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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, ben, je me re-coiffais.
00:03:41Je sais que t'aimes quand je me fais beau pour toi.
00:03:43Non, mais mon amour, t'es toujours magnifique.
00:03:45Ces derniers mois, c'était juste extraordinaire entre ma rencontre avec toi et puis ce job de rêve, c'est merveilleux.
00:03:52Moi aussi.
00:03:53Bon, et nous, on a toute la vie devant nous, mais là , il faut vraiment se mettre au travail, hein?
00:03:58Bon, Gabriel, t'es le nouveau conservateur de ce musée, tu peux te permettre le quart d'heure de politesse.
00:04:03Non, non, pas du tout.
00:04:04Pas du tout.
00:04:05Là , ma seule mission, c'est de faire rayonner ce musée à l'international.
00:04:09On a les Alphonse qui sont prêts à investir 10 millions d'euros, ça changerait tout.
00:04:15Faut absolument que ça marche, hein?
00:04:17Allez.
00:04:23Sous-titrage Société Radio-Canada
00:04:29Ah, Gabriel, here he is, our curator himself.
00:04:35Jérémy, Judith, good to see you both.
00:04:37You too, Gabriel.
00:04:39And this is Jean White.
00:04:42Delivered as promised.
00:04:44Delivered?
00:04:45Oh, 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.
00:04:51All right, it's a pleasure.
00:04:52This is my partner.
00:04:53Your fiancée.
00:04:54Oh, yes, fiancée, Dom.
00:04:56Yeah, it's quite a recent thing.
00:04:57Congratulations to both of you.
00:05:00And this is my partner, Eve.
00:05:03All right.
00:05:04And your field of expertise is, Mrs White?
00:05:08I'm an antiques dealer.
00:05:10How quaint.
00:05:11Shall we grab a horse's dew friendly into it?
00:05:14Yes, sir.
00:05:19A bottle of champagne, very fresh, please.
00:05:20Thank you very much.
00:05:21Pardon, Judith, champagne on the way.
00:05:23Oh, you are a darling, Gabriel.
00:05:25I think you're going to fit in very well round here.
00:05:29Yes.
00:05:30And by the way, you threw that last glass down your neck.
00:05:33We wouldn't want you going Thursday, would we?
00:05:36Excuse me.
00:05:37I'm just going to run through my speech.
00:05:39Oh, Jean, this is Dr Ali Pardeep.
00:05:42We were telling you about his charity.
00:05:44Oh, le change-le-vie, is it?
00:05:46Oh, it sounds like you do some great work.
00:05:48Oh, he does.
00:05:50Oh, hi.
00:05:51I'm Oriel.
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'd 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
00:06:14that I felt compelled to liberate it.
00:06:17Mm-hm.
00:06:18So I started an art club for the prisoners
00:06:20and, 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.
00:06:35Is that what you're saying?
00:06:36Don't worry, Ali.
00:06:37I take care of the charity in our business.
00:06:40So 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 cue.
00:07:06Sorry.
00:07:07Sorry.
00:07:08Ah, merci, s'il vous plaît.
00:07:09Au revoir, monsieur.
00:07:10Merci.
00:07:11Mm-hm.
00:07:12Good job, eh?
00:07:13Quite 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.
00:07:3210 million euros into our acquisition account.
00:07:35It will keep the museum afloat for many years.
00:07:38Just a minute, Gabriel.
00:07:40Um, remember 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.
00:07:53I want to be part of a museum that draws people in from all over the world.
00:07:59But I need you to prove to me that I am making the right choice.
00:08:03Of course.
00:08:04The stakes are very high for us.
00:08:08But I have contacts all over the world to make this museum great.
00:08:12I promise.
00:08:16Madame White, this is where we could use your help.
00:08:19Oh, right.
00:08:20We apologize for not warning you beforehand, but everything had to be completely top secret.
00:08:26Oh, I'm intrigued.
00:08:28Um, we have something very rare.
00:08:31And we need you to verify it.
00:08:35Uh, Jeremy and, uh, Judy told me you are second to none in your field.
00:08:39So, please, will you help?
00:08:42Well, I'm here now, so, yeah, of course.
00:08:47If you will, uh, excuse me for one moment, ladies and gentlemen,
00:08:52we will go and fetch our treasure.
00:08:57Eve.
00:08:58Oh, so that's why I'm here.
00:09:00Makes sense now.
00:09:01Well, Gabrielle didn't tell me the finer details.
00:09:04Just 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.
00:09:15We wouldn't want any mistakes.
00:09:19Well, let's put it this way.
00:09:20This isn't my first rodeo.
00:09:24Oh, thank you, darling.
00:09:27What's your name, dear?
00:09:28Ellie.
00:09:29Big cash tip, Ellie.
00:09:31If you keep our shampas 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 your problem.
00:09:47On t'a attribué ton code personnel de sécurité, maintenant?
00:09:50Euh...
00:09:51Non, tu sais, c'est toujours Suzanne de la sécurité qui m'envoie un nouveau code chaque jour.
00:09:55C'est depuis que je suis régné, j'ai eu tellement le truc à gérer que c'est un peu galère.
00:09:59Et dis-moi, je peux ouvrir le coffre?
00:10:01J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:10:03D'accord.
00:10:04Euh...
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...
00:10:123, 2, 7, 4...
00:10:164...
00:10:170, 9, 5, 7.
00:10:20C'est bon.
00:10:26Alors...
00:10:349.
00:10:44Oh.
00:10:52Eh bien, voilà ma petite merveille.
00:10:55Wow.
00:10:56Non, par contre, ça faut que tu le détruises immédiatement.
00:10:59Non, non, vraiment, tu...
00:11:01C'est bon.
00:11:04Euh...
00:11:12C'est bon.
00:11:13Tiens, prends la moite et on y va.
00:11:17Hop.
00:11:30Non, vraiment, fais très attention.
00:11:32Non, mais attends, t'as... t'as l'avenir du musée entre les mains là , non?
00:11:35Trop.
00:11:36Non.
00:11:37Gabrielle, laisse moi!
00:11:38Tu veux que j'a pas se tomber?
00:11:39C'est bon.
00:11:40C'est bon.
00:11:45Georges, Georges, Georges.
00:11:46So sorry, so sorry.
00:11:47What happened?
00:11:48I'll tell you what happened.
00:11:49I'll tell you what happened.
00:11:50This poor excuse of a waitress of yours has ruined my bespoke shirt.
00:11:53Are you stupid?
00:11:55No, I...
00:11:56Don'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?
00:12:04Ellie.
00:12:05I'm so sorry.
00:12:06I'm pretty new at this.
00:12:08I'm actually a student.
00:12:09Well, I would like to apologise for the neolithic behaviour of my husband, Ellie.
00:12:15Georges, we're going to pay for the cleaning, of course, but I can't clean.
00:12:20Just leave it.
00:12:22I can do it.
00:12:23You can do it.
00:12:24Okay, perfect.
00:12:25It's a box of yours.
00:12:26It's a...
00:12:37Is that what I think it is?
