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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?
00:03:34No, it's...
00:03:35No, but...
00:03:36No, but...
00:03:37No, but...
00:03:38You're already here?
00:03:40Yes, I'm going to go in.
00:03:42I know that you love me when I'm doing good for you.
00:03:43My love, you're always beautiful.
00:03:45These last months, it was just extraordinary.
00:03:47Between my meeting with you and this dream job, it's wonderful.
00:03:52But I also...
00:03:54We have a whole life in front of us, but we really need to work.
00:03:57Gabriel, you're the new conservator of this museum.
00:04:00Can you allow the quarter of the politeness?
00:04:02No, not at all.
00:04:04My only mission is to make this museum shine.
00:04:09We have the Alphonse who are ready to invest 10 million euros.
00:04:12It would change everything.
00:04:14You have to make sure that it works.
00:04:17Alphonse!
00:04:19Good dicks, haven't we?
00:04:29Ah, Gabriel.
00:04:31Here he is, our curator himself.
00:04:34Jeremy, Judith, good to see you both.
00:04:36You too, Gabriel.
00:04:38And this is Jean White.
00:04:41Delivered as promised.
00:04:43Delivered?
00:04:44Oh, hello.
00:04:45It's a pleasure to meet you, Mrs White.
00:04:47Your 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.
00:04:58Congratulations to both of you.
00:05:00And this is my partner, Eve.
00:05:03Hi.
00:05:04And your field of expertise is, Mrs White?
00:05:08I'm an antiques dealer.
00:05:10How quaint.
00:05:12Shall we grab a horse's dew friendly into it?
00:05:14Yes, sir.
00:05:15What are you going to make?
00:05:16Yeah.
00:05:18A bottle of champagne, very fresh, please.
00:05:20Thank you very much.
00:05:21Pardon, Judith, champagne on the way right now.
00:05:24Oh, you are a darling, Gabriel.
00:05:26I think you're going to fit in very well around 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 thirsty, 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?
00:05:47Oh, it sounds like you do some great work.
00:05:49Oh, he does.
00:05:51Oh, hi, I'm Auriel.
00:05:52Oh, hello.
00:05:54It's a vocation that absolutely consumes me, I'm afraid.
00:05:58As my wife could confirm.
00:06:00Lovely to finally meet you.
00:06:02So, how did you find this vocation?
00:06:05Well, I've been working in prisons for a few years as a visiting doctor
00:06:09and I saw so much artistic talent just hidden away in the cells
00:06:14that I felt compelled to liberate it.
00:06:17So, 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.
00:06:39So, you can ignore George.
00:06:42And your husband is a very inspiring man.
00:06:46Oh, he is indeed.
00:06:48Excuse 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 making.
00:07:05Sorry.
00:07:07Sorry.
00:07:09Thank you, s'il vous plaît.
00:07:11Good job, mate.
00:07:12Quite luck.
00:07:17Thank you, everyone, for being here tonight.
00:07:21For tonight is a very special night for the museum.
00:07:25Mr. and Mrs. Alphonse are very generously about to invest
00:07:2910 million euros.
00:07:3110 million euros into our acquisition account.
00:07:35It will keep the museum afloat for many years.
00:07:38Just a minute, Gabriel.
00:07:41Remember 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.
00:07:58But I need you to prove to me that I am making the right choice.
00:08:03Of course.
00:08:05Of course.
00:08:06The stakes are very high for us.
00:08:09But I have contacts all over the world to make this museum great.
00:08:13I promise.
00:08:16Madame White, this is where we could use your help.
00:08:19Oh, right.
00:08:20We apologize for not warning you beforehand, but everything had to be completely top secret.
00:08:26Oh, I'm intrigued.
00:08:28We have something very rare, and we need you to verify it.
00:08:34Jeremy and Judy told me you are second to none in your field, so please, will you help?
00:08:41Well, I'm here now, so yeah, of course.
00:08:47If you will excuse me for one moment, ladies and gentlemen, we 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, just who I knew, who I trusted.
00:09:06He was the best in the business, so I...
00:09:08Well, thank you.
00:09:10You'd better be good, Mrs. White, and ensure it is what he says it is.
00:09:16We wouldn't want any mistakes.
00:09:19Well, let's put it this way.
00:09:21This isn't my first rodeo.
00:09:24Oh, thank you, darling.
00:09:27What's your name, dear?
00:09:28Amy.
00:09:29Big cash tip, Ellie, if you keep our champers topped up, if you know what I mean.
00:09:35I'll do my best, madam, but I've never worked here before,
00:09:38so I don't know how much we have in stock.
00:09:40Okay, off your pocket.
00:09:41Off your pocket.
00:09:42I'll do it.
00:09:43You're fine.
00:09:44Bye.
