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00:00:00You all look fantastic.
00:00:09Thank you, Gloria.
00:00:11It's a treat to have an opportunity to really make an effort.
00:00:14Yes, we've been very casual of late, haven't we, darling?
00:00:17We have.
00:00:18Where is he going to again? Is it just a Christmas party?
00:00:21To be perfectly honest, I'm not sure, Gloria.
00:00:23It's all very cloak and dagger.
00:00:25I'm on the board of the museum with Gabrielle Gelbar,
00:00:28our new curator.
00:00:30Very excitable chap.
00:00:31Says he wants to put our lovely old museum on the map.
00:00:34He insisted that this afternoon was very important
00:00:36for the future of the museum and that we all came,
00:00:39especially you, Jean.
00:00:41What?
00:00:42Oh, right.
00:00:44Very mysterious.
00:00:45But I do like a free drink.
00:00:47Eh, and it better be free champagne.
00:00:49It better be.
00:00:50This dress deserves more than cheap Prosecco.
00:00:52Now, where is Dominic? We really must be going soon.
00:00:55Give him a quick ring.
00:00:56Sorry. Sorry I'm late, everyone.
00:00:59Oh, it doesn't matter. Dominic, you're here now.
00:01:01Let me just finish my drink.
00:01:03Have a fab time.
00:01:05Yeah, come in.
00:01:06Oh, special invite only.
00:01:07Enjoy yourselves.
00:01:08Oh, thanks, love.
00:01:09You got plans, love?
00:01:10Yeah, Patrick's doing a Christmas quiz.
00:01:12Me and Douglas have been swatting up.
00:01:15You smell nice?
00:01:16Well, I've got me special aftershave on.
00:01:18You're very lucky, actually, because of my last bit.
00:01:20Well, you never know.
00:01:21Father Christmas might bring you some more tomorrow.
00:01:22Oh, that would be a nice surprise.
00:01:24Oh, Jean, your bag.
00:01:27Now, Dominic, this vintage dress will not love the back of your car.
00:01:33Would you mind awfully, Jean, if I sat in the front?
00:01:36Be by guest, Judith.
00:01:38Don't forget me.
00:01:39You know, it's so funny.
00:01:57In all the years I've lived in Saint-Bitois, I've never been in here.
00:02:01Really?
00:02:01No, I dropped Claudia off on a school trip once, but never been inside.
00:02:05Well, let's see what you've been missing.
00:02:06Ah, hello there.
00:02:17We are the invited guests of Gabriel's jail bar.
00:02:21Ah, oui, bien sûr.
00:02:23C'est dans la salle de réception.
00:02:25Vous n'avez qu'à suivre les indications.
00:02:29I think she wants us to head to the event room.
00:02:32Merci.
00:02:34Merci.
00:02:39Et voilà.
00:02:41I've never really seen the print in the museums.
00:02:45They preserve our history, Judith.
00:02:47Give people a chance to get up close to amazing works of art.
00:02:51Well, I suppose so.
00:02:52But there's so much to look at.
00:02:54I find them quite claustrophobic.
00:02:56I mean, where do you start?
00:02:59Hang on, darling.
00:03:00What about that trip we made to the Louvre when we first met?
00:03:03Yes.
00:03:05How could I ever forget that?
00:03:08I've never looked at a picture of the Mona Lisa in quite the same way again.
00:03:12You're in your element, aren't you?
00:03:23What?
00:03:25Oh, this way.
00:03:26I'm not going to be able to get up close to anything.
00:03:27I'm not going to be able to get up close to anything.
00:03:28I'm not going to be able to get up close to anything.
00:03:29I'm not going to be able to get up close to anything.
00:03:30I'm not going to be able to get up close to anything.
00:03:31I'm not going to be able to get up close to anything.
00:03:32I'm not going to be able to get up close to anything.
00:03:33I'm not going to be able to get up close to anything.
00:03:34I'm not going to be able to get up close to anything.
00:03:35I'm not going to be able to get up close to anything.
00:03:36I'm not going to be able to get up close to anything.
00:03:37I'm not going to be able to get up close to anything.
00:03:38I'm not going to be able to get up close to anything.
00:03:39I don't know.
00:04:09Do you remember the first time
00:04:37That my eyes set on you
00:04:43Your smile came from nowhere
00:04:46For sometime never
00:04:48Or sometime soon
00:04:52The road is a long one
00:04:55I was only passing through
00:05:02I was only passing through
00:05:09At least they've got the good stuff
00:05:16Priorities, priorities
00:05:18Charming
00:05:19Lovely escutcheon
00:05:21It protects the door being scratched by the key
00:05:25Practical and fancy at the same time
00:05:27Yeah
00:05:28You like me, innit?
00:05:29Yeah
00:05:45Here you go, Dominic
00:05:46Merry Christmas to you morning
00:05:47Oh!
00:05:48Merry Christmas, Dominic Hayes
00:05:50So, what's this massive painting about then?
00:05:55It's very beautiful
00:05:56This is a sublime example of a Baroque fresco
00:06:00Right
00:06:01Very popular in Europe
00:06:03But I've never seen one in Santa Clara before
00:06:05It's really exciting
00:06:06Yeah?
00:06:07Well, a fresco is basically a wall painting
00:06:11Where the paint is brushed straight onto wet plaster
00:06:14By someone called Baroque
00:06:16No, actually
00:06:17Baroque was an artistic movement of the 17th and 18th century
00:06:21So, like paintings, music, architecture
00:06:25Everything was like big and bold
00:06:27And sexy, Dominic
00:06:29Very sexy
00:06:30My absolute favourite era
00:06:32So, that is Dr. Ali Pardy
00:06:37His head of the charity L'art change la vie
00:06:41What's L'art change la vie?
00:06:43Is that something about art helping ex-prisoners or something?
00:06:48Oh, that sounds great
00:06:49Well, that must be his wife
00:06:51I think her name is Sangeeta
00:06:53I've invited her to several of my bridge evenings
00:06:55But to no avail
00:06:57And they're talking to George and Auriel Alphonse
00:07:02Huh?
00:07:03As in Alphonse?
00:07:05From Alphonse Crush?
00:07:07What?
00:07:08The soft drink?
00:07:09Oh, I used to love that
00:07:11Kept me awake at night when Claudia was a baby
00:07:13Huh?
00:07:14An amazing couple
00:07:15They just floated their company last year for a hundred million euros
00:07:17Lucky sorts
00:07:18Apparently
00:07:19They can't stand each other but they can't leave
00:07:21Because they are literally too rich
00:07:23But
00:07:25Aha
00:07:26Jeremy
00:07:27Ça va mon ami
00:07:29If you say so
00:07:31Ah
00:07:32And Judith
00:07:33Mwah
00:07:34Mwah
00:07:35Do Jesus
00:07:36Will you ever age like us mere mortals?
00:07:38Oh, George
00:07:39You really are too much
00:07:40Let me introduce you to our dear friends Jean and Dom
00:07:43Very pleased to meet you
00:07:44Oh, aren't you?
00:07:45I was just saying I used to love your drink
00:07:47Ah
00:07:48Well
00:07:49Not my drink anymore
00:07:50But thank you, Dom
00:07:51I really appreciate that
00:07:52That's very kind of you
00:07:53Very kind
00:07:54Thanks for witnessing my loan agreement, Andre
00:08:04Not a problem, Patrick
00:08:05I sometimes come across trouble with financial affairs
00:08:08But having the chief of police as my witness
00:08:12That should shut them up
00:08:13Oh, no, Jean's left a phone
00:08:17I am on my way home now
00:08:18I can drop it off for her
00:08:19What's she's got to do at the museum?
00:08:21No problem, that is near my house
00:08:23Oh, brilliant
00:08:24Au revoir
00:08:25Thanks again, Andre
00:08:26See you at the quiz later
00:08:28You will indeed
00:08:29I am bringing Richard
00:08:30She's very good at politics questions
00:08:33Merry Christmas
00:08:34Joy Noel
00:08:35I never thought I'd be mates with a copper
00:08:38I am going to put a cup
00:08:42But where are they?
00:08:43They're already come?