00:12:38What is this?
00:12:54Go on.
00:12:55What is it?
00:12:56Oh, this is a French Ormolu gilt jewellery case owned by, I think, Marie Antoinette herself.
00:13:04Am I right?
00:13:05Yes, exactly, Madame.
00:13:07Well, I know there's one of these in the Museum of Tehran, but the only other one was bought by Russian buyers at Sotheby's in 2007.
00:13:16So, how could it be here?
00:13:19I have been totally obsessed with this box.
00:13:23So, I tracked it down over the years and persuaded them to sell.
00:13:30Wow.
00:13:32Well, Gabrielle is right.
00:13:33I mean, if you can get stuff like this, well, this is like such a fantastic draw for the Museum. Game-changer, really.
00:13:42Well, so far so good.
00:13:43Yeah.
00:13:44Okay.
00:13:49What?
00:13:50My God.
00:13:52Do you?
00:13:54Well, it looks like a... like a bomb.
00:13:57It doesn't just look like a bomb.
00:13:58It's a marzipan.
00:13:59Marzipan?
00:14:00Yeah.
00:14:01I was in the army for years. I've recognized that smell anywhere.
00:14:02What is it?
00:14:03It's Semtex.
00:14:04Semtex?
00:14:05What can that do?
00:14:06Put it this way, there's enough in there to blow this whole museum sky high.
00:14:11Come on!
00:14:25Come on.
00:14:28Oh!
00:14:33Would you like him?
00:14:40They won't move.
00:14:47Well, what have we all left 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.
00:14:56They will all be locked too.
00:14:57And all the windows are burned.
00:15:00Oh, my God.
00:15:01What the hell are we going to do?
00:15:02Stop with the hysterics, George.
00:15:04In case you haven't heard, there is a Semtex bomb in that room.
00:15:08Yes.
00:15:08We 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.
00:15:31Oh, my God.
00:15:33Oh, my God.
00:15:34Oh, my God.
00:15:35Oh, my God.
00:15:36Oh, my God.
00:15:38Come here.
00:15:38Come here.
00:15:39You're probably.
00:15:42Just go on.
00:15:43Come on, Jeremy.
00:15:45Let's go on.
00:15:46I don't know.
00:15:48I don't know.
00:15:50What's happening?
00:16:07How do we all know?
00:16:16You all right, love?
00:16:17Yeah, or woman.
00:16:18I know.
00:16:20So, one fingerprint to control your entire security system.
00:16:26Stop it, George.
00:16:28Yes, 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?
00:16:41No, no idea.
00:16:46Well then, why don't we use her finger?
00:16:51George!
00:16:52Oh, really?
00:16:53We can't.
00:16:55Why not?
00:16:57It's not like she's going to mind now, is she?
00:17:00It's not that.
00:17:01It's once tissue is dead, it loses its electrical charge.
00:17:04Hang on.
00:17:05Now, I saw this on one of those American crime dramas, and it works a treat.
00:17:10So, let's give it a go, shall we?
00:17:12Good God, George.
00:17:14Oh, I see.
00:17:15You watched an entire box set, so, of course, now you know more than an actual doctor.
00:17:21I'm only saying, once the heartbeat dies, the electrical charge dies.
00:17:28It.
00:17:29Won't.
00:17:30Work.
00:17:45Can I ask a question, Gabriel?
00:17:47The security guard.
00:17:49What was her name?
00:17:51It was Suzanne.
00:17:52Shall we call her that, then?
00:17:57Look.
00:17:58I'm not suggesting we sever Suzanne's finger.
00:18:02George!
00:18:03Leave it!
00:18:04physicians did not cause cancer and seren.
00:18:19Oh!
00:18:20Oh!
00:18:23Oh!
00:18:24occupation!
00:18:25Oh!
00:18:26Oh!
00:18:27Oh!
00:18:29Oh!
00:18:30Oh!
00:18:31Oh, oh!
00:18:32Ah!
00:18:33Oh, oh!
00:18:34Why can't they hear us?
00:18:44No, 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.
00:19:00I don't want to, there's no signal.
00:19:05Ah, no, no, no, I haven't had any since I arrived
00:19:08because we are quite high up and the walls are too sick.
00:19:13OK, what's the Wi-Fi code?
00:19:15I'm going to share it with you.
00:19:17Yeah.
00:19:17I know I had my phone in the pub, I 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, I have one moment,
00:19:29but I remember something.
00:19:31Where's he going now?
00:19:56Thank you so much for you.
00:19:58Someone has sabotaged the comms cupboard.
00:20:14It's beyond repair.
00:20:16Comms cupboard?
00:20:17It's where all the Wi-Fi hubs lead to,
00:20:19to keep us on the internet.
00:20:20All the connections have been ripped to pieces.
00:20:24Oh.
00:20:26So we are completely trapped in here.
00:20:30Oh.
00:20:30Good God.
00:20:34You have got a foolproof security system
00:20:36that you don't even know how to operate.
00:20:39Who's a bloody fool now, eh?
00:20:41Eh?
00:20:41Get your hands off him, you brute!
00:20:44I'm fourth down black belt in jujitsu.
00:20:47You lay one more finger on him
00:20:49and I will take you down.
00:20:50Do you understand?
00:20:51Gentlemen, we have to calm down.
00:20:53Don't suppose you serve Valium as well as champagne?
00:20:57Valium.
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?
00:21:10This psycho must really hate one of us.
00:21:13Well, it was Gabriel who wanted us here.
00:21:15He sent the invite.
00:21:16I don't think I would bomb my own museum, judith,
00:21:19and trap myself inside.
00:21:20OK, can we just stop sniping at each other, OK?
00:21:24Can't be anyone here, can it?
00:21:26I am not so sure.
00:21:30What do you mean?
00:21:32I do remember on my first debriefing,
00:21:34they said once the shutters are activated,
00:21:37they close very fast
00:21:39and there is very little time to get out.
00:21:42Do you mean that the murderer
00:21:44might still be in the building?
00:21:47Possibly.
00:21:57Patrick, can you call judith?
00:21:59I can't get hold of Dom or Jeremy.
00:22:01Obviously, I have Gene's phone
00:22:03and I don't have Judith's number.
00:22:05There is no answer at the museum
00:22:07and the doors are locked.
00:22:09Something is not right.
00:22:16You OK?
00:22:20Yeah, I think so.
00:22:21Caron just asked me if I can get in touch with Judith
00:22:24but there's no answer.
00:22:25She's with Jeremy and Dom.
00:22:26Give them a call.
00:22:27No, he's already tried that
00:22:28and there's no reply from them either
00:22:30and no-one's answering the door.
00:22:33Well, I don't like the sound of that.
00:22:35Nor do I.
00:22:37Diane can look after the bar for an hour.
00:22:39The electric lady van outside?
00:22:41Yeah.
00:22:43Then let's go.
00:22:44What idiot takes the job
00:22:47as a curator of a massive museum
00:22:48and doesn't know how to work the security system?
00:22:51I have only been here three weeks, OK?
00:22:55There was so much to do
00:22:57that it didn't seem like a priority, OK?
