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00:00:00Priorities, priorities.
00:00:03Charming place.
00:00:05Lovely escutcheon.
00:00:07It protects the door being scratched by the key.
00:00:10Practical and fancy at the same time.
00:00:12Good like me, innit?
00:00:14Yeah.
00:00:30Merry Christmas, Jean White.
00:00:34Oh, Merry Christmas, Dominic Hayes.
00:00:38So, what's this massive painting about this?
00:00:42Very beautiful.
00:00:43This is a sublime example of a Baroque fresco.
00:00:48Right.
00:00:49Very popular in Europe,
00:00:51but I've never seen one in Santa Clara before.
00:00:53It's really exciting.
00:00:54Yeah?
00:00:55Well, a fresco is basically a wall painting
00:00:59where the paint is brushed straight onto wet plaster.
00:01:02By someone called Baroque?
00:01:04No, actually.
00:01:05Baroque was an artistic movement of the 17th and 18th century.
00:01:09So, like, paintings, music, architecture,
00:01:14everything was, like, big and bold.
00:01:16And sexy, Dominic.
00:01:18Very sexy.
00:01:19My absolute favourite era.
00:01:22So, that is Dr Ali Pardee.
00:01:26He's head of the charity L'Art Change La Vie.
00:01:30Hmm?
00:01:31What's L'Art Change La Vie?
00:01:33Is that something about art helping ex-prisoners or something?
00:01:37Oh, that sounds great.
00:01:38Well, that must be his wife.
00:01:40I think her name is Sangeeta.
00:01:42I've invited her to several of my bridge evenings, but to no avail.
00:01:46And they're talking to George and Auriel Alphonse.
00:01:51Huh?
00:01:52As in Alphonse?
00:01:55From Alphonse Crush?
00:01:57What?
00:01:58The soft drink?
00:01:59Oh, I used to love that.
00:02:01Kept me awake at night when Claudia was a baby.
00:02:03They're an amazing couple.
00:02:05They just floated their company last year for 100 million euros.
00:02:08Lucky sorts.
00:02:09Oh, George.
00:02:10Apparently, they can't stand each other, but they can't leave because they are literally
00:02:14too rich.
00:02:16Ah-ha!
00:02:18Jeremy, ça va mon ami?
00:02:21If you say so.
00:02:24And Judith.
00:02:25Mwah!
00:02:26Mwah!
00:02:27Do, Jesus, will you ever age like us mere mortals?
00:02:31Oh, George, you really are too much.
00:02:33Let me introduce you to our dear friends, Jean and Dom.
00:02:36Very pleased to meet you.
00:02:37Oh, aren't you?
00:02:38I was just saying I used to love your drink.
00:02:40Ah, well, not my drink anymore, but thank you, Dom.
00:02:44I really appreciate that.
00:02:45That's very kind of you.
00:02:46Very kind.
00:02:47Thanks for witnessing my loan agreement, Andre.
00:02:57Not a problem, Patrick.
00:02:59I sometimes come across trouble with financial affairs, but having the chief of police as
00:03:05my witness, that should shut them up.
00:03:07Oh, no, Jean's left a phone.
00:03:11I am on my way home now.
00:03:12I can drop it off for her.
00:03:13What's she's got to do at the museum?
00:03:15No problem.
00:03:16That is near my house.
00:03:17Oh, brilliant.
00:03:18Au revoir.
00:03:20Thanks again, Andre.
00:03:21See you at the quiz later.
00:03:22You will indeed.
00:03:24I am bringing Richard.
00:03:25She's very good at politics questions.
00:03:28Merry Christmas.
00:03:29Joyeux Noël.
00:03:30I never thought I'd be mates with a cup, eh?
00:03:34Oh.
00:03:37Non, mais...
00:03:38Mais...
00:03:39T'es où, là , ils sont déjà tous arrivés?
00:03:40Oui, bah, je me re-coiffais.
00:03:41Je sais que t'aimes quand je me fais mieux pour toi.
00:03:43Non, mais mon amour, t'es toujours magnifique.
00:03:46Ces derniers mois, c'était juste extraordinaire.
00:03:47Entre ma rencontre avec toi et puis ce...
00:03:50Ce job de rêve, c'est...
00:03:51C'est merveilleux.
00:03:53Mais moi aussi.
00:03:54We have a whole life in front of us, but we really need to work.
00:03:58Gabriel, you're the new conservator of this museum.
00:04:01Can you allow the quarter of the police?
00:04:03No, not at all.
00:04:04Not at all.
00:04:05My only mission is to make this international museum.
00:04:09We have the Alphonse who are ready to invest 10 million euros.
00:04:12That would change everything.
00:04:14It's absolutely important that it works.
00:04:17Alphonse.
00:04:24Good dicks, haven't we?
00:04:29Ah, Gabrielle. Here he is, our curator himself.
00:04:34Jeremy, Judith, good to see you both.
00:04:37You too, Gabrielle.
00:04:39And this is Jean White. Delivered as promised.
00:04:43Delivered? Oh, hello.
00:04:46It's a pleasure to meet you, Mrs White. Your expertise precedes you.
00:04:49Thank you so much for being here.
00:04:51Alright, it's a pleasure. This is my partner.
00:04:53Your fiancée. Oh, yes, fiancée, Dom.
00:04:56Yeah, it's quite a recent thing.
00:04:58Congratulations to both of you.
00:05:00And this is my partner, Eve.
00:05:03Hi.
00:05:04And your field of expertise is, Mrs White?
00:05:08I'm an antiques dealer.
00:05:10How quaint.
00:05:12Shall we grab a horses do friendly into it?
00:05:15Yes.
00:05:16Oh, you are a darling, Gabrielle.
00:05:26I think you're going to fit in very well around here. Thank you.
00:05:29Yes.
00:05:30And by the way you threw that last glass down your neck, we wouldn't want you going Thursday, would we?
00:05:36Excuse me, I'm just going to run through my speech.
00:05:39Oh, Jean, this is Dr Ali Pardeep. We were telling you about his charity.
00:05:44Oh, Le Change Le Vie, is it?
00:05:47Oh, it sounds like you do some great work.
00:05:49Oh, he does.
00:05:51Oh, hi. I'm Auriel.
00:05:52Oh, hello.
00:05:54It's a vocation that absolutely consumes me, I'm afraid.
00:05:58As my wife could confirm.
00:06:00Lovely to finally meet you.
00:06:02So how did you find this vocation?
00:06:05Well, I've been working in prisons for a few years as a visiting doctor.
00:06:09And I saw so much artistic talent just hidden away in the cells that I felt compelled to liberate it.
00:06:17So I started an art club for the prisoners and, well, the charity just grew from there.
00:06:23How interesting.
00:06:25You let criminals play it as being artists then?
00:06:29You know, that's exactly what we do.
00:06:32You're encouraging the egos of murderers, is that what you're saying?
00:06:36Don't worry, Ali. I take care of the charity in our business, so you can ignore George.
00:06:43And your husband is a very inspiring man.
00:06:46Oh, he is indeed.
00:06:49Excuse me.
00:06:50Yes?
00:06:51Have we met somewhere before?
00:06:53I can't think where.
00:06:55Maybe at one of our outreach events?
00:06:58Very much doubted.
00:07:00I don't do presents or charity, dear.
00:07:03That's my key.
00:07:06Sorry.
00:07:07Sorry.
00:07:08A ver, s'il vous plaît.
00:07:10Merci.
00:07:11Good job, eh?
00:07:12Quite lucky.
00:07:18Thank you, everyone, for being here tonight.
00:07:22For tonight is a very special night for the museum.
00:07:25Mr. and Mrs. Alphonse are very generously about to invest 10 million euros, 10 million euros into our acquisition account.
00:07:35It will keep the museum afloat for many years.
00:07:38Just a minute, Gabriel.
00:07:39Remember what we discussed a couple of weeks ago when you first took the job.
00:07:45If you have what you say you have, and it's the real deal, we are more than happy to invest.
00:07:52I want to be part of a museum that draws people in from all over the world.
00:07:58But I need you to prove to me that I am making the right choice.
00:08:04Of course.
00:08:05The stakes are very high for us.
00:08:09But I have contacts all over the world to make this museum great.
00:08:13I promise.
00:08:16Madame White, this is where we could use your help.
00:08:19Oh, right.
00:08:20We apologise for not warning you beforehand, but everything had to be completely top secret.
00:08:27Ooh, I'm intrigued.
00:08:29We have something very rare, and we need you to verify it.
00:08:35Jeremy and Judy told me you are second to none in your field, so please, will you help?
00:08:42Well, I'm here now, so yeah, of course.
00:08:46If you will excuse me for one moment, ladies and gentlemen, we will go and fetch our treasure.
00:08:56Eve.
00:08:57Oh, so that's why I'm here. Makes sense now.
00:09:01Well, Gabrielle didn't tell me the finer details, just who I knew, who I trusted.
00:09:06He was the best in the business, so I...
00:09:09Well, thank you.