00:08:45I'm already going to get married
00:08:46I know you're going to love when I'm doing good for you
00:08:47But I know you're good
00:08:48But my love, you're always beautiful
00:08:50These last months, it was just extraordinary
00:08:52Between my meeting with you
00:08:53And this dream job, it was amazing
00:08:56But I also
00:08:58And we have a whole life in front of us
00:09:00But we really need to work
00:09:02Gabriel, you're the new conservator of this museum
00:09:04Can you give me the quarter of the police?
00:09:06No, no, not at all.
00:09:08My only mission is to make this international museum.
00:09:12We have Alphonse who are ready to invest 10 million euros.
00:09:15It would change everything.
00:09:17It's not exactly how it works.
00:09:19Alphonse!
00:09:30He said it would.
00:09:32Ah, Gabriel!
00:09:34Well, here he is, our curator himself.
00:09:37Jeremy, Judith, good to see you both.
00:09:39You too, Gabriel.
00:09:41And this is Jean White.
00:09:43Delivered as promised.
00:09:45Delivered?
00:09:46Oh, hello.
00:09:47It's a pleasure to meet you, Mrs White.
00:09:49Your expertise precedes you.
00:09:50Thank you so much for being here.
00:09:52All right, it's a pleasure.
00:09:53This is my partner.
00:09:54Your fiancé.
00:09:55Oh, yes, fiancé, Dom.
00:09:57Yeah, it's quite a recent thing.
00:09:59Congratulations to both of you.
00:10:01And this is my partner, Eve.
00:10:03Oh, hi.
00:10:05And your field of expertise is, Mrs White?
00:10:08I'm an antiques dealer.
00:10:10Ah!
00:10:11How quaint.
00:10:12Hmm.
00:10:13Shall we grab a horses do for Lincoln, too?
00:10:15Yes.
00:10:16Mm-hmm.
00:10:17Mm-hmm.
00:10:18A bottle of champagne very fresh, please.
00:10:20Thank you very much.
00:10:21Pardon, Judy, champagne on the way right now.
00:10:24Oh, you are a darling, Gabriel.
00:10:26I think you're going to fit in very well around here.
00:10:29Yes.
00:10:30And by the way, you threw that last glass down your neck.
00:10:33We wouldn't want you going Thursday, would we?
00:10:35Excuse me.
00:10:36Excuse me.
00:10:37I'm just going to run through my speech.
00:10:38Oh, Jean.
00:10:39This is Dr Ali Pardeep.
00:10:40We were telling you about his charity.
00:10:42Oh, le change-le-vie, is it?
00:10:45Oh, it sounds like you do some great work.
00:10:47Oh, he does.
00:10:49Oh, hi.
00:10:50I'm Auriel.
00:10:51Oh, hello.
00:10:53It's a vocation that absolutely consumes me, I'm afraid, as my wife could confirm.
00:10:57Lovely to finally meet you.
00:11:00So how did you find this vocation?
00:11:02Well, I'd been working in prisons for a few years as a visiting doctor, and I saw so
00:11:08much artistic talent just hidden away in the cells that I felt compelled to liberate it.
00:11:14Mm-hmm.
00:11:15So I started an art club for the prisoners, and, well, the charity just grew from there.
00:11:20How interesting.
00:11:21You let criminals play as being artists, then?
00:11:25You know, that's exactly what we do.
00:11:28You're encouraging the egos of murderers.
00:11:31Is that what you're saying?
00:11:32Don't worry, Ali.
00:11:33I take care of the charity in our business, so you can ignore George.
00:11:38And your husband is a very inspiring man.
00:11:41Oh, he is indeed.
00:11:44Excuse me.
00:11:45Yes?
00:11:46Have we met somewhere before?
00:11:48I can't think where.
00:11:50Maybe at one of our outreach events.
00:11:53Very much doubted.
00:11:55I don't do presents or charity, dear.
00:11:57That's my cue.
00:11:59Let's make it.
00:12:00Sorry.
00:12:01Sorry.
00:12:02Ah, merci, s'il vous plaît.
00:12:03Merci.
00:12:06Thank you, everyone, for being here tonight.
00:12:11For tonight is a very special night for the museum.
00:12:12Mr. and Mrs. Alphonse are very generously about to invest 10 million euros, 10 million euros into our acquisition account.
00:12:26It will keep the museum afloat for many years.
00:12:29It will keep the museum afloat for many years.
00:12:31Just a minute, Gabriel.
00:12:33Um, remember what we discussed a couple of weeks ago when you first took the job.
00:12:38If you have what you say you have, and it's the real deal, we are more than happy to invest.
00:12:45I want to be part of a museum that draws people in from all over the world, but I need you to prove to me that I am making the right choice.
00:12:56Of course.
00:12:57The stakes are very high for us, but I have contacts all over the world to make this museum great.
00:13:04I promise.
00:13:06Madam White, this is where we could use your help.
00:13:10Oh, right.
00:13:11We apologize for not warning you beforehand, but everything had to be completely top secret.
00:13:17Oh, I'm intrigued.
00:13:19Um, we have something very rare, and we need you to verify it.
00:13:25Uh, Jeremy and, uh, Judy told me you are second to none in your field, so please, will you help?
00:13:32Well, I'm here now, so yeah, of course.
00:13:36If you will, uh, excuse me for one moment, ladies and gentlemen, we will go and fetch our treasure.
00:13:46If.
00:13:47Oh, so that's why I'm here.
00:13:49Makes sense now.
00:13:50Well, Gabrielle didn't tell me the finer details, just who I knew, who I trusted.
00:13:55He was the best in the business, so I...
00:13:57Well, thank you.
00:13:59You better be good, Mrs. White.
00:14:01And ensure it is what he says it is.
00:14:04We wouldn't want any mistakes.
00:14:06Well, let's put it this way.
00:14:09This isn't my first rodeo.
00:14:11Oh, thank you, darling.
00:14:14What's your name, dear?
00:14:16Ellie.
00:14:17Big cash tip, Ellie.
00:14:19If you keep our shampers topped off, if you know what I mean.
00:14:22I'll do my best, madame.
00:14:24But I've never worked here before, so I don't know how much we have in stock.
00:14:27No, dear.
00:14:28Oh, it's fine.
00:14:36On t'a attribué ton code personnel de sécurité, maintenant ?
00:14:38Euh...
00:14:39Non, tu sais, c'est toujours Suzanne de la sécurité qui m'envoie un nouveau code chaque jour.
00:14:42C'est depuis que je suis revenu, j'ai eu tellement le truc à gérer que c'est un peu galère.
00:14:46Et dis-moi, je peux ouvrir le coffre ?
00:14:48J'aimerais tellement voir la cachette secrète dont tu m'as parlé.
00:14:50D'accord.
00:14:51Euh...
00:14:52Par contre, juste tu notes le code correctement, parce qu'il n'y a pas de seconde chance,
00:14:55sinon ça bloque toi.
00:14:57Alors, c'est le...
00:14:583, 2, 7, 4...
00:15:014...
00:15:020, 9, 5, 7.
00:15:05C'est bon.
00:15:11Alors...
00:15:129.
00:15:229.
00:15:28Ouh !
00:15:36Et bien voilà ma petite merveille.
00:15:38Waouh !
00:15:39Non, par contre, ça, faut que tu le détruises immédiatement.
00:15:41No, no, no, really, I'm...
00:15:44I'm not sure.
00:15:55Okay.
00:15:56Well, take it, take it.
00:16:11No, wait, really, be careful.
00:16:14No, wait, wait.
00:16:16You've got the future of the museum in my hands, so...
00:16:18Gabriel, leave me.
00:16:19Do you want me to fall?
00:16:26No, George, George, George, so sorry, so sorry.
00:16:28What happened?
00:16:29I'll tell you what happened.
00:16:30This poor excuse of a waitress of yours
00:16:32has ruined my bespoke shirt.
00:16:34Are you stupid?
00:16:35No, I...
00:16:36Don't speak to her like that, George.
00:16:39These things happen. We can get it cleaned. What's your name?
00:16:44Ellie, I'm so sorry. I'm pretty new at this. I'm actually a student.
00:16:49Well, I would like to apologize for the neolithic behavior of my husband, Ellie.
00:16:55George, we're going to pay for the cleaning, of course, but I can't clean.
00:16:59Just leave it. I can do it.
00:17:02You can do it. Okay, perfect.
00:17:04And where's this tan box of yours?