00:23:00Well, it's a priority now.
00:23:02Isn't it, Gabriel?
00:23:03It's a priority now.
00:23:05Gabriel, if he says one more word on you, I...
00:23:08No, no, no, no.
00:23:08If you're going to say something,
00:23:12say it in a language we can all understand, eh?
00:23:15I beg your pardon.
00:23:17For one moment, I thought we were in France.
00:23:22If you have something to say,
00:23:25why don't you say it straight?
00:23:30You clearly have something to hide, monsieur.
00:23:34Bullying my partner, shouting at your wife.
00:23:38Classic defense tactics.
00:23:40How dare you suggest that I...
00:23:43Shh, shh, shh.
00:23:45What's that?
00:23:46What?
00:23:49Listen.
00:24:13Hello? Hello? Can anyone hear me?
00:24:15Hello? Hello? Hello?
00:24:18Hello?
00:24:30Dom?
00:24:31Dom, is that you?
00:24:32Oh, thank God.
00:24:33Look, we are trapped inside the museum.
00:24:36The shutters are down,
00:24:37the security guard's been murdered,
00:24:38and there is a bomb ticking away.
00:24:39What a bomb?
00:24:42Okay, Dom, you need to say all that again,
00:24:44but much slower.
00:24:48There is a bomb.
00:24:51Someone has activated the security shutters.
00:24:53They can only be deactivated
00:24:55by the fingerprint of the security guard.
00:24:58But the...
00:24:59The security guard...
00:25:01has been murdered.
00:25:03Okay, Dom, have you seen the bomb?
00:25:07Yes.
00:25:08What does it look like?
00:25:10I don't...
00:25:10All right.
00:25:15Okay, so...
00:25:17Okay, so...
00:25:18It's like a big lump of orange
00:25:21bloke in here so that it looks like Semtex.
00:25:24There's an old-fashioned phone on one side
00:25:27and in the middle is a digital clock counting down.
00:25:31There's three wires,
00:25:32a blue one,
00:25:33a red one,
00:25:34and a yellow one.
00:25:34And how much time does the bomb say you have?
00:25:38Fifty-nine minutes.
00:25:43I will get help immediately.
00:25:45I need you to keep this communication open.
00:25:47Okay.
00:25:48We will get you all out.
00:25:51Dom?
00:25:52Dom, you need to keep this channel open.
00:25:56Andre, I can't hear you.
00:25:57Are you still there?
00:25:59Andre?
00:26:04Andre?
00:26:27What are you doing?
00:26:28Hang on a sec.
00:26:29There's got to be a spare.
00:26:34There's got to be a spare.
00:26:36Oh, bingo.
00:26:49Caron, can you hear me?
00:26:52Caron!
00:26:59Gloria, stop!
00:27:10Stop!
00:27:12Go to me.
00:27:12Go to me.
00:27:14I managed to speak to Caron.
00:27:16He's calling for help.
00:27:17Brilliant.
00:27:18How did you manage that?
00:27:19Well, Suzanne's walkie-talkie.
00:27:20Oh, that's great.
00:27:21Well, we can use that then.
00:27:22No, no, no.
00:27:23It's just died.
00:27:24Maybe it just needs any battery, or...?
00:27:26No, no.
00:27:26I tried that.
00:27:27It 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.
00:27:36Caron will help us, won't it, darling?
00:27:38Oh, absolutely, darling.
00:27:39Jean.
00:27:41Em.
00:27:42Jean.
00:27:44What?
00:27:45What's the matter?
00:27:46Em.
00:27:48I found this under the bomb.
00:27:53For me?
00:27:55I don't understand.
00:27:56Who would do something like this to you?
00:28:00I've no idea.
00:28:03I mean...
00:28:04Thinking about it,
00:28:06I've put a few people away over the years,
00:28:09but...
00:28:09This 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.
00:28:42Okay, 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
00:28:56that matches the riddle.
00:28:59Two attempts to survive,
00:29:01one date do you seek.
00:29:02So,
00:29:03well,
00:29:03I'm guessing
00:29:04that you put the date
00:29:06in the keypad
00:29:08to stop the bomb.
00:29:12Oh,
00:29:13wow.
00:29:15Somebody 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
00:29:24doesn'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.
00:29:34Okay, 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,
00:29:47I think we should wait
00:29:48for 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.
00:29:59I 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,
00:30:15follow me.
00:30:16Whoa.
00:30:22Okay, look at the heart.
00:30:36The heart.
00:30:37Well,
00:30:38the heart could mean love.
00:30:40Oh, no,
00:30:40that could be any work of art.
00:30:41Okay.
00:30:43Okay, think, Jean.
00:30:44Think.
00:30:44Well,
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.
00:30:58Okay.
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,
00:31:08fate is not kind.
00:31:10Well,
00:31:10fate wasn't kind to Mary.
00:31:12Certainly wasn't two kinds
00:31:12of Jesus either,
00:31:13wasn't 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.
00:31:20It's got to be.
00:31:21Right.
00:31:22I think we're looking for
00:31:23a 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.
00:31:34Okay.
00:31:35Let's split up,
00:31:35take a room each
00:31:36and report back.
00:31:38Right.
00:31:38Right.
00:31:39Me 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 metalwork.
00:31:47And Ellie,
00:31:48you do jewelry
00:31:49and glasswork.
00:31:51And,
00:31:51yeah,
00:31:52and remember
00:31:53the Madonna and Child.
00:31:55Okay?
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
00:32:17the company,
00:32:18but with it being Christmas Eve,
00:32:20we have the same problem.
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 deactivate 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.
00:32:38Okay.
00:32:39Well, what about
00:32:39the tunnels underneath?
00:32:41Pardon?
00:32:41The museum's tunnels
00:32:42were part of the bomb shelter system
00:32:44during World War II.
00:32:45I remember the tour guide
00:32:46telling us
00:32:47when I brought Xavier on a visit.
00:32:49Okay.
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.
00:32:54Madam, 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, two, three.
00:33:08I haven't finished counting.
00:33:10Oh, God.
00:33:10I think I've trapped
00:33:11them 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 a dramatic?
00:33:19It's 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 don't know
00:33:29what you're talking 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.
00:33:58Just about says everything,
00:33:59doesn't it?
00:33:59George, I, uh...
00:34:01Auriel is my wife.
00:34:05Come on, George.
00:34:07You haven't loved each other
00:34:08for 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,
00:34:19we are still
00:34:21husband
00:34:22and wife.
00:34:25Oh!
00:34:25So you think
00:34:28I'm lying, do you?
00:34:30Well,
00:34:31I don't know what yarn
00:34:32she's been spinning you,
00:34:34but it's true.
00:34:36And
00:34:37I'll tell you
00:34:38something else
00:34:39that's true.
00:34:40I will do
00:34:40everything
00:34:41in my power
00:34:43to make sure
00:34:44that you
00:34:45never
00:34:45raise
00:34:46another penny
00:34:48for your
00:34:49stupid...
00:34:49Shut up!
00:34:50Shut up!
