- 16 minutes ago
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00:00:00Thank you, Gloria. It's a treat to have an opportunity to really make an effort.
00:00:04Yes, we've been very casual of late, haven't we, darling?
00:00:07We have.
00:00:08Where is he going to again? Is it just a Christmas party?
00:00:11To be perfectly honest, I'm not sure, Gloria.
00:00:13It's all very cloak and dagger.
00:00:15I'm on the board of the museum with Gabrielle Gelbar, our new curator.
00:00:20Very excitable chap. Says he wants to put our lovely old museum on the map.
00:00:24He insisted that this afternoon was very important for the future of the museum
00:00:28and that we all came, especially you, Jean.
00:00:31What? Oh, right.
00:00:34Very mysterious, but I do like a free drink.
00:00:37Eh, and a bet be free champagne.
00:00:39It better be. This dress deserves more than cheap Prosecco.
00:00:42Now, where is Dominic? We really must be going soon.
00:00:45Give him a quick ring.
00:00:47Sorry. Sorry I'm late, everyone.
00:00:49Oh, it doesn't matter, Dominic. You're here now.
00:00:51Let me just finish my drink.
00:00:53Have a fab time.
00:00:55Yeah, come in.
00:00:56Special invite only. Enjoy.
00:00:58Oh, thanks, love.
00:00:59You got plans, love?
00:01:00Yeah, Patrick's doing a Christmas quiz.
00:01:02Me and Douglas have been swatting up.
00:01:05You smell nice?
00:01:06Well, I've got me special aftershave on.
00:01:08You're very lucky, actually, because of me last bit.
00:01:10Well, you never know.
00:01:11Father Christmas might bring you some more tomorrow.
00:01:12Oh, that'll be a nice surprise.
00:01:14Oh, Jean, your bag.
00:01:17Now, Dominic, this vintage dress will not love the back of your car.
00:01:23Would you mind awfully, Jean, if I sat in the front?
00:01:26Eat by guest, Judith.
00:01:28Go get me.
00:01:29Go get me.
00:01:29Yeah, it's so funny.
00:01:47In all the years I've lived in St. Bittoir, I've never been in here.
00:01:50Really?
00:01:51No, I dropped Claudia off on a school trip once, but I've never been inside.
00:01:55Let's see what you've been missing.
00:02:02Hello there.
00:02:03We are the invited guests of Gabriel's jail bar.
00:02:11Ah, yes, of course.
00:02:13It's in the reception room.
00:02:15You have to follow the indications.
00:02:17I think she wants us to head to the event room.
00:02:22Merci.
00:02:24Merci.
00:02:25I've never really seen the print in the museums.
00:02:35They preserve our history, Judith.
00:02:37Give people a chance to get up close to amazing works of art.
00:02:40Well, I suppose so.
00:02:42But there's so much to look at.
00:02:44I find them quite claustrophobic.
00:02:47I mean, where do you start?
00:02:49Hang on, darling.
00:02:50What about that trip we made to the Louvre when we first met?
00:02:53Yes, how could I ever forget that?
00:02:58I've never looked at a picture of the Mona Lisa in quite the same way again.
00:03:12You're in your element, aren't you?
00:03:13What?
00:03:15Oh, this way.
00:03:23You're in your element.
00:03:53You're in your element.
00:04:23Do you remember the first time that my eyes set on you?
00:04:33Your smile came from nowhere for sometime, never, or sometime soon.
00:04:40The road is a long one.
00:04:45I was only passing through.
00:04:51I was only passing through.
00:04:57I was only passing through.
00:05:03At least they've got the good stuff.
00:05:07Priorities, priorities.
00:05:08Charming.
00:05:09Oh, lovely scoochin.
00:05:11What do you think about it?
00:05:12It protects the door being scratched by the key.
00:05:15Practical and fancy at the same time.
00:05:17Well, you're like me, innit?
00:05:19Yeah.
00:05:35Here you go, Dominic.
00:05:36Merry Christmas to you in the morning.
00:05:38Oh, Merry Christmas, Dominic Hayes.
00:05:42So, what's this massive painting about this? It's very beautiful.
00:05:46This is a sublime example of a Baroque fresco.
00:05:51Right.
00:05:52Very popular in Europe, but I've never seen one in San Victor before.
00:05:55It's really exciting.
00:05:56Yeah?
00:05:57Well, a fresco is basically a wall painting
00:06:01where the paint is brushed straight onto wet plaster.
00:06:04By someone called Baroque?
00:06:06No, actually.
00:06:07Baroque was an artistic movement of the 17th and 18th century.
00:06:11So, like, paintings, music, architecture, everything was, like, big and bold.
00:06:17And sexy, Dominic. Very sexy.
00:06:20My absolute favourite era.
00:06:23So, that is Dr Ali Pardy.
00:06:27He's head of the charity L'Art Change la Vie.
00:06:31Huh?
00:06:32What's L'Art Change la Vie?
00:06:34Is that something about art helping ex-prisoners or something?
00:06:38Oh, sounds great.
00:06:39Well, that must be his wife.
00:06:41I think her name is Sangeeta.
00:06:43I've invited her to several of my bridge evenings, but to no avail.
00:06:46Huh?
00:06:47And they're talking to George and Auriel Alphonse.
00:06:52Huh?
00:06:53Yeah.
00:06:54As in Alphonse?
00:06:55From Alphonse Crush?
00:06:57What?
00:06:58The soft drink?
00:06:59Oh, I used to love that.
00:07:01Kept me awake at night when Claudia was a baby.
00:07:03Huh?
00:07:04An amazing couple.
00:07:05They just floated their company last year for 100 million euros.
00:07:07Lucky sorts.
00:07:08Apparently, they can't stand each other, but they can't leave because they are literally too rich.
00:07:15Aha!
00:07:16Jeremy, ça va mon ami?
00:07:19If you say so.
00:07:22And Judith.
00:07:23Mwah!
00:07:24Mwah!
00:07:25Do Jesus, will you ever age like us mere mortals?
00:07:28George, you really are too much.
00:07:30Let me introduce you to our dear friends, Jean and Dom.
00:07:33Very pleased to meet you.
00:07:34Oh, aren't you?
00:07:35I was just saying, I used to love your drink.
00:07:37Ah, well, not my drink anymore, but thank you, Dom.
00:07:41I really appreciate that.
00:07:42That's very kind of you.
00:07:43Very kind.
00:07:44Thanks for witnessing my loan agreement, Andre.
00:07:50Not a problem, Patrick.
00:07:51I sometimes come across trouble with financial affairs, but having the chief of police as my witness, that should shut them up.
00:08:03Oh no, Jean's left a phone.
00:08:06I am on my way home now.
00:08:08I can drop it off for her.
00:08:09What's she's got to do at the museum?
00:08:11No problem, that is near my house.
00:08:12Oh, brilliant.
00:08:13Au revoir.
00:08:14Au revoir.
00:08:15Thanks again, Andre.
00:08:16See you at the quiz later.
00:08:17You will indeed.
00:08:18I am bringing Richard.
00:08:20She's very good at politics questions.
00:08:22Merry Christmas.
00:08:23Joyeux Noël.
00:08:24Merry Christmas.
00:08:25Joyeux Noël.
00:08:26I never thought I'd be mates with a cup, eh ?
00:08:31Non mais...
00:08:32T'es où là ? Ils sont déjà tous arrivés.
00:08:35Oui, bah j'me recoiffais.
00:08:36Je sais que t'aimes quand je me fais bien pour toi.
00:08:38Non mais mon amour t'es toujours magnifique.
00:08:40Ces derniers mois, c'était juste extraordinaire.
00:08:42Entre ma rencontre avec toi et puis ce job de rêve, c'est merveilleux.
00:08:46Moi aussi.
00:08:47Bon, nous on a toute la vie devant nous.
00:08:49LÃ , il faut vraiment se mettre au travail.
00:08:51Hein ?
00:08:52Gabriel, t'es le nouveau conservateur de ce musée.
00:08:54Tu peux te permettre le quart d'heure de politesse.
00:08:56No, no, not at all.
00:08:58My only mission is to make this international museum.
00:09:02We have Alphonse who are ready to invest 10 million euros.
00:09:05It would change everything.
00:09:07It's not that it works.
00:09:09Alphonse!
00:09:11You dicks, haven't you?
00:09:21Ah, Gabrielle, here he is, our curator himself.
00:09:26Jeremy Giudice, good to see you both.
00:09:29You too, Gabrielle.
00:09:31And this is Jean White. Delivered as promised.
00:09:35Delivered? Oh, hello.
00:09:37It's a pleasure to meet you, Mrs White. Your expertise precedes you.
00:09:40Thank you so much for being here.
00:09:42Right, it's a pleasure. This is my partner.
00:09:44Your fiancé.
00:09:45Oh, yes, fiancé, Dom.
00:09:47Yeah, it's quite a recent thing.
00:09:48Congratulations to both of you.
00:09:50And this is my partner, Eve.
00:09:53Hi.
00:09:55And your field of expertise is, Mrs White?
00:09:58I'm an antiques dealer.
00:10:00Ah, how quaint.
00:10:02Shall we grab a horse's stew friendly into it?
00:10:04Yes, sir.
00:10:06Yeah.
00:10:08A bottle of fresh champagne, please.
00:10:10Thank you very much.