00:09:48On t'a attribué ton code personnel de sécurité, maintenant?
00:09:51Euh... non, 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.
00:10:04D'accord.
00:10:05Par contre, juste tu notes le code correctement, parce qu'il n'y a pas de seconde chance.
00:10:09Otherwise it's blocking you.
00:10:11So it's the...
00:10:133, 2, 7, 4...
00:10:154...
00:10:170, 9, 5, 7...
00:10:19It's good.
00:10:25So...
00:10:279.
00:10:43Oh.
00:10:51Eh ben voilà ma petite merveille.
00:10:53Waouh.
00:10:55Non, par contre, ça faut que tu le détruises immédiatement.
00:10:57Non, non, vraiment, tu...
00:10:59C'est bon.
00:11:11Tiens, prends la moite et on y va.
00:11:17Hop.
00:11:20Non, vraiment, fais très attention là.
00:11:22Non mais...
00:11:23Attends, t'as t'as l'avenir du musée entre les mains là, non ?
00:11:25Trop...
00:11:31Gabriel, laisse-moi !
00:11:32Tu veux que je ne fasse tomber ?
00:11:33Wait, you have a museum's future in your hands, don't you?
00:11:36Gabrielle, let me! Do you want me to fall?
00:12:03Ellie, I'm so sorry. I'm pretty new at this. I'm actually a student.
00:12:08Well, I would like to apologise for the neolithic behaviour of my husband, Ellie.
00:12:14George, we're going to pay for the cleaning, of course, but I can't clean.
00:12:18No, just leave it. I can do it.
00:12:22I can do it. Okay, perfect.
00:12:23So where's this tan box of yours?
00:12:33Is that what I think it is?
00:12:53Go on, what is it?
00:12:55Oh, this is a French Ormolu gilt jewellery case,
00:12:59owned by, I think, Marie Antoinette herself. Am I right?
00:13:04Yes, exactly, madame.
00:13:06Oh, well, I know there's one of these in the Museum of Tehran,
00:13:10but 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.
00:13:22So I tracked it down over the years and persuaded them to sell.
00:13:30Wow. Well, Gabrielle is right.
00:13:33I mean, if you can get stuff like this,
00:13:35well, this is, like, such a fantastic draw for the Museum.
00:13:39Game-changer, really.
00:13:41Well, so far, so good.
00:13:43Okay.
00:13:48What?
00:13:49My God.
00:13:52Do you?
00:13:53Well, it...
00:13:54It looks like a...
00:13:55Like a bomb.
00:13:57Oh, my God.
00:13:58Don't.
00:13:59It doesn't just look like a bomb.
00:14:03It's a marzipan.
00:14:04Marzipan?
00:14:05I was in the army for years.
00:14:07I've recognised that smell anywhere.
00:14:09What is it?
00:14:10It's Semtex.
00:14:11Semtex?
00:14:12What...
00:14:13What can that do?
00:14:14Put it this way, there's enough in there
00:14:16to blow this whole museum sky high.
00:14:24Come on!
00:14:25Come on!
00:14:26We're...
00:14:27Don't.
00:14:28It's not burning.
00:14:29You look like a bomb.
00:14:30Come on.
00:14:32Come on.
00:14:33Come on.
00:14:34Come on.
00:14:35Come on.
00:14:36Come on.
00:14:37You look...
00:14:38You look...
00:14:39What's that worth?
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, we all know that.
00:15:10Oh, my God.
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.
00:15:33Oh, my God.
00:15:38Do you want me?
00:15:40Just go on.
00:15:49Oh, my God.
00:15:50Oh, my God.
00:15:51Oh, my God.
00:15:52All right, love.
00:16:16Yeah, or woman.
00:16:18I know.
00:16:18So, one fingerprint to control your entire security system.
00:16:26Stop it, George.
00:16:27Yes, I let the security team arrange it between them.
00:16:31I have only been here three weeks, so it was on my to-do list, but...
00:16:37Good grief.
00:16:38So you have no idea how to deactivate it?
00:16:41No, no idea.
00:16:42No idea.
00:16:46Well, then.
00:16:48Why 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 worked a treat.
00:17:10So, let's give it a go, shall we?
00:17:11Good 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.
00:17:27Otherwise, it won't work.
00:17:30Can I ask a question, Gabriel?
00:17:48The security guard.
00:17:50What was her name?
00:17:51It was Susan.
00:17:52Shall we call her that, then?
00:17:57Look, I'm not suggesting we sever Suzanne's finger.
00:18:01George!
00:18:03Leave it!
00:18:04Go!
00:18:21Go!
00:18:21No!
00:18:22No!
00:18:23No!
00:18:24No!
00:18:27No!
00:18:29Why can't they hear us?