00:34:51Shut up!
00:34:51Please,
00:34:51this is no time
00:34:52for a bloody showdown!
00:34:54Come on!
00:34:54This is no time!
00:35:24Judith?
00:35:40I didn't find anything.
00:35:42Literally.
00:35:43Didn'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.
00:35:50We still have two other rooms.
00:35:51Well, you two can go on looking, but I'll be very honest with you.
00:35:55I need a little top-up of Dutch courage.
00:35:59What in here?
00:36:01Can you not hear that bomb ticking?
00:36:05Yes.
00:36:06Yes, I can.
00:36:07But 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.
00:36:19I'll take sculpture and you take ancient modern art.
00:36:21Okay.
00:36:34Thank God the library was still open.
00:36:36Right.
00:36:37This 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.
00:36:49Vous voulez que je parle en français, Richard?
00:36:51I think it is the map.
00:36:53She can't quite understand.
00:36:55Not you.
00:36:56I have always been terrible with maps.
00:36:57It's a bit of an achilles heel for me.
00:36:59Je suis désolé.
00:37:00It's because you're so young, love.
00:37:02We forget we're the last generation that didn't have sat-nav.
00:37:05Hey, speak for yourself.
00:37:06I'm 20 years younger than you, which makes me a straddler.
00:37:09Double?
00:37:09I straddled pre- and post-technology.
00:37:12Doesn't matter what form a map takes.
00:37:13I'm a dab hand.
00:37:14Right, there's a labyrinth of tunnels under the museum.
00:37:17You can see the entrances all around here.
00:37:20But they can only be accessed from the inside.
00:37:23Hang on.
00:37:24This one looks like it's leading from the outside in.
00:37:28What do you mean?
00:37:29Look, 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.
00:37:39Right around here somewhere.
00:37:40Gloria, can you pull the van back a bit, love?
00:37:54OK.
00:38:00Lovely, that's it.
00:38:02There'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.
00:38:13And, uh, toolbox?
00:38:18There's a knack to this.
00:38:21Tell them.
00:38:24All right.
00:38:28Are you ready?
00:38:32Aim!
00:38:34Aide-moi sous-vissat!
00:38:40You are full of handy tricks, Patrick.
00:38:43I'm not going to ask where you land them.
00:38:46OK, I'm going in.
00:38:47Richard, get me an earpiece.
00:38:49You'll need this as well.
00:38:50It's my head torch.
00:38:51Thank you, Gloria.
00:38:56You're sure I can't go with you?
00:38:57Richard, I need you to take control here.
00:39:01You are now in charge.
00:39:03Oui, 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 because 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.
00:39:46Bingo.
00:39:56The shutters are connected to the museum's mainframe.
00:39:59Meaning you don't need Wi-Fi?
00:40:02Exactly.
00:40:03I may be able to override it if both systems are kept connected.
00:40:08Where's your main computer?
00:40:14Um, it's in my office, uh, next to the event room.
00:40:19What's your passcode?
00:40:22It's Eve, uh, one, two, three, four.
00:40:26Eve, press your finger firmly on this pad.
00:40:30I may be able to change your fingerprint identity to yours.
00:40:33Gabriel, when a code pops up, press Enter straight away.
00:40:36Enter straight away.
00:40:37OK.
00:40:37OK.
00:40:38I'm going to your office.
00:40:45Eh ben.
00:40:46Qui aurait cru qu'elle serait ton surmère, Lara Croft?
00:40:48OK.
00:41:02Oh, hello.
00:41:03What are you doing here?
00:41:04I'm going to your office.
00:41:05Oh, hello.
00:41:06Oh, hello.
00:41:06Oh, hello.
00:41:06Oh, hello.
00:41:07The End
00:41:11The End
00:41:15The End
00:41:17The End
00:41:19The End
00:41:21The End
00:41:23The End
00:41:25The End
00:41:27The End
00:41:29I don't even know the little docks.
00:41:31You're good.
00:41:33Yeah, I'm not sure.
00:41:35We're not sure.
00:41:37Don't worry.
00:41:39How do you feel?
00:41:41In any case,
00:41:43I wanted to tell you,
00:41:45it's been a long time
00:41:47that we've been known,
00:41:49but you've got my life.
00:41:51Oh, really?
00:41:53It's so sad.
00:41:55Sorry, Gabriel.
00:41:57Just that I'm really scared.
00:41:59Sorry.
00:42:01The code will appear
00:42:03in a moment.
00:42:05It must be deleted.
00:42:07It's okay.
00:42:09What the hell is this?
00:42:11What came first?
00:42:15Medieval or Renaissance?
00:42:17Medieval.
00:42:18Oh, right.
00:42:19So, Medieval was the 5th to the 14th century
00:42:23and Renaissance was the 14th to the 17th?
00:42:25Correct.
00:42:27Yeah, no, it says it here on the card.
00:42:29What's the card?
00:42:31This is beautiful.
00:42:33It's handspun wool and silk.
00:42:37And this is called a verdu tapestry,
00:42:39derised from the French word for green.
00:42:41Ver.
00:42:43Yeah.
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.
00:42:53These two look how I feel.
00:42:55How come none of them ever smiled?
00:42:57There was a theory that they didn't want
00:42:59to show their bad teeth.
00:43:00Fair dues.
00:43:01I think it was just really hard work
00:43:03to maintain a smile whilst you're having
00:43:05your portrait painted.
00:43:06I mean, sitting there for hours like that,
00:43:08not like taking a selfie, is it?
00:43:10That's true.
00:43:14Don, come out.
00:43:16Okay, right.
00:43:21Look at the heart.
00:43:23Her fruit from above.
00:43:25Her face like the sun.
00:43:27Her heart full of love.
00:43:28I mean, I wouldn't exactly say her face is sunny, but...
00:43:31Tonatello, terracotta.
00:43:33You didn't look at the card?
00:43:35Oh, well, he's one of my favourites.
00:43:37Mind you, there is a debate that it could have been Rebea, but...
00:43:42It says it's on loan from Florence.
00:43:44But it fits all the clues.
00:43:48Can I have your phone?
00:43:59Oh, we best get back to the others.
00:44:02Not much time left, is there?
00:44:05I love you, Jane White.
00:44:07Dom, we will get out of here.
00:44:10Yeah?
00:44:11Yeah, yeah.
00:44:12Yeah, come on.
00:44:13One...
00:44:14Two...
00:44:15Three!
00:44:22All right, all right, all right.
00:44:24Let's...
00:44:25Just take a minute.
00:44:27Good idea.
00:44:28So, how did you find out about the affair?
00:44:46I wasn't sure at first.
00:44:48But I had my suspicions for months.
00:44:50What made you suspicious, if you don't mind?
00:44:54No, I don't mind.
00:44:55I don't mind.
00:44:57We run our businesses like clockwork, and then all of a sudden she becomes interested in charity.
00:45:03Now, 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...
00:45:20She met him.
00:45:21Ah.
00:45:22Dr. Pardipa.
00:45:23Mm-hmm.
00:45:26We 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.