00:10:11Pardon, I said champagne on the way right now.
00:10:13Oh, you are a darling, Gabrielle.
00:10:16I think you're going to fit in very well around here.
00:10:19Yes.
00:10:20And by the way, you threw that last glass down your neck.
00:10:23We wouldn't want you going Thursday, would we?
00:10:25Excuse me.
00:10:26I'm just going to run through my speech.
00:10:28Ah, Jean, this is Dr Ali Pardeeb.
00:10:30We were telling you about his charity.
00:10:32Oh, Le Change Le Vie, is it?
00:10:35Oh, it sounds like you do some great work.
00:10:37Oh, he does.
00:10:38Oh, hi.
00:10:39I'm Auriel.
00:10:40Oh, hello.
00:10:42It's a vocation that absolutely consumes me, I'm afraid.
00:10:45As my wife could confirm.
00:10:47Lovely to finally meet you.
00:10:49So how did you find this vocation?
00:10:52Well, I've been working in prisons for a few years as a visiting doctor.
00:10:56And I saw so much artistic talent just hidden away in the cells that I felt compelled to liberate it.
00:11:04So I started an art club for the prisoners and, well, the charity just grew from there.
00:11:10How interesting.
00:11:11You let criminals play as being artists then?
00:11:15You know, that's exactly what we do.
00:11:18You're encouraging the egos of murderers.
00:11:21Is that what you're saying?
00:11:22Don't worry, Ali.
00:11:23I take care of the charity in our business.
00:11:26So you can ignore George.
00:11:28And your husband is a very inspiring man.
00:11:31Oh, he is indeed.
00:11:33Excuse me.
00:11:35Yes.
00:11:36Have we met somewhere before?
00:11:38I can't think where.
00:11:40Maybe at one of our outreach events?
00:11:43Very much doubted.
00:11:45I don't do presents or charity, dear.
00:11:48That's my key.
00:11:50Sorry.
00:11:51Sorry.
00:11:53Ah, merci, s'il vous plaît.
00:11:54Bonjour, monsieur.
00:11:55Merci.
00:12:01Thank you, everyone, for being here tonight.
00:12:05For tonight is a very special night for the museum.
00:12:09Mr. and Mrs. Alphonse are very generously about to invest 10 million euros.
00:12:1510 million euros into our acquisition account.
00:12:18It will keep the museum afloat for many years.
00:12:21Just a minute, Gabriel.
00:12:23Remember what we discussed a couple of weeks ago when you first took the job.
00:12:27If you have what you say you have, and it's the real deal, we are more than happy to invest.
00:12:34I want to be part of a museum that draws people in from all over the world.
00:12:40But I need you to prove to me that I am making the right choice.
00:12:45Of course.
00:12:47The stakes are very high for us.
00:12:50But I have contacts all over the world to make this museum great.
00:12:54I promise.
00:12:55Madam White, this is where we could use your help.
00:13:00Oh, right.
00:13:01We apologize for not warning you beforehand, but everything had to be completely top secret.
00:13:07Oh, I'm intrigued.
00:13:08We have something very rare, and we need you to verify it.
00:13:15Jeremy and Judy told me you are second to none in your field, so please, will you help?
00:13:21Well, I'm here now, so yeah, of course.
00:13:25If you will excuse me for one moment, ladies and gentlemen, we will go and fetch our treasure.
00:13:37If.
00:13:38Well, so that's why I'm here.
00:13:39Makes sense now.
00:13:40Well, Gabriel didn't tell me the finer details.
00:13:43It was just who I knew, who I trusted, and was the best in the business, so I...
00:13:48Well, thank you.
00:13:49You'd better be good, Mrs. White.
00:13:52And ensure it is what he says it is.
00:13:54We wouldn't want any mistakes.
00:13:57Well, let's put it this way.
00:13:59This isn't my first rodeo.
00:14:02Oh, thank you, darling.
00:14:04What's your name, dear?
00:14:06Amy.
00:14:07Big cash tip, Ellie.
00:14:09If you keep our shampas topped up, if you know what I mean.
00:14:12I'll do my best, madame.
00:14:14But I've never worked here before, so I don't know how much we have in stock.
00:14:17Good girl.
00:14:18Oh, thank you, Bob.
00:14:26On t'a attribué ton code personnel de sécurité, maintenant?
00:14:28Euh...
00:14:29No, tu sais, c'est toujours Suzanne de la Sécurité qui m'envoie un nouveau code chaque jour.
00:14:32C'est depuis que je suis arrivé, j'ai vu tellement le truc à gérer que c'est un peu galère.
00:14:36Et dis-moi, je peux ouvrir le coffre?
00:14:38J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:14:40D'accord.
00:14:41Par contre, juste tu notes le code correctement parce qu'il n'y a pas de seconde chance,
00:14:45sinon ça bloque toi.
00:14:47Alors, c'est le 3, 2, 7, 4...
00:14:514...
00:14:520, 9, 5, 7.
00:14:55C'est bon.
00:14:57T'enomorphé.
00:14:58OK.
00:15:00Alors....
00:15:010,9.
00:15:09C'est bon, vous quoi?
00:15:109
00:15:18Oh
00:15:26Well, my little miracle.
00:15:29Wow.
00:15:30It's necessary to destroy immediately.
00:15:32No, no, really, I'm...
00:15:34I don't know.
00:15:40Well, I'll take half of it.
00:15:46Well, let's take half of it.
00:15:50Ah.
00:16:02Really, take care of it.
00:16:05Wait, you're the future of the museum between the hands.
00:16:08Gabrielle, let me! Do you want me to fall?
00:16:38I'm actually a student.
00:16:39Well, I would like to apologize for the neolithic behavior of my husband, Ellie.
00:16:45Georges, we're going to pay for the cleaning, of course, but I can't clean.
00:16:49Just leave it. I can do it.
00:16:52You can do it. Okay, perfect.
00:16:54And where's this damn box of yours?
00:17:05Is that what I think it is?
00:17:08Go on. What is it?
00:17:23Oh, this is a French Ormelue gilt jewelry case owned by, I think, Marie Antoinette herself. Am I right?
00:17:32Yes, exactly, Madame.
00:17:34Well, I know there's one of these in the Museum of Tehran, but the only other one was bought by Russian buyers at Sotheby's in 2007.
00:17:43So, how could it be here?
00:17:45I have been totally obsessed with this box. So, I tracked it down over the years and persuaded them to sell.
00:17:56Wow. Well, Gabrielle is right. I mean, if you can get stuff like this, well, this is like such a fantastic draw for the museum. Game changer, really.
00:18:08Well, so far, so good.
00:18:09Okay.
00:18:10What?
00:18:11Thank God.
00:18:12Gene?
00:18:13It looks like a bomb.
00:18:14Oh, what?
00:18:15It doesn't just look like a bomb. It's a marzipan.
00:18:29Marzipan.
00:18:30Marzipan?
00:18:31I was in the army for years. I've recognized that smell anywhere.
00:18:34What is it?
00:18:35It's Semtex.
00:18:36Semtex?
00:18:37What can that do?
00:18:39Put it this way, there's enough in there to blow this whole museum sky high.
00:18:44Come on.
00:18:59Come on.
00:19:09They won't move!
00:19:10Well, well, what if we all lift together?
00:19:12They're locked.
00:19:14Okay, okay.
00:19:15Well, why don't we try the other exits?
00:19:18No, no.
00:19:19They will all be locked too.
00:19:20And all the windows are bound.
00:19:23Oh, my God.
00:19:24What the hell are we going to do?
00:19:25Stop with the hysterics, George.
00:19:27In case you hadn't heard, there is a Semtex bomb in that room.
00:19:30Yes, we all know that.
00:19:36Gabrielle.
00:19:36Yes.
00:19:37How do we open the shutters?
00:19:39As far as I know, the security guard has fingerprint recognition.
00:19:43She's the only one who can deactivate the code.
00:19:45Where is the guard?
00:19:47In the security booth.
00:19:49Come on, come on, come on.
00:19:53Oh, my God.
00:19:54Oh, my God.
00:19:55Oh, my God.
00:19:58She's gone.
00:20:05Oh, my God.
00:20:05Jeremy, let's go.
00:20:06All right, love.
00:20:35Yeah, or woman.
00:20:37Oh, no.
00:20:39So, one fingerprint to control your entire security system.
00:20:44Stop it, George.
00:20:46Yes, I let the security team arrange it between them.
00:20:50I have only been here three weeks.
00:20:52So, it was on my to-do list, but...
00:20:55Good grief.
00:20:56So, you have no idea how to deactivate it?
00:20:59No.
00:20:59No idea.
00:21:04Well, then, why don't we use her finger?
00:21:09George!
00:21:09Really?
00:21:10We can't.
00:21:11Why not?
00:21:13It's not like she's going to mind now, is she?
00:21:17It's not that.
00:21:18It's once tissue is dead, it loses its electrical charge.
00:21:21Hang on.
00:21:22Now, I saw this on one of those American crime dramas, and it worked a treat.
00:21:26So, let's give it a go, shall we?
00:21:28Good God, George.
00:21:30Oh, I see.
00:21:31You watched an entire box set, so, of course, now you know more than an actual doctor.
00:21:37I'm only saying, once the heartbeat dies, the electrical charge dies.
00:21:44It won't work.