00:09:11You'd better be good, Mrs. White.
00:09:13And ensure it is what he says it is.
00:09:16We wouldn't want any mistakes.
00:09:18Well, let's put it this way.
00:09:21This isn't my first rodeo.
00:09:23Oh, thank you, darling.
00:09:26What's your name, dear?
00:09:28Ellie.
00:09:30Big cash tip, Ellie.
00:09:32If you keep our champers topped up, if you know what I mean.
00:09:34I'll do my best, madame.
00:09:36But I've never worked here before, so I don't know how much we have in stock.
00:09:39Good girl.
00:09:40Off you, Bob.
00:09:41Oh, my God.
00:09:49On t'a attribué ton code personnel de sécurité, maintenant ?
00:09:52Non, tu sais, c'est toujours Suzanne de la sécurité qui m'envoie un nouveau code chaque jour.
00:09:56C'est depuis que je suis revenu, j'ai eu tellement de trucs à gérer que c'est un peu galère.
00:10:00Et dis-moi, je peux ouvrir le coffre ?
00:10:02J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:10:04D'accord.
00:10:05Par contre, juste tu notes le code correctement, parce qu'il n'y a pas de seconde chance, sinon ça bloque toi.
00:10:11Alors, c'est le 327-40957.
00:10:20C'est bon.
00:10:26Alors...
00:10:37Neuf.
00:10:41Eh bien, voilà ma petite merveille.
00:10:54Waouh !
00:10:55Non, par contre, ça, faut que tu le détruises immédiatement.
00:10:58Non, non, vraiment, tu...
00:10:59C'est bon.
00:11:00Euh...
00:11:13Tiens, prends la moite et on y va.
00:11:17Hop.
00:11:18Non, non, non, non.
00:11:19Non, non, non, non.
00:11:25Non, fais, vraiment, fais très attention, hein.
00:11:33Non, mais attends, t'as un avenir du musée entre les mains, là , non ?
00:11:36Trop...
00:11:37Gabriel, laisse-moi ! Tu veux que j'a pas se tomber ?
00:11:39Oh, God, God!
00:11:41Help!
00:11:43Oh, God!
00:11:45No, Georges, Georges, Georges, so sorry, so sorry.
00:11:47What happened? I'll tell you what happened.
00:11:49This poor excuse of a waitress of yours
00:11:51has ruined my bespoke shirt.
00:11:53Are you stupid?
00:11:55No, I... Don't speak to her like that, Georges.
00:11:59These things happen.
00:12:01We can get it cleaned.
00:12:03What's your name? Ellie.
00:12:05I'm so sorry. I'm pretty new at this.
00:12:07I'm actually a student.
00:12:09Well, I would like to apologize for the
00:12:11neolithic behavior of my husband, Ellie.
00:12:15Georges, we're going to pay for the cleaning,
00:12:17of course, but I can't clean.
00:12:19No, just leave it.
00:12:21I can do it.
00:12:23You can do it. Okay, perfect.
00:12:25And where's this tan box of yours?
00:12:27The tan...
00:12:29Is that what I think it is?
00:12:39Go on, what is it?
00:12:55Oh, this is a French Ormolu gilt jewellery case,
00:12:59owned by, I think, Marie Antoinette herself.
00:13:03Am I right?
00:13:05Yes, exactly, madam.
00:13:07Well, I know there's one of these
00:13:09in the Museum of Tehran,
00:13:11but the only other one was bought
00:13:13by Russian buyers at Sotheby's in 2007.
00:13:16So, how could it be here?
00:13:18I have been totally obsessed with this box.
00:13:23So, I tracked it down over the years
00:13:27and persuaded them to sell.
00:13:30Wow.
00:13:31Well, Gabrielle is right.
00:13:33I mean, if you can get stuff like this,
00:13:36well, this is, like, such a fantastic draw
00:13:39for the Museum.
00:13:40Game-changer, really.
00:13:42Well, so far, so good.
00:13:44Okay.
00:13:49What?
00:13:50My God.
00:13:52Do you?
00:13:54Well, it...
00:13:55It looks like a...
00:13:56Like a bomb.
00:13:57Oh, my God.
00:13:58Don't.
00:13:59It doesn't just look like a bomb.
00:14:03It's a marzipan.
00:14:05Marzipan?
00:14:06I was in the army for years.
00:14:08I've recognised that smell anywhere.
00:14:10What is it?
00:14:11It's Semtex.
00:14:12Semtex?
00:14:13What...
00:14:14What can that do?
00:14:15Put it this way,
00:14:16there's enough in there
00:14:17to blow this whole Museum sky high.
00:14:20I don't see it.
00:14:21Come on.
00:14:25Come on.
00:14:26They won't move.
00:14:47Well, what if we all lift together?
00:14:49They're locked.
00:14:51Okay, okay.
00:14:52Well, why don't we try the other exits?
00:14:55No, no, they will all be locked, too.
00:14:57And all the windows are bound.
00:15:00Oh, my God, what the hell are we going to do?
00:15:02Stop with the hysterics, George.
00:15:04In case you hadn't heard, there is a Semtex bomb in that room.
00:15:08Yes, we all know that.
00:15:13Gabrielle?
00:15:14Yes?
00:15:15How do we open the shutters?
00:15:17As far as I know, the security guard has fingerprint recognition.
00:15:21She's the only one who can deactivate the code.
00:15:24Where is the guard?
00:15:25In the security booth.
00:15:27Come on, come on, come on, come on.
00:15:28Come on.
00:15:39Come on.
00:15:41Just go on.
00:15:43Oh, my God, yeah, I know what's going on.
00:15:46I'll do it.
00:15:48I'll do it.
00:15:49What's happening?
00:16:11You all right, love?
00:16:16Yeah, or woman.
00:16:17I know.
00:16:19So, one fingerprint to control your entire security system.
00:16:25Stop it, George.
00:16:27Yes, I let the security team arrange it between them.
00:16:31I have only been here three weeks, so it was on my to-do list, but...
00:16:37Good grief.
00:16:38So you have no idea how to deactivate it?
00:16:40No.
00:16:41No idea.
00:16:46Well, then, why don't we use her finger?
00:16:50George!
00:16:51Oh, really?
00:16:52We can't.
00:16:55Why not?
00:16:56It's not like she's going to mind now, is she?
00:16:59It's not that.
00:17:00It's once tissue is dead, it loses its electrical charge.
00:17:03Hang on.
00:17:04Now, I saw this on one of those American crime dramas, and it worked a treat.
00:17:09So, let's give it a go, shall we?
00:17:11Good God, George.
00:17:13Oh, I see.
00:17:14You watched an entire box set.
00:17:16So, of course, now you know more than an actual doctor.
00:17:20I'm only saying, once the heartbeat dies, the electrical charge dies.
00:17:27It won't work.
00:17:29It won't work.
00:17:30Can I ask a question, Gabriel?
00:17:46The security guard.
00:17:47What was her name?
00:17:48It was Suzanne.
00:17:49Shall we call her that, then?
00:17:51Look.
00:17:52I'm not suggesting we sever Suzanne's finger.
00:17:53George!
00:17:54Leave it!
00:17:55Yeah.
00:17:56Hello?
00:17:57Oh, hello!
00:18:00Oh!
00:18:16Help! Help! Help!
00:18:26Help! Help!
00:18:32Help! Help!
00:18:39Why can't they hear us?
00:18:42Why can't they hear us?
00:18:44No, no, no, because the front doors are solid oak,
00:18:47the shutters are solid steel, and the walls,
00:18:50it's very sick Mediterranean stone.
00:18:53Oh, that's just great.
00:18:55So is the place bomb-proof as well?
00:18:56They're not helping, George!
00:18:58It's OK, I'll call Karen.
00:18:59Yeah.
00:19:02Oh, well, there's no signal.
00:19:04Oh, God.
00:19:05Ah, no, no, no.
00:19:06I haven't had any since I arrived,
00:19:08because we are quite high up,
00:19:11and the walls are too thick.
00:19:13OK, what's the Wi-Fi code?
00:19:15I'm going to share it with you.
00:19:17Yeah.
00:19:17But I know I had my phone in the pub.
00:19:19I must have dropped it.
00:19:20Oh, God!
00:19:24No, the Wi-Fi is off too.
00:19:26But don't worry, don't worry.
00:19:28I have one moment.
00:19:29I remember something.
00:19:31Where's he going now?
00:19:41Thank you so much.
00:19:54Hang on.
00:19:55Oh, it's good.
00:19:55Here we go.
00:19:57Did you know you didn't?
00:19:59Oh.
00:20:03Hey.
00:20:07Hey.
00:20:08That's right.
00:20:09Someone has sabotaged the comms cupboard.
00:20:13It's beyond repair.
00:20:15Comms cupboard?
00:20:16It's where all the Wi-Fi hubs lead to,
00:20:18to keep us on the internet.
00:20:20All the connections have been ripped to pieces.
00:20:23Oh.