00:18:44No, no, because the front doors are solid oak, the 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 okay, I'll call Karam.
00:18:59Yeah.
00:19:02Oh, well, there's no signal.
00:19:04Oh, God.
00:19:05Ah, no, no, no.
00:19:06I haven't had any since I arrived because we are quite high up and the walls are too sick.
00:19:13Okay, 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.
00:19:19I must have dropped it.
00:19:20Oh, God!
00:19:24No, the Wi-Fi is off too.
00:19:26But don't worry, don't worry.
00:19:28I have one moment.
00:19:29I remember something.
00:19:31Is he going now?
00:19:32No, God.
00:19:36I have no idea.
00:19:38I haven't done it.
00:19:39No, I don't know.
00:19:40I haven't had any questions.
00:20:11One has sabotaged the comms cupboard. It's beyond repair.
00:20:16Comms cupboard?
00:20:17It's where all the Wi-Fi hubs lead to to keep us on the internet.
00:20:21All the connections have been ripped to pieces.
00:20:24Oh.
00:20:26So we are completely trapped in here.
00:20:30Oh.
00:20:32Good God.
00:20:34You have got a foolproof security system that you don't even know how to operate.
00:20:39Who's a bloody fool now, eh?
00:20:41Take 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 and I will take you down. Do you understand?
00:20:51Gentlemen, we have to calm down.
00:20:54Don't suppose you serve Valium as well as champagne?
00:20:57Valium. Is that the cocktail?
00:21:00Never mind, dear.
00:21:02So, someone knew that we were here tonight and 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. He sent the invite.
00:21:16I don't think I would bomb my own museum to this and 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?
00:21:31I do remember on my first debriefing, they said once the shutters are activated, they close very fast and there is very little time to get out.
00:21:41Do you mean that the murderer might still be in the building?
00:21:47Possibly.
00:21:57Patrick, can you call Judith? I can't get hold of Dom or Jeremy.
00:22:01Obviously, I have Gene's phone and I don't have Judith's number.
00:22:05There is no answer at the museum and the doors are locked.
00:22:09Something is not right.
00:22:10You OK?
00:22:20Yeah, I think so.
00:22:21Caron just asked me if I can get in touch with Judith, but there's no answer.
00:22:25She's with Jeremy and Dom. Give them a call.
00:22:27No, he's already tried that and there's no reply from them either and no one's answering the door.
00:22:33I don't like the sound of that.
00:22:35Nor do I.
00:22:37Diane can look after the bar for now.
00:22:39The electric lady verne outside?
00:22:41Yeah.
00:22:43Then let's go.
00:22:44What idiot takes the job as a curator of a massive museum and 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 that 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.
00:23:08Let's go.
00:23:09Let's go.
00:23:09If you're going to say something, say it in a language we can all understand, eh?
00:23:14I beg your pardon.
00:23:17For one moment, I thought we were in France.
00:23:22If you have something to say, why don't you say it straight?
00:23:28You 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?
00:23:48Listen.
00:23:49Hello?
00:24:13Hello?
00:24:14Can anyone hear me?
00:24:17Hello, hello, hello?
00:24:19Oh, thank God.
00:24:33Look, we are trapped inside the museum.
00:24:36The shutters are down, the security guard's been murdered,
00:24:38and there is a bomb ticking away.
00:24:40What? A bomb?
00:24:42OK, Dom, you need to say all that again, but much slower.
00:24:45There is a bomb.
00:24:51Someone has activated the security shutters.
00:24:53They can only be deactivated by the fingerprint of the security guard.
00:24:58But the...
00:24:58The security guard...
00:25:01has been murdered.
00:25:05OK, Dom, have you seen the bomb?
00:25:07Yes.
00:25:08What does it look like?
00:25:10Hi, Dom.
00:25:10All right.
00:25:16OK, so...
00:25:17It's like a big lump of orange bloke in here, so 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, a blue one, a red one, and a yellow one.
00:25:34And how much time does the bomb say you have?
00:25:3859 minutes.
00:25:43I will get help immediately.
00:25:45I need you to keep this communication open.
00:25:47OK.
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.
00:26:29Hang on a sec.
00:26:29There's got to be a spare, there's got to be a spare, oh bingo!
00:26:49Caron, can you hear me?
00:26:52Caron!
00:26:59Loria, stop, stop!
00:27:11Go to me, go to me.
00:27:14I managed to speak to Caron, he's calling for help.
00:27:17Brilliant, how did you manage that?
00:27:19Well, Susanne's walkie-talkie.
00:27:20Oh, that's great, well we can use that then.
00:27:22Eh, no, no, no, it's just died.
00:27:24Maybe it just needs any battery over.
00:27:26No, no, I tried that, it was no joy, so...