00:21:59Can I ask a question, Gabriel?
00:22:02The security guard.
00:22:05What was her name?
00:22:05Hey, where's Suzanne?
00:22:08Shall we call her that, then?
00:22:11Look, I'm not suggesting we sever Suzanne's finger.
00:22:16George, leave it.
00:22:32Oh!
00:22:33Oh!
00:22:34Oh!
00:22:35Why can't they hear us?
00:22:56No, no, no, because the front doors are solid oak, the shutters are solid steel, and the walls, it's very sick Mediterranean stone.
00:23:04Oh, that's just great.
00:23:06So, is the place bomb-proof as well?
00:23:08They're not helping, George!
00:23:09It's okay, I'll call Karen.
00:23:11Yeah.
00:23:11Oh, with no signal.
00:23:13Oh, no, no, no, no, I haven't had any since I arrived, because we are quite high up and the walls are too sick.
00:23:23Okay.
00:23:24What's the Wi-Fi code?
00:23:25I'm going to share it with you.
00:23:26I'm going to share it with you.
00:23:27Yeah.
00:23:28Good morning.
00:23:28I know I had my phone in the pub.
00:23:30I must have dropped it.
00:23:31Oh, God!
00:23:31No, the Wi-Fi is off too, but don't worry, don't worry, I have one moment, I remember something.
00:23:40What's he going up?
00:23:54What are you doing?
00:23:57What are you doing?
00:24:00What are you doing?
00:24:09Someone has sabotaged the comms cupboard.
00:24:22It's beyond repair.
00:24:23Comms cupboard?
00:24:24It's where all the Wi-Fi hubs lead to, to keep us on the Internet.
00:24:28All the connections have been ripped to pieces.
00:24:31Oh.
00:24:33So we are completely trapped in here.
00:24:37Oh.
00:24:37Oh, good God.
00:24:40You have got a foolproof security system that you don't even know how to operate.
00:24:45Who's a bloody fool now, eh?
00:24:47Hey!
00:24:48Get your hands off him, you brute.
00:24:51I'm fourth down black belt in jujitsu.
00:24:53You lay one more finger on him and I will take you down.
00:24:56Do you understand?
00:24:57Gentlemen, we have to calm down.
00:25:00Don't suppose you serve Valium as well as champagne?
00:25:03Valium.
00:25:04Is that the cocktail?
00:25:06Never mind.
00:25:07What happened, dear?
00:25:08So, someone knew that we were here tonight and trapped us under the threat of a ticking bomb?
00:25:15This psycho must really hate one of us.
00:25:18Well, it was Gabriel who wanted us here.
00:25:20He sent the invite.
00:25:21I don't think I would bomb my own museum, judith, and trap myself inside.
00:25:25Okay.
00:25:25Can we just stop sniping at each other, okay?
00:25:28Can't be anyone here, can it?
00:25:29I am not so sure.
00:25:34What do you mean?
00:25:36I 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.
00:25:45Do you mean that the murderer might still be in the building?
00:25:50Possibly.
00:25:50Patrick, can you call judith?
00:26:02I can't get hold of Dormor, Jeremy.
00:26:04Obviously, I have Jean's phone and I don't have judith's number.
00:26:07Well, there is no answer at the museum and the doors are locked.
00:26:11Something is not right.
00:26:20You okay?
00:26:21Yeah, I think so.
00:26:23Curran just asked me if I can get in touch with Judith, but there's no answer.
00:26:27She's with Jeremy and Dom.
00:26:28Give them a call.
00:26:28No, he's already tried that and there's no reply from them either and no one's answering the door.
00:26:34Well, I don't like the sound of that.
00:26:36Nor do I.
00:26:38Diane can look after the bar for now.
00:26:40Electric Lady Vern outside?
00:26:42Yeah.
00:26:43Then let's go.
00:26:45What idiot takes the job as a curator of a massive museum and doesn't know how to work the security system?
00:26:51I have only been here three weeks, okay?
00:26:55There was so much to do that it didn't seem like a priority, okay?
00:27:00Well, it's a priority now, isn't it, Gabriel?
00:27:03It's a priority now.
00:27:05Gabriel, if he says one more word on you, I...
00:27:07No, no, no, no, no, no, no, no.
00:27:08Excuse me, excuse me.
00:27:08If you're going to say something, say it in a language we can all understand, eh?
00:27:13I beg your pardon.
00:27:16For one moment, I thought we were in France.
00:27:20If you have something to say, why don't you say it straight?
00:27:26You clearly have something to hide, monsieur.
00:27:32Bullying my partner, shouting at your wife.
00:27:36Classic defense tactics.
00:27:37How dare you suggest that I...
00:27:41Shh!
00:27:43What's that?
00:27:44What?
00:27:46Listen.
00:27:47Hello, hello, can anyone hear me?
00:28:11Oh, come on.
00:28:13Hello, hello, hello.
00:28:15Hello, hello, hello.
00:28:17Hello, can anyone hear me?
00:28:21Help, help, help!
00:28:22Dom?
00:28:23Dom?
00:28:24Dom, is that you?
00:28:25Oh, thank God.
00:28:26Look, we are trapped inside the museum.
00:28:28The shutters are down, the security guard's been murdered, and there is a bomb ticking away.
00:28:31What? A bomb?
00:28:32Okay, Dom, you need to say all that again, but much slower.
00:28:36There is a bomb.
00:28:38Someone has activated the security shutters.
00:28:40They can only be deactivated by the fingerprint of the security guard.
00:28:43But the...
00:28:44The security guard has been murdered.
00:28:46Okay, Dom, have you seen the bomb?
00:28:48No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
00:29:01Yes.
00:29:02What does it look like?
00:29:03Hang on.
00:29:08Right.
00:29:09Okay, so...
00:29:11It's like a big lump of orange.
00:29:14A bloke in here so that it looks like Semtex.
00:29:17There's an old-fashioned phone on one side, and in the middle is a digital clock counting down.
00:29:23There's three wires, a blue one, a red one, and a yellow one.
00:29:27And how much time does the bomb team have?
00:29:29Fifty-nine minutes.
00:29:35I will get help immediately.
00:29:37I need you to keep this communication open.
00:29:39Okay.
00:29:40We will get you all out.
00:29:43Dom?
00:29:44Dom, you need to keep this channel open.
00:29:48Andre, I can't hear you. Are you still there?
00:29:51Andre?
00:29:52Andre?
00:29:53What are you doing?
00:29:54Hang on a sec.
00:29:58He's got a bit of spare.
00:29:59He's got a bit of spare.
00:30:00He's got a bit of spare.
00:30:01Oh, bingo.
00:30:02He's got a bit of spare.
00:30:03He's got a bit of spare.
00:30:04He's got a bit of spare.
00:30:05Oh, bingo.
00:30:06He's got a bit of spare.
00:30:07He's got a bit of spare.
00:30:08He's got a bit of spare.
00:30:09Oh, bingo.
00:30:10Garon, can you hear me?
00:30:11Oh, he's got a bit of spare.
00:30:12He's got a bit of spare.
00:30:13Oh, bingo.
00:30:14Garon?
00:30:15Oh, he's got a bit of spare.
00:30:16He's got a bit of spare.
00:30:17Oh, bingo.
00:30:21Garon?
00:30:22Can you hear me?
00:30:26Garon?
00:30:27Garon?
00:30:29Garon?
00:30:30Garon?
00:30:31Garon?
00:30:32Garon?
00:30:34Garon?
00:30:35Garon?
00:30:36Garon?
00:30:38Garon?
00:30:39Garon?
00:30:41Garon?
00:30:42Garon?
00:30:43Gloria, stop. Stop. Go to me.
00:31:02I managed to speak to Charon. He's calling for help.
00:31:05Brilliant. How did you manage that?
00:31:06Well, Suzanne's walkie-talkie.
00:31:08Oh, that's great. We can use that then.
00:31:10No, no, no. It's just died.
00:31:11Maybe it just needs any battery, or...?
00:31:13No, no, I tried that. It's no joy, so...
00:31:15Oh, God.
00:31:16Well, at least we're getting some help from the professionals.
00:31:20Something you've needed for years, darling.
00:31:23Charon will help us, won't you, darling?
00:31:25Oh, absolutely, darling.
00:31:27Em, Jean.
00:31:30What? What's the matter?
00:31:32Em, I found this under the bomb.
00:31:38For me?
00:31:39I don't understand.
00:31:43Who would do something like this to you?
00:31:46I've no idea.
00:31:48I mean, thinking about it,
00:31:51I've put a few people away over the years,
00:31:54but this is beyond the pale.
00:31:56Look at the heart,
00:32:10her fruit from above,
00:32:11her face like the sun,
00:32:13her heart full of love.
00:32:15But fate is not kind,
00:32:17and her future is bleak.
00:32:19Two attempts to survive,
00:32:21one date do you seek.
00:32:22Oh, come on, Jean, think.
00:32:25Okay, two attempts to survive,
00:32:28one date do you seek.
00:32:30So?
00:32:31What do you reckon?
00:32:33Well, it appears
00:32:35that this sicko
00:32:37wants me to find a piece of art
00:32:39in the museum
00:32:39that matches the riddle.
00:32:42Two attempts to survive,
00:32:43one date do you seek.
00:32:44So, I'm guessing
00:32:46that you put the date
00:32:48in the keypad
00:32:50to stop the bomb.