00:20:25So we are completely trapped in here.
00:20:28Oh.
00:20:31Good God.
00:20:33You have got a foolproof security system
00:20:36that you don't even know how to operate.
00:20:38Who's a bloody fool now, eh?
00:20:40Hey?
00:20:41Get your hands off him, you brute.
00:20:43I'm fourth down black belt in jujitsu.
00:20:46You lay one more finger on him,
00:20:48and I will take you down.
00:20:49Do you understand?
00:20:50Gentlemen, we have to calm down.
00:20:53Don't suppose you serve Valium as well as champagne?
00:20:56Valium.
00:20:58Is that the cocktail?
00:21:00Never mind, dear.
00:21:02So, someone knew that we were here tonight
00:21:06and trapped us under the threat of a ticking bomb?
00:21:09This psycho must really hate one of us.
00:21:12Well, it was Gabriel who wanted us here.
00:21:14He sent the invite.
00:21:16I don't think I would bomb my own museum, Judith,
00:21:18and trap myself inside.
00:21:20Okay, can we just stop sniping at each other, okay?
00:21:23Can't be anyone here, can it?
00:21:25I am not so sure.
00:21:29What do you mean?
00:21:31I do remember on my first debriefing,
00:21:34they said once the shutters are activated,
00:21:36they close very fast
00:21:38and there is very little time to get out.
00:21:41Do you mean that the murderer might still be in the building?
00:21:45Possibly.
00:21:47Patrick, can you call Judith?
00:21:59I can't get hold of Dom or Jeremy.
00:22:01Obviously, I have Gene's phone and I don't have Judith's number.
00:22:05There is no answer at the museum and the doors are locked.
00:22:08Something is not right.
00:22:10You okay?
00:22:19Yeah, I think so.
00:22:20Caron just asked me if I can get in touch with Judith,
00:22:23but there's no answer.
00:22:24She's with Jeremy and Dom, give them a call.
00:22:26No, he's already tried that and there's no reply from them either
00:22:29and no-one's answering the door.
00:22:32Well, I don't like the sound of that.
00:22:34Nor do I.
00:22:36Diane can look after the bar for now.
00:22:38The electric lady van outside?
00:22:40Yeah.
00:22:41Then let's go.
00:22:43What idiot takes the job as a curator of a massive museum
00:22:48and doesn't know how to work the security system?
00:22:50I have only been here three weeks, okay?
00:22:54There was so much to do that it didn't seem like a priority, okay?
00:22:59Well, it's a priority now, isn't it, Gabrielle?
00:23:02It's a priority now.
00:23:04Gabrielle, if he says one more word...
00:23:07No, no, no...
00:23:08Wait, wait, wait.
00:23:09If you're gonna say something,
00:23:11say it in a language we can all understand, eh?
00:23:14I beg your pardon.
00:23:16For one moment, I thought we were in France.
00:23:21If you have something to say,
00:23:24why don't you say it straight?
00:23:27straight. You clearly have something to hide, monsieur. Bullying my partner, shouting at
00:23:36your wife. Classic defense tactics. How dare you suggest that I...
00:23:43Shh. What's that?
00:23:46What?
00:23:49Listen.
00:23:57Hello? Hello? Can anyone hear me? Hello? Hello? Hello?
00:24:18Hello? Can anyone hear me? Help! Help!
00:24:26Help! Help!
00:24:30Dom? Dom, is that you?
00:24:32Oh, thank God. Look, we are trapped inside the museum. The shutters are down, the security
00:24:37guard's been murdered, and there is a bomb ticking away.
00:24:40What? A bomb? Okay, Dom, you need to say all that again, but much slower.
00:24:48There is a bomb. Someone has activated the security shutters. They can only be deactivated
00:24:55by the fingerprint of the security guard, but the... the security guard has been murdered.
00:25:05Okay, Dom, have you seen the bomb?
00:25:07Yes.
00:25:08What does it look like?
00:25:09Hang on.
00:25:15All right. Okay. So, it's like a big lump of orange bloke in here so that it looks like
00:25:23Semtex. There's an old-fashioned phone on one side, and in the middle is a digital clock,
00:25:29I'm counting down. There's three wires, a blue one, a red one, and a yellow one.
00:25:34And how much time does the bomb say you have?
00:25:3859 minutes.
00:25:43I will get help immediately. I need you to keep this communication open.
00:25:47Okay.
00:25:48We will get you all out.
00:25:51Dom? Dom, you need to keep this channel open.
00:25:54Andre, I can't hear you. Are you still there? Andre?
00:26:00Andre?
00:26:09Andre?
00:26:10Andre?
00:26:11Andre?
00:26:12Andre?
00:26:13Andre?
00:26:14Andre?
00:26:15Andre?
00:26:16Andre?
00:26:17Andre?
00:26:18Andre?
00:26:19Andre?
00:26:20Andre?
00:26:21Andre?
00:26:22Andre?
00:26:23Andre?
00:26:24Andre?
00:26:25Andre?
00:26:26Andre?
00:26:27Andre?
00:26:28Andre?
00:26:29Andre?
00:26:30Andre?
00:26:31Andre?
00:26:32Andre?
00:26:33Andre?
00:26:34Andre?
00:26:35Andre?
00:26:36Andre?
00:26:37Andre?
00:26:38Andre?
00:26:39Andre?
00:26:40Charon, can you hear me?
00:26:52Charon!
00:26:53I managed to speak to Charon. He's calling for help.
00:27:17Brilliant. How did you manage that?
00:27:19Well, Suzanne's walkie-talkie.
00:27:20Oh, that's great. Well, we can use that then.
00:27:22No, no, no, it's just died.
00:27:24Maybe it just needs any battery, or...?
00:27:26No, no, I tried that. It was no joy, so...
00:27:28Oh, God.
00:27:29Well, at least we're getting some help from the professionals.
00:27:33Something you've needed for years, darling.
00:27:36Charon will help us, won't it, darling?
00:27:38Oh, absolutely, darling.
00:27:41Um, Jean.
00:27:44What? What's the matter?
00:27:46Um, I found this under the bomb.
00:27:52For me?
00:27:55I don't understand.
00:27:57Who would do something like this to you?
00:28:00I've no idea.
00:28:03I mean, thinking about it,
00:28:06I've put a few people away over the years,
00:28:09but this is beyond the pale.
00:28:11Look at the heart,
00:28:25her fruit from above,
00:28:27her face like the sun,
00:28:29her heart full of love.
00:28:31But fate is not kind,
00:28:33and her future is bleak.
00:28:35Two attempts to survive,
00:28:37one date do you seek?
00:28:38Oh, come on, Jean, think.
00:28:42OK, two attempts to survive,
00:28:45one date do you seek.
00:28:47So?
00:28:48What do you reckon?
00:28:50Well, it appears
00:28:52that this sicko
00:28:54wants me to find a piece of art
00:28:56in the museum that matches the riddle.
00:28:59Two attempts to survive,
00:29:01one date do you seek.
00:29:02So, well, I'm guessing
00:29:04that you put the date
00:29:06in the keypad
00:29:08to stop the bomb.
00:29:12Oh, wow.
00:29:16Somebody must really hate me
00:29:18to go to all this trouble.
00:29:19It's just a child's riddle.
00:29:21We should wait for help
00:29:22for grief.
00:29:23But what if help doesn't get her here on time?
00:29:26Someone is out to get me.
00:29:28This is all my fault.
00:29:30I've got to do something to help.
00:29:33Slay.
00:29:34OK, Jean,
00:29:35you've absolutely
00:29:36got to solve this riddle.
00:29:38Come on, chaps.
00:29:39Let's separate
00:29:40and find a way out of here.
00:29:41And, Gabrielle,
00:29:42you attempt to override
00:29:44this god-awful security system.
00:29:47Well, I think
00:29:47we should wait for the police.
00:29:49Something you are very welcome
00:29:51to do on your own, George.
00:29:52I, for one,
00:29:53am going to help Jean.
00:29:54Yeah.
00:29:55Yeah, me too.
00:29:56I'm in.
00:29:57Anything is worth a try.
00:29:58I do tech support
00:30:00for the charity.
00:30:02Can I help?
00:30:03Excellent.
00:30:04Come on.
00:30:05Let's go to the...
00:30:06Be careful.
00:30:08You too.
00:30:10I think it's essential
00:30:11that we keep dividing
00:30:13in order to conquer.
00:30:14Gentlemen, follow me.
00:30:16Whoa.
00:30:17OK, look at the heart.
00:30:36The heart.
00:30:37Well,
00:30:37the heart could mean love.
00:30:39Oh, no,
00:30:40that could be any work of art.
00:30:41OK.
00:30:43OK, think, Jean.
00:30:44Think.
00:30:45Well,
00:30:46it could be the sacred heart,
00:30:48especially if it's qualified
00:30:50with the fruit.
00:30:51Well, how so?
00:30:53Well,
00:30:53Jesus in art
00:30:55is often referred to
00:30:56as fruit of the womb.