00:45:37I should see the difference it makes, blah, blah, blah.
00:45:40And 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.
00:45:56You know, I've never loved another woman.
00:46:00I just thought...
00:46:04Maybe she didn't love me as much as she used to.
00:46:08That we'd always have.
00:46:11Respect.
00:46:15You're right, old chap.
00:46:17Once the respect has gone...
00:46:22Come on, George.
00:46:24We've got to find a way out of here.
00:46:26Come on.
00:46:27Oh.
00:46:31Where on earth is everybody?
00:46:35Ah, hello.
00:46:36Who have we here?
00:46:40What a zero chance of my reading that tiny writing.
00:46:44You do have a look of a female, I suppose.
00:46:46But is that a child?
00:46:51Oh, bloody hell.
00:46:53I forgot to pick up my glasses.
00:46:55I know.
00:47:03Oh, I see.
00:47:05Not a child, but a sheaf of wheat.
00:47:09Nearly.
00:47:10Come on.
00:47:11Come on.
00:47:12Come on.
00:47:14Come on.
00:47:15Come on.
00:47:17Come on.
00:47:19Okay.
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.
00:47:28Okay.
00:47:30Give me a second.
00:47:41It's locked.
00:47:43The door's locked.
00:47:45Give me your handset.
00:47:50Andre?
00:47:52Describe the lock to me as best you can.
00:47:56It is a rectangle with a large keyhole in the middle.
00:48:00Looks like a church door lock.
00:48:03And it is very rusted.
00:48:06Sounds like a rim lock.
00:48:07Not too tricky.
00:48:08So, use the screwdriver attachment on your multi-tool to turn the lock to your right.
00:48:19Okay.
00:48:20I'm ready.
00:48:22No.
00:48:27No.
00:48:31Well.
00:48:38No.
00:48:40I give him.
00:48:42What do you mean George knows?
00:48:44He just came straight out of me.
00:48:46Said he'd been looking through your phone.
00:48:48Looking through my phone?
00:48:49How?
00:48:51It never leaves my sight.
00:48:53We hardly see each other.
00:48:55We live separate lives.
00:48:57Well, that's not what he said.
00:48:59What?
00:49:00He implied that the two of you are still very much in love.
00:49:04Oh!
00:49:05And that this whole dislike thing is just an act.
00:49:08Oh, Ali, that is rubbish.
00:49:11We don't even sleep in the same room.
00:49:14And the worst bit of it is...
00:49:16He said he's going to make sure that I don't receive another penny for the charity.
00:49:22Oh.
00:49:24That's the worst thing, yeah?
00:49:26Well, it's nice to hear you've got your priorities straight.
00:49:30No, Oriel, you are my priority.
00:49:34But if you're still in love with him...
00:49:37Ali, please, it's rubbish.
00:49:39He's just bitter, believe me.
00:49:41I love you.
00:49:44Did you find anything?
00:49:46Oh, I've taken a picture of a few pieces, but I haven't really got a clue what I'm looking for.
00:49:51Yeah, I mean, the riddle is a little vague.
00:49:54Yeah, that's the understatement of the century.
00:49:56But the bomb threat is very clear.
00:49:59Yeah, yeah, we should find the others and regroup, yeah?
00:50:01That's where I was heading.
00:50:03Oh.
00:50:05Oh, no, they're all locked!
00:50:08Oh.
00:50:10Surely that idiot Gabrielle has a set of keys.
00:50:12I think we've established, George, that Gabrielle has literally no idea where they are.
00:50:29Oh, hello, you two.
00:50:31Oh, hello, darling.
00:50:32Any success?
00:50:34Oh, it's bloody useless.
00:50:36I can't find one single religious painting.
00:50:39No, I've tried my utmost, and that's all I can do.
00:50:42It's all so hopeless.
00:50:44How are you getting on?
00:50:45How are you getting on?
00:50:46We've tried all the doors.
00:50:47And windows.
00:50:48Nothing.
00:50:49Oh, utterly infuriating.
00:50:51Maybe we should get back to the others.
00:50:53Good idea, George.
00:50:54Come on.
00:50:55We will get out of here, won't we, darling?
00:50:56We will get out of here, won't we, darling?
00:50:58Oh, come here.
00:51:01Of course we will, my darling.
00:51:04One way or the other.
00:51:05Very, very gently.
00:51:06Nothing seems to be biting.
00:51:07Take your time.
00:51:08That is something we do not have.
00:51:09Ah!
00:51:10I think I can kick the door in.
00:51:11No, no, no, no.
00:51:12Don't do that.
00:51:13We don't want any unnecessary vibrations.
00:51:14Andre?
00:51:15Andre?
00:51:16Andre?
00:51:25Andre?
00:51:26Andre?
00:51:29Andre?
00:51:31Andre?
00:51:32Oh!
00:51:33Oh!
00:51:34Oh, you keep it, Stacy.
00:51:37No, didn't want anyone anymore.
00:51:39What?
00:51:40Oh, my God.
00:51:41Oh, my God.
00:51:43Frank.
00:51:44Any joy?
00:51:56Yes.
00:51:59And now, this is a picture by Camille Corot in 1860,
00:52:05and it's of a normal, earthbound human child.
00:52:09Sorry. No, it's OK.
00:52:11Ellie, anything?
00:52:13I couldn't find the card for this,
00:52:14but it looks like a modern art version of Mary and Jesus.
00:52:18Well, is it?
00:52:20No. I'm afraid not.
00:52:23It looks like modern art,
00:52:25but I think it's a copy of the famous Corotrophos,
00:52:28which is one of the earliest Neolithic finds in Greece.
00:52:316000 BC.
00:52:33Oh.
00:52:35Not with George and Jeremy, then, Ellie?
00:52:38No, the, um...
00:52:40We couldn't...
00:52:41Doors.
00:52:45I've got something to tell you.
00:52:46Oh, Don.
00:52:47Oh, how did it go?
00:52:49We're really trapped.
00:52:50Tried everything.
00:52:52Every window, every door is either deadlocked or barred.
00:52:55Judith, did you find anything to match the poem?
00:52:58I found a painting that might be a mother and child,
00:53:01but I'm not entirely sure it's the right way up.
00:53:05No.
00:53:09Don, can you get up that picture of the Donatello, please?
00:53:12No.
00:53:13Okay.
00:53:14Two attempts to survive, one date do we seek.
00:53:26Do you think it's time to put our best option in?
00:53:29Don't really have a choice, do we?
00:53:31Well, shouldn't we wait to see if Sangeetra and the others
00:53:34have had some success?
00:53:35I don't think there's any harm in trying.
00:53:37I've been trying.
00:53:38I've been trying.
00:53:39Oh, my God.
00:54:09Andre, can you hit me?
00:54:15Yes, Patrick.
00:54:18We lost you for a few moments. You had us worried.
00:54:21So, 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.
00:54:39The 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?
00:55:02He 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?
00:55:14Uh, mainly leather, I think, but with some rubber on the inside.
00:55:18Great. Take your knife and slice a thin piece of rubber off.
