54:16So, how are you doing?
00:54:19I'm a little trapped.
00:54:21Part of the roof has collapsed
00:54:22and formed a barrier between me and where I came in.
00:54:26Can you dig your way out?
00:54:27At the moment, that does not seem possible.
00:54:31Okay, so we must keep trying the lock.
00:54:48The lock is so rusted, I just can't seem to get a grip.
00:54:53There's a blockage in the tunnel and he can't get out.
00:54:55How's he doing with the lock?
00:54:57He says he can't get a grip because it's all rusted up.
00:54:59Rusted.
00:55:00Give me the headset.
00:55:03Andre, this may seem like a stupid question,
00:55:06but what's your gun holster made of?
00:55:09Uh, mainly leather, I think,
00:55:11but with some rubber on the inside.
00:55:13Great.
00:55:14Take your knife and slice a thin piece of rubber off.
00:55:23Okay, I've done that.
00:55:25Put it in the lock and rub as hard as you can.
00:55:34Is it working?
00:55:35Yes.
00:55:36Yes, it's working.
00:55:37Yeah, how did you know how to do that?
00:55:39Oh, mechanics trick.
00:55:40Rustates rubber.
00:55:41I'm passing you back to Patrick.
00:55:43Right, I'm going to try the lock again.
00:55:44Okay, Andre, remember, screw driver up and to the right, very gently.
00:55:55What's happening, Andre?
00:55:57Andre?
00:55:58It's not opening, Patrick.
00:56:00I'm going to try the lock again.
00:56:01I'm going to try the lock again.
00:56:02I'm going to try the lock again.
00:56:03Okay.
00:56:05Uh, I want you to describe it for me again as best you can with every detail.
00:56:12Every detail you can.
00:56:15Oh, it's brass, I think, with a fancy design on it, like a fleur-de-lis, sort of.
00:56:25Oh, Patrick, you idiot, it's an old French lock.
00:56:29I'm going to try something different, Andre.
00:56:33Turn it to the left very, very gently.
00:56:36Hmm?
00:56:37Then turn it one more time.
00:56:47It's unlocked!
00:56:48Yes!
00:56:49Yes!
00:56:51Okay, Andre.
00:56:52Once you're through the door, you're going to your right.
00:56:59Can't believe I got it so wrong.
00:57:00Look, you can't blame yourself, Jane.
00:57:02Well, it's false, is it?
00:57:03I sent you all on a wild goose chase.
00:57:05You did something, though.
00:57:07Yeah, and I got it wrong.
00:57:08I don't want to die like this, Jeremy.
00:57:11Oh, I know, my darling, I know.
00:57:16Why didn't you tell me it'll all be all right?
00:57:20What?
00:57:21You always say it'll all be all right, darling, and it always is.
00:57:26Well...
00:57:28How much time have I got left?
00:57:43How much time has he got left?
00:57:46Only 17 minutes, I'm afraid.
00:57:4717 minutes, Andre.
00:57:51Keep going straight on.
00:57:52You're nearly there.
00:57:53You're doing great.
00:57:53I love you.
00:58:00You're around.
00:58:00I don't know what's happening.
00:58:03I don't know.
00:58:03I don't know.
00:58:04I don't know what's happening.
00:58:04Transcription by CastingWords
00:58:34Do you want to know what I bought you for Christmas?
00:58:39You know I prefer a surprise.
00:58:42But you might not get to see it.
00:58:48I want to keep it a surprise.
00:58:53Thank you, Jeremy.
00:58:57What for?
00:58:59Our life together.
00:59:01I've had such a lovely time.
00:59:05I thought after losing the twins we wouldn't last.
00:59:10Lots of couples split over less, you know.
00:59:13I know, my darling.
00:59:15I know.
00:59:18Maybe if there is something after this life
00:59:21we can meet them again.
00:59:25That's a nice thought, isn't it?
00:59:26That's a wonderful thought, darling.
00:59:32Wonderful.
00:59:35Anyway, I'm glad we're here together.