00:17:09Is that what I think it is?
00:17:32Go on. What is it?
00:17:34This is a French Ormolu gilt jewelry case owned by, I think, Marie Antoinette herself. Am I right?
00:17:43Yes, exactly, Madame.
00:17:45Well, I know there's one of these in the Museum of Tehran, but the only other one was bought by Russian buyers at Sotheby's in 2007.
00:17:53So how could it be here?
00:17:56I have been totally obsessed with this box. So I tracked it down over the years and persuaded them to sell.
00:18:06Wow. Well, Gabrielle is right. I mean, if you can get stuff like this.
00:18:12Well, this is like such a fantastic draw for the museum. Game changer, really.
00:18:18Well, so far, so good.
00:18:20Okay.
00:18:25What? My God.
00:18:28Steve?
00:18:29It doesn't just look like a bomb. It's a marzipan.
00:18:40Marzipan?
00:18:41I was in the army for years. I've recognized that smell anywhere.
00:18:44What is it?
00:18:45It's Semtex.
00:18:46Semtex? What can that do?
00:18:49Put it this way, there's enough in there to blow this whole museum sky high.
00:18:54Come on.
00:18:59Come on.
00:19:19They won't move.
00:19:20Well, what if we all live together?
00:19:22They're locked.
00:19:23Okay, okay.
00:19:25Well, why don't we try the other exits?
00:19:27No, no.
00:19:28They will all be locked too.
00:19:30And all the windows are bound.
00:19:32Oh, my God.
00:19:33What the hell are we going to do?
00:19:34Stop with the hysterics, George.
00:19:36In case you hadn't heard, there is a Semtex bomb in that room.
00:19:40Yes.
00:19:41We all know that.
00:19:45Gabrielle.
00:19:46Yes.
00:19:47How do we open the shutters?
00:19:48As far as I know, the security guard has fingerprint recognition.
00:19:52She's the only one who can deactivate the code.
00:19:55Where is the guard?
00:19:56In the security booth.
00:19:58Come on.
00:19:59Come on.
00:20:00Come on.
00:20:01Come on.
00:20:02Come on.
00:20:03Come on.
00:20:04Come on.
00:20:05Come on.
00:20:06Come on.
00:20:07Come on.
00:20:08Come on.
00:20:09Come on.
00:20:10Come on.
00:20:11She's gone.
00:20:12Oh, my God.
00:20:13Oh, my God.
00:20:14What's happening now?
00:20:16All right, love.
00:20:45Yeah.
00:20:46Oh, woman.
00:20:47No, no.
00:20:49So, one fingerprint to control your entire security system.
00:20:54Stop it, George.
00:20:56Yes, I let the security team arrange it between them.
00:21:00I have only been here three weeks, so it was on my to-do list, but...
00:21:05Good grief.
00:21:06So you have no idea how to deactivate it?
00:21:09No.
00:21:09No idea.
00:21:14Well, then.
00:21:14Why don't we use her finger?
00:21:19George!
00:21:19Really?
00:21:20We can't.
00:21:22Why not?
00:21:24It's not like she's going to mind now, is she?
00:21:26It's not that.
00:21:28It's once tissue is dead, it loses its electrical charge.
00:21:31Hang on.
00:21:32Now, I saw this on one of those American crime dramas, and it worked a treat.
00:21:36So, let's give it a go, shall we?
00:21:38Good God, George.
00:21:40Oh, I see.
00:21:41You watched an entire box set, so, of course, now you know more than an actual doctor.
00:21:47I'm only saying, once the heartbeat dies, the electrical charge dies.
00:21:53Otherwise, it won't work.
00:21:55It won't work.
00:21:56Can I ask a question, Gabriel?
00:22:12A security guard.
00:22:14What was her name?
00:22:16I...
00:22:16George, where's Suzanne?
00:22:18Shall we call her that, then?
00:22:21Look, I'm not suggesting we sever Suzanne's finger.
00:22:26George, leave it.
00:22:28Oh, no.
00:22:44Oh, no.
00:22:46No, no.
00:22:48No, no.
00:22:49No.
00:22:50why can't they hear us no no because the front doors are solid oak the shutters are solid steel
00:23:11and the walls it's very uh sick mediterranean stone oh that's just great so is the place
00:23:17bomb proof as well they're not helping george it's okay i'll call carol yeah
00:23:24oh there's no signal ah no no no i haven't had any uh since i arrived because uh
00:23:30we are quite high up and the the walls are too too sick okay what's the wi-fi code i'm going to
00:23:37share it with you yeah but i know i had my phone in the pub i must have dropped it oh god
00:23:41no the wi-fi is off too but don't worry don't worry i have a one moment i remember something
00:23:51what's he going out
00:24:05someone has sabotaged the comb's cupboard it's beyond repair
00:24:33it's where all the wi-fi hubs lead to to keep us on the internet all the connections have been
00:24:40ripped to pieces oh so we are completely trapped in here oh
00:24:49good god you have got a foolproof security system that you don't even know how to operate
00:24:55who's a bloody fool now hey hey get your hands of him you brute i'm fourth down black belt in jujitsu
00:25:03you lay one more finger on him and i will take you down do you understand gentlemen we have to calm
00:25:09down don't suppose you serve valium as well as champagne valium is that the cocktail never mind dear
00:25:18so someone knew that we were here tonight and trapped us under the threat of a ticking bomb
00:25:25this psycho must really hate one of us well it was gabriel who wanted us here he sent the invite
00:25:31i don't think i would want my own museum judith and trap myself inside okay can we just stop sniping at
00:25:37each other okay can't be anyone here can it i am not so sure
00:25:44what do you mean i do remember on my first debriefing they said once the shutters are activated
00:25:51they close very fast and there is a very little time to get out you mean that the murderer might
00:25:58still be in the building possibly patrick can you call judith i can't get hold of domo jeremy
00:26:14obviously i have gene's phone and i don't have judith's number there is no answer of the museum
00:26:19and the doors are locked something is not right you okay yeah i think so caron just asked me if i
00:26:34can get in touch with judith but there's no answer she's with jeremy and don't give them a call no he's
00:26:39already tried that and there's no reply from them either and no one's answering the door i don't like
00:26:44the sound of that nor do i diane can look after the bar for now electric lady van outside yeah let's go
00:26:55what idiot takes the job as a curator of a massive museum and doesn't know how to work the security
00:27:01system i have only been here three weeks okay there was so much to do that it didn't seem like a
00:27:08priority okay well it's a priority now isn't it gabriel it's a priority now gabriel if you're gonna
00:27:20say something say it in a language we could all understand hey i beg your pardon for one moment i
00:27:28thought we were in france if you have something to say why don't you say it straight
00:27:39you clearly have something to hide monsieur bullying my partner shouting at your wife
00:27:46classic defense tactics how dare you suggest that i
00:27:53what's that what listen
00:28:08hello hello can anyone hear me hello hello hello
00:28:25don dom dom is that you oh thank god look we are trapped inside the museum uh the shutters are
00:28:42down the security guard's been murdered and there is a bomb ticking away what a bomb okay dom you need
00:28:47to say all that again but much slower there is a bomb someone has activated the security shutters they can
00:28:58only be deactivated by the fingerprint of the security guard but the the security guard has been murdered
00:29:07okay okay dom have you seen the bomb yes what does it look like
00:29:19all right okay so
00:29:20so it's like a big lump of orange uh block in here so that it looks like semtex and there's a
00:29:28old-fashioned phone on one side and in the middle is a like a digital clock counting down there's three
00:29:34three wires a blue one a red one and a yellow one how much time does the bomb team have 59 minutes
00:29:45i will get help immediately i need you to keep this communication open
00:29:49okay okay we will get you all out dom dom dom you need to keep this channel open
00:29:57um andre i can't hear you are you still there andre
00:30:01andre
00:30:27what are you doing hang on a sec
00:30:31what are you doing hang on a sec
00:30:34it's got a bit of spare it's got a bit of spare it's got a bit of spare oh bingo
00:30:44what are you doing hang on a sec
00:30:48caron can you hear me caron
00:30:58i managed to speak to caron he's calling for help
00:31:15brilliant how did you manage that well susanne's walkie-talkie oh that's great we can use that then
00:31:20no no no it's just died maybe it just needs any battery oh no no i tried that it's no joy so oh god
00:31:26well at least we're getting some help from the professionals
00:31:29something you've needed for years darling
00:31:33caron will help us won't you darling oh absolutely darling
00:31:36um
00:31:40what what's the matter
00:31:44i found this under the bomb
00:31:47for me
00:31:49i don't understand who would do something like this to you
00:31:56i've no idea
00:31:58i mean thinking about it
00:32:01i've put a few people away over the years but this is beyond the pale
00:32:15look at the heart