00:27:28Oh, God.
00:27:29Well, at least we're getting some help from the professionals.
00:27:32Something you've needed for years, darling.
00:27:35Caron will help us, won't it, darling?
00:27:38Oh, absolutely, darling.
00:27:40Jean.
00:27:42What?
00:27:43What's the matter?
00:27:45Erm...
00:27:46I found this under the bomb.
00:27:51For me?
00:27:53I don't understand.
00:27:56Who would do something like this to you?
00:28:00I've no idea.
00:28:02I mean, thinking about it, I've put a few people away over the years,
00:28:08but this is beyond the pale.
00:28:11Look at the heart, her fruit from above, her face like the sun, her heart full of love.
00:28:29But fate is not kind, and her future is bleak.
00:28:34Two attempts to survive, one date do you seek.
00:28:38Oh, come on, Jean, think.
00:28:41Okay, dear.
00:28:42Two attempts to survive, one date do you seek.
00:28:46Well, it appears that this sicko wants me to find a piece of art in the museum that matches the riddle.
00:28:59Two attempts to survive, one date do you seek.
00:29:02So, well, I'm guessing that you put the date in the keypad to stop the bomb.
00:29:11Oh, wow.
00:29:15Somebody must really hate me to go to all this trouble.
00:29:19It's just a child's riddle.
00:29:21We should wait for help, for grief.
00:29:23But what if help doesn't get her here on time?
00:29:26Someone is out to get me.
00:29:28This is all my fault.
00:29:30I've got to do something to help.
00:29:32Slay.
00:29:34Okay, Jean, you've absolutely got to solve this riddle.
00:29:38Come on, chaps, let's separate and find a way out of here.
00:29:41And, Gabrielle, you attempt to override this god-awful security system.
00:29:46Well, I think we should wait for the police.
00:29:49Something you are very welcome to do on your own, George.
00:29:52I, for one, am going to help Jean.
00:29:54Yeah, yeah, me too.
00:29:56I'm in.
00:29:57Anything is worth a try.
00:29:59I do tech support for the charity.
00:30:02Can I help?
00:30:03Excellent.
00:30:04Come on, let's go to the booth.
00:30:06Be careful.
00:30:07You too.
00:30:08I think it's essential that we keep dividing in order to conquer.
00:30:14Gentlemen, follow me.
00:30:16Whoa.
00:30:17Okay.
00:30:18Look at the heart.
00:30:19The heart.
00:30:24Well, the heart could mean love.
00:30:27Oh, no.
00:30:28That could be any work of art.
00:30:29Okay.
00:30:30Okay, think, Jean.
00:30:31Think.
00:30:32Well, um...
00:30:33Okay, look at the heart. The heart, well, the heart could mean love.
00:30:40Oh, no, that could be any work of art. Okay. Okay, think, Jean, think.
00:30:45Well, um, it could be the sacred heart, especially if it's qualified with the fruit.
00:30:51Well, how so?
00:30:53Well, um, Jesus in art is often referred to as fruit of the womb.
00:30:57Yeah, let's go with that. Okay.
00:30:58Anyway, face like the sun, now, obviously, Jesus was the son of God,
00:31:04and the sun in the sky is often used as a metaphor for Jesus,
00:31:07so, um, fate is not kind. Well, fate wasn't kind to Mary.
00:31:12Certainly wasn't too kind to Jesus either, was it?
00:31:14Well, exactly, but her future is bleak. Her.
00:31:17I think it's got to be about Mary and Jesus. It's got to be.
00:31:21Right. I think we're looking for a religious painting or sculpture.
00:31:26Well, there'll be a fair few of those, I'm sure.
00:31:28Yes, but particularly the Madonna and Child.
00:31:32There is about six main rooms.
00:31:34Okay. Let's split up, take a room each, and report back.
00:31:37Right.
00:31:38Right.
00:31:40Me and Dom will take medieval and renaissance.
00:31:43Judith, you do modern art.
00:31:45And Auriel, you do metal work.
00:31:46And Ellie, you do jewellery and glass work.
00:31:51And, um, yeah, and remember the Madonna and Child, okay?
00:31:56Let's go. Right, which way?
00:31:57This way.
00:32:04Richard, did you contact the bomb squad?
00:32:07Not great news, I'm afraid.
00:32:08The nearest active unit is Lyon, which is six hours by car.
00:32:11They're trying to activate the plan to get here quicker, but it's not looking good.
00:32:14What about overriding the security system?
00:32:17We have contacted the company, but with it being Christmas Eve, we have the same problem.
00:32:21The nearest engineer is in Marseille.
00:32:23Oh, no.
00:32:23There is no guarantee they will be here in time.
00:32:26If there was another way in, I think I could deactivate it.