00:32:54Oh, wow.
00:32:56Somebody must really hate me
00:32:59to go to all this trouble.
00:33:01It's just a child's riddle.
00:33:03We should wait for help
00:33:04for grief.
00:33:05But what if help
00:33:06doesn't get here on time?
00:33:08Someone is out to get me.
00:33:09This is all my fault.
00:33:11I've got to do something to help.
00:33:14Slay.
00:33:15Okay, Jean,
00:33:16you've absolutely
00:33:17got to solve this riddle.
00:33:19Come on, chaps.
00:33:20Let's separate
00:33:20and find a way out of here.
00:33:22And, Gabrielle,
00:33:23you attempt to override
00:33:24this god-awful security system.
00:33:27Well, I think
00:33:28we should wait for the police.
00:33:30Something you are
00:33:30very welcome to do
00:33:31on your own, George.
00:33:33I, for one,
00:33:34am going to help Jean.
00:33:35Yeah.
00:33:35Yeah, me too.
00:33:36I'm in.
00:33:37Anything is worth a try.
00:33:39I do tech support
00:33:40for the charity.
00:33:42Can I help?
00:33:43Excellent.
00:33:44Come on.
00:33:45Let's go to the...
00:33:45Be careful.
00:33:47You too.
00:33:49I think it's essential
00:33:51that we keep dividing
00:33:52in order to conquer.
00:33:54Gentlemen,
00:33:54follow me.
00:33:55Yeah.
00:34:12Okay, look at the heart.
00:34:14The heart.
00:34:15Well,
00:34:16the heart could mean love.
00:34:18Oh, no,
00:34:18that could be any work of art.
00:34:19Okay.
00:34:20Okay, think, Jean.
00:34:22Think.
00:34:22Well, um,
00:34:24it could be the sacred heart,
00:34:26especially if it's qualified
00:34:27with the fruit.
00:34:29Well, how so?
00:34:30Well, um,
00:34:31Jesus in art
00:34:32is often referred to
00:34:33as fruit of the womb.
00:34:34Yeah,
00:34:34let's go with that.
00:34:35Okay.
00:34:35Okay.
00:34:36Face like the sun.
00:34:37Now,
00:34:38obviously,
00:34:39Jesus was the son of God
00:34:40and the sun in the sky
00:34:42is often used
00:34:43as a metaphor for Jesus.
00:34:44So, um,
00:34:45fate is not kind.
00:34:46Well,
00:34:47fate wasn't kind to Mary.
00:34:48Certainly wasn't too kind
00:34:49to Jesus either,
00:34:49was it?
00:34:50Well, exactly,
00:34:51but her future is bleak.
00:34:52Her.
00:34:53I think it's got to be
00:34:55about Mary and Jesus.
00:34:56It's got to be.
00:34:57Right.
00:34:58I think we're looking for
00:34:59a religious painting
00:35:01or sculpture.
00:35:02Well,
00:35:02there'll be a fair few
00:35:03of those,
00:35:03I'm sure.
00:35:04Yes,
00:35:04but particularly
00:35:05the Madonna and child.
00:35:07There is about
00:35:08six main rooms.
00:35:09Okay.
00:35:10Let's split up,
00:35:11take a room each
00:35:11and report back.
00:35:13Right.
00:35:13Right.
00:35:15Me and Dom
00:35:16will take medieval
00:35:17and Renaissance.
00:35:18Judith,
00:35:18you do modern art.
00:35:20Auriel,
00:35:20you do metal work.
00:35:21And Ellie,
00:35:23you do jewelry
00:35:24and glass work.
00:35:26And, um,
00:35:26yeah,
00:35:27and remember
00:35:27the Madonna and child.
00:35:29Okay?
00:35:30Let's go.
00:35:31Which way?
00:35:32This way.
00:35:38Richard,
00:35:39did you contact
00:35:39the bomb squad?
00:35:41Not great news,
00:35:41I'm afraid.
00:35:42The nearest active unit
00:35:43is Lyon,
00:35:43which is six hours by car.
00:35:45They're trying to activate
00:35:45the plan to get here quicker,
00:35:46but it's not looking good.
00:35:48What about
00:35:48overriding the security system?
00:35:50We have contacted
00:35:51the company,
00:35:51but with it being
00:35:52Christmas Eve,
00:35:53we have the same problem.
00:35:54The nearest engineer
00:35:55is in Marseille.
00:35:56Oh, no.
00:35:57There is no guarantee
00:35:57they will be here in time.
00:35:59If there was another way in,
00:36:00I think I could deactivate it.
00:36:02What?
00:36:03Before I joined
00:36:04the gendarmerie,
00:36:05I trained in the bomb squad
00:36:06at la police nationale.
00:36:07If it is a rudimentary device,
00:36:09I could deactivate it,
00:36:09I think.
00:36:10Okay.
00:36:11What about
00:36:12the tunnels underneath?
00:36:13Pardon?
00:36:13The museum's tunnels
00:36:15were part of the bomb shelter system
00:36:16during World War II.
00:36:17I remember the tall guy
00:36:18telling us when I brought
00:36:19Xavier on a visit.
00:36:20Okay?
00:36:21I will go in.
00:36:22I cannot put my best officer
00:36:24in danger, Richard.
00:36:25I will go in,
00:36:25you can advise me.
00:36:26But, sir, I...
00:36:26That is an order.
00:36:28Let's find a map.
00:36:31Well done.
00:36:33On the count of three,
00:36:34we all pull together.
00:36:35Ready?
00:36:36Ready.
00:36:37One, two, three...
00:36:39I haven't finished counting!
00:36:41Go chapter number
00:36:42in my shoulder.
00:36:43It's a little dramatic.
00:36:45If we all work together,
00:36:46we stand more chance.
00:36:47If we...
00:36:48Do you just call me a gendarmerie?
00:36:49It was just an observation.
00:36:51You like making observations,
00:36:53don't you?
00:36:53What's that supposed to mean?
00:36:54Like observing other people's wives.
00:36:58I don't know what you're talking about.
00:37:00Do you think I was born yesterday?
00:37:02I'm sorry?
00:37:05The charity meetings
00:37:07with my wife.
00:37:09The dinners.
00:37:10Come on, Ali.
00:37:12I've been through her phone.
00:37:15I know what's going on with you two.
00:37:18Don't tell me I'm wrong.
00:37:20I said!
00:37:21Tell me I'm wrong!
00:37:24Well, there you go.
00:37:26It just about says everything, doesn't it?
00:37:28George, I, uh...
00:37:29Oriel is my wife!
00:37:33Come on, George.
00:37:35You haven't loved each other for years.
00:37:37Even a stranger would know that.
00:37:38Just our shtick!
00:37:39What?
00:37:40The couple's thing.
00:37:42The public act.
00:37:43But when we get behind closed doors,
00:37:47we are still husband and wife.
00:37:52Oh!
00:37:54So you think I'm lying, do you?
00:37:57Well, I don't know what yarn she's been spinning you,
00:38:01but it's true.
00:38:02And...
00:38:04I'll tell you something else that's true.
00:38:06I will do everything in my power
00:38:09to make sure that you never raise another penny
00:38:14for your stupid ch...
00:38:16Oh, gentlemen, please!
00:38:17This is no time for a bloody showdown!
00:38:20Come on!
00:38:20I'll tell you something else.
00:38:50Judith?
00:39:03I didn't find anything.
00:39:06Literally.
00:39:07Didn't even find a decent painting.
00:39:09We said we had a chance with a necklace,
00:39:10but there was no reference to the sun.
00:39:12Well, we can't give up.
00:39:13We still have two other rooms.
00:39:15Well, you two can go on looking,
00:39:17but I'll be very honest with you.
00:39:18I need a little top-up of Dutch currants.
00:39:22What?
00:39:23In here?
00:39:24Can you not hear that bomb ticking?
00:39:27Yes.
00:39:28Yes, I can.
00:39:29But I'll be perfectly honest with you,
00:39:31Oriel.
00:39:32If I am to get blown to smithereens,
00:39:35I'd really rather like not to remember it.
00:39:40Let's keep looking.
00:39:41I'll take sculpture,
00:39:42and you take Angel Madonna.
00:39:42I'll take it out now.
00:39:43OK.
00:39:55Thank God the library was still open.
00:39:57Right.
00:39:58This map dates from around 1943.
00:40:01It shows the tunnels that were dug out
00:40:04and used as bomb shelters
00:40:06during World War II.
00:40:08Oh, désolé.
00:40:10Vous voulez que je parle en français, Richard?
00:40:12I think it is the map.
00:40:13She can't quite understand, not you.
00:40:15I have always been terrible with maps.
00:40:17It's a bit of an acutile for me.
00:40:19Désolé.
00:40:20It's because you're so young, love.
00:40:22We forget we're the last generation
00:40:23that didn't have sat-nav.
00:40:24Hey, speak for yourself.
00:40:25I'm 20 years younger than you,
00:40:27which makes me a straddler.
00:40:28Double?
00:40:29I straddle pre- and post-technology.
00:40:31Doesn't matter what form a map takes.
00:40:32I'm a dab hand.
00:40:34Right, there's a labyrinth of tunnels
00:40:35under the museum.
00:40:36You can see the entrances all around here,
00:40:39but they can only be accessed from the inside.