00:59:38I've always dreaded the thought of going first and leaving you behind.
00:59:41Me too.
00:59:49Sangita, she's dead.
00:59:51No.
00:59:52What?
00:59:53Are you sure?
00:59:54Positive.
00:59:55How?
00:59:55She has been shot.
00:59:57Shot?
00:59:57She was trying to change the fingerprint control
01:00:00and needed access to the main computer in my office.
01:00:03So she left us and went to the office.
01:00:06Waited for ages.
01:00:07And you just found her there?
01:00:09Yes.
01:00:09I need to see her.
01:00:10No, no, no, I'm not sure you shouldn't.
01:00:12Look, I'm a doctor.
01:00:13Maybe she's still alive.
01:00:15Take me to her.
01:00:16Ali, Ali, listen, look at me.
01:00:18I just need to see my wife.
01:00:22Show me to your office.
01:00:25Okay.
01:00:27Everyone needs to stay here.
01:00:29No one must leave.
01:00:30Don't come with me.
01:00:31Yeah.
01:00:32Oh, my love.
01:00:46Ali, you can't touch her.
01:00:48I am a doctor and her husband.
01:00:51I know, but this is a crime scene.
01:00:53What?
01:00:55There's still a very good chance that we could get out of here.
01:00:58And if we do, we want every shred of evidence intact, don't we?
01:01:20Ali is having an affair with Ariel.
01:01:23What?
01:01:24I saw them in the corridor together.
01:01:26Said him and George almost came to blows at one point.
01:01:30Well, that gives him a motive.
01:01:31To get rid of his wife so he can marry a billionaire.
01:01:34Exactly.
01:01:37Come on.
01:01:38If it is him, we can't leave him alone with Gabrielle for too long.
01:01:43All the banking codes, they are gone.
01:01:46Are you sure they were in there earlier?
01:01:48Yes.
01:01:48When I came to get the Ormolu from the safe,
01:01:51I clearly remember seeing the file.
01:01:53And who else knew the combinations of the safe?
01:01:57Only me.
01:01:58And Eve, he helped me collect the Ormolu earlier.
01:02:02Okay.
01:02:03Right, yeah.
01:02:04We all have to stay in the same place.
01:02:07It's what Karen would make us do.
01:02:09Yeah, yeah, you're right.
01:02:10Okay, right, we have to stick together.
01:02:12There's a murderer amongst us.
01:02:13Gloria, I must be near.
01:02:31I can hear voices.
01:02:32You're right underneath the event room.
01:02:35Carry on for about another ten yards,
01:02:37and you'll see a ladder on your right.
01:02:39That'll take you directly up to the museum.
01:02:40Are you okay, love?
01:02:46Yes, I'm fine.
01:02:50Yards to meters,
01:02:52multiply the length given in yards
01:02:54by 0.9144.
01:02:58I found the ladder!
01:02:59He's found the ladder!
01:03:00I'm heading up now, Gloria!
01:03:08Well done, Andre.
01:03:09You're nearly there!
01:03:10The security engineer has now landed at the airport
01:03:13and she's on her way now in a pretty scar.
01:03:14Brilliant!
01:03:15Use!
01:03:16Use!
01:03:27Andre!
01:03:28Andre, are you okay?
01:03:31Andre, can you hear me?
01:03:32Maybe we should start praying to them paintings we found.
01:03:42It looks like that's our only choice.
01:03:45You like to have a choice, don't you?
01:03:47What's that meant to mean?
01:03:48You know exactly what that means.
01:03:51If you've got something to say, George,
01:03:52why don't you just come out with it?
01:03:54If I've got something to say,
01:03:56I will decide when I say it.
01:04:00Always loving the control, eh, George?
01:04:02Even when we're about to die,
01:04:04you still have to be in control.
01:04:06You know the best thing about this situation?
01:04:10We're both going to die together.
01:04:13Which means you won't inherit a thing.
01:04:20Wow.
01:04:22Just when I thought you couldn't go lower.