00:55:21Okay, I've done that.
00:55:30Put it in the lock and rub as hard as you can.
00:55:35Okay.
00:55:39Is it working?
00:55:40Yes!
00:55:41Yes, 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.
00:55:47Right, 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?
00:56:02Andre?
00:56:02It's not opening, Patrick!
00:56:09Okay.
00:56:10Uh, I want you to describe it for me again as best you can with every detail.
00:56:17Every detail you can.
00:56:21Uh, it's brass, I think, with a fancy design on it, like a fleur-de-lis, sort of.
00:56:30Oh, 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.
00:56:41Hmm?
00:56:42Then turn it one more time.
00:56:52It's unlocked!
00:56:53Yes!
00:56:54Yes!
00:56:55Okay, Andre.
00:56:57Once you're through the door, you're going to your right.
00:57:04Can't believe I got it so wrong.
00:57:05Look, you can't blame yourself, Jane.
00:57:07Well, it's false, is it?
00:57:08I sent you all on a wild goose chase.
00:57:10You did something, though.
00:57:12Yeah, then I got it wrong.
00:57:13I don't want to die like this, Jeremy.
00:57:16Oh, I know, my darling, I know.
00:57:17I know.
00:57:21Why didn't you tell me it'll all be all right?
00:57:25What?
00:57:26You always say it'll all be all right, darling, and it always is.
00:57:31Well...
00:57:31How much time have I got left?
00:57:48How much time has he got left?
00:57:50Only 17 minutes, I'm afraid.
00:57:5417 minutes, Andre.
00:57:56Keep going straight on.
00:57:57In any day, you're doing great.
00:57:58It's not time to catch you.
00:58:15I was about to take you away.
00:58:17You don't want to move.
00:58:18It's weird to protect you.
00:58:19So, you're in all your luck.
00:58:20No, no!
00:58:21Do you have to care about her.
00:58:22I want to find her and see what she thinks.
00:58:24Do you want to know what I bought you for Christmas?
00:58:44You know I prefer a surprise.
00:58:47But 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?
00:59:04Our life together.
00:59:06I've had such a lovely time.
00:59:10I thought after losing the twins we wouldn't last.
00:59:15Lots 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, we 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.
00:59:39Anyway, I'm glad we're here together.
00:59:42I've always dreaded the thought of going first and leaving you behind.
00:59:48Me too.
00:59:50What?
00:59:51What?
00:59:52What?
00:59:53Are you sure?
00:59:54Positive.
00:59:55How?
00:59:56She has been shot.
00:59:57Shot?
00:59:58She was trying to change the fingerprint control and needed access to the main computer in my office.
01:00:03So she left us and went to the office and waited for ages.
01:00:04And you just found her there?
01:00:05Yes.
01:00:06I need to see her.
01:00:07No, no, no.
01:00:08I'm not sure you should.
01:00:09Look, I'm a doctor.
01:00:10Maybe she's still alive.
01:00:11Take me to her.
01:00:12Ali, Ali, listen.
01:00:13Look at me.
01:00:14I just need to see my wife.
01:00:15Show me to your office.
01:00:16Okay.
01:00:17Everyone needs to stay here.
01:00:18No one must leave.
01:00:19Don't come with me.
01:00:20Yeah.
01:00:21I'm not sure you should.
01:00:22Look, I'm a doctor.
01:00:23Maybe she's still alive.
01:00:24Take me to her.
01:00:25Ali, Ali, listen.
01:00:26Look at me.
01:00:27I just need to see my wife.
01:00:29Show me to your office.
01:00:30Okay.
01:00:32Everyone needs to stay here.
01:00:34No one must leave.
01:00:35Don't come with me.
01:00:36Yeah.
01:00:46Oh, my love.
01:00:49Ali, 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?
01:01:16Ali 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.
01:01:33Well, 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.
01:01:45All the banking codes, they are gone.
01:01:50Are you sure they were in there earlier?
01:01:52Yes.
01:01:53When I came to get the Ormolu from the safe, I clearly remember seeing the file.
01:01:58And who else knew the combinations of the safe?
01:02:01Only me.
01:02:02And Eve, he 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.
01:02:15Right, we have to stick together.
01:02:16There's a murderer amongst us.
01:02:22Yeah.
01:02:23I've got my friend.
01:02:24Gloria.
01:02:25I must be near.
01:02:26I can hear voices.
01:02:27You're right underneath the events room.
01:02:28Carry on for about another ten yards, and you'll see a ladder on your right.
01:02:33That'll take you directly up to the museum.
01:02:34Are you okay, love?
01:02:35Yes, I'm fine.
01:02:36Yards to meters.
01:02:37Multiply the length given in yards by 0.9144.
01:02:38I found the ladder.
01:02:39He's found the ladder.
01:02:40He's found the ladder.
01:02:41He's found the ladder.
01:02:42He's found the ladder.
01:02:43I'm heading up now, Gloria.
01:02:44I'm heading up now, Gloria.
01:02:45Well done, Andre.
01:02:46You're nearly there.
01:02:47Well done, Andre.
01:02:48You're nearly there.
01:02:50The security engineer has now landed at the airport, and she's on her way now in the police
01:02:53call.
01:02:54I'm done.
01:02:55Close the light.
01:02:56Thank you, coroner.
01:02:57Of course.
01:02:58Alright, let's go.
01:02:59Okay, how do you do it?
01:03:00Sarah?
01:03:02Okay.
01:03:03Yes, I'm fine.
01:03:05Yards to meters.
01:03:06Multiply the length given in yards by 0.9144.
01:03:08I found the ladder.
01:03:09He's found the ladder.
01:03:10He's found the ladder.
01:03:11He's found the ladder.
01:03:12Oh my god, I'm heading up now, Gloria.
01:03:13Well done, Andre.
01:03:14You're nearly there.
01:03:15The security engineer has now landed at the airport, and she's on her way now in a police car.
01:03:19Brilliant!
01:03:32Andre! Andre, are you okay?
01:03:35Andre, can you hear me?
01:03:37Maybe we should start praying to them paintings we found. It looks like that's our only choice.
01:03:49You like to have a choice, don't you?
01:03:51What's that meant to mean?
01:03:53You know exactly what that means.
01:03:55If you've got something to say, George, why don't you just come out with it?
01:03:59If I've got something to say, I will decide when I say it.
01:04:04Always 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.
01:04:34What are you thinking?
01:04:46I'm trying to work out the murder in real time.
01:04:49Get Jeremy and Judith over to help, will you?
01:04:52Hey, you two. Jean need your help.
01:04:55I'm not sure I'm not help to anyone, Dominic.
01:04:57Judith's not feeling great.
01:04:59We're all not feeling great, Jeremy.
01:05:03Sorry. Sorry, 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?
01:05:16Sorry, old chap. Yes, of course.
01:05:19Oh, great.
01:05:21Okay.
01:05:22So, whoever murdered Sangeeta and Suzanne has something to do with the bomb and this whole nightmare evening.
01:05:29It makes sense for everything to be connected.
01:05:31Yeah.