00:40:42Hang on.
00:40:44This one looks like it's leading from the outside in.
00:40:46What do you mean?
00:40:47Look.
00:40:48It starts off as a small one,
00:40:50then joins up with the bigger ones.
00:40:52What's its proximity?
00:40:54Just underneath the main entrance.
00:40:57Right around here somewhere.
00:40:58Gloria, can you pull the van back a bit, love?
00:41:12OK.
00:41:17Lovely.
00:41:17That's it, that's it.
00:41:19There's your way in.
00:41:24You're not going to open it up like that, are you?
00:41:27You got a crowbar in the van?
00:41:28Yeah.
00:41:30And, uh, toolbox?
00:41:34There's a knack to this.
00:41:37It's a level.
00:41:41Right.
00:41:43Are you ready?
00:41:44You are full of handy tricks, Patrick.
00:41:58I'm not going to ask where you'll enter.
00:42:00OK, I'm going in.
00:42:02Richard, get me an earpiece.
00:42:03You'll need this as well.
00:42:04It's my head torch.
00:42:05Thank you, Gloria.
00:42:10You're sure I can't go with you?
00:42:12Richard, I need you to take control here.
00:42:15You are now in charge.
00:42:17No matter.
00:42:18Gloria, take this headset.
00:42:20I need you to stay on the map and on the radio.
00:42:22You will be my ears and eyes.
00:42:23When I reach the bomb, you will pass to Richard, OK?
00:42:26Will the signal be strong enough down there?
00:42:28This radio is analog.
00:42:29It's like a walkie-talkie.
00:42:30It works over short distances because it doesn't need a signal to bounce up to the sky.
00:42:35OK.
00:42:37Be careful in that.
00:42:38I will.
00:42:38I'm a lawyer.
00:42:52Can you hear me?
00:42:53Yeah, you OK?
00:42:54I'm fine.
00:42:55Which way?
00:42:56OK.
00:42:57You go into your left first.
00:43:06Bingo.
00:43:06The shutters are connected to the museum's mainframe.
00:43:11Meaning you don't need Wi-Fi?
00:43:14Exactly.
00:43:15I may be able to override it if both systems are kept connected.
00:43:22Where's your main computer?
00:43:25It's in my office next to the event room.
00:43:30What's your passcode?
00:43:32Eve 1234.
00:43:36Eve?
00:43:36Press your finger firmly on this pad.
00:43:40I may be able to change your fingerprint identity to yours.
00:43:43Gabriel, when a code pops up, press Enter straight away.
00:43:46Enter straight away.
00:43:47OK.
00:43:47OK.
00:43:47I'm going to your office.
00:43:54Eh ben.
00:43:55Qui aurait cru qu'elle serait transformée en Lara Croft?
00:43:57Oh, yeah.
00:44:09Oh, hello.
00:44:11What are you doing here?
00:44:12What are you doing here?
00:44:14Oh.
00:44:15I don't want to get rid of the little doigt.
00:44:38You're very good.
00:44:40Well, I don't want to get rid of it.
00:44:42We're going to get rid of it.
00:44:45Don't worry about it.
00:44:46How do you feel?
00:44:49I wanted to tell you,
00:44:53it's been a long time for us,
00:44:55but you've taken my life.
00:44:58Oh, really?
00:44:59It's too bad.
00:45:01Sorry, Gabriel.
00:45:03Just that I'm really scared.
00:45:05Pardon.
00:45:07The code will appear at an instant.
00:45:10The other one must be deciphering it.
00:45:12It's okay.
00:45:14Okay, but what's crazy?
00:45:16What came first, medieval or Renaissance?
00:45:22Medieval.
00:45:24Oh, right.
00:45:25So medieval was the 5th to the 14th century
00:45:28and Renaissance was the 14th to the 17th?
00:45:31Correct.
00:45:32Yeah, no, it says it here on the card.
00:45:37This is beautiful.
00:45:39It's hand spun, wool and silk.
00:45:42This is called a verdu tapestry,
00:45:44derived from the French word for green.
00:45:46Ver.
00:45:47Yeah.
00:45:48How do you do that?
00:45:49What?
00:45:50No, all that.
00:45:52It says it on the card.
00:45:54Touché.
00:45:55Touché.
00:45:57These two, look how I feel.
00:45:59How come none of them ever smiled?
00:46:01There was a theory
00:46:02that they didn't want to show their bad teeth.
00:46:04In fair dues.
00:46:05I think it was just really hard work
00:46:07to maintain a smile
00:46:08whilst you're having your portrait painted.
00:46:10I mean, sitting there for hours like that.
00:46:12It's not like taking a selfie, is it?
00:46:14That's true.
00:46:17Don, look at that.
00:46:23Okay, right.
00:46:25Look at the heart.
00:46:26Her fruit from above.
00:46:28Her face like the sun.
00:46:29Her heart full of love.
00:46:31I mean, I wouldn't exactly say her face is sunny.
00:46:34Tonatello, terracotta.
00:46:36I didn't look at the card.
00:46:37Oh, well, he's one of my favourites.
00:46:39Mind you, there is a debate
00:46:41that it could have been Mabir, but...
00:46:44It says it's on loan from Florence.
00:46:46Well, it fits all the clues.
00:46:49Can I have your phone?
00:46:50You do?
00:47:00Oh.
00:47:01We best get back to the others.
00:47:03Not much time left, is there?
00:47:06I love you, Jane White.
00:47:08Dom.
00:47:09We will get out of here.
00:47:10Yeah?
00:47:11Yeah, come on.
00:47:12One.
00:47:13Two.
00:47:14Three.
00:47:23All right, all right, all right.
00:47:24Let's just take a minute.
00:47:25Good idea.
00:47:38So, how did you find out about the affair?
00:47:44I wasn't sure at first.
00:47:46But I'd had my suspicions for months.
00:47:49What made you suspicious, if you don't mind?
00:47:52Oh, I don't mind.
00:47:53I don't mind.
00:47:55We run our businesses like clockwork,
00:47:57and then all of a sudden she becomes interested in charity.
00:48:01Now, I wouldn't mind,
00:48:03but we have an office set aside for charity,
00:48:06or tax relief, as I'd like to call it.
00:48:09Absolutely.
00:48:10And the only charity she really did was just turn up,
00:48:13snip the ribbon.
00:48:15Until...
00:48:17she met him.
00:48:18Ah.
00:48:19Dr. Pardipa.
00:48:20Mm-hmm.
00:48:22We met him,
00:48:24and then she became obsessed
00:48:26with going to his meetings for his prison art malarkey.
00:48:31She couldn't get enough of it.
00:48:33Oh, we should see the difference it makes.
00:48:35Blah, blah, blah.
00:48:36And then there's all the obvious signs.
00:48:42Never leaving her phone unattended.
00:48:44Always going in a different room
00:48:46to check her messages.
00:48:51You know, I've never loved another woman.
00:48:55I just thought...
00:48:58Maybe she didn't love me
00:49:00as much as she used to.
00:49:03Though we'd always have.
00:49:06Respect.
00:49:09You're right, old chap.
00:49:11Once the respect is gone...
00:49:16Come on, George.
00:49:18We've got to find a way out of here.
00:49:20Come on.
00:49:24Where on earth is everybody?
00:49:28Ah, hello.
00:49:29Who have we here?
00:49:31What a zero chance of my reading that tiny writing.
00:49:37You do have a look of a female, I suppose,
00:49:39but is that a child?
00:49:44Oh, bloody hell, I forgot to pick up my glasses.
00:49:48I know.
00:49:49Not a child, but a thief of wheat.
00:49:51Oh, I see.
00:49:55Oh, I see.
00:49:57Not a child, but a thief of wheat.
00:50:02Come on, please.
00:50:03It's not a hear.
00:50:04I don't know what you're going to do.
00:50:06Come on.
00:50:07Come on.
00:50:10Okay, the tunnel on your left appears to lead to another exit.
00:50:14But the tunnel ahead of you takes you to a door that leads you into the museum.
00:50:19Okay, give me a second.
00:50:21It's locked!
00:50:33The door's locked.
00:50:35Give me a hand, sir.
00:50:39Andre?
00:50:41Describe the lock to me as best you can.
00:50:45It is a rectangle with a large keyhole in the middle.
00:50:49Looks like a church door lock.
00:50:52And it is very rusted.
00:50:55Sounds like a rim lock.
00:50:56Not too tricky.
00:50:57So, use the screwdriver attachment on your multi-tool to turn the lock to your right.
00:51:07Okay, I'm ready.
00:51:10No.
00:51:15No.
00:51:19No.
00:51:20No.
00:51:21I give him.
00:51:22What do you mean George knows?
00:51:23He just came straight out with it.
00:51:24Said he'd been looking through your phone.
00:51:25Looking through my phone?
00:51:26How?
00:51:27It never leaves my sight.
00:51:28We hardly see each other.
00:51:29We live separate lives.
00:51:30That's not what he said.
00:51:31What?
00:51:32He implied that the two of you are still very much in love.
00:51:45And that this whole dislike thing is just an act.
00:51:47Oh, Ali, that is rubbish.
00:51:48We don't even sleep in the same room.
00:51:49And the worst bit of it is he said he's going to make sure that I don't receive another penny
00:51:52for the charity.