00:30:57Yeah,
00:30:57let's go with that.
00:30:58OK.
00:30:59Face like the sun.
00:31:00Now,
00:31:01obviously,
00:31:02Jesus was the son of God
00:31:03and the sun in the sky
00:31:05is often used
00:31:06as a metaphor for Jesus.
00:31:07So,
00:31:08um,
00:31:08fate is not kind.
00:31:10Well,
00:31:10fate wasn't kind to Mary.
00:31:12Certainly wasn't too kind
00:31:12to Jesus either,
00:31:13was it?
00:31:14Well,
00:31:14exactly,
00:31:14but her future is bleak.
00:31:16Her.
00:31:17I think it's got to be
00:31:18about Mary and Jesus.
00:31:19It's got to be.
00:31:21Right.
00:31:21I think we're looking
00:31:23for a religious painting
00:31:25or sculpture.
00:31:26Well,
00:31:27there'll be a fair few
00:31:27of those,
00:31:28I'm sure.
00:31:28Yes,
00:31:29but particularly
00:31:30the Madonna and child.
00:31:32There is about
00:31:33six main rooms.
00:31:34OK.
00:31:35Let's split up,
00:31:35take a room each
00:31:36and report back.
00:31:37Right.
00:31:38Right.
00:31:40Me and Dom
00:31:41will take medieval
00:31:42and Renaissance.
00:31:43Judith,
00:31:43you do modern art.
00:31:45Auriel,
00:31:45you do metal work.
00:31:47And Ellie,
00:31:48you do jewellery
00:31:49and glasswork.
00:31:50And,
00:31:51yeah,
00:31:52and remember
00:31:53the Madonna and child.
00:31:55OK?
00:31:56Let's go.
00:31:57Which way?
00:31:57This way.
00:32:04Richard,
00:32:05did you contact
00:32:06the bomb squad?
00:32:07Not great news,
00:32:07I'm afraid.
00:32:08The nearest active unit
00:32:09is Lyon,
00:32:10which is six hours by car.
00:32:11They're trying to activate
00:32:12the plan to get here quicker,
00:32:13but it's not looking good.
00:32:14What about overriding
00:32:15the security system?
00:32:17We have contacted
00:32:18the company,
00:32:18but with it being
00:32:19Christmas Eve,
00:32:20we have the same
00:32:20problem.
00:32:21The nearest engineer
00:32:21is in Marseille.
00:32:23Oh, no.
00:32:23There is no guarantee
00:32:25they will be here in time.
00:32:26If there was another way in,
00:32:27I think I could
00:32:28deactivate it.
00:32:29What?
00:32:30Before I joined
00:32:31the gendarmerie,
00:32:32I trained in the bomb squad
00:32:33at la police nationale.
00:32:34If it is a rudimentary device,
00:32:36I could deactivate it,
00:32:37I think.
00:32:38OK,
00:32:39well,
00:32:39what about the tunnels
00:32:40underneath?
00:32:41Pardon?
00:32:41The museum's tunnels
00:32:42were part of the bomb shelter
00:32:44system during World War II.
00:32:45I remember the tour guide
00:32:46telling us
00:32:47when I brought Xavier
00:32:48on a visit.
00:32:48OK?
00:32:49I will go in.
00:32:50I cannot put my best officer
00:32:52in danger, Richard.
00:32:53I will go in.
00:32:54You can advise me.
00:32:54But, sir, I...
00:32:55That is an order.
00:32:57Let's find a map.
00:33:00Madam.
00:33:01On the count of three,
00:33:03we all pull together.
00:33:04Ready?
00:33:05Ready?
00:33:06One,
00:33:06two,
00:33:07three!
00:33:07I haven't finished counting.
00:33:10Oh, God.
00:33:10I think I've trapped
00:33:11him over me shoulder.
00:33:12It's a little dramatic.
00:33:14If we all work together,
00:33:15we stand more chance.
00:33:17If we...
00:33:17Do you just call me dramatic?
00:33:19It was just an observation.
00:33:21You like making observations,
00:33:22don't you?
00:33:23What's that supposed to mean?
00:33:25Like observing
00:33:25other people's wives.
00:33:28I, uh,
00:33:29don't know what you're
00:33:29talking about.
00:33:30Do you think
00:33:30I was born yesterday?
00:33:33I'm sorry?
00:33:36The charity meetings
00:33:37with my wife.
00:33:39The dinners.
00:33:41Come on, Ali.
00:33:42I've been through her phone.
00:33:46I know what's going on
00:33:47with you two.
00:33:49Don't tell me I'm wrong.
00:33:51I said!
00:33:52Tell me I'm wrong!
00:33:56What?
00:33:57There you go.
00:33:58It just about says
00:33:59everything, doesn't it?
00:34:00George,
00:34:00I, uh...
00:34:01Auriel
00:34:01is my wife.
00:34:05Come on, George.
00:34:07You haven't loved
00:34:08each other for years.
00:34:09Even a stranger
00:34:10would know that.
00:34:10Just our shtick!
00:34:11What?
00:34:13The couple's thing.
00:34:14The public act.
00:34:17But when we get
00:34:18behind closed doors,
00:34:20we are still
00:34:21husband
00:34:22and wife.
00:34:25Oh!
00:34:27So you think
00:34:28I'm lying, do you?
00:34:29I don't know what yarn
00:34:32she's been spinning you,
00:34:35but it's true.
00:34:36And
00:34:37I'll tell you something
00:34:38else that's true.
00:34:40I will do everything
00:34:41in my power
00:34:43to make sure
00:34:44that you never
00:34:45raise
00:34:46another penny
00:34:48for your stupid
00:34:49shabby!
00:34:50Gentlemen, please,
00:34:51this is no time
00:34:52for a bloody showdown!
00:34:54Come on!
00:34:54Thank you, sir.
00:35:01Hey!
00:35:01Hey!
00:35:02Hey!
00:35:03Hey!
00:35:03Hey!
00:35:09Hey!
00:35:39I didn't find anything. Literally. Didn't even find a decent painting.
00:35:45We thought we had a chance with a necklace, but there was no reference to the sun.
00:35:49Well, we can't give up. We still have two other rooms.
00:35:52Well, you two can go on looking, but I'll be very honest with you. I need a little top-up of Dutch courage.
00:35:59What in here? Can you not hear that bomb ticking?
00:36:04Yes. Yes, I can. But I'll be perfectly honest with you, Auriel.
00:36:10If I am to get blown to smithereens, I'd really rather like not to remember it.
00:36:18Let's keep looking. I'll take sculpture and you take ancient modern art.
00:36:21OK.
00:36:34Thank God the library was still open.
00:36:36Right. This map dates from around 1943.
00:36:40It shows the tunnels that were dug out and used as bomb shelters during World War II.
00:36:48Oh, désolé. Vous voulez que je parle en français, Richard?
00:36:51I think it is the map. She can't quite understand. Not you.
00:36:55I have always been terrible with maps. It's a bit of an achilles heel for me.
00:36:59Je suis désolé.
00:37:00It's because you're so young, love. We forget we're the last generation that didn't have sat-nav.
00:37:05Hey, speak for yourself. I'm 20 years younger than you, which makes me a straddler.
00:37:09Double?
00:37:09I straddle pre- and post-technology. Doesn't matter what form of map dates. I'm a dab hand.
00:37:14Right, there's a labyrinth of tunnels under the museum. You can see the entrances all around here.
00:37:20But they can only be accessed from the inside.
00:37:23Hang on. This one looks like it's leading from the outside in.
00:37:28What do you mean?
00:37:28Look, it starts off as a small one, then joins up with the bigger ones.
00:37:34What's its proximity?
00:37:36Just underneath the main entrance. Right around here somewhere.
00:37:40Gloria, can you pull the van back a bit, love?
00:37:54OK.
00:37:58Lovely. That's it. There's your way in.
00:38:08You're not going to open it up like that, are you?
00:38:11You got a crowbar in the van?
00:38:12Yeah.
00:38:12And, uh, toolbox?
00:38:18There's a knack to this.
00:38:21It's a hell of...
00:38:22All right.
00:38:28Are you ready?
00:38:28You are full of handy tricks, Patrick.
00:38:43I'm not going to ask where you land them.
00:38:45OK. I'm going in. Richard, get me an earpiece.
00:38:49You'll need this as well. It's my head torch.
00:38:51Thank you, Gloria.
00:38:56Are you sure I can't go with you?
00:38:57Richard, I need you to take control here.
00:39:01You are now in charge.
00:39:02Yes, Major.
00:39:04Gloria, take this headset.
00:39:06I need you to stay on the map and on the radio.
00:39:08You will be my ears and eyes.
00:39:10When I reach the bomb, you will pass to Richard, OK?
00:39:12Will the signal be strong enough down there?
00:39:14Uh, this radio is analogue.
00:39:16It's like a walkie-talkie.
00:39:17It works over short distances
00:39:19because it doesn't need a signal to bounce up to the sky.