01:05:32Who would kill Sangeeta? Who would murder someone like that?
01:05:35Well, Ali's having an affair with Auriel.
01:05:38Oh, yeah, Dom told me.
01:05:39What?
01:05:40Yeah, George just poured his heart out of me.
01:05:42The poor chap is broken.
01:05:43Yeah, and I saw Ali and Auriel in the corridor earlier talking about it.
01:05:46Do you think he bumped off his wife to run off with a billionaireess?
01:05:51That'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.
01:06:04In 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.
01:06:13So 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.
01:06:43There's only one person that used the map.
01:06:46Sweet.
01:07:02Of course.
01:07:04It's so small, it's...
01:07:06It's a nose ring.
01:07:08Oh.
01:07:11Oh.
01:07:14It was Ali.
01:07:15It was all Ali.
01:07:17What?
01:07:18Ali is the murderer.
01:07:20Don't, don't, don't, look.
01:07:21How 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.
01:07:28So, how could she be murdering the security guard at the same time?
01:07:36Unless...
01:07:38Oh.
01:07:39This question.
01:07:45Don.
01:07:51Don, give us a hand with this.
01:07:52Yeah.
01:08:02Oh my God.
01:08:06She's still alive.
01:08:16Let's get her in here.
01:08:17What the hell?
01:08:18Who on earth is this?
01:08:20Jean, for God's sake, explain.
01:08:21What on earth is going on?
01:08:23Only again.
01:08:25Just a minute.
01:08:27I'm intrigued.
01:08:29We still have a few minutes before we escape.
01:08:31How did you know?
01:08:33Eve?
01:08:35What are you doing?
01:08:37I'm intrigued.
01:08:39We still have a few minutes before we escape.
01:08:41How did you know?
01:08:43Eve?
01:08:44What are you doing?
01:08:48Go on, Madame White.
01:08:50It didn't come to me straight away.
01:08:53Then I worked out that it was you who killed Sangeeta,
01:08:57and stole the bank accounts.
01:08:59You mistakenly left your map on the floor,
01:09:03at the side of the safe.
01:09:05I suppose when Sangeeta came in to override the fingerprint control,
01:09:11well, she caught you red-handed.
01:09:14Oh!
01:09:18And then I worked it back.
01:09:20I mean, how did you get in the safe in the first place?
01:09:24Only Gabrielle and Eve knew the combination,
01:09:28so it made sense one of them was your accomplice.
01:09:32At all.
01:09:33At all.
01:09:41And then I remembered, earlier in the evening,
01:09:44Sangeeta recognised you, Eve,
01:09:47from a prison outreach event.
01:09:49Have we met somewhere before?
01:09:50We very much doubt it.
01:09:53I don't do prisons on charity here.
01:09:56I assume you've not been out of prison for very long,
01:09:59for Sangeeta to recognise you from something so recent.
01:10:03Eve, is this true?
01:10:04Is this true?
01:10:08But you, Ellie, yeah?
01:10:11I couldn't work out how you could be in two places at once.
01:10:14Serving champagne here and, well,
01:10:18murdering the security guard down there.
01:10:22But you weren't, were you?
01:10:26This is what I think.
01:10:28You went to the museum,
01:10:31and you forced the security guard to activate the shutters.
01:10:45Once you'd started the bomb,
01:10:48you raced up here,
01:10:51changed your outfit,
01:10:53and you placed the bomb in the cabinet.
01:10:58Just outside this room.
01:11:09Then you accosted that poor waitress.
01:11:14And you bundled her into the cupboard.
01:11:16And it's brilliant, really.
01:11:18All Eve had to do was hire an agency waitress
01:11:22who looked a little bit likely.
01:11:24Wait.
01:11:26No one had ever met either of you before,
01:11:28so no one would realise that you were an entirely different person.
01:11:32But how did you get the bomb inside the Ormalu?
01:11:37Well,
01:11:39you throwing champagne over George was no accident, was it?
01:11:44The minute that you heard Gabrielle and Eve in the corridor,
01:11:47that was your cue to cause a distraction.
01:11:54What the hell?
01:11:59Giving Eve just enough time to plant the note for me,
01:12:04and to put the bomb in the box.
01:12:05in the box.
01:12:06No!
01:12:07No!
01:12:08No!
01:12:09No!
01:12:10No!
01:12:11No!
01:12:12She was a sweet one like that.
01:12:14Very good, Madame White.
01:12:15I sort of understand the murders to steal the bank codes.
01:12:23But why the bomb?
01:12:25Why the poem?
01:12:28Well,
01:12:30that is what you would all take to your graves
01:12:33without knowing.
01:12:35But there's no way out.
01:12:37Not for you, anyway.
01:12:53The security engineer is almost here.
01:12:58Well, we've only got two minutes left.
01:13:14Two of the most important people in my life are in that building.
01:13:17Heads down, please.
01:13:18Right.
01:13:21I'm going to smash this door down.
01:13:22What's the point?
01:13:24There'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 going to 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.
01:13:41Oh.
01:13:45This is a picture of Marie Antoinette dressed as a Vestral Virgin
01:13:48by Charles Le Clarke in 1777.
01:13:52In relation to the poem,
01:13:54Fruit from Above,
01:13:56well, Marie Antoinette's father was a Pope,
01:13:59faced like their son.
01:14:00Well, erm,
01:14:01she was married to the great-great-grandson
01:14:03of the Sun King,
01:14:04and fate was not kind.
01:14:05Well, it wasn't kind to her.
01:14:06She had her head cut off.
01:14:16One.
01:14:17Seven.
01:14:18Seven.
01:14:19Seven.
01:14:20Seven.
01:14:27Oh!
01:14:31Oh-ho-ho-ho-ho!
01:14:33Oh-ho-ho-ho-ho-ho!
01:14:36I said we'd be alright!
01:14:40Oh, Judith!
01:14:41Judith, you're a genius!
01:14:43The box, Marie Antoinette,
01:14:44of course it was to do with her!
01:14:46Oh, I'm going too old for this.
01:14:48Clever, clever darling.
01:14:49I'm so pleased I didn't tell you what I brought you for Christmas.
01:14:59What happened?
01:15:02Nothing.
01:15:03Hi!
01:15:04Hi!
01:15:10Listen, I don't want to break up the party,
01:15:12but we are still locked in.
01:15:14I know we don't have the threat of the bomb anymore,
01:15:16but we are still locked in.
01:15:18Come on, let's get this door open!
01:15:20Right, come on.
01:15:22Right, okay.
01:15:23On count of three.
01:15:24One!
01:15:25Two!
01:15:26Three!
01:15:27Two!
01:15:28Three!
01:15:29Charlie!
01:15:30I must have loosened it earlier!
01:15:31Loosen it!
01:15:32It's a real dreamboat there, hey, my darling wife.
01:15:55Come on, come on, come on, the shutters are opening, come on, come on, come on, come on.
01:16:04Oh, Karen, you little beauty!
01:16:13Excuse me, excuse me for me.
01:16:20Come on, come on, come on, come on, come on.
01:16:23This way.