00:32:20her fruit from above her face like the sun her heart full of love
00:32:25but fate is not kind
00:32:26and her future is bleak
00:32:29two attempts to survive
00:32:30one date do you seek
00:32:33oh come on gene think
00:32:34okay two attempts to survive one date do you seek
00:32:41so what what do you reckon
00:32:43well it appears that this sicko
00:32:47wants me to find a piece of art in the museum that that matches the riddle
00:32:51two attempts to survive one date do you seek so
00:32:56i'm guessing that you put the date in in the keypad
00:33:01to to stop the stop the bomb
00:33:06wow
00:33:08somebody must really hate me to go to all this trouble
00:33:11it's just a child's riddle we should wait for help for grief
00:33:15but wife help doesn't get here on time
00:33:18someone is out to get me this is all my fault
00:33:21i've got to do something to help
00:33:23slay
00:33:25okay gene you've absolutely got to solve this riddle
00:33:29come on chaps let's separate and find a way out of here and gabrielle you attempt to override
00:33:34this god-awful security system well i think we should wait for the police
00:33:40something you are very welcome to do on your own george i for one i'm going to help gene
00:33:44yeah yeah me too i'm in anything is worth a try i do tech support for the charity
00:33:52can i help excellent come on let's go to the wood be careful you too
00:33:59i think it's essential that we keep dividing in order to conquer gentlemen follow me
00:34:14okay look at the heart the heart well the heart could mean love oh no that could be any work
00:34:29of art okay okay think gene think well um it could be the sacred heart especially if it's qualified with
00:34:38the fruit well how so well um jesus in art is often referred to as fruit of the womb yeah
00:34:44let's go with that okay face like the sun now there's obviously jesus was the son of god and the
00:34:51sun in the sky is often used as a metaphor for jesus so um fate is not kind well fate wasn't kind
00:34:57to mary certainly one too kind of jesus either was it well exactly but her future is bleak her i think
00:35:04it's got to be about mary and jesus it's got to be right i think we're looking for a religious painting
00:35:11or sculpture well there'll be a fair few of those i'm sure yes but particularly the madonna and child
00:35:17there is about six main rooms okay let's split up take a room each and report back
00:35:23right right thank you me and dom will take medieval renaissance judith you do modern art
00:35:29and oriel you do metal work and ellie you do jewelry and glass work and um yeah and remember
00:35:38the madonna and child okay let's go right which way this way
00:35:42richard did you contact the bomb squad not great news i'm afraid the nearest active unit
00:35:53is lyon which is six hours by car they're trying to activate the plan to get here quicker but it's
00:35:57not looking good what about overriding the security system we have contacted the company but with it
00:36:02being christmas eve we have the same problem the nearest engineer is in marseille oh no there is no
00:36:07guarantee they will be here in time if there was another way in i think i could deactivate it
00:36:12what before i joined the gendarmerie i trained in the bomb squad at la police nationale
00:36:17if it is a rudimentary device i could deactivate it i think okay well what about the tunnels
00:36:22underneath the museum's tunnels were part of the bomb shelter system during world war ii
00:36:27i remember the tour guide telling us when i brought xavier on a visit okay i will go in
00:36:32i cannot put my best officer in danger richard i will go in you can advise me that is an order let's
00:36:38find a map on the count of three we all pull together ready ready one two three i haven't
00:36:49finished counting oh i've chopped him over my shoulder it's a little dramatic if we all work together we
00:36:56stand more chance if we do you just call me dramatic there's just an observation you like making
00:37:02observations don't you what's that supposed to mean like observing other people's wives i uh don't know
00:37:09what you're talking about do you think i was born yesterday i'm sorry the charity meetings with
00:37:17my wife the dinners come on ali i've been through her phone i know what's going on with you two
00:37:28but tell me i'm wrong i said tell me i'm wrong
00:37:36there you go just about says everything doesn't it george i uh
00:37:39oriel is my wife come on george you haven't loved each other for years even a stranger would
00:37:48know just our shtick what the couple's thing the public act but when we get behind closed doors
00:37:56we are still husband and wife oh so you think i'm lying do you i don't know what yarn she's been
00:38:10spinning you but it's true and i'll tell you something else that's true i will do everything
00:38:18in my power to make sure that you never raise another penny for your stupid
00:38:25shut up please this is no time for a bloody showdown come on
00:38:55i didn't find anything literally didn't even find a decent painting we said we had a chance with
00:39:20the necklace but there was no reference to the sun well we can't give up we still have two other rooms
00:39:25well you two can go on looking but i'll be very honest with you i need a little top up of dutch
00:39:30courage what in here can you not hear that bomb ticking yes yes i can but i'll be perfectly honest
00:39:40with you oriel if i am to get blown to smithereens i'd really rather like not to remember it
00:39:48let's keep looking i'll take sculpture and you take angel madonna okay
00:39:54thank god the library was still open right this map dates from around 1943
00:40:11it shows the tunnels that were dug out and used as bomb shelters during world war ii
00:40:18oh désolé vous voulez que je parle en français richard i think it is the map she can't quite
00:40:24understand not understand not you i have always been terrible with maps it's a bit of an accurate
00:40:28skill for me désolé just because you're so young love we forget we're the last generation that didn't
00:40:33have sat nav hey speak for yourself i'm 20 years younger than you which makes me a straddler
00:40:38i straddler pre and post technology doesn't matter what form a map takes i'm a dab hand
00:40:43right there's a labyrinth of tunnels under the museum you can see the entrances all around here
00:40:49but they can only be accessed from the inside hang on this one looks like it's leading from the outside in
00:40:56what do you mean look it starts off as a small one then joins up with the bigger ones what's its
00:41:02proximity just underneath the main entrance right around here somewhere gloria can you pull the van back a
00:41:10bit of love lovely that's it there's your way in
00:41:34you're not going to open it up like that have you got a crowbar in the van yeah
00:41:40and uh two bucks
00:41:44there's a knack to this
00:41:47it's out of
00:41:51all right are you ready
00:41:54you are full of handy tricks patrick i'm not going to ask where you land them
00:42:10okay i'm going in richard get me an earpiece you'll need this as well it's my head torch
00:42:15thank you gloria
00:42:19thank you you're sure i can go with you
00:42:21richard i need you to take control here you are now in charge
00:42:26oh yeah take this headset i need you to stay on the map and on the radio you will be my ears and eyes
00:42:33when i reach the bomb you will pass to richard okay will the signal be strong enough down there
00:42:37uh this radio is analog it's like a walkie-talkie it works over short distances because it doesn't need a
00:42:43signal to bounce up to the sky okay be careful in there i will
00:42:56the
00:43:01lawyer can you hear me yeah you okay i'm fine which way okay you're going to your left first
00:43:08bingo the shutters are connected to the museum's mainframe meaning you don't need a wi-fi exactly
00:43:24i may be able to override it if both systems are kept connected
00:43:32where's your main computer
00:43:34um it's in my office uh next to the event room what's your passcode
00:43:42eve uh one two three four eve press your finger firmly on this pad
00:43:49i may be able to change a fingerprint identity to yours gabriel when a code pops up press enter
00:43:55straight away okay i'm going to your office
00:44:04eh ben qui aurait cru qu'elle serait transformeure lara croft
00:44:20oh hello what are you doing here
00:44:34oh
00:44:47i can't even look at the little d'oide
00:44:50one sent me very good
00:44:51i don't know what to do
00:44:52we're going to start and then we don't worry about anything
00:44:54we're gonna be able to hear you
00:44:56In any case, I wanted to tell you, it's not very long that we're known, but you've come to my life.
00:45:08Oh, really? It's too sad.
00:45:12Sorry Gabriel, it's just that I'm really very scared.
00:45:15Pardon.
00:45:18The code will appear in an instant, in the other, she's trying to figure it out.