00:32:29What?
00:32:30Before I joined the gendarmerie, I trained in the bomb squad at la Police Nationale.
00:32:34If it is a rudimentary device, I could deactivate it, I think.
00:32:38Okay, well, what about the tunnels underneath?
00:32:41Pardon?
00:32:41The museum's tunnels were part of the bomb shelter system during World War II.
00:32:45I remember the tour guide telling us when I brought Xavier on a visit.
00:32:49Okay, I will go in.
00:32:50I cannot put my best officer in danger, Richard.
00:32:53I will go in.
00:32:54You can advise me.
00:32:55But, 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, we 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 chopped them over my shoulder.
00:33:13It's a little dramatic.
00:33:14If we all work together, we stand more chance.
00:33:17If we...
00:33:17Did you just call me a Jurassic?
00:33:18It was just an observation.
00:33:21You like making observations, don't you?
00:33:23What's that supposed to mean?
00:33:25Like observing other people's wives.
00:33:28I, uh, don't know what you're talking about.
00:33:30Do you think I was born yesterday?
00:33:33I'm sorry?
00:33:36The charity meetings with 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 with you two.
00:33:47Don't tell me I'm wrong.
00:33:51I said!
00:33:52Tell me I'm wrong!
00:33:56Well...
00:33:56There you go.
00:33:58It just about says everything, doesn't it?
00:34:00George, I, uh...
00:34:01Oriol, uh, is my wife.
00:34:05Come on, George.
00:34:07You haven't loved each other for years.
00:34:09Even a stranger would know that.
00:34:10Just our shtick!
00:34:11What?
00:34:13The couple's thing.
00:34:14The public act.
00:34:16But when we get behind closed doors,
00:34:19we are still husband and wife.
00:34:25Oh!
00:34:25So you think I'm lying, do you?
00:34:30Well, I don't know what yarn she's been spinning you,
00:34:34but it's true.
00:34:36And I'll tell you something else that's true.
00:34:39I will do everything in my power
00:34:43to make sure
00:34:44that you never
00:34:45raise
00:34:46another penny
00:34:48for your stupid...
00:34:50Jack, Jack, Jack, Jack, Jack, Jack!
00:34:51Please, this is no time
00:34:52for a bloody showdown!
00:34:54Come on!
00:34:54Thank you very much.
00:35:24Thank you very much.
00:35:54And I'll be honest with you,
00:35:55I need a little top-up
00:35:57of Dutch courage.
00:35:59What in here?
00:36:01Can you not hear
00:36:03that bomb ticking?
00:36:05Yes.
00:36:06Yes, I can.
00:36:07But I'll be perfectly honest
00:36:08with you, Oriol,
00:36:09if I am
00:36:11to get blown to smithereens,
00:36:13I'd really rather like
00:36:14not to remember it.
00:36:18Let's keep looking.
00:36:19I'll take sculpture,
00:36:20and you take ancient modern art.
00:36:21OK.
00:36:22Thank God the library was still open.
00:36:35Right, this map dates
00:36:38from around 1943.
00:36:41It shows the tunnels
00:36:43that were dug out
00:36:44and used as bomb shelters
00:36:45during World War II.
00:36:47Oh, 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
00:36:57with maps.
00:36:57It's a bit of an achilles heel
00:36:58for 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
00:37:03that didn't have sat-nav.
00:37:05Hey, speak for yourself.
00:37:06I'm 20 years younger than you,
00:37:07which makes me a straddler.
00:37:09Double?
00:37:09I straddle pre- and post-technology.
00:37:12Doesn't matter what form of map dates,
00:37:13I'm a dab hand.
00:37:14Right, there's a labyrinth
00:37:16of tunnels under the museum.
00:37:17You can see the entrances
00:37:18all around here,
00:37:20but they can only be accessed
00:37:21from the inside.
00:37:23Hang on.
00:37:24This one looks like it's leading
00:37:26from the outside in.
00:37:28What do you mean?
00:37:29Look, it starts off as a small one
00:37:31then 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
00:37:42a 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,
00:38:10are 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?
00:41:04What are you doing here?
00:41:04What are you doing here?
00:41:05What are you doing here?
00:41:05What are you doing here?
00:41:06What are you doing here?
00:41:06What are you doing here?
00:41:06What are you doing here?
00:41:07What are you doing here?
00:41:07What are you doing here?
00:41:08It's not so good that the Ciudad is standing up.
00:41:13I'm going to make you a little bit.
00:41:18I'm going to take a look.
00:41:21I'm going to take a look.
00:41:26I'm going to take a look at the little bit.
00:41:29I'm going to take a look.
00:41:32You're very good.
00:41:34I'm going to take a look.
00:41:36We're going to get out of here, we're going to get out of here, don't worry.