01:04:32What are you thinking?
01:04:41I'm trying to work out the murder in real time.
01:04:44Get Jeremy and Judith over to help, will you?
01:04:47Hey, you two.
01:04:49Jean need your help.
01:04:50I'm not sure I'm much help to anyone, Dominic.
01:04:53Judith's not feeling great.
01:04:54We're all not feeling great, Jeremy.
01:04:58Sorry.
01:04:59Sorry, I didn't mean to snap.
01:05:02No, actually, I did.
01:05:04Jean is over there trying so hard to help us,
01:05:07to help all of us.
01:05:08The very least you two can do is to help her.
01:05:10Okay?
01:05:11Oh, well, sorry, old chap.
01:05:13Yes, of course.
01:05:14Oh, great.
01:05:16Okay.
01:05:17So, whoever murdered Sangeeta and Suzanne
01:05:20has something to do with the bomb
01:05:22and this whole nightmare evening.
01:05:24It makes sense for everything to be connected.
01:05:26Yeah.
01:05:27Who would kill Sangeeta?
01:05:28Who would murder someone like that?
01:05:30Well, Ali's having an affair with Auriel.
01:05:33Oh, yeah, don't tell me.
01:05:34What?
01:05:35Yeah, George just poured his heart out to me.
01:05:37The poor chap is broken.
01:05:38Yeah, and I saw Ali and Auriel
01:05:40in the corridor earlier talking about it.
01:05:42Do you think he bumped off his wife
01:05:45to run off with a billionaireess?
01:05:47That's what I said.
01:05:48Or maybe George killed her to frame Ali.
01:05:52You're certainly on the verge of it.
01:05:53Or maybe Auriel killed her in a jealous rage
01:05:57because she couldn't wait a moment longer for Ali.
01:05:59Well, in the office,
01:06:02Gabrielle said all the codes to the museum's bank
01:06:05had been stolen from the safe.
01:06:06Yeah, and he was certain that they were there earlier.
01:06:09So, could that have something to do with it?
01:06:12Oh, it's all so confusing.
01:06:14My head hurts.
01:06:16Tom, come with me.
01:06:18There's only one person that used the map.
01:06:42Sweet.
01:06:42Sweet.
01:06:48Of course.
01:06:59It's so small.
01:07:00It's...
01:07:00It's a nose ring.
01:07:06Oh.
01:07:09It was Ali.
01:07:11It was all Ali.
01:07:12What?
01:07:13Ali is the murderer.
01:07:15Don't, don't, don't, look.
01:07:16How did you do it?
01:07:18She couldn't be in two places at once.
01:07:21I mean, she was definitely here when we arrived.
01:07:25So, how could she be murdering the security guard at the same time?
01:07:32Unless...
01:07:33Oh.
01:07:35This could she...
01:07:40Don.
01:07:45Don, give us a hand with this.
01:07:48She's still alive.
01:08:11Let's get her in here.
01:08:12Let's get her in here.
01:08:12What the hell?
01:08:22Who on earth is this?
01:08:23Jean, for God's sake, explain.
01:08:25What on earth is going on?
01:08:27Ali, can you just a minute?
01:08:30I'm intrigued.
01:08:33We still have a few minutes before we escape.
01:08:37How did you know?
01:08:38Eve, what are you doing?
01:08:43Go on, Madam White.
01:08:45It didn't come to me straight away.
01:08:48Then I worked out that it was you who killed Sangeeta and stole the bank codes.
01:08:55You mistakenly left your map on the floor at the side of the safe.
01:09:00I suppose when Sangeeta came in to override the fingerprint control, well, she caught you red-handed.
01:09:09Oh!
01:09:13And then I worked it back.
01:09:15I mean, how did you get in the safe in the first place?
01:09:18Only Gabrielle and Eve knew the combination, so it made sense one of them was your accomplice.
01:09:29Oh.
01:09:35And then I remembered earlier in the evening, Sangeeta recognized you, Eve, from a prison outreach event.