00:39:22OK.
00:39:24Be careful in there.
00:39:25I will.
00:39:25I'm a lawyer.
00:39:40Can you hear me?
00:39:41Yeah.
00:39:41You OK?
00:39:42I'm fine.
00:39:43Which way?
00:39:44OK.
00:39:45You go into your left first.
00:39:54Bingo.
00:39:55The shutters are connected to the museum's mainframe.
00:40:00Meaning you don't need Wi-Fi?
00:40:02Exactly.
00:40:03I may be able to override it
00:40:05if both systems are kept connected.
00:40:12Where's your main computer?
00:40:14It's in my office next to the event room.
00:40:19What's your passcode?
00:40:22It's YV1234.
00:40:26Eve, press your finger firmly on this pad.
00:40:30I may be able to change the fingerprint identity to yours.
00:40:33Gabriel, when a code pops up, press Enter straight away.
00:40:36Enter straight to...
00:40:37OK.
00:40:37OK, I'm going to your office.
00:40:39Oh, hello.
00:40:40What are you doing here?
00:40:46Who would have thought she would be Lara Croft?
00:40:48Okay.
00:41:02Oh, hello. What are you doing here?
00:41:16The End
00:41:20The End
00:41:23The End
00:41:24The End
00:41:26The End
00:41:28I don't want to put my little hand on the left.
00:41:31You're very good.
00:41:33I'm not sure what you're doing.
00:41:35We're going to get that out of here.
00:41:38Don't worry about it.
00:41:39How do you feel like you're so sure?
00:41:41In any case,
00:41:45I wanted to tell you,
00:41:47it's been a long time for us,
00:41:49but...
00:41:50you've got my life.
00:41:52Oh, really?
00:41:53It's so weird.
00:41:56I'm sorry, Gabriel.
00:41:57It's just that I'm really afraid.
00:41:59Sorry.
00:42:02The code will appear
00:42:04from an instant.
00:42:05She's trying to figure it out.
00:42:09What the hell is this?
00:42:15What came first?
00:42:16Medieval or Renaissance?
00:42:18Medieval.
00:42:19Oh, right.
00:42:20So, Medieval was the 5th to the 14th century
00:42:24and Renaissance was the 14th to the 17th?
00:42:27Correct.
00:42:28Yeah, no, it says it here on the card.
00:42:30What?
00:42:33This is beautiful.
00:42:35It's handspun wool and silk.
00:42:38This is called a verdure tapestry,
00:42:40derived from the French word for green.
00:42:43Ver.
00:42:44Yeah.
00:42:45How do you do that?
00:42:46What?
00:42:47No, all that.
00:42:49It says it on the card.
00:42:51Touché.
00:42:52Okay.
00:42:54These two look how I feel.
00:42:56How come none of them ever smiled?
00:42:58There was a theory
00:42:59that they didn't want to show their bad teeth.
00:43:01In fair dues.
00:43:02I think it was just really hard work
00:43:04to maintain a smile
00:43:05whilst you're having your portrait painted.
00:43:07I mean, sitting there for hours like that,
00:43:09not like taking a selfie, is it?
00:43:11That's true.
00:43:15Don, look at that.
00:43:17Okay, right.
00:43:22Look at the heart.
00:43:24Her fruit from above.
00:43:26Her face like the sun.
00:43:27Her heart full of love.
00:43:29I mean, I wouldn't exactly say her face is sunny, but...
00:43:32Tonatello, terracotta.
00:43:34He didn't look at the card.
00:43:36Oh, well, he's one of my favourites.
00:43:38Mind you, there is a debate
00:43:40that it could have been Rebea, but...
00:43:43Says it's on loan from Florence.
00:43:45But it fits all the clues.
00:43:49Can I have your phone?
00:44:00Oh.
00:44:01We best get back to the others.
00:44:03Not much time left, is there?
00:44:06I love you, Jane White.
00:44:08Dom, we will get out of here.
00:44:11Yeah?
00:44:12Yeah, come on.
00:44:13One.
00:44:14Two.
00:44:15Three.
00:44:16One.
00:44:17Two.
00:44:18Three.
00:44:23All right, all right, all right.
00:44:24Let's just take a minute.
00:44:26Good idea.
00:44:28Good idea.
00:44:39So, how did you find out about the affair?
00:44:42I wasn't sure at first, but I'd had my suspicions for months.
00:44:53What made you suspicious, if you don't mind?
00:44:55No, I don't mind, I don't mind.
00:44:57We run our businesses like clockwork, and then all of a sudden she becomes interested in charity.
00:45:02Now, I wouldn't mind, but we have an office set aside for charity or tax relief, as I'd like to call it.
00:45:12Absolutely.
00:45:13Mm-hmm.
00:45:14And the only charity she really did was just turn up, snip the ribbon.
00:45:18Until she met him.
00:45:21Ah, Dr. Pardipa.
00:45:23Mm-hmm.
00:45:25We met him, and then she became obsessed with going to his meetings for his prison art malarkey.
00:45:35She couldn't get enough of it.
00:45:37Oh, we should see the difference it makes.
00:45:39Blah, blah, blah.
00:45:44And then there's all the obvious signs.
00:45:47Never leaving her phone unattended.
00:45:49Always going in a different room to check her messages.
00:45:53You know, I've never loved another woman.
00:45:59I just thought...
00:46:04Maybe she didn't love me as much as she used to.
00:46:08Though we'd always have...
00:46:12Respect.
00:46:15You're right, old chap.
00:46:17Once the respect has gone...
00:46:20Come on, George.
00:46:24We've got to find a way out of here.
00:46:26Come on.
00:46:31Where on earth is everybody?
00:46:35Ah, hello.
00:46:36Who have we here?
00:46:41What a zero chance of my reading that tiny writing.
00:46:43You do have a look of a female, I suppose, but is that a child?
00:46:52Oh, bloody hell, I forgot to pick up my glasses.
00:46:56I know.
00:47:04Oh, I see.
00:47:06Not a child, but a sheaf of wheat.
00:47:08Oh, wheat.
00:47:10Come on.
00:47:11Come on, ladies and gentlemen.
00:47:12Come on.
00:47:13Come on, ladies and gentlemen.
00:47:14There's nothing to do here.
00:47:15Come on.
00:47:19OK.
00:47:20The tunnel on your left appears to lead to another exit.
00:47:24But the tunnel ahead of you takes you to a door that leads you into the museum.
00:47:29OK.
00:47:30Give me a second.
00:47:31It's locked.
00:47:32The door's locked.
00:47:33Give me a hand, sir.
00:47:34Andre.
00:47:35Describe the lock to me as best you can.
00:47:37It is a rectangle with a large keyhole in the middle.
00:47:53lock to me as best you can. It is a rectangle with a large keyhole in the
00:48:00middle. Looks like a church door lock and it is very rusted. Sounds like a rimlock,
00:48:07not too tricky. So use the screwdriver attachment on your multi-tool to turn
00:48:15the lock to your right. Okay, I'm ready. No. No. Well. No. I give him. What do you mean George
00:48:44knows? He just came straight out of me. Said he'd been looking through your phone. Looking
00:48:49through my phone? How? He never leaves my sight. We hardly see each other. We live separate
00:48:56lives. That's not what he said. What? He implied that the two of you are still very much in
00:49:04love. And that this whole dislike thing is just an act. Oh, Ali, that is rubbish. We don't
00:49:12even sleep in the same room. And the worst bit of it is he said he's going to make sure
00:49:19that I don't receive another penny for the charity. Oh, that's the worst thing, yeah? Well,
00:49:28it's nice to hear you've got your priorities straight. No, no, no, no. No, Oriole, you are
00:49:33my priority. But if you're still in love with him... Ali, please, it's rubbish. He's just bitter,
00:49:40believe me. I love you. Did you find anything? Oh, I've taken a picture of a few pieces but I
00:49:49haven't really got a clue what I'm looking for. Yeah, I mean, Riddle is a little vague. Yeah,
00:49:54that's the understatement of the century. But the bomb threat is very clear. Yeah,
00:49:59yeah, we should find the others and regroup, yeah? That's where I was heading.
00:50:04Oh, no, they're all locked. Oh, surely that idiot Gabrielle has a set of keys. I think we've
00:50:25established, George, that Gabrielle has literally no idea where they are. Oh, hello, you two. Oh,
00:50:32hello, darling. Any success? Oh, it's bloody useless. I can't find one single religious painting.
00:50:39No, I've tried my utmost and that's all I can do. It's all so hopeless. How are you getting on?
00:50:47We've fried all the doors. And windows. Nothing. Oh, utterly infuriating.
00:50:52Maybe we should get back to the others. Good idea, George. Come on.
00:50:55We will get out of here, won't we, darling? Oh, come here. Of course we will, my darling.
00:51:08One way or the other.
00:51:09Very, very gently. Nothing seems to be biting. Take your time.
00:51:19That is something we do not have. Ah, I think I can kick the door in.