00:41:39And how do you think you're going to get out of here?
00:41:43In any case, I wanted to tell you, it's not very long that we've been known, but you've got my life.
00:41:52Oh, really? It's too sad.
00:41:56Sorry Gabriel, just that I'm really scared.
00:41:59Sorry.
00:42:00The code will appear at an instant, at the other end, it's going to be decrypting it.
00:42:06It's okay, it's okay.
00:42:08Okay, but what the hell is that?
00:42:15What came first, medieval or Renaissance?
00:42:17Medieval.
00:42:18Oh, right.
00:42:19So medieval was the 5th to the 14th century, and Renaissance was the 14th to the 17th?
00:42:26Correct.
00:42:27Yeah, no, it says it here on the card.
00:42:29This is beautiful. It's hand spun, wool and silk.
00:42:37And this is called a verdure tapestry, derives from the French word for green.
00:42:42Ver.
00:42:43Yeah.
00:42:44How do you do that?
00:42:45What?
00:42:46No, all that.
00:42:48It says it on the card.
00:42:50Touché.
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 to show their bad teeth.
00:43:00In fair dues.
00:43:01I think it was just really hard work to maintain a smile whilst you're having your portrait painted.
00:43:06I mean, sitting there for hours like that, not like taking a selfie, isn't it?
00:43:11That's true.
00:43:12Don.
00:43:13Look at that.
00:43:14Okay.
00:43:15Right.
00:43:16Look at the heart.
00:43:17Her fruit from above.
00:43:18Her face like the sun.
00:43:19Her heart full of love.
00:43:20I mean, I wouldn't exactly say her face is sunny.
00:43:21But...
00:43:22Donatello, terracotta.
00:43:23You didn't look at the card.
00:43:24Oh.
00:43:25Well, he's one of my favourites.
00:43:26Mind you, there is a debate that it could have been Revere, but...
00:43:28It says it's on loan from Florence.
00:43:29But it fits all the clues.
00:43:30Can I have your phone?
00:43:31Yeah.
00:43:32Yeah.
00:43:33Okay.
00:43:34Okay.
00:43:35Okay.
00:43:36Okay.
00:43:37Okay.
00:43:38Okay.
00:43:39Okay.
00:43:40Okay.
00:43:41Okay.
00:43:42Okay.
00:43:43Okay.
00:43:44Okay.
00:43:45Okay.
00:43:46Okay.
00:43:47Okay.
00:43:48Okay.
00:43:49Okay.
00:43:50Okay.
00:43:51Okay.
00:43:52Okay.
00:43:53Okay.
00:43:54Okay.
00:43:55Okay.
00:43:59Oh.
00:44:00We best get back to the others.
00:44:02Not much time left, is there?
00:44:05I love you, Jane White.
00:44:07Dom.
00:44:08We will get out of here.
00:44:10Yeah?
00:44:11Yeah.
00:44:12Come on.
00:44:13One.
00:44:14Two.
00:44:15Three.
00:44:16Oh!
00:44:17God!
00:44:18Oh!
00:44:19Oh!
00:44:20Oh!
00:44:21All right.
00:44:22All right.
00:44:23All right.
00:44:24Let's just take a minute.
00:44:27Good idea.
00:44:39So, 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?
00:44:54Oh, I don't mind.
00:44:55I don't mind.
00:44:56We run our businesses like clockwork.
00:44:59And then all of a sudden, she becomes interested in charity.
00:45:02Now, I wouldn't mind, but we have an office set aside for charity or tax relief, as I'd like to call it.
00:45:12Absolutely.
00:45:13Mm-hmm.
00:45:14And the only charity she really did was just turn up, snip the ribbon.
00:45:18Until she met him.
00:45:21Ah.
00:45:22Dr. Pardipa.
00:45:23Mm-hmm.
00:45:26We met him.
00:45:27And 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.
00:45:39Blah, 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.
00:45:53You know, I've never loved another woman.
00:45:59I just thought...
00:46:04Maybe she didn't love me as much as she used to.
00:46:08Though we'd always have...
00:46:11Respect.
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, I forgot to pick up my glasses.
00:46:54I know.
00:47:03Oh, I see.
00:47:04Not a child, but a sheaf of wheat.
00:47:09Nearly.
00:47:10Come on.
00:47:11Come on.
00:47:12Come on.
00:47:13Come on.
00:47:18Okay.
00:47:19The tunnel on your left appears to lead to another exit.
00:47:23But the tunnel ahead of you takes you to a door that leads you into the museum.
00:47:27Okay.
00:47:28Give me a second.
00:47:29It's locked.
00:47:30The door's locked.
00:47:31Give me your handset.
00:47:32Andre?
00:47:33Describe the lock to me as best you can.