01:16:25This way, please.
01:16:27How's that?
01:16:29Thank you so much.
01:16:30This way.
01:16:31Yeah, yeah, go.
01:16:32Sit down.
01:16:33Gene, you all right?
01:16:37Am I glad to see you.
01:16:39You too, sir.
01:16:41That must have been so scary.
01:16:43It's 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.
01:16:51Where's Karen?
01:16:53What happened?
01:16:55He came in to get you.
01:16:57How?
01:16:58The tunnels underneath the museum.
01:17:01The what?
01:17:02There's a load of bomb shelters.
01:17:04It was my idea, but...
01:17:06His radio's gone silent.
01:17:09We think he has fallen.
01:17:11What?
01:17:12What?
01:17:13They had to wait and see if the bomb exploded before they went to check on him.
01:17:18Just preparing to go and find him now.
01:17:20Come on.
01:17:21Come on.
01:17:22Come on.
01:17:23Come on.
01:17:24Come on.
01:17:25Come on.
01:17:28Come on.
01:17:29Come on.
01:17:30Come on.
01:17:34I assume these two have something to do with all this.
01:17:37I thought I killed you.
01:17:39Not quite.
01:17:40Oh, André.
01:17:42It's so good to see you for all.
01:17:45Good to see you, mate.
01:17:47Oh.
01:17:48Jean?
01:17:50Richard.
01:17:51Jean, can you fill me in on what happened?
01:17:56Then I will interview those two in the morning.
01:17:58What?
01:17:59Now?
01:18:00Are you sure you're up to it?
01:18:02You know I like to keep busy at Christmas.
01:18:05Yeah.
01:18:06I do.
01:18:07Yes.
01:18:08Oh, my goodness.
01:18:09Oh, my goodness.
01:18:10I do.
01:18:11Yes.
01:18:12Oh, my goodness.
01:18:35Oh, pray,ビte.
01:18:36Ow, have you reasoned him for this?
01:18:39Carlos, you've damn it.
01:18:40your poor face.
01:18:42Oh, no, oh, no.
01:18:44I'm right, please.
01:18:45bowlingмерs pour in my hands.
01:18:46Oh, my goodness.
01:18:47Oh, my goodness.
01:18:48I'm not sure I like brunch.
01:19:06What?
01:19:07Well, the word, the blending of two words to make another, like, um, motel.
01:19:13Portmanteau.
01:19:14Oh, bless you.
01:19:16Portmanteau is the blending of two words.
01:19:18To make another one.
01:19:20Although, portmanteau also means a leather case with two sections, but...
01:19:24Where would we be without your brain, eh?
01:19:26I think we're 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.
01:19:36Well, thank you.
01:19:37Now, can I tempt you to a croissage?
01:19:41What?
01:19:42It's a croissant with a sausage inside and portmanteau in.
01:19:47Fresh coffee?
01:19:48Oh, thank you, Patrick.
01:19:52Why aren'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.
01:19:59It 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?
01:20:07Not with white slice and beef paste.
01:20:08We ended up feeding the ducks.
01:20:11There you are.
01:20:11Plenty more where that came from.
01:20:13Oh, lovely.
01:20:13Will you sit down?
01:20:15We've got loads here.
01:20:16We need to save a little bit of room for Christmas dinner.
01:20:18You sound just like I did when you were a nipper.
01:20:21Do you know, one Christmas morning, he ate three packets of mince pies and half a Christmas
01:20:25cake before breakfast.
01:20:26How old is he?
01:20:30Five?
01:20:31Fifteen, actually.
01:20:33I was a little bit worse for wear, but I didn't know that then.
01:20:36I just needed a sugar rush.
01:20:37I have never really believed in hangovers.
01:20:40I think it's a case of mind over matter.
01:20:42I think that's why I've never heard one.
01:20:47Oh, excuse me.
01:20:50Ah, Karen is ready for me to go over.
01:20:54Oh, you want me to come with you?
01:20:55No, no, 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.
01:21:01Do you have some food with you?
01:21:02Oh, no, I'm really full.
01:21:04For Andre and Risha.
01:21:06Oh, yeah, great idea.
01:21:08Tell 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?
01:21:17Wonderful idea, darling.
01:21:19Carpe bloody diem after yesterday, that's what I say.
01:21:23I'll get some glasses.
01:21:27Hey.
01:21:29What?
01:21:32Merry 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.
01:21:44Don't be daft.
01:21:45It won't be gone long.
01:21:46Yeah, I know, but...
01:21:48I'll tell you what, why don't you get on the morning champers
01:21:51and you won't even know I'm missing?
01:21:53Okay.
01:21:54Come in.
01:21:55Happy Christmas.
01:22:11Well, it would be if we could get these two to speak.
01:22:14Oh, no joy.
01:22:15Nothing from him.
01:22:16He's just playing games.
01:22:18But the girl, I think, is starting to break.
01:22:21That's why I asked you here.
01:22:22She's upstairs.
01:22:24Oh.
01:22:24From Patrick.
01:22:26Merci.
01:22:26So, 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
01:22:49to steal the bank codes.
01:22:51But 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?
01:23:03Of course.
01:23:05I know nothing about bombs.
01:23:08Less about poems.
01:23:11And I had no idea who you were until yesterday.
01:23:14So, what happened?
01:23:19No comment.
01:23:21If 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.
01:23:38The last time I was in prison,
01:23:41I shared a cell with a woman who worked as a consultant
01:23:44at the museum.
01:23:46She knew everything about it.
01:23:48Every nook and cranny.
01:23:51She said if I kept in touch once I got out,
01:23:56she would be able to help me get inside,
01:23:59override the security system,
01:24:01steal the bank codes,
01:24:03and get out scot-free.
01:24:06Go on.
01:24:07So, I kept on visiting her.
01:24:09And, sure enough, we came up with a plan.
01:24:12I got my friend,
01:24:15I got my friend, Eve, involved,
01:24:16flirting with that idiot of a curator, Gabrielle,
01:24:19to get someone on the inside.
01:24:24But still,
01:24:26why me?
01:24:27Why the bomb?
01:24:28It was very strange.
01:24:30The last time I went to see her,
01:24:33she had found out through her contacts
01:24:35that you,
01:24:38Mrs. Jean White,
01:24:40would visit the museum on Christmas Eve.
01:24:43And?
01:24:44She was wild.
01:24:45She was wild.
01:24:47Cold with rage.
01:24:49God, she really hated you.
01:24:52So, instead of a simple robbery as planned,
01:24:57I was to plant a bomb and a letter to you.
01:25:00She said I would be safe.
01:25:05That there was a way out under the museum.
01:25:10She said it was a game she liked to play with you.
01:25:15It all seemed a bit psychotic to me.
01:25:18But then again, so did she.
01:25:22And I had nothing to lose.
01:25:25So, I did what she said.
01:25:29What was her name?
01:25:30Barbara.
01:25:32Barbara.
01:26:00Barbara.
01:26:08What fun, Mrs. White.
01:26:14Till next time.
01:26:16Ho, ho.
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