00:51:53Oh, that's the worst thing, yeah?
00:51:54Oh, that's the worst thing, yeah?
00:51:55Well, it's nice to hear you've got your priorities straight.
00:52:00No, Oriel, you are my priority.
00:52:01But if you're still in love with him...
00:52:02Ali, please, it's rubbish.
00:52:03He's just bitter.
00:52:04Believe me.
00:52:05I love you.
00:52:06Did you find anything?
00:52:07No.
00:52:08Did you find anything?
00:52:09No.
00:52:10No.
00:52:11No.
00:52:12No.
00:52:13No.
00:52:14No.
00:52:15No.
00:52:16No.
00:52:17No.
00:52:18No.
00:52:19No.
00:52:20No.
00:52:21No.
00:52:22No.
00:52:23No.
00:52:24No.
00:52:25No.
00:52:26No.
00:52:27No.
00:52:28No.
00:52:29No.
00:52:30Oh, I've taken a picture of a few pieces, but I haven't really got a clue what I'm looking
00:52:34for.
00:52:35Yeah, I mean, the riddle is a little vague.
00:52:37Yeah, that's the understatement of the century.
00:52:39But the bomb threat is very clear.
00:52:42Yeah, yeah, we should find the others and regroup, yeah?
00:52:44That's where I was heading.
00:52:46Oh, no, they're all locked.
00:52:47They're all locked.
00:52:48Oh.
00:52:49Surely that idiot Gabrielle has a set of keys.
00:52:52I think we've established, George, that Gabrielle has literally no idea where they are.
00:52:53Oh, hello, you two.
00:52:54Oh, hello, darling.
00:52:55Any success?
00:52:56Oh, it's bloody useless.
00:52:57I can't find one single religious painting.
00:53:00I've tried my utmost and that's all I can do.
00:53:04Surely that idiot Gabrielle has a set of keys.
00:53:06I think we've established too much that Gabrielle has literally no idea where they are.
00:53:11Oh, hello, you two.
00:53:13Oh, hello, darling. Any success?
00:53:16Oh, it's bloody useless. I can't find one single religious painting.
00:53:20I've tried my utmost, and that's all I can do.
00:53:24It's all so hopeless.
00:53:26How are you getting on?
00:53:27We've fried all the doors.
00:53:28And windows.
00:53:29Nothing.
00:53:30Oh, utterly infuriating.
00:53:32Maybe we should get back to the others.
00:53:34That's a good idea, George. Come on.
00:53:37We will get out of here, won't we, darling?
00:53:40Oh, come here.
00:53:43Of course we will, my darling.
00:53:47Won't we all the other?
00:53:51Very, very gently.
00:53:54Nothing seems to be biting.
00:53:56Take your time.
00:53:58That is something we do not have.
00:53:59I think I can kick the door in.
00:54:04No, no, no, no, don't do that.
00:54:06We don't want any unnecessary vibrations.
00:54:09Andre?
00:54:11Andre?
00:54:15Andre?
00:54:15Andre?
00:54:15Andre?
00:54:15Andre?
00:54:33Jane?
00:54:33Great.
00:54:33Any joy?
00:54:34Yes.
00:54:35oh no and this is a picture by Camille Corot in 1860 and it's of a normal
00:54:44earthbound human and child sorry no it's okay Ellie anything I couldn't find the
00:54:50card for this but it looks like a modern art version of Mary and Jesus well is it
00:54:57no I'm afraid not it looks like modern art but I think it's a copy of the
00:55:03famous Corotrophos which is one of the earliest Neolithic finds in Greece 6000
00:55:09BC oh no we're George and Jerry then Ellie no the we couldn't the doors I've got
00:55:21something to tell you oh how did it go we're really trapped it's right
00:55:26everything every window every door is either deadlocked or barred Judith did
00:55:32you find anything to match the poem I found a painting that might be a mother
00:55:36and child but I'm not entirely sure it's the right way up no
00:55:43John can you get that picture of the Donatello please
00:55:48two attempts to survive one date do we seek do you think it's time to put our best option in
00:56:02don't really have a choice do we or shouldn't we wait to see if Sangita and the others have
00:56:08had some success I don't think there's any harm in trying
00:56:12one date is never sure I can't believe it's time to get away with the
00:56:16questions I'm really or should not have a choice if I can to have a choice but I can't
00:56:19wait to see if someone has gone to me and I can't get a chance to just
00:56:23don't pay me to let me look at this this is one of the different things I'm afraid to
00:56:24have a choice I'm afraid I'm afraid to see if someone has come to be a place of the
00:56:26Yes, Patrick.
00:56:48We lost you for a few moments.
00:56:50You had us worried.
00:56:51So, how are you doing?
00:56:54I'm a little trapped.
00:56:55Part of the roof has collapsed and formed a barrier between me and where I came in.
00:57:01Can you dig your way out?
00:57:02At the moment, that does not seem possible.
00:57:05Okay, so we must keep trying the lock.
00:57:08The lock is so rusted, I just can't seem to get a grip.
00:57:26There's a blockage in the tunnel and he can't get out.
00:57:29How's he doing with the lock?
00:57:30He says he can't get a grip because it's all rusted up.
00:57:33Rusted?
00:57:33Give me the headset.
00:57:34Andre, this may seem like a stupid question, but what's your gun holster made of?
00:57:41Uh, mainly leather, I think, but with some rubber on the inside.
00:57:46Great.
00:57:46Take your knife and slice a thin piece of rubber off.
00:57:49Okay, I've done that.
00:57:57Put it in the lock and rub as hard as you can.
00:58:01Okay.
00:58:02Is it working?
00:58:07Yes.
00:58:07Yes, it's working.
00:58:09Yes.
00:58:09How did you know how to do that?
00:58:10Oh, but can each check rustates rubber.
00:58:12I'm passing you back to Patrick.
00:58:14Right, I'm going to try the lock again.
00:58:16Okay, Andre.
00:58:17Remember, screwdriver up and to the right.
00:58:21Very gently.
00:58:26What's happening, Andre?
00:58:27Andre?
00:58:28It's not opening, Patrick.
00:58:33Okay.
00:58:35Uh, I want you to describe it for me again as best you can with every detail.
00:58:42Every detail you can.
00:58:46Uh, it's brass, I think, with a fancy design on it, like a fleur de lys, sort of.
00:58:54Oh, Patrick, you idiot.
00:58:55It's an old French lock.
00:58:58I'm going to try something different, Andre.
00:59:01Turn it to the left very, very gently.
00:59:05Hmm?
00:59:05Then turn it one more time.
00:59:15It's unlocked!
00:59:16Yes!
00:59:17Yes!
00:59:19Okay, Andre.
00:59:20Once you're through the door, you're going to your right.
00:59:22I can't believe I got it so wrong.
00:59:28But you can't blame yourself, Jane.
00:59:29Well, it's false, is it?
00:59:31I sent you on a wild goose chase.
00:59:33You did something, though.
00:59:34Yeah, and I got it wrong.
00:59:35I don't want to die like this, Jeremy.
00:59:38Oh, I know, my darling, I know.
00:59:43Why didn't you tell me it'll all be all right?
00:59:44Dad?
00:59:47What?
00:59:48You always say it'll all be all right, darling, and it always is.
00:59:52Well...
00:59:52How much time have I got left?
01:00:08How much time has he got left?
01:00:11Only 17 minutes, I'm afraid.
01:00:1417 minutes, Andre.
01:00:16Keep going straight on.
01:00:17In every day, you're doing great.
01:00:18Oh, my God.
01:00:34Good, je l'ai marre.
01:00:35No, no, no, no.
01:00:36Surtout, tu bouges pas, parce que là , tu vas ruiner toutes nos chances.
01:00:38Donc, tranquille.
01:00:39Non, non, mais...
01:00:40Bon, je vais la trouver, celle-là , et voir ce qu'elle croit qu'elle est en train de faire.
01:00:48Do you want to know what I bought you for Christmas?
01:01:02You know I prefer a surprise.
01:01:05But you might not get to see it.
01:01:10I want to keep it a surprise.
01:01:15Thank you, Jeremy.
01:01:18What for?
01:01:21Our life together.
01:01:23I've had such a lovely time.
01:01:27I thought after losing the twins, we wouldn't last.
01:01:31Lots of couples split over less, you know.
01:01:34I know, my darling.
01:01:36I know.
01:01:39Maybe if there is something after this life, we can meet them again.
01:01:45That's a nice thought, isn't it?
01:01:47That's a wonderful thought, darling.
01:01:52Wonderful.
01:01:55Anyway, I'm glad we're here together.
01:01:58I've always dreaded the thought of going first and leaving you behind.
01:02:03Me too.
01:02:03Sangita, she's dead.
01:02:11No.
01:02:11What?
01:02:12Are you sure?
01:02:13Positive.
01:02:14How?
01:02:14She has been shot.
01:02:16Shot?
01:02:17She was trying to change the fingerprint control and needed access to the main computer in my office.
01:02:22So she left us and went to the office, waited for ages.
01:02:26And you just found her there?
01:02:27Yes.
01:02:28I need to see her.
01:02:29No, no, no, I'm not sure you shouldn't.
01:02:30Look, I'm a doctor.
01:02:31Maybe she's still alive.
01:02:33Take me to her.
01:02:34Ali, Ali, listen, look at me.