00:47:37It is a rectangle with a large keyhole in the middle.
00:47:38Looks like a church door lock.
00:47:39And it is very rusted.
00:47:40Sounds like a rim lock.
00:47:41Not too tricky.
00:47:42So.
00:47:43You, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you.
00:47:45It is a box of locks of locks in the middle.
00:47:46It is a lock, I see.
00:47:47You're so fancy.
00:47:50Give me your handset.
00:47:51Andre?
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.
00:48:01And it is very rusted.
00:48:04Sounds like a rim lock.
00:48:07Not too tricky.
00:48:09So.
00:48:10Use the screwdriver attachment on your multi-tool
00:48:11attachment on your multi-tool to turn the lock to your right.
00:48:19Okay I'm ready. No, no, no, I give it
00:48:41him.
00:48:42What do you mean George knows? He just came straight out of me. Said he'd been looking
00:48:47through your phone. Looking through my phone? How? It never leaves my sight. We hardly see
00:48:55each other. We live separate lives. That's not what he said. What? He implied that the
00:49:02two of you are still very much in love. And that this whole dislike thing is just an act.
00:49:09Oh Ali that is rubbish. We don't even sleep in the same room. And the worst bit of it
00:49:16is he said he's going to make sure that I don't receive another penny for the charity.
00:49:22Oh. That's the worst thing, yeah? Well, it's nice to hear you've got your priorities straight.
00:49:29No, Oriel, you are my priority. But if you're still in love with him...
00:49:36Ali, please, it's rubbish. He's just bitter, believe me. I love you.
00:49:42Did you find anything? Oh, I've taken a picture of a few pieces but I haven't really got a clue
00:49:48what I'm looking for. Yeah, I mean, the riddle is a little vague. Yeah, that's the understatement of the century.
00:49:55But the bomb threat is very clear. Yeah, yeah, we should find the others and regroup, yeah?
00:50:01That's where I was heading.
00:50:17Oh. Oh no, they're all locked!
00:50:21Oh. Surely that idiot Gabrielle has a set of keys.
00:50:24I think we've established, George, that Gabrielle has literally no idea where they are.
00:50:29Oh, hello, you two. Hello. Hello, darling. Any success?
00:50:34Oh, it's bloody useless. I can't find one single religious painting.
00:50:39No, I've tried my utmost and that's all I can do. It's all so hopeless.
00:50:45How are you getting on? We've tried all the doors. And windows.
00:50:48Nothing. How utterly infuriating.
00:50:51Maybe we should get back to the others.
00:50:54Good idea, George. Come on.
00:50:57We will get out of here, won't we, darling?
00:51:00Oh, come here.
00:51:03Of course we will, my darling.
00:51:08One way or the other.
00:51:12Very, very gently.
00:51:15Nothing seems to be biting.
00:51:17Take your time.
00:51:19That is something we do not have.
00:51:24I think I can kick the door in.
00:51:26No, no, no, no. Don't do that.
00:51:27We don't want any unnecessary vibrations.
00:51:30Andre?
00:51:33Andre?
00:51:37Andre!
00:51:38Andre?
00:51:56Andre?
00:51:57Andre!
00:51:59Oh, no, um, this is a picture by Camille Corot in 1860,
00:52:06and it's of a normal, earthbound human child.
00:52:10Sorry. No, it's OK.
00:52:12Ellie, anything? I couldn't find the card for this,
00:52:15but it looks like a modern art version of Mary and Jesus.
00:52:19Well, is it? No.
00:52:22I'm afraid not.
00:52:24I mean, it looks like modern art,
00:52:26but I think it's a copy of the famous Corotrophos,
00:52:29which is one of the earliest Neolithic finds in Greece.
00:52:336000 BC.
00:52:35Oh...
00:52:36Not with George and Jerry, then, Ellie?
00:52:39No, the, um...
00:52:41We couldn't... The doors...
00:52:46I've got something to tell you.
00:52:47Oh, Dawn.
00:52:49Oh, how did it go?
00:52:50We're really trapped.
00:52:52Tried everything.
00:52:54Every window, every door is either deadlocked or barred.
00:52:57Judith, did you find anything to match the poem?
00:53:00I found a painting that might be a mother and child,
00:53:02but I'm not entirely sure it's the right way up.
00:53:07No.
00:53:11Don, can you get up that picture of the Donatello, please?
00:53:13No.
00:53:19OK.
00:53:20Two attempts to survive, one date do we seek.
00:53:27Do you think it's time to put our best option in?
00:53:30Don't really have a choice, do we?
00:53:32Or shouldn't we wait to see if Sangeetra and the others
00:53:35have had some success?
00:53:36I don't think there's any harm in trying.
00:53:38I do think it's time to appear if you've got a kid.