00:51:25No, no, no, no, don't do that. We don't want any unnecessary vibrations. Andre? Andre?
00:51:33Are you all right? You're all right? You're all right?
00:51:37You're all right.
00:51:56Any joy? Yes.
00:51:57Oh, I know. Um, this is a picture by Camille Corot in 1860.
00:52:06And it's of a normal, earthbound human child.
00:52:10Sorry. No, it's okay.
00:52:13Ellie, anything? I couldn't find the card for this,
00:52:15but it looks like a modern art version of Mary and Jesus.
00:52:20Well, is it? No.
00:52:23I'm afraid not.
00:52:23I mean, it looks like modern art, but I think it's a copy of the famous Corotrophos,
00:52:29which is one of the earliest Neolithic finds in Greece.
00:52:336000 BC.
00:52:34Oh.
00:52:36Not with George and Jeremy then, Ellie?
00:52:38No, the, um, we couldn't... the doors.
00:52:46I've got something to tell you.
00:52:46Oh, Dawn.
00:52:48Oh, how did it go?
00:52:50We're really trapped.
00:52:51Tried everything.
00:52:53Every window, every door is either deadlocked or barred.
00:52:57Judith, did you find anything to match the poem?
00:52:59I found a painting that might be a mother and child,
00:53:02but I'm not entirely sure it's the right way up.
00:53:07No.
00:53:10Don, can you get up that picture of the Donatello, please?
00:53:13No.
00:53:13No.
00:53:18Okay.
00:53:23Two attempts to survive, one date do we seek.
00:53:28Do you think it's time to put our best option in?
00:53:31Don't really have a choice, do we?
00:53:32Or shouldn't we wait to see if Sangeetra and the others have had some success?
00:53:36I don't think there's any harm in trying.
00:53:40Huh.
00:53:45PHONE RINGS
00:53:48PHONE RINGS
00:53:54PHONE RINGS
00:53:56PHONE RINGS
00:54:12Andre, can you hit me?
00:54:15Yes, Patrick.
00:54:18We lost you for a few moments.
00:54:19You had us worried.
00:54:20So, how are you doing?
00:54:24I'm a little trapped.
00:54:26Part of the roof has collapsed and formed a barrier between me and where I came in.
00:54:31Can you dig your way out?
00:54:32At the moment, that does not seem possible.
00:54:36Okay, so we must keep trying the lock.
00:54:50The lock is so rusted, I just can't seem to get a grip.
00:54:58There's a blockage in the tunnel and he can't get out.
00:55:00How's he doing with the lock?
00:55:01He says he can't get a grip because it's all rusted up.
00:55:04Rusted?
00:55:05Give me the headset.
00:55:08Andre, this may seem like a stupid question, but what's your gun holster made of?
00:55:14Mainly leather, I think, but with some rubber on the inside.
00:55:18Great. Take your knife and slice a thin piece of rubber off.
00:55:28Okay, I've done that.
00:55:30Put it in the lock and rub as hard as you can.
00:55:39Is it working?
00:55:40Yes! Yes, it's working!
00:55:42Yeah, how did you know how to do that?
00:55:44Oh, mechanics trick rustates rubber.
00:55:46I'm passing you back to Patrick.
00:55:48Right, I'm going to try the lock again.
00:55:50Okay, Andre, remember, screwdriver up and to the right, very gently.
00:56:00What's happening, Andre? Andre?
00:56:03It's not opening, Patrick!
00:56:05I want you to describe it for me again, as best you can, with every detail, every detail you can.
00:56:22It's brass, I think, with a fancy design on it, like a fleur-de-lis, sort of.
00:56:29Oh, Patrick, you idiot, it's an old French lock.
00:56:34Gonna try something different, Andre.
00:56:38Turn it to the left, very, very gently, hmm?
00:56:42Then turn it one more time.
00:56:52It's unlocked!
00:56:53Yes!
00:56:56Okay, Andre, once you're through the door, you're going to your right.
00:57:00I can't believe I got it so wrong.
00:57:05Look, you can't blame yourself, Jane.
00:57:07Well, it's false, is it? I sent you all on a wild goose chase.
00:57:10You did something, though.
00:57:11Yeah, and I got it wrong.
00:57:13I don't want to die like this, Jeremy.
00:57:15Oh, I know, my darling, I know.
00:57:21Why didn't you tell me it'll all be all right?
00:57:23What?
00:57:26You always say it'll all be all right, darling.
00:57:29And it always is.
00:57:31Well...
00:57:46How much time have I got left?
00:57:48How much time has he got left?
00:57:51Only 17 minutes, I'm afraid.
00:57:5417 minutes, Andre.
00:57:56Keep going straight on.
00:57:57You're nearly there.
00:57:58You're doing great.
00:58:15No, I'm not.
00:58:16No, no, no, no.
00:58:17Surtout, don't move, because you're going to ruin all our chances.
00:58:19So, be quiet.
00:58:20No, 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.
00:58:23No, I'm going to find her.
00:58:24I'm going to find her and see what she thinks she's going to do.
00:58:25Do you want to find her and or do?
00:58:26Do you want to know what?
00:58:27Do you want to know what I bought you for Christmas?
00:58:42You know I prefer a surprise.
00:58:46But you might not get to see it.
00:58:52I want to keep it a surprise.
00:58:57Thank you, Jeremy.
00:59:01What for?
00:59:03Our life together.
00:59:06I've had such a lovely time.
00:59:08I thought after losing the twins, we wouldn't last.
00:59:14Lots of couples split over less, you know.
00:59:17I know, my darling.
00:59:20I know.
00:59:23Maybe if there is something after this life,
00:59:26we can meet them again.
00:59:29That's a nice thought, isn't it?
00:59:32That's a wonderful thought, darling.
00:59:36Wonderful.
00:59:38Anyway, I'm glad we're here together.
00:59:42I've always dreaded the thought of going first
00:59:44and leaving you behind.
00:59:47Me too.
00:59:53Sangita, she's dead.
00:59:55No.
00:59:56What?
00:59:57Are you sure?
00:59:58Positive.
00:59:59How?
01:00:00She has been shot.
01:00:01Shot?
01:00:02She was trying to change the fingerprint control
01:00:04and needed access to the main computer in my office.
01:00:07So she left us and went to the office,
01:00:10waited for ages.
01:00:12And you just found her there?
01:00:13Yes.
01:00:14I need to see her.
01:00:15No, no, no. I'm not sure you should.
01:00:16Look, I'm a doctor.
01:00:17Maybe she's still alive.
01:00:19Take me to her.
01:00:20Ali, Ali, listen, look at me.
01:00:22Look at me.
01:00:23I just need to see my wife.
01:00:25Show me to your office.
01:00:28Just...
01:00:29Okay.
01:00:32Everyone needs to stay here.
01:00:34No one must leave.
01:00:35Don't come with me.
01:00:36Yeah.
01:00:37Oh, my love.
01:00:50Ali, you can't touch her.
01:00:53I am a doctor and her husband.
01:00:55I know, but this is a crime scene.
01:00:58What?
01:00:59There's still a very good chance that we could get out of here
01:01:02and if we do, we want every shred of evidence intact, don't we?
01:01:25Ali is having an affair with Ariel.
01:01:27What?
01:01:28I saw them in the corridor together.
01:01:30Said him and George almost came to blows at one point.
01:01:34Well, that gives him a motive.
01:01:36To get rid of his wife so he can marry a billionaire.
01:01:39Exactly.
01:01:41Come on.
01:01:42If it is him, we can't leave him alone with Gabrielle for too long.
01:01:48All the banking codes, they are gone.
01:01:51Are you sure they were in there earlier?
01:01:53Yes.
01:01:54When I came to get the Ormolu from the safe,
01:01:56I clearly remember seeing the file.
01:01:58And who else knew the combinations of the safe?
01:02:01Only me.
01:02:02And Eve.
01:02:03He helped me collect the Ormolu earlier.
01:02:06Okay.
01:02:08Right, yeah.
01:02:09We all have to stay in the same place.
01:02:11It's what Karen would make us do.
01:02:13Yeah, yeah, you're right.
01:02:14Okay.
01:02:15But we have to stick together.
01:02:16There's a murderer amongst us.
01:02:18Gloria.
01:02:19I must be near.
01:02:20I can hear voices.
01:02:21You're right underneath the events room.
01:02:23Carry on for about another ten yards, and you'll see a ladder on your right.
01:02:25That will take you directly up to the museum.
01:02:26You're right underneath the events room.
01:02:27Carry on for about another ten yards, and you'll see a ladder on your right.
01:02:28That will take you directly up to the museum.
01:02:30Are you okay, love?
01:02:32Gloria, I must be near, I can hear voices.
01:02:37You're right underneath the events room.
01:02:39Carry on for about another ten yards,
01:02:41and you'll see a ladder on your right.
01:02:43That'll take you directly up to the museum.
01:02:47Are you okay, love?
01:02:51Yes, I'm fine.
01:02:55Yards to meters, multiply the length given in yards by 0.9144.