00:45:25Okay, but what's she's doing, là?
00:45:26What came first, medieval or renaissance?
00:45:33Medieval.
00:45:34Oh, right.
00:45:35So medieval was the 5th to the 14th century and renaissance was the 14th to the 17th?
00:45:41Correct.
00:45:43Yeah, no, it says it here on the card.
00:45:47This is beautiful.
00:45:49It's hand-spun wool and silk.
00:45:52This is called a verdure tapestry, derised from the French word for green.
00:45:56Vel.
00:45:57Yeah.
00:45:59How do you do that?
00:46:00What?
00:46:01No, all that.
00:46:03It says it on the card.
00:46:04Touché.
00:46:05These two, look how I feel.
00:46:09How come none of them ever smiled?
00:46:11There was a theory that they didn't want to show their bad teeth.
00:46:14In fair dues.
00:46:15I think it was just really hard work to maintain a smile whilst you're having your portrait painted.
00:46:19I mean, sitting there for hours like that, it's not like taking a selfie, is it?
00:46:24That's true.
00:46:27Don, look at that.
00:46:32Okay, right.
00:46:35Look at the heart.
00:46:36Her fruit from above.
00:46:38Her face like the sun.
00:46:39Her heart full of love.
00:46:40I mean, I wouldn't exactly say her face is sunny.
00:46:44Tonatello, terracotta.
00:46:46You didn't look at the card?
00:46:47Oh, well, he's one of my favourites.
00:46:49Mind you, there is a debate that it could have been my beer, but...
00:46:54It says it's on loan from Florence.
00:46:56Well, it fits all the clues.
00:46:59Can I have your phone?
00:47:09Oh, we best get back to the others.
00:47:13Not much time left, is there?
00:47:16I love you, Jane White.
00:47:18Dom, we will get out of here.
00:47:20Yeah?
00:47:21Yeah, come on.
00:47:22One, two, three.
00:47:29All right, all right, all right.
00:47:33Let's just take a minute.
00:47:36Good idea.
00:47:47So, how did you find out about the affair?
00:47:52I wasn't sure at first, but I'd had my suspicions for months.
00:47:59What made you suspicious, if you don't mind?
00:48:02I don't mind, I don't mind.
00:48:05We run our businesses like clockwork, and then all of a sudden she becomes interested in charity.
00:48:09Now, I wouldn't mind, but we have an office set aside for charity, or tax relief, as I'd like to call it.
00:48:19Absolutely.
00:48:21And the only charity she really did was just turn up, snip the ribbon, until she met him.
00:48:27We met him, and then she became obsessed with going to his meetings for his prison art malarkey.
00:48:41She couldn't get enough of it.
00:48:43I should see the difference it makes, blah, blah, blah.
00:48:45And then, there's all the obvious signs.
00:48:52Never leaving her phone unattended.
00:48:54Always going in a different room to check her messages.
00:48:57You know, I've never loved another woman.
00:49:04I just thought...
00:49:07Maybe she didn't love me as much as she used to.
00:49:13That we'd always have...
00:49:15Respect.
00:49:19You're right, old chap.
00:49:21Once the respect has gone...
00:49:24Come on, George.
00:49:28We've got to find a way out of here.
00:49:30Come on.
00:49:34Where on earth is everybody?
00:49:38Ah, hello.
00:49:39Who have we here?
00:49:43There's zero chance of my reading that tiny writing.
00:49:47You do have a look of a female, I suppose.
00:49:49But is that a child?
00:49:51Oh, bloody hell, I forgot to pick up my glasses.
00:49:58I know.
00:50:05Oh, I see.
00:50:07Not a child, but a sheaf of wheat.
00:50:11Nearly.
00:50:11Come on, ladies and gentlemen, let's go.
00:50:13There's nothing to do here.
00:50:14I'm going to go.
00:50:14Come on, sir.
00:50:15Come on, sir.
00:50:16Come on, sir.
00:50:17Come on, sir.
00:50:18Come on, sir.
00:50:19Okay.
00:50:20The tunnel on your left appears to lead to another exit.
00:50:23But the tunnel ahead of you takes you to a door
00:50:26that leads you into the museum.
00:50:28Okay.
00:50:29Give me a second.
00:50:30It's locked.
00:50:42The door's locked.
00:50:43Give me your hands, sir.
00:50:49Andre?
00:50:50Describe the lock to me as best you can.
00:50:53It is a rectangle with a large keyhole in the middle.
00:50:58Looks like a church door lock.
00:51:01And it is very rusted.
00:51:04Sounds like a rim lock.
00:51:05Not too tricky.
00:51:06So, use the screwdriver attachment on your multi-tool
00:51:11to turn the lock to your right.
00:51:16Okay.
00:51:17I'm ready.
00:51:20Now...
00:51:24No.
00:51:28Well...
00:51:34No.
00:51:36Ugh.
00:51:37I give him.
00:51:38What do you mean George knows?
00:51:40He just came straight out with you.
00:51:42Said he'd been looking through your phone.
00:51:44Looking through my phone?
00:51:45How?
00:51:46He never leaves my sight.
00:51:48We hardly see each other.
00:51:50We live separate lives.
00:51:52That's not what he said.
00:51:54What?
00:51:55He implied that the two of you are still very much in love.
00:52:00And that this whole dislike thing is just an act.
00:52:03Oh, Ali.
00:52:04That is rubbish.
00:52:05We don't even sleep in the same room.
00:52:08And the worst bit of it is...
00:52:11He said he's gonna make sure that I don't receive another penny for the charity.
00:52:15Oh.
00:52:16That's the worst thing.
00:52:17Yeah?
00:52:18Well...
00:52:19It's nice to hear you've got your priorities straight.
00:52:23No, Oriel.
00:52:24You are my priority.
00:52:26But if you're still in love with him...
00:52:28Ali, please, it's rubbish.
00:52:29He's just bitter.
00:52:30Believe me.
00:52:31I love you.
00:52:32Did you find anything?
00:52:33Oh, I've taken a picture of a few pieces.
00:52:34But I haven't really got a clue what I'm looking for.
00:52:35Yeah, I mean, the riddle is a little vague.
00:52:36Yeah, that's the understatement of the century.
00:52:37But the bomb threat is very clear.
00:52:38Yeah, yeah.
00:52:39We should find the others and regroup, yeah?
00:52:40That's where I was heading.
00:52:41Oh.
00:52:42Oh, no!
00:52:43There are a few pieces.
00:52:44Oh, no.
00:52:45There are a few pieces.
00:52:46But I haven't really got a clue what I'm looking for.
00:52:48Yeah, I mean, the riddle is a little vague.
00:52:49Yeah, that's the understatement of the century.
00:52:50But the bomb threat is very clear.
00:52:52Yeah, yeah.
00:52:53We should find the others and regroup, yeah?
00:52:54That's where I was heading.
00:53:09Oh.
00:53:10Oh, no.
00:53:11They're all locked.
00:53:12Oh.
00:53:13Surely that idiot Gabrielle has a set of keys.
00:53:15I think we've established, George, that Gabrielle has literally no idea where they are.
00:53:20Oh, hello, you two.
00:53:21Oh, hello, darling.
00:53:23Any success?
00:53:24Oh, it's bloody useless.
00:53:26I can't find one single religious painting.
00:53:29I've tried my utmost, and that's all I can do.
00:53:33It's all so hopeless.
00:53:35How are you getting on?
00:53:36We've fried all the doors.
00:53:37And windows.
00:53:38Nothing.
00:53:39Oh, utterly infuriating.
00:53:41Maybe we should get back to the others.
00:53:43Good idea, George.
00:53:44Come on.
00:53:45We will get out of here, won't we, darling?
00:53:49Oh, come here.
00:53:51Of course we will, my darling.
00:53:52Won't we all the other?
00:53:53Very, very gently.
00:53:54Nothing seems to be biting.
00:53:55Take your time.
00:53:56That is something we do not have.
00:53:57Ah.
00:53:58I think I can kick the door in.
00:53:59No, no, no, no.
00:54:00Don't do that.
00:54:01We don't want any unnecessary vibrations.
00:54:03Andre?
00:54:04Andre?
00:54:05Andre?
00:54:06Andre?
00:54:07Andre?
00:54:08Andre?