01:02:36I just need to see my wife.
01:02:40Show me to your office.
01:02:42Okay.
01:02:45Everyone needs to stay here.
01:02:47No one must leave.
01:02:48Don't come with me.
01:02:49Yeah.
01:02:50Oh, my love.
01:03:03Ali, you can't touch her.
01:03:05I am a doctor and her husband.
01:03:07I know, but this is a crime scene.
01:03:10What?
01:03:11There's still a very good chance that we could get out of here.
01:03:14And if we do, we want every shred of evidence intact, don't we?
01:03:35Ali is having an affair with Ariel.
01:03:38What?
01:03:39I saw them in the corridor together.
01:03:41Said him and George almost came to blows at one point.
01:03:43Oh, well, that gives him a motive.
01:03:46To get rid of his wife so he can marry a billionaire.
01:03:49Exactly.
01:03:51Come on, if it is him, we can't leave him alone with Gabrielle for too long.
01:03:57All the banking codes, they are gone.
01:04:00Are you sure they were in there earlier?
01:04:02Yes.
01:04:02When I came to get the Ormelo from the safe, I clearly remember seeing the file.
01:04:07And who else knew the combination to the safe?
01:04:10Only me.
01:04:11Anne-Yves, he helped me collect the Ormelo earlier.
01:04:15Okay.
01:04:16Right, yeah.
01:04:17We all have to stay in the same place.
01:04:20It's what Karen would make us do.
01:04:21Yeah, yeah, you're right.
01:04:22Okay, right.
01:04:23We have to stick together.
01:04:24There's a murderer amongst us.
01:04:30Okay.
01:04:31I've got to wait for it.
01:04:32Gloria, I must be near.
01:04:43I can hear voices.
01:04:44You're right underneath the events room.
01:04:46Carry on for about another ten yards and you'll see a ladder on your right.
01:04:50Now, please, I'll rent me up to the new lead.
01:04:53Are you okay, love?
01:04:57Yes.
01:04:58I'm fine.
01:05:01Yards to meters.
01:05:02Multiply the length given in yards by 0.9144.
01:05:08I found the ladder.
01:05:10He's found the ladder.
01:05:11I'm heading up now, Gloria.
01:05:18Well done, Andre.
01:05:19You're nearly there.
01:05:20The security engineer has now landed at the airport and she's on her way now in a police car.
01:05:24Brilliant.
01:05:25I said...
01:05:25Use.
01:05:33Ah!
01:05:34Stop!
01:05:36Andre!
01:05:37Andre, are you okay?
01:05:39Andre, can you hear me?
01:05:41Maybe we should start praying to them paintings we found.
01:05:51It looks like that's our only choice.
01:05:53You like to have a choice, don't you?
01:05:55What's that meant to mean?
01:05:57You know exactly what that means.
01:05:59If you've got something to say, George, why don't you just come out with it?
01:06:02If I've got something to say, I will decide when I say it.
01:06:07Always loving the control, eh, George?
01:06:09Even when we're about to die, you still have to be in control.
01:06:13You know the best thing about this situation?
01:06:17We're both going to die together.
01:06:20Which means you won't inherit a thing.
01:06:27Wow.
01:06:29Just when I thought you couldn't go lower.
01:06:31What are you thinking?
01:06:47I'm trying to work out the murder in real time.
01:06:50Get Jeremy and Judith over to help, will you?
01:06:52Hey.
01:06:53You too.
01:06:54Jean needs help.
01:06:55I'm not sure I'm much help to anyone, Dominic.
01:06:58Judith's not feeling great.
01:06:59We're all not feeling great, Jeremy.
01:07:03Sorry.
01:07:04Sorry, I didn't mean to snap.
01:07:06No, actually, I did.
01:07:08Jean is over there trying so hard to help us, to help all of us.
01:07:12The very least you two can do is to help her.
01:07:14Okay?
01:07:15Oh, sorry, old chap.
01:07:17Yes, of course.
01:07:19Oh, great.
01:07:20Okay.
01:07:21So, whoever murdered Sangeeta and Suzanne has something to do with the bomb and this whole nightmare evening.
01:07:27It makes sense for everything to be connected.
01:07:29Yeah.
01:07:30Who would kill Sangeeta?
01:07:31Who would murder someone like that?
01:07:33Well, Alice having an affair with Auriel.
01:07:36Oh, yeah, don't tell me.
01:07:37What?
01:07:38Yeah, George just poured his heart out to me.
01:07:40The poor chap is broken.
01:07:41Yeah, and I saw Ali and Auriel in the corridor earlier talking about it.
01:07:45Do you think he bumped off his wife to run off with a billionaireess?
01:07:50That's what I said.
01:07:51Or maybe George killed her to frame Ali.
01:07:54You're certainly on the verge of it.
01:07:56Or maybe Auriel killed her in a jealous rage because she couldn't wait a moment longer for Ali.
01:08:01Well, in the office, Gabrielle said all the codes to the museum's bank had been stolen from the safe.
01:08:08Yeah, and he was certain that they were there earlier.
01:08:11So, could that have something to do with it?
01:08:13Oh, it's also confusing.
01:08:15My head hurts.
01:08:17Don, come with me.
01:08:19Come with me.
01:08:21There's only one person that used the map.
01:08:41Sweet.
01:08:42Of course.
01:08:58It's so small.
01:08:59It's a nose ring.
01:09:04Oh.
01:09:05It was Ali.
01:09:09It was all Ali.
01:09:10What?
01:09:11Ali is the murderer.
01:09:13No, no, no, no.
01:09:15How did she do it?
01:09:16She couldn't be in two places at once.
01:09:19I mean, she was definitely here when we arrived.
01:09:23So, how could she be murdering the security guard at the same time?
01:09:31Unless...
01:09:32This kitchen.
01:09:35She's still alive.
01:09:58She's alive.
01:10:05Let's go in here.
01:10:15What the hell?
01:10:17Who on earth is this?
01:10:18Jean, for God's sake, explain.
01:10:20What on earth is going on?
01:10:21Ali, can you just a minute?
01:10:24I'm intrigued.
01:10:25We still have a few minutes before we escape.
01:10:31How did you know?
01:10:33Eve, what are you doing?
01:10:37Go on, Madame White.
01:10:39It didn't come to me straight away.
01:10:41Then I worked out that it was you who killed Sangeeta and stole the bank codes.
01:10:48You mistakenly left your map on the floor at the side of the safe.
01:10:54I suppose when Sangeeta came in to override the fingerprint control, well, she caught you red-handed.
01:11:01And then I worked it back.
01:11:07I mean, how did you get in the safe in the first place?
01:11:12Only Gabrielle and Eve knew the combination, so it made sense one of them was your accomplice.
01:11:20And then I remembered, earlier in the evening, Sangeeta recognized you, Eve, from a prison outreach event.
01:11:36Have we met somewhere before?
01:11:38I very much doubt it.
01:11:39I don't do prisons or charity here.
01:11:42I assume you've not been out of prison for very long.
01:11:45Sangeeta to recognize you from something so recent.
01:11:48If this is true.
01:11:53But you, Ellie, yeah.
01:11:56I couldn't work out how you could be in two places at once.
01:11:59Serving champagne here and, well, murdering the security guard down there.
01:12:07But you weren't, were you?
01:12:10This is what I think.
01:12:13You entered the museum and you forced the security guard to activate the shutters.
01:12:18Once you'd started the bomb, you raced up here, changed your outfit, and you placed the bomb in the cabinet, just outside this room.
01:12:42Then you accosted that poor waitress.
01:12:56And you bundled her into the cupboard.
01:12:58It's brilliant, really.
01:12:59All Eve had to do was hire an agency waitress who looked a little bit like you.
01:13:05No one had ever met either of you before, so no one would realize that you were an entirely different person.
01:13:12But how did you get the bomb inside the ormoloo?
01:13:18Well, you throwing champagne over George was no accident, was it?
01:13:25The minute that you heard Gabrielle and Eve in the corridor, that was your cue to cause a distraction.
01:13:31Oh, go, go, go, go, go!
01:13:34What the hell?
01:13:38Giving Eve just enough time to plant the note for me and to put the bomb in the box.
01:13:46Oh, no, no.
01:13:47George, wait till I'm at it.
01:13:53Very good, Madam Wade.
01:13:55I sort of understand the murders
01:14:00To steal the bank codes
01:14:02But why the bomb?
01:14:04Why the poem?
01:14:07Well
01:14:08That is what you would all take to your graves
01:14:11Without knowing
01:14:12But there's no way out
01:14:14Not for you anyway
01:14:25The security engineer is almost here
01:14:35We've only got two minutes left
01:14:37Two of the most important people in my life
01:14:53Heads down please
01:14:55Right
01:14:57I'm going to smash this door down
01:14:58What's the point?
01:15:00There's enough semtex in there to block the whole bloody building
01:15:02But they managed to escape, didn't they?