01:03:03I found the ladder!
01:03:04He's found the ladder!
01:03:11I'm heading up now, Gloria!
01:03:13Well done, Andre, you're nearly there!
01:03:15The security engineer has now landed at the airport,
01:03:17and she's on her way now in a police car.
01:03:19Brilliant!
01:03:20Excuse!
01:03:21Andre!
01:03:22Andre, are you okay?
01:03:23Andre, can you hear me?
01:03:36Andre, can you hear me?
01:03:44Maybe we should start praying to them paintings we found.
01:03:47It looks like that's our only choice.
01:03:49You like to have a choice, don't you?
01:03:52What's that meant to me?
01:03:53You know exactly what that means.
01:03:55If you've got something to say, George,
01:03:57why don't you just come out with it?
01:03:59If I've got something to say, I will decide when I say it.
01:04:05Always loving the control, eh, George?
01:04:07Even when we're about to die, you still have to be in control.
01:04:11You know the best thing about this situation?
01:04:15We're both gonna die together.
01:04:18Which means you won't inherit a thing.
01:04:25Wow.
01:04:27Just when I thought you couldn't go lower.
01:04:44What are you thinking?
01:04:45I'm trying to work out the murder in real time.
01:04:49Get Jeremy and Judith over to help, will you?
01:04:52Hey.
01:04:53You two.
01:04:54Jean need your help.
01:04:55I'm not sure I'm much help to anyone, Dominic.
01:04:57Judith's not feeling great.
01:04:59We're all not feeling great, Jeremy.
01:05:03Sorry.
01:05:04Sorry, I didn't mean to snap.
01:05:06No, actually, I did.
01:05:08Jean is over there trying so hard to help us.
01:05:11To help all of us.
01:05:12The very least you two can do is to help her.
01:05:14Okay?
01:05:15Oh, sorry, old chap.
01:05:17Yes, of course.
01:05:19Oh, great.
01:05:21Okay.
01:05:22So, whoever murdered Sangeeta and Suzanne
01:05:25has something to do with the bomb and this whole nightmare evening.
01:05:28It makes sense for everything to be connected.
01:05:30Yeah.
01:05:31Who would kill Sangeeta?
01:05:32Who would murder someone like that?
01:05:34Well, Ali's having an affair with Auriel.
01:05:37Oh, yeah, Dom told me.
01:05:38What?
01:05:39Yeah, George just poured his heart out of me.
01:05:41The poor chap is broken.
01:05:43Yeah, and I saw Ali and Auriel in the corridor earlier talking about it.
01:05:47Do you think he bumped off his wife to run off with a billionaireess?
01:05:52That's what I said.
01:05:53Or maybe George killed her to frame Ali.
01:05:56You're certainly on the verge of it.
01:05:58Or maybe Auriel killed her in a jealous rage because she couldn't wait a moment longer for Ali.
01:06:04Well, in the office, Gabrielle said all the codes to the museum's bank had been stolen from the safe.
01:06:11Yeah, and he was certain that they were there earlier.
01:06:14So, could that have something to do with it?
01:06:16Oh, it's all so confusing.
01:06:18My head hurts.
01:06:21Dom, come with me.
01:06:23There's only one person that used the map.
01:06:45Sweet.
01:06:46Of course.
01:06:47It's so small.
01:06:48It's...
01:06:49It's a nose ring.
01:06:51Oh!
01:06:54It was Ali.
01:06:55It was all Ali.
01:06:56What?
01:06:57Eli is the murderer.
01:06:58No, don't.
01:06:59Don't.
01:07:00Don't look.
01:07:01Don't look.
01:07:03What?
01:07:07Don't look.
01:07:08Don't look.
01:07:09Don't look.
01:07:11Don't look.
01:07:12You don't look.
01:07:13Don't look.
01:07:14Don't look.
01:07:16Don't look.
01:07:17Don't look.
01:07:20Don't, don't, don't, don't.
01:07:21But how did she do it?
01:07:23She couldn't be in two places at once.
01:07:26I mean, she was definitely here when we arrived.
01:07:30So how could she be murdering the security guard
01:07:33at the same time?
01:07:36Unless, oh, this could you?
01:07:45Tom.
01:07:50Don, give us a hand with this.
01:07:52Yeah.
01:08:06She's still alive.
01:08:16Let's get her in here.
01:08:20What the hell?
01:08:26Who on earth is this?
01:08:28Jean, for God's sake, explain.
01:08:29What on earth is going on?
01:08:31Only again.
01:08:32Just a minute.
01:08:33I'm intrigued.
01:08:35We still have a few minutes before we escape.
01:08:41How did you know?
01:08:43Eve, what are you doing?
01:08:46Go on, Madam White.
01:08:49It didn't come to me straight away.
01:08:52Then I worked out that it was you who killed Sangeeta
01:08:56and stole the bank codes.
01:08:58You mistakenly left your map on the floor
01:09:02at the side of the safe.
01:09:04I suppose when Sangeeta came in to override the fingerprint control,
01:09:11well, she caught you red-handed.
01:09:13Oh!
01:09:14And then I worked it back.
01:09:19I mean, how did you get in the safe in the first place?
01:09:23Only Gabrielle and Eve knew the combination,
01:09:28so it made sense one of them was your accomplice.
01:09:33At all.
01:09:40And then I remembered earlier in the evening,
01:09:44Sangeeta recognized you, Eve,
01:09:47from a prison outreach event.
01:09:49Have we met somewhere before?
01:09:51We very much doubted.
01:09:53I don't do prisons on charity here.
01:09:55I assume you've not been out of prison for very long,
01:09:58for Sangeeta to recognize you from something so recent.
01:10:03Eve, is this true?
01:10:07But you, Ellie, are...
01:10:10I couldn't work out how you could be in two places at once.
01:10:14Serving champagne here and, well,
01:10:17murdering the security guard down there.
01:10:22But you weren't, were you?
01:10:25This is what I think.
01:10:27You went to the museum
01:10:30and you forced the security guard
01:10:32to activate the shutters.
01:10:45Once you'd started the bomb,
01:10:48you raced up here,
01:10:50changed your outfit
01:10:52and you placed the bomb in the cabinet.
01:10:56just outside this room.
01:11:08Then you accosted that poor waitress.
01:11:13And you bundled her into the cupboard.
01:11:16And it's brilliant, really.
01:11:17All Eve had to do was hire an agency waitress
01:11:20who looked a little bit like you.
01:11:22I mean, no one had ever met either of you before,
01:11:26so no one would realize that you were an entirely different person.
01:11:30But how did you get the bomb inside the Ormalu?
01:11:37Well, you throwing champagne over George was no accident, was it?
01:11:43The minute that you heard Gabrielle and Eve in the corridor,
01:11:48that was your cue to cause a distraction.
01:11:52Oh, go, go, go, go!
01:11:54What the hell?
01:11:59Giving Eve just enough time to plant the note for me
01:12:03and to put the bomb in the box.
01:12:06Very good, Madame White.
01:12:19I sort of understand the murders to steal the bank codes.
01:12:23But why the bomb?
01:12:25Why the poem?
01:12:27Well, that is what you would all take to your graves without knowing.
01:12:35Well, there's no way out.
01:12:36Not for you, anyway.
01:12:38The security engineer is almost here.
01:12:57Oh, we've only got two minutes left.
01:13:08Two of the most important people in my life were in that building!
01:13:17Heads down, please!
01:13:20Right.
01:13:21I'm gonna smash this door down.
01:13:22What's the point?
01:13:23There's enough Semtex in there to block the whole bloody building!
01:13:26But they managed to escape, didn't they?
01:13:28Oh, God!
01:13:29I didn't think I was gonna die from a bomb in a bloody jewellery box!
01:13:35Maybe the actual box is a clue.
01:13:37It's an actual Marie Antoinette box.
01:13:45This is a picture of Marie Antoinette dressed as a Vestral Virgin by Charles Le Clarke in 1777.
01:13:52In relation to the poem,
01:13:54Fruit from Above, well, Marie Antoinette's father was a Pope,
01:13:59faced like their son.
01:14:00Well, she was married to the great-great-grandson of the Sun King
01:14:04and fate was not kind.
01:14:05Well, it wasn't kind to her.
01:14:07She had her head cut off.
01:14:16One.
01:14:17Seven.
01:14:18Seven.
01:14:19Seven.
01:14:20Seven.
01:14:21Three.
01:14:22One.
01:14:23Two.
01:14:24Three.
01:14:25T excel.
01:14:26One.
01:14:27Two.
01:14:28Two.
01:14:29One.
01:14:31Two.
01:14:32Two.
01:14:33Oh!
01:14:37I said we'd be alright.
01:14:40Oh, Judith! Judith, you're a genius!
01:14:43The box, Marie Antoinette, of course it was to do with her!
01:14:46Oh, I'm going too old for this.
01:14:48Clever, clever darling.
01:14:50I'm so pleased I didn't tell you what I brought you for Christmas.