00:54:09Andre?
00:54:10Andre?
00:54:11Hey.
00:54:16Undertale?
00:54:17Hey.
00:54:18Fuck.
00:54:19Wait.
00:54:20Hey.
00:54:21Look like...
00:54:27Any joy?
00:54:44Yes.
00:54:47And now, um, this is a picture by Camille Corot.
00:54:51in 1860 and it's of a normal earth-bound human and child sorry no it's okay
00:54:58Ellie anything I couldn't find the card for this but it looks like a modern art
00:55:03version of Mary and Jesus well is it no I'm afraid not it looks like modern art
00:55:11but I think it's a copy of the famous core trophus which is one of the
00:55:15earliest Neolithic finds in Greece 6,000 BC oh no we're George and Jerry then Ellie
00:55:23no the we couldn't the doors I've got something to tell you oh how did it go
00:55:34we're really trapped tried everything every window every door is either dead
00:55:40locked or barred Judith did you find anything to match the poem I found a
00:55:44painting that might be a mother and child but I'm not entirely sure it's the
00:55:48right way up no don't can you get that picture of the Donatello please
00:56:05two attempts to survive one date do we seek do you think it's time to put our
00:56:11best option in don't really have a choice doing or shouldn't we wait to see if
00:56:17San Gator and the others have had some success I don't think there's any harm in
00:56:20trying
00:56:23and
00:56:27the
00:56:30the
00:56:33the
00:56:34the
00:56:38the
00:56:43Hold on, Robbie. Can you hit me?
00:56:56Yes, Patrick.
00:56:58We lost you for a few moments. You had us worried.
00:57:01So, how are you doing?
00:57:04I'm a little trapped.
00:57:06Part of the roof has collapsed and formed a barrier between me and where I came in.
00:57:11Can you dig your way out?
00:57:12At the moment, that does not seem possible.
00:57:15Okay, so we must keep trying the lock.
00:57:32The lock is so rusted, I just can't seem to get a grip.
00:57:36There's a blockage in the tunnel and he can't get out.
00:57:39How's he doing with the lock?
00:57:40He says he can't get a grip because it's all rusted up.
00:57:43Rusted?
00:57:43Give me the headset.
00:57:46Andre, this may seem like a stupid question, but what's your gun holster made of?
00:57:51Uh, mainly leather, I think, but with some rubber on the inside.
00:57:56Great. Take your knife and slice a thin piece of rubber off.
00:57:59Okay, I've done that.
00:58:07Put it in the lock and rub as hard as you can.
00:58:11Okay.
00:58:12Is it working?
00:58:17Yes.
00:58:17Yes, it's working.
00:58:19Yes.
00:58:19How did you know how to do that?
00:58:20Oh, but can each trick rustates rubber.
00:58:22I'm passing you back to Patrick.
00:58:24Right, I'm going to try the lock again.
00:58:26Okay, Andre.
00:58:27Remember, screwdriver up and to the right.
00:58:31Very gently.
00:58:31What's happening, Andre?
00:58:37Andre?
00:58:38It's not opening, Patrick.
00:58:43Okay.
00:58:44I want you to describe it for me again as best you can with every detail.
00:58:52Every detail you can.
00:58:57It's brass, I think, with a fancy design on it, like a fleur-de-lis, sort of.
00:59:04Oh, Patrick, you idiot.
00:59:05It's an old French lock.
00:59:08I'm going to try something different, Andre.
00:59:10Turn it to the left, very, very gently.
00:59:16Then turn it one more time.
00:59:25It's unlocked!
00:59:26Yes!
00:59:27Yes!
00:59:29Okay, Andre.
00:59:30Once you're through the door, you're going to your right.
00:59:36Can't believe I got it so wrong.
00:59:38But you can't blame yourself, Jane.
00:59:39Well, it's false, isn't it?
00:59:41I sent you all on a wild goose chase.
00:59:43It did something, though.
00:59:44Yeah, and I got you wrong.
00:59:45I don't want to die like this, Jeremy.
00:59:48Oh, I know, my darling, I know.
00:59:53Why didn't you tell me it'll all be all right?
00:59:57What?
00:59:58You always say it'll all be all right, darling, and it'll always be this.
01:00:01Well...
01:00:03How much time have I got left?
01:00:19How much time has he got left?
01:00:21Only 17 minutes, I'm afraid.
01:00:2417 minutes, Andre.
01:00:26Keep going straight on.
01:00:27In every day, you're doing great.
01:00:28I'm sorry.
01:00:40Je l'ai marred.
01:00:46But...
01:00:46You're going to not leave yourいい chance.
01:00:48So, you're fine.
01:00:48So...
01:00:49No, no, no!
01:00:50No, no!
01:00:50You're fine.
01:00:51You're fine.
01:00:51I'm going to find her and see what she thinks she's doing.
01:01:21I keep it a surprise.
01:01:25Thank you, Jeremy.
01:01:29What for?
01:01:31Our life together.
01:01:33I've had such a lovely time.
01:01:37I thought, after losing the twins, we wouldn't last.
01:01:41Lots of couples split over less, you know.
01:01:44I know, my darling.
01:01:46I know.
01:01:48Maybe, if there is something after this life, we can meet them again.
01:01:55That's a nice thought, isn't it?
01:01:58That's a wonderful thought, darling.
01:02:02Wonderful.
01:02:05Anyway, I'm glad we're here together.
01:02:08I've always dreaded the thought of going first and leaving you behind.
01:02:13Me too.
01:02:19Sangita, she's dead.
01:02:20No.
01:02:21What?
01:02:22Are you sure?
01:02:23Positive.
01:02:24How?
01:02:25She has been shot.
01:02:26Shot?
01:02:27She was trying to change the fingerprint control and needed access to the main computer in my office.
01:02:31So she left us and went to the office, waited for ages.
01:02:36And you just found her there?
01:02:37Yes.
01:02:38I need to see her.
01:02:39No, no, no.
01:02:40I'm not sure you should.
01:02:41Look, I'm a doctor.
01:02:42Maybe she's still alive.
01:02:43Take me to her.
01:02:44Ali, Ali, listen.
01:02:45Look at me.
01:02:46I just need to see my wife.
01:02:50Show me to your office.
01:02:52Okay.
01:02:55Everyone needs to stay here.
01:02:56No one must leave.
01:02:58Don't come with me.
01:02:59Yeah.
01:03:00Oh, my love.
01:03:12Ali, you can't touch her.
01:03:15I am a doctor and her husband.
01:03:17I know, but this is a crime scene.
01:03:19What?
01:03:20There's still a very good chance that we could get out of here.
01:03:24And if we do, we want every shred of evidence intact, don't we?
01:03:29Ali is having an affair with Ariel.
01:03:47What?
01:03:48I saw them in the corridor together.
01:03:50Said him and George almost came to blows at one point.
01:03:53Well, that gives him a motive.
01:03:55To get rid of his wife so he can marry a billionaire.
01:03:58Exactly.
01:04:01Come on.
01:04:02If it is him, we can't leave him alone with Gabrielle for too long.
01:04:07All the banking codes, they are gone.
01:04:10Are you sure they were in there earlier?
01:04:11Yes.
01:04:12When I came to get the Ormolu from the safe, I clearly remember seeing the file.
01:04:17And who else knew the combination to the safe?
01:04:19Only me.
01:04:20And Eve, he helped me collect the Ormolu earlier.
01:04:24Okay.
01:04:25We all have to stay in the same place.
01:04:29It's what Karen would make us do.
01:04:31Yeah, you're right.
01:04:32But we have to stick together.
01:04:34There's a murderer amongst us.
01:04:36Gloria, I must be near.
01:04:37I can hear voices.
01:04:38You're right underneath the events room.
01:04:39Carry on for about another ten yards and you'll see a ladder on your right.
01:04:43That will take you directly up to the museum.
01:04:44Are you okay, love?
01:04:45Yes.
01:04:46I'm fine.
01:04:47Yards to meters.
01:04:48Yards to meters.
01:04:49Multiply the length given in yards by 0.9144.
01:04:51I can hear voices.
01:04:52You're right underneath the events room.
01:04:53You're right underneath the events room.
01:04:54Carry on for about another ten yards and you'll see a ladder on your right.
01:04:55That will take you directly up to the museum.