01:15:04God, I didn't think I was going to die from a bomb in a bloody jewellery box
01:15:09Maybe the actual box is a clue
01:15:12It's an actual Marie Antoinette box
01:15:15This is a picture of Marie Antoinette dressed as a vestal virgin
01:15:23By Charles Leclerc in 1777
01:15:26In relation to the poem
01:15:28Fruit from above
01:15:30Well, Marie Antoinette's father was a pope
01:15:33Faced like the sun
01:15:34Well, she was married to the great-great-grandson of the sun king
01:15:38And fate was not kind
01:15:39Well, it wasn't kind to her
01:15:41She said she had her head cut off
01:15:42I'm sorry
01:15:43I'm sorry
01:15:44I'm sorry
01:15:45I'm sorry
01:15:46I'm sorry
01:15:47I'm sorry
01:15:48I'm sorry
01:15:49I'm sorry
01:15:50I'm sorry
01:15:51I'm sorry
01:15:511
01:15:522
01:15:537
01:15:547
01:15:547
01:15:557
01:15:557
01:15:577
01:15:587
01:15:597
01:16:008
01:16:017
01:16:028
01:16:037
01:16:048
01:16:058
01:16:068
01:16:077
01:16:098
01:16:108
01:16:118
01:16:128
01:16:139
01:16:1410
01:16:15The idiot, the bots, Marie Antoinette, of course it was to do with her.
01:16:18Oh, I'm getting too old for this.
01:16:20Clever, clever darling.
01:16:22I'm so pleased I didn't tell you what I brought you for Christmas.
01:16:30What happened?
01:16:33Nothing.
01:16:34Hi!
01:16:41Listen, I don't want to break up the party, but we are still locked in.
01:16:45Now, I know we don't have the threat of the bomb anymore, but we are still locked in.
01:16:49Come on, let's get this door open.
01:16:51Right, come on.
01:16:52Right, I can't let anybody crack.
01:16:53I can't three.
01:16:54One, two, three.
01:16:57One.
01:16:59I must have loosened it earlier.
01:17:01Loosen it.
01:17:15It's a real dreamboat there, eh, my darling wife?
01:17:28Come on, come on, come on.
01:17:30The shutters are opening.
01:17:31Come on.
01:17:32Come on, come on.
01:17:32Oh, Karen, you little beauty.
01:17:34Jeanne, you're all right?
01:18:03I'm glad to see you.
01:18:06You too, sir.
01:18:07I must have been so scary.
01:18:10It certainly had its moments.
01:18:11Oh, Dominic, Merry Christmas.
01:18:13Well, yeah, I wouldn't exactly say that, but Merry Christmas.
01:18:18Where's Karen?
01:18:19What happened?
01:18:22He came in to get you.
01:18:24How?
01:18:25The tunnels underneath the museum.
01:18:27The what?
01:18:28There's a load of bomb shelters.
01:18:30It was my idea, but...
01:18:32His radio's gone silent.
01:18:36We think he has fallen.
01:18:37What?
01:18:39They had to wait and see if the bomb exploded before they went to check on him.
01:18:43They're just preparing to go and find him now.
01:18:48Allez.
01:18:50Avance!
01:18:53Peu-vite!
01:18:54Que c'est bon?
01:18:58I assume these two have something to do with all this.
01:19:01I thought I killed you.
01:19:04Not quite.
01:19:05Oh, André.
01:19:07It's so good to see you.
01:19:10Good to see you, mate.
01:19:13Bonjour.
01:19:15Richard.
01:19:18Jean, can you fill me in on what happened?
01:19:20Then I will interview those two in the morning.
01:19:22What?
01:19:23Now?
01:19:24Are you sure you're up to it?
01:19:26You know, I like to keep busy at Christmas.
01:19:29I do.
01:19:30I do.
01:19:34Oh, my God, I see it.
01:19:37Oh, wait, please.
01:20:05I'll do this.
01:20:05Carol, what have you done to your poor face?
01:20:10Oh, my God.
01:20:24I'm not sure I like brunch.
01:20:26What?
01:20:26Well, the word, the blending of two words to make another, like, um, motel.
01:20:32Portmanteau.
01:20:33Oh, bless you.
01:20:34No.
01:20:36Portmanteau is the blending of two words to make another one.
01:20:38Although, portmanteau also means a leather case with two sections, but...
01:20:43Where would we be without your brain, eh?
01:20:45I think we're daft.
01:20:46You don't mean it.
01:20:47You saved a lot of lives yesterday.
01:20:49Oh, well, I just did what I had to do.
01:20:51Yeah, and what only you can.
01:20:54Well, thank you.
01:20:55Now, can I tempt you to a croissage?
01:20:58What?
01:20:59Well, it's a croissant with a sausage inside and portmanteau in.
01:21:04Fresh coffee?
01:21:06Oh, thank you, Patrick.
01:21:09Why aren't we, darling?
01:21:11I'm terribly hungry this morning.
01:21:13I think it's all the trauma.
01:21:15Of course, darling.
01:21:16It can do that.
01:21:17I remember when me gran was ill.
01:21:19All anybody could do was make sandwiches, like, make everything better.
01:21:22Feeding the soul?
01:21:23Not with white slice and beef paste.
01:21:25We ended up feeding the ducks.
01:21:27There you are.
01:21:28Plenty more where that came from.
01:21:29Oh, lovely.
01:21:30Will you sit down?
01:21:31We've got loads here.
01:21:32We need to save a little bit of room for Christmas dinner.
01:21:34You sound just like I did when you were a nipper.
01:21:36Do you know, one Christmas morning, he ate three packets of mince pies and half a Christmas cake before breakfast.
01:21:43How old is he?
01:21:45Five.
01:21:47Fifteen, actually.
01:21:48I was a little bit worse for wear, but I didn't know that.
01:21:51Then I just needed a sugar rush.
01:21:52I have never really believed in hangovers.
01:21:55I think it's a case of mind over matter.
01:21:57I think that's why I've never heard one.
01:22:02Oh, excuse me.
01:22:05Ah.
01:22:06Karen is ready for me to go over.
01:22:08Oh, want me to come with you?
01:22:09No, no, it's all right.
01:22:10It won't be long.
01:22:11I've just got to bob over to the station and Andre needs my help.
01:22:15So I should have food with you.
01:22:17Oh, no, I'm really full.
01:22:18For Andre and Richelle.
01:22:20Oh, yeah, great idea.
01:22:22Tell them that they're both invited to lunch.
01:22:24Four o'clock start.
01:22:25Will do.
01:22:26Talking of starts, do you think it's too early for a little champagne?
01:22:30Wonderful idea, darling.
01:22:32Carpe bloody diem after yesterday, that's what I say.
01:22:35I'll get some glasses.
01:22:40Hey.
01:22:42What?
01:22:44Merry Christmas.
01:22:47Merry Christmas?
01:22:49What's the matter?
01:22:51Well, after yesterday, I don't want to let you have me say.
01:22:56Don't be daft.
01:22:57It won't be gone long.
01:22:58Yeah, I know, but...
01:22:59I'll tell you what, why don't you get on the morning chumpers and you want him no missing?
01:23:04Okay.
01:23:06Come here.
01:23:06Happy Christmas.
01:23:22Well, it would be if we could get these two to speak.
01:23:25Oh, no joy.
01:23:26Nothing from him.
01:23:27He's just playing games.
01:23:29But the girl, I think, is starting to break.
01:23:31That's why I asked you here.
01:23:32She's upstairs.
01:23:34Oh, from Patrick.
01:23:36Merci.
01:23:43So, what's happened?
01:23:46No comment.
01:23:47Why did he plant a bomb?
01:23:50No comment.
01:23:51And why the poem?
01:23:53No comment.
01:23:55Look, I can understand you killing who you needed to, to steal the bank codes.
01:24:00But why the bomb?
01:24:02Why the poem?
01:24:03Well, I don't know you and you don't know me.
01:24:05Well, the poem was obviously not my idea.
01:24:09So, there was someone else involved?
01:24:12Of course.
01:24:12I know nothing about bombs.
01:24:16Less about poems.
01:24:19And I had no idea who you were until yesterday.
01:24:22So, what happened?
01:24:27No comment.
01:24:30If you are trying to protect someone, I would ask you to consider how important they are to you.
01:24:35It will affect your sentence considerably.
01:24:37The last time I was in prison, I shared a cell with a woman who worked as a consultant at the museum.
01:24:52She knew everything about it.
01:24:54Every nook and cranny.
01:24:56She said if I kept in touch once I got out, she would be able to help me get inside, override the security system, steal the bank codes, and get out scot-free.
01:25:11Go on.
01:25:13So, I kept on visiting her.
01:25:15And, sure enough, we came up with a plan.
01:25:17I got my friend, Eve, involved, flirting with that idiot of a curator, Gabrielle, to get someone on the inside.
01:25:29Still, why me?
01:25:31Why the bomb?
01:25:33It was very strange.
01:25:35The last time I went to see her, she had found out through her contacts that you, Mrs. Jean White, would visit the museum on Christmas Eve.
01:25:46And?
01:25:48She was wild, cold with rage.
01:25:52God, she really hated you.
01:25:55So, instead of a simple robbery as planned, I was to plant a bomb and a letter to you.
01:26:05She said I would be safe.
01:26:08That there was a way out under the museum.
01:26:12She said it was a game she liked to play with you.
01:26:17It all seemed a bit psychotic to me.
01:26:20But then again, so did she.
01:26:24And I had nothing to lose.
01:26:26So I did what she said.
01:26:30What was her name?
01:26:33Barbara.
01:26:34Barbara.
01:26:34Barbara.
01:26:52Barbara.
01:26:53What fun, this is white.
01:27:13Till next time.
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