01:14:59What happened?
01:15:00Nothing!
01:15:03Hi!
01:15:09Listen, I don't want to break up the party, but we are still locked in.
01:15:14I know we don't have the threat of the bomb any more, but we are still locked in.
01:15:18Come on, let's get this door open!
01:15:20Right, come on.
01:15:22I count to three.
01:15:24One, two, three!
01:15:27Oh!
01:15:29Charlie!
01:15:30I must have loosened it earlier.
01:15:31Loosened it.
01:15:32It's a real dreamboat there, hey, my darling wife.
01:15:39Come on!
01:15:40Come on, come on!
01:15:41The shutters are opening!
01:15:42Come on!
01:15:43Come on, come on!
01:15:44The shutters are opening!
01:15:45Come on!
01:15:46Come on, come on!
01:15:47Oh, Karen, you little beauty!
01:15:48What's the name for me?
01:15:49What's the name for me?
01:15:50Oh, yes!
01:15:51It's a real dreamboat there, hey, my darling wife!
01:15:55Come on, come on, come on!
01:15:56The shutters are opening!
01:15:57Come on!
01:15:58Come on!
01:15:59Come on, come on!
01:16:00The shutters are opening!
01:16:02Come on!
01:16:03Come on, come on!
01:16:04Oh, Karen, you little beauty!
01:16:07Excuse me.
01:16:14Excuse me, excuse me.
01:16:34Gene, you're all right?
01:16:37I'm glad to see you.
01:16:39You too, sir.
01:16:41That must have been so scary.
01:16:43It certainly had its moments.
01:16:45Oh, Dominic, Merry Christmas.
01:16:47Well, yeah, I wouldn't exactly say that, but...
01:16:49Merry Christmas.
01:16:52Where's Karen?
01:16:54What happened?
01:16:56He came in to get you.
01:16:58How?
01:16:59The tunnels underneath the museum.
01:17:01The what?
01:17:03There's a load of bomb shelters.
01:17:05It was my idea, but...
01:17:07His radio's gone silent.
01:17:10We think he has fallen.
01:17:12What?
01:17:13They had to wait and see if the bomb exploded
01:17:16before they went to check on him.
01:17:18Just preparing to go and find him now.
01:17:21Come on.
01:17:22Come on.
01:17:23Come on.
01:17:24Come on.
01:17:25Come on.
01:17:26Come on.
01:17:27Come on.
01:17:28Come on.
01:17:29Come on.
01:17:30Come on.
01:17:35I assume these two have something to do with all this.
01:17:37I thought I killed you.
01:17:39Not quite.
01:17:40Oh.
01:17:41André.
01:17:42It's so good to see you for all.
01:17:45Good to see you, mate.
01:17:47Jean?
01:17:48Richard.
01:17:49Jean, can you fill me in on what happened?
01:17:52Then I will interview those two in the morning.
01:17:54What?
01:17:55Now?
01:17:56Are you sure you're up to it?
01:17:57You know I like to keep busy at Christmas.
01:17:58Yeah.
01:17:59I do.
01:18:01Oh, my God of steel.
01:18:27Oh, wait, please, don't have a deal with this.
01:18:45Carol, what have you done to your poor face?
01:18:57I'm not sure I like brunch.
01:19:06What?
01:19:07Well, the word, the blending of two words to make another, like, erm, motel.
01:19:12Portmanteau.
01:19:13God bless you.
01:19:15Portmanteau is the blending of two words to make another one,
01:19:19although portmanteau also means a leather case with two sections, but...
01:19:24Where would it be without your brain, eh?
01:19:26Don't be daft.
01:19:27You don't mean it.
01:19:28You saved a lot of lives yesterday.
01:19:30Oh, well, I just did what I had to do.
01:19:33Yeah, and what only you can.
01:19:35Oh, thank you.
01:19:37Now, can I tempt you to a croissage?
01:19:40What?
01:19:41It's a croissant with a sausage inside and portmanteau in.
01:19:46Fresh coffee?
01:19:48Oh, thank you, Patrick.
01:19:51Oh, why don't we, darling?
01:19:53I'm terribly hungry this morning.
01:19:56I think it's all the trauma.
01:19:57Of course, darling.
01:19:58It can do that.
01:20:00I remember when me gran was ill.
01:20:02All anybody could do was make sandwiches, like, make everything better.
01:20:05Feeding the soul?
01:20:06Not with white slice and beef paste.
01:20:08We ended up feeding the ducks.
01:20:10There you are.
01:20:11Plenty more where that came from.
01:20:12Oh, lovely.
01:20:13Will you sit down?
01:20:14We've got loads here.
01:20:15We need to save a little bit of room for Christmas dinner.
01:20:17You sound just like I did when you were a nipper.
01:20:20Do you know, one Christmas morning, he ate three packets of mince pies and half a Christmas cake before breakfast.
01:20:26How old is he?
01:20:29Fine.
01:20:30Fifteen, actually.
01:20:32I was a little bit worse for wear, but I didn't know that then.
01:20:35I just needed a sugar rush.
01:20:36I have never really believed in hangovers.
01:20:39I think it's a case of mind over matter.
01:20:42I think that's why I've never heard one.
01:20:44Oh!
01:20:47Excuse me.
01:20:50Ah.
01:20:51Calron is ready for me to go over.
01:20:53Oh.
01:20:54Want me to come with you?
01:20:55No, it's all right.
01:20:56It won't be long.
01:20:57I've just got to bob over to the station and Andre needs my help.
01:21:00Can I have some food with you?
01:21:02Oh, no, I'm really full.
01:21:03For Andre and Richelle.
01:21:05Oh, yeah.
01:21:06Great idea.
01:21:07Tell them that they're both invited to lunch.
01:21:10Four o'clock start.
01:21:11Will do.
01:21:12Talking of starts, do you think it's too early for a little champagne?
01:21:16Wonderful idea, darling.
01:21:18Carpe bloody diem after yesterday, that's what I say.
01:21:22I'll get some glasses.
01:21:27Hey.
01:21:29What?
01:21:31Merry Christmas.
01:21:34Merry Christmas?
01:21:36What's the matter?
01:21:37Well, after yesterday, I don't want to let you have me say.
01:21:43Don't be daft, it won't be gone long.
01:21:45Yeah, I know, but...
01:21:47I'll tell you what, why don't you get on the morning champers
01:21:50and you won't even know I'm missing?
01:21:52OK.
01:21:54Come in.
01:21:55Happy Christmas.
01:21:56Well, it would be if we could get these two to speak.
01:22:01Oh, no joy.
01:22:02Nothing from him.
01:22:03He's just playing games.
01:22:04But the girl, I think he's starting to break.
01:22:08That's why I asked you here.
01:22:09She's upstairs.
01:22:10Oh, from Patrick.
01:22:11Merci.
01:22:14So, what happened?
01:22:15No comment.
01:22:18Why did he plant a bomb?
01:22:19I think he's starting to break.
01:22:21That's why I asked you here.
01:22:22She's upstairs.
01:22:24Oh, from Patrick.
01:22:26Merci.
01:22:33So what happened?
01:22:36No comment.
01:22:38Why did he plant a bomb?
01:22:40No comment.
01:22:42And why the poem?
01:22:44No comment.
01:22:46Look, I can understand you killing who you needed to
01:22:50to steal the bank codes.
01:22:52But why the bomb?
01:22:53Why the poem?
01:22:55Well, I don't know you, and you don't know me.
01:22:57Well, the poem was obviously not my idea.
01:23:01So there was someone else involved?
01:23:04Of course.
01:23:06I know nothing about bombs, less about poems.
01:23:11And I had no idea who you were until yesterday.
01:23:14So what happened?
01:23:20No comment.
01:23:23If you are trying to protect someone,
01:23:25I would ask you to consider how important they are to you.
01:23:28It will affect your sentence considerably.
01:23:30The last time I was in prison,
01:23:41I shared a cell with a woman who worked as a consultant at the museum.
01:23:46She knew everything about it, every nook and cranny.
01:23:50She 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.
01:24:04Go on.
01:24:06So I kept on visiting her, and sure enough, we came up with a plan.
01:24:12I got my friend Eve involved, flirting with that idiot of a curator, Gabrielle, to get someone on the inside.
01:24:22But still, why me? Why the bomb?
01:24:28It was very strange.
01:24:30The 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.
01:24:42She was wild, cold with rage. God, she really hated you.
01:24:51So, instead of a simple robbery as planned, I was to plant a bomb and a letter to you.
01:25:00She said I would be safe, that there was a way out under the museum.
01:25:08She said it was a game she liked to play with you.
01:25:13It all seemed a bit psychotic to me, but then again, so did she.
01:25:20And I had nothing to lose, so I did what she said.
01:25:26What was her name?
01:25:30Barbara.
01:25:33Barbara.
01:25:50Barbara.
01:25:53Barbara.
01:25:57Bye-bye.
01:25:59what fun this is white
01:26:11till next time
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