01:04:56You're okay, love?
01:04:57Yes.
01:04:58I'm fine.
01:04:59Yards to meters.
01:05:00Multiply the length given in yards by 0.9144.
01:05:01I found the ladder.
01:05:02He's found the ladder.
01:05:03He's found the ladder.
01:05:04I'm heading up now, Gloria.
01:05:05Well done, Andrea.
01:05:06You're nearly there.
01:05:07Well done, Andrea.
01:05:08You're nearly there.
01:05:09The security engineer has now landed at the airport and she's on her way now in a pretty
01:05:14scar.
01:05:15Brilliant!
01:05:16Use!
01:05:17Use!
01:05:18Ah!
01:05:19Jaa!
01:05:20Andre!
01:05:21Andre!
01:05:22You're!
01:05:23I'm not sure.
01:05:24You're not sure.
01:05:25I found the ladder.
01:05:26I found the ladder!
01:05:27He's found the ladder!
01:05:28He's found the ladder!
01:05:29I'm heading up now, Gloria.
01:05:30Well done, Andrea.
01:05:31You're nearly there!
01:05:32The security engineer has now landed at the airport and she's on her way now in a pretty
01:05:34scar.
01:05:35Brilliant!
01:05:36Use!
01:05:37Ah!
01:05:38The fuck!
01:05:40Andre!
01:05:41What the fuck!
01:05:42Andre! Andre, are you okay? Andre, can you hear me?
01:05:57Maybe we should start praying to them paintings we found. It looks like that's our only choice.
01:06:03You like to have a choice, don't you?
01:06:05What's that meant to mean?
01:06:06You know exactly what that means.
01:06:09If you've got something to say, George, why don't you just come out with it?
01:06:12If I've got something to say, I will decide when I say it.
01:06:17Always loving the control, eh, George?
01:06:20Even when we're about to die, you still have to be in control.
01:06:23You know the best thing about this situation?
01:06:27We're both going to die together.
01:06:30Which means you won't inherit a thing.
01:06:37Wow.
01:06:39Just when I thought you couldn't go lower.
01:06:42What are you thinking?
01:06:57I'm trying to work out the murder in real time.
01:07:00Get Jeremy and Judith over to help, will you?
01:07:02Hey, you two.
01:07:04Jean needs help.
01:07:05I'm not sure I'm not sure.
01:07:06I'm not sure I'm not.
01:07:06I'm not much help to anyone, Dominic.
01:07:08Judith's not feeling great.
01:07:09We're all not feeling great, Jeremy.
01:07:13Sorry.
01:07:14Sorry, I didn't mean to snap.
01:07:16No, actually, I did.
01:07:18Jean is over there trying so hard to help us.
01:07:21To help all of us.
01:07:22The very least you two can do is to help her.
01:07:24Okay?
01:07:25Oh, sorry, old chap.
01:07:27Yes, of course.
01:07:27Oh, great.
01:07:30Okay.
01:07:31So, whoever murdered Sangeeta and Suzanne has something to do with the bomb and this whole
01:07:36nightmare evening.
01:07:37It makes sense for everything to be connected.
01:07:39Yeah.
01:07:40Who would kill Sangeeta?
01:07:41Who would murder someone like that?
01:07:43Well, Ali's having an affair with Auriel.
01:07:46Oh, yeah, don't tell me.
01:07:47What?
01:07:48Yeah, George just poured his heart out of me.
01:07:50The poor chap is broken.
01:07:51Yeah, and I saw Ali and Auriel in the corridor earlier talking about it.
01:07:55Do you think he bumped off his wife to run off with a billionaireess?
01:08:00That's what I said.
01:08:01Or maybe George killed her to frame Ali.
01:08:04You're certainly on the verge of it.
01:08:05Or maybe Auriel killed her in a jealous rage because she couldn't wait a moment longer for Ali.
01:08:11Well, in the office, Gabrielle said all the codes to the museum's bank had been stolen from the safe.
01:08:18Yeah, and he was certain that they were there earlier.
01:08:21So, could that have something to do with it?
01:08:23Oh, it's also confusing.
01:08:25My head hurts.
01:08:27Tom, come with me.
01:08:29Come.
01:08:29There's only one person that used the map.
01:08:51Sweet.
01:08:59Of course.
01:09:08It's so small.
01:09:09It's a nose ring.
01:09:14Oh.
01:09:18It was Ali.
01:09:19It was all Ali.
01:09:20What?
01:09:21Ali is the murderer.
01:09:23Don't, don't, don't, don't.
01:09:25How did she do it?
01:09:26She couldn't be in two places at once.
01:09:28I mean, she was definitely here when we arrived.
01:09:33So, how could she be murdering the security guard at the same time?
01:09:39Unless, this could she?
01:09:47Don.
01:09:52Don, give us a hand with this.
01:09:54Yeah.
01:09:58She's still alive.
01:10:17Let's get in here.
01:10:18What the hell?
01:10:27Who on earth is this?
01:10:28Jean, for God's sake, explain.
01:10:30What on earth is going on?
01:10:31Ali, again, just a minute.
01:10:34I'm intrigued.
01:10:38We still have a few minutes before we escape.
01:10:40Eve.
01:10:41What did you know?
01:10:43Eve, what are you doing?
01:10:47Go on, Madame White.
01:10:49It didn't come to me straight away.
01:10:52Then I worked out that it was you who killed Sangeeta and stole the bank codes.
01:10:58You mistakenly left your map on the floor at the side of the safe.
01:11:03I suppose when Sangeeta came in to override the fingerprint control, well, she caught you red-handed.
01:11:15And then I worked it back.
01:11:18I mean, how did you get in the safe in the first place?
01:11:22Only Gabrielle and Eve knew the combination.
01:11:25So, it made sense one of them was your accomplice.
01:11:31I know.
01:11:37And then I remembered, earlier in the evening, Sangeeta recognized you, Eve, from a prison outreach event.
01:11:46Have we met somewhere before?
01:11:48I very much doubt it.
01:11:49I don't do prisons or charity here.
01:11:51I assume you've not been out of prison for very long.
01:11:55For Sangeeta to recognize you from something so recent.
01:11:59Eve, is this true?
01:12:03But you, Ellie, yeah.
01:12:06I couldn't work out how you could be in two places at once.
01:12:09Serving champagne here and, well, murdering the security guard down there.
01:12:17But you weren't, were you?
01:12:20This is what I think.
01:12:23You entered the museum.
01:12:25And you forced a security guard to activate the shutters.
01:12:28Once you'd started the bomb, you raced up here, changed your outfit, and you placed the bomb in the cabinet, just outside this room.
01:12:52Then you accosted that poor waitress.
01:13:06And you bundled her into the cupboard.
01:13:08It's brilliant, really.
01:13:09All Eve had to do was hire an agency waitress who looked a little bit like you.
01:13:15But no one had ever met either of you before, so no one would realize that you were an entirely different person.
01:13:22But how did you get the bomb inside the omelette?
01:13:27Well, you throwing champagne over George was no accident, was it?
01:13:35The minute that you heard Gabrielle and Eve in the corridor, that was your cue to cause a distraction.
01:13:44Give Eve just enough time to plant the note for me and to put the bomb in the box.
01:13:56Very good, Madame White.
01:14:05I sort of understand the murders to steal the bank codes.
01:14:12But why the bomb?
01:14:15Why the poem?
01:14:17Well, that is what you will all take to your graves without knowing.
01:14:23Well, there's no way out.
01:14:25Not for you, anyway.
01:14:26Anyway.
01:14:42The security engineer is almost here.
01:14:45Well, we've only got two minutes left.
01:15:01Two of the most important people in my life are in that building box.
01:15:04Heads down, please.
01:15:06Right.
01:15:07I'm going to smash this door down.
01:15:09What's the point?
01:15:09There's enough semtex in there to block the whole bloody building.
01:15:12But they managed to escape, didn't they?
01:15:14Oh, God, I didn't think I was going to die from a bomb in a bloody jewellery box.
01:15:20Maybe the actual box is a clue.
01:15:23It's an actual Marie Antoinette box.
01:15:30This is a picture of Marie Antoinette dressed as a vestal virgin by Charles Leclerc in 1777.
01:15:37In relation to the poem...
01:15:39Fruit from above, well, Marie Antoinette's father was a pope, faced like their son.