01:09:44Have we met somewhere before?
01:09:47I very much doubted.
01:09:48I don't do prisons on Charity here.
01:09:51I assume you've not been out of prison for very long.
01:09:55For Sangeeta to recognize you from something so recent.
01:09:59Eve, is this true?
01:10:03But you, Ali, yeah.
01:10:04I couldn't work out how you could be in two places at once.
01:10:10Serving champagne here and, well, murdering the security guard down there.
01:10:17But you weren't, were you?
01:10:21This is what I think.
01:10:24You went to the museum and you forced a security guard to activate the shutters.
01:10:29Once you'd started the bomb, you raced up here, changed your outfit, and you placed the bomb in the cabinet.
01:10:53Just outside this room.
01:10:55Then you accosted that poor waitress.
01:11:08And you bundled her into the cupboard.
01:11:11It's brilliant, really.
01:11:13All Eve had to do was hire an agency waitress who looked a little bit like you.
01:11:18Wait, no one had ever met either of you before, so no one would realize that you were an entirely different person.
01:11:27But how did you get the bomb inside the Ormalu?
01:11:32Well, you throwing champagne over George was no accident, was it?
01:11:39The minute that you heard Gabrielle and Eve in the corridor, that was your cue to cause a distraction.
01:11:54Giving Eve just enough time to plant the note for me and to put the bomb in the box.
01:12:01Very good, Madame White.
01:12:14I sort of understand the murders to steal the bank codes.
01:12:19But why the bomb?
01:12:21Why the poem?
01:12:24Well, that is what you would all take to your graves without knowing.
01:12:29Well, there's no way out.
01:12:32Not for you, anyway.
01:12:51The security engineer is almost here.
01:12:53Oh, we've only got two minutes left.
01:12:55Two of the most important people in my life were in that building.
01:13:12Heads down, please.
01:13:15Right.
01:13:16I'm going to smash this door down.
01:13:18What's the point?
01:13:19There's enough Semtex in there to blow up the whole bloody building.
01:13:21They managed to escape, didn't they?
01:13:23Oh, God, I didn't think I was going to die from a bomb in a bloody jewellery box.
01:13:30Maybe the actual box is a clue.
01:13:33It's an actual Marie Antoinette box.
01:13:35Oh.
01:13:35This is a picture of Marie Antoinette dressed as a vestal virgin by Charles Leclerc in 1777.
01:13:47In relation to the poem, Fruit from Above, well, Marie Antoinette's father was a pope, face like the sun.
01:13:55Well, um, she was married to the sun king.
01:13:59Well, um, she was married to the great-great-grandson of the sun king, and fate was not kind.
01:14:01Well, it wasn't kind to her.
01:14:02She had her head cut off.
01:14:03She had her head cut off.
01:14:33Oh, Judith, Judith, you're a genius.
01:14:38The box, Marie Antoinette, of course it was to do with her.
01:14:42Oh, I'm going too old for this.
01:14:43Clever, clever darling.
01:14:45I'm so pleased I didn't tell you what I brought you for Christmas.
01:14:54What happened?
01:14:55Nothing.
01:14:58Hi!
01:15:05Listen, I don't want to break up the party, but we are still locked in.
01:15:09I know we don't have the threat of the bomb anymore, but we are still locked in.
01:15:13Come on, let's get this door open.
01:15:16Right, come on.
01:15:17Right, I count that, I'm going to cry.
01:15:18I count three.
01:15:19One, two, three!
01:15:22One!
01:15:24I must have loosened it earlier.
01:15:27Loosened it.
01:15:27It's a real dreamboat there, hey, my darling wife.
01:15:50Come on, come on, come on.
01:15:56The shutters are opening.
01:15:58Come on, come on, come on.
01:15:59Oh, Karen, you little beauty!
01:16:01Excuse me, excuse me, excuse me.
01:16:25Come on, this way.
01:16:26Yeah, yeah, no more.
01:16:27Yeah, yeah, don't.
01:16:27Oh
01:16:39Oh Dominic Merry Christmas. Well, yeah, I wouldn't exactly say that but Merry Christmas
01:16:47Where's Karen what happened?
01:16:51He came in to get you how the tunnels underneath the museum the what?
01:16:58There's a load of bomb shelters. It was my idea, but
01:17:03His radio has gone silent
01:17:06We think he has fallen
01:17:09That's wait and see if the bomb exploded before they went to check on him just preparing to go and find him now
01:17:27I
01:17:29Assume these two have something to do with all this
01:17:35Not quite
01:17:38Andre it's so good to see you
01:17:42Good to see you mate
01:17:45Jean
01:17:47Grisha
01:17:50Jean, can you fill me in on what happened then I will interview those two in the morning?
01:17:54What? Now? Are you sure you're up to it?
01:17:58You know, I like to keep busy at Christmas
01:18:01I do
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01:20:03pace we ended up feeding the ducks there you are plenty more where that came from oh lovely will
01:20:09you sit down we've got loads here we need to save a little bit of room for christmas dinner you sound
01:20:13just like i did when you were a nipper do you know one christmas morning he ate three packets
01:20:18of mince pies and half a christmas cake before breakfast how old is he fine 15 actually i was
01:20:28a little bit worse for wear but i didn't know that then i just needed a sugar rush i have never
01:20:32really believed in hangovers i think it's a case of mind over matter i think that's why i've never
01:20:39heard one oh excuse me ah carol is ready for me to go over oh want me to come with you no no it's
01:20:50all right it won't be long and i've just got to bob over to the station and andre needs my help
01:20:56try some food with you oh no i'm really full for andre and richelle oh yeah great idea tell them
01:21:03that they're both invited to lunch four o'clock start will do talking of starts do you think it's too
01:21:09early for a little champagne wonderful idea darling copy bloody diem after yesterday that's what i say
01:21:18i'll get some glasses hey what merry christmas merry christmas what's the matter
01:21:33well after yesterday i don't want to let you have me say don't be daft it won't be gone long
01:21:40yeah i know but i'll tell you what why don't you get on the morning champers and you won't even know
01:21:46i'm missing okay come here
01:21:54happy christmas well it would be if we could get these two to speak oh no joy nothing from him
01:22:11he's just playing games but the girl i think he's starting to break that's why i asked you here
01:22:17she's upstairs oh from patrick so what happened no comment why did he plant a bomb no comment
01:22:37and why the poem no comment look i can understand you killing who you needed to to steal the bank codes
01:22:47but why the bomb why the poem well i don't know you and you don't know me well the poem was obviously
01:22:53not my idea so there was someone else involved of course i know nothing about bombs less about poems
01:23:06and i had no idea who you were until yesterday so what happened
01:23:11no comment no comment if you are trying to protect someone i would ask you to consider how
01:23:21important they are to you it will affect your sentence considerably
01:23:25the last time i was in prison i shared a cell with a woman who worked as a consultant
01:23:39at the museum she knew everything about it every nook and cranny
01:23:48she said if i kept in touch once i got out she would be able to help me get inside
01:23:54override the security system steal the bank codes and get out scot-free
01:23:59go go on so i kept on visiting her and sure enough we came up with a plan
01:24:09i got my friend eve involved flirting with that idiot of a curator gabrielle
01:24:15to get someone on the inside
01:24:19still why me why the bomb it was very strange the last time i went to see her
01:24:27she had found out through her contacts that you mrs jean white would visit the museum on christmas eve
01:24:38and she was wild cold with rage god she really hated you so instead of a simple robbery as planned
01:24:51i was to plant a bomb and a letter to you
01:24:58she said i would be safe that there was a way out under the museum
01:25:05she said it was a game she liked to play with you
01:25:10it all seemed a bit psychotic to me but then again so did she
01:25:15she and i had nothing to lose so i did what she said
01:25:24what was her name
01:25:27barbara
01:25:45what fun this is white
01:26:10till next time
01:26:15so
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