01:15:44Well, she was married to the great-great-grandson of the Sun King, and fate was not kind.
01:15:50Well, it wasn't kind to her.
01:15:51She had her head cut off.
01:15:52I said we'd be all right.
01:16:21Oh, Judith, Judith, you're a genius.
01:16:25The box, Marie Antoinette, of course it was to do with her.
01:16:28Oh, I'm getting too old for this.
01:16:30Clever, clever darling.
01:16:32I'm so pleased I didn't tell you what I brought you for Christmas.
01:16:34What happened?
01:16:44Nothing.
01:16:44Hi!
01:16:45Listen, I don't want to break up the party, but we are still locked in.
01:16:55I know we don't have the threat of the bomb anymore, but we are still locked in.
01:16:59Come on, let's get this door open.
01:17:00All right, come on.
01:17:02Right, I can't let everybody grow.
01:17:03On count of three.
01:17:04One, two, three!
01:17:07One!
01:17:08Oh!
01:17:09I must have loosened it earlier.
01:17:11Loosen it.
01:17:12Oh!
01:17:14Oh!
01:17:15Oh!
01:17:16Oh!
01:17:17Oh!
01:17:18Oh!
01:17:19Oh!
01:17:20Oh!
01:17:21Oh!
01:17:22Oh!
01:17:23Oh!
01:17:24Oh!
01:17:25Oh!
01:17:26Oh!
01:17:27Oh!
01:17:28It's a real dreamboat there, hey, my darling wife.
01:17:38Come on!
01:17:39Come on, come on!
01:17:40The shutters are opening!
01:17:41Come on!
01:17:42Come on, come on!
01:17:43Oh, Charon, you little beauty!
01:17:52It's nice for me.
01:17:58Come on, come on!
01:17:59Come on!
01:18:00Come on!
01:18:01Come on!
01:18:02Come on!
01:18:03This way!
01:18:04This way, please!
01:18:05Come on!
01:18:06Come on!
01:18:07This way!
01:18:08Yeah, yeah!
01:18:09Oh!
01:18:10Oh!
01:18:11Gene!
01:18:12You all right?
01:18:14I'm glad to see you!
01:18:15You too, sir!
01:18:17I must have been so scary!
01:18:19It certainly had its moments!
01:18:21Oh, Dominic!
01:18:22Merry Christmas!
01:18:23Well, yeah, I wouldn't exactly say that, but...
01:18:25Merry Christmas!
01:18:28Where's Charon?
01:18:30What happened?
01:18:32He came in to get you.
01:18:34How?
01:18:35The tunnel's underneath the museum.
01:18:37The what?
01:18:38There's a load of bomb shelters.
01:18:40It was my idea, but...
01:18:43His radio's gone silent.
01:18:45We think he has fallen.
01:18:47What?
01:18:49They had to wait and see if the bomb exploded before they went to check on him.
01:18:53They're just preparing to go and find him now.
01:18:57Allez!
01:18:58Let's go!
01:18:59Let's go!
01:19:00Let's go!
01:19:03Okay, it's good!
01:19:08I assume these two have something to do with all this?
01:19:11I thought I killed you!
01:19:13Not quite.
01:19:15Oh!
01:19:16André!
01:19:17It's so good to see you!
01:19:19Good to see you, mate.
01:19:23Jean?
01:19:24Richard.
01:19:25Jean, can you fill me in on what happened?
01:19:29Then I will interview those two in the morning.
01:19:32What?
01:19:33Now?
01:19:34Are you sure you're up to it?
01:19:36You know, I like to keep busy at Christmas.
01:19:39I do.
01:19:44Ah!
01:19:55Oh!
01:20:13Oh!
01:20:14Wait, please.
01:20:15I'll do this.
01:20:16Karen, what have you done?
01:20:17Your poor face!
01:20:19Oh!
01:20:20I'm not sure I like brunch.
01:20:21What?
01:20:22Well, the word.
01:20:23The blending of two words to make another, like, erm, motel.
01:20:26Portmanteau.
01:20:27Portmanteau.
01:20:28Oh, bless you.
01:20:29Portmanteau is the blending of two words to make another one.
01:20:31Although, portmanteau also means a leather case with two sections, but...
01:20:32Where would we be without your brain, eh?
01:20:33I think we're daft.
01:20:34No, I mean it.
01:20:35Saved a lot of lives yesterday.
01:20:36Oh, well, I just did what I had to do.
01:20:37Yeah.
01:20:38And what only you can.
01:20:40Well, thank you.
01:20:41portmanteau oh bless you portmanteau is the blending of two words to make another one
01:20:48although portmanteau also means a leather case with two sections but where would we be without
01:20:54your brain eh I think we're daft no I mean it you saved a lot of lives yesterday oh well I just did
01:21:00what I had to do yeah and what only you can well thank you now can I tempt you to a croissage what
01:21:09it's a croissant with a sausage inside and portmanteau in fresh coffee oh thank you
01:21:16Patrick oh why aren't we darling I'm terribly hungry this morning I think it's all the trauma
01:21:24of course darling it can do that I remember when my gram was ill all anybody could do was make
01:21:30sandwiches like it make everything better feeding the soul not with white slice and beef paste we
01:21:35ended up feeding the ducks there you are plenty more where that came from oh lovely will you sit
01:21:41down we've got loads here we need to save a little bit of room for Christmas dinner you sound just like
01:21:45I did when you were a nipper do you know one Christmas morning he ate three packets of
01:21:49mince pies and half a Christmas cake before breakfast how old is he why 15 actually I was a little bit
01:21:59worse for wear but I didn't know that then I just needed a sugar rush I have never really believed in
01:22:03hangovers I think it's a case of mind over matter I think that's why I've never had one oh excuse me
01:22:13ah Carol is ready for me to go over oh let's come with you and I saw I won't be long and I've just got
01:22:22to bob over to the station and Andre needs my help try some food with you oh no I'm really full for
01:22:28Andre and Rachel oh yeah great idea tell them that they're both invited to lunch four o'clock start
01:22:35will do talking of starts do you think it's too early for a little champagne wonderful idea darling
01:22:42copy bloody DM after yesterday that's what I say I'll get some glasses
01:22:47hey what Merry Christmas Merry Christmas what's the matter well after yesterday I don't want to let
01:23:04you have me say don't be daft it won't be gone long yeah I know but I tell you what why don't you get on
01:23:11the morning champers and you want him no missing okay happy Christmas well it would be if we could
01:23:33get these two to speak oh no joy nothing from him he's just playing games but the girl I think he's
01:23:40starting to break that's why I asked you here she's upstairs oh from Patrick
01:23:45so what happened no comment why did he plant a bomb no comment and why the poem no comment
01:24:04look look I can understand you killing who you needed to to steal the bank codes but why the bomb
01:24:12why the poem well I don't know you and you don't know me well the poem was obviously not my idea
01:24:17so there was someone else involved of course I know nothing about bombs less about poems
01:24:28and I had no idea who you were until yesterday so what happened
01:24:33no comment if you are trying to protect someone I would ask you to consider how important they are
01:24:44to you it will affect your sentence considerably
01:24:47the last time I was in prison I shared a cell with a woman who worked as a consultant at the museum
01:25:01she knew everything about it every nook and cranny
01:25:06she said if I kept in touch once I got out she would be able to help me get inside override the
01:25:15security system steal the bank codes and get out scot-free go on so I kept on visiting her
01:25:24and sure enough we came up with a plan I got my friend Eve involved flirting with that
01:25:32idiot of a curator Gabrielle to get someone on the inside
01:25:37still why me why the bomb it was very strange the last time I went to see her
01:25:46she had found out through her contacts that you mrs. Jean White would visit the museum on Christmas Eve
01:25:56she was wild cold with rage god she really hated you so instead of a simple robbery as planned
01:26:09I was to plant a bomb and a letter to you
01:26:13she said I would be safe that there was a way out under the museum
01:26:20she said it was a game she liked to play with you
01:26:25it all seemed a bit psychotic to me
01:26:29but then again so did she
01:26:32and I had nothing to lose
01:26:35so I did what she said
01:26:37what was her name
01:26:41Barbara
01:26:44so
01:27:02and
01:27:07what fun this is white
01:27:20till next time
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