00:53:40I'm trying.
00:53:42designation
00:53:43clone
00:53:51mac
00:54:04Andre, 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.
00:54:53The lock is so rusted, I just can't seem to get a grip.
00:54:58There's a blockage in the tunnel and he can't get out.
00:55:00How's he doing with the lock?
00:55:01He says he can't get a grip because it's all rusted up.
00:55:04Rusted?
00:55:05Give me the headset.
00:55:08Andre, this may seem like a stupid question, but what's your gun holster made of?
00:55:14Mainly leather, I think, but with some rubber on the inside.
00:55:18Great. Take your knife and slice a thin piece of rubber off.
00:55:21Okay, I've done that.
00:55:30Put it in the lock and rub as hard as you can.
00:55:32Okay.
00:55:33Is 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, but can each trick rustates rubber.
00:55:46I'm passing you back to Patrick.
00:55:48Right, I'm going to try the lock again.
00:55:49Okay, Andre, remember, screw driver up and to the right, very gently.
00:56:00What's happening, Andre?
00:56:02Andre?
00:56:03It's not opening, Patrick.
00:56:05I'm going to try the lock again.
00:56:35Try something different, Andre.
00:56:37Turn it to the left very, very gently.
00:56:42Then turn it one more time.
00:56:52It's unlocked!
00:56:53Yes!
00:56:54Yes!
00:56:56Okay, Andre.
00:56:57Once you're through the door, you're going to your right.
00:57:00I can't believe I got it so wrong.
00:57:05Look, you can't blame yourself, Jane.
00:57:07Well, it's false, is it?
00:57:08I sent you on a wild goose chase.
00:57:10You did something, though.
00:57:12Yeah, and I got it wrong.
00:57:13I don't want to die like this, Jeremy.
00:57:16Oh, I know, my darling, I know.
00:57:17Oh.
00:57:18Why 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.
00:57:30Well...
00:57:31How much time have I got left?
00:57:48How much time has he got left?
00:57:51Only 17 minutes, I'm afraid.
00:57:5417 minutes, Andre.
00:57:55Keep going straight on, and every day, you're doing great.
00:58:15Bon, je l'ai ou marre.
00:58:16Non, non, surtout, tu bouges pas, parce que là, tu vas ruiner toutes nos chances.
00:58:19Donc, tranquille.
00:58:20Non, non, mais c'est rien.
00:58:23Bon, je dois aller la trouver, celle-là, et voir ce qu'elle croit qu'elle est en train de faire.
00:58:25Bon, je dois aller la trouver.
00:58:40Do you want to know what I bought you for Christmas?
00:58:44You know I prefer a surprise.
00:58:48But you might not get to see it.
00:58:53I want to keep it a surprise.
00:58:54Thank you, Jeremy.
00:59:02What for?
00:59:04Our life together.
00:59:07I've had such a lovely time.
00:59:08I thought, after losing the twins, we wouldn't last lots of couples split over less, you know.
00:59:17I know, my darling.
00:59:18I know, my darling.
00:59:20I know.
00:59:23Maybe, if there is something after this life, we can meet them again.
00:59:28That's a nice thought, isn't it?
00:59:29That's a nice thought, isn't it?
00:59:32That's a wonderful thought, darling.
00:59:37Wonderful.
00:59:40Anyway, I'm glad we're here together.
00:59:42I've always dreaded the thought of going first and leaving you behind.
00:59:46Me too.
00:59:47Me too.
00:59:55Sangita, she's dead.
00:59:56No.
00:59:57What?
00:59:58Are you sure?
00:59:59Positive.
01:00:00How?
01:00:00She has been shot.
01:00:02Shot?
01:00:02She was trying to change the fingerprint control and needed access to the main computer in
01:00:07my office, so she left us and went to the office, waited for ages.
01:00:12And you just found her there?
01:00:14Yes.
01:00:14I need to see her.
01:00:15No, no, no.
01:00:16I'm not sure you should.
01:00:17Look, I'm a doctor.
01:00:18Maybe she's still alive.
01:00:20Take me to her.
01:00:21Ali, Ali, listen.
01:00:22Look at me.
01:00:23I just need to see my wife.
01:00:27Show me to your office.
01:00:28Okay.
01:00:32Everyone needs to stay here.
01:00:34No one must leave.
01:00:35Don't come with me.
01:00:37Yeah.
01:00:49My love.
01:00:51Ali, you can't touch her.
01:00:53I am a doctor and her husband.
01:00:56I know, but this is a crime scene.
01:00:58What?
01:01:00There's still a very good chance that we could get out of here.
01:01:03And if we do, we want every shred of evidence intact, don't we?
01:01:08Allie is having an affair with Ariel.
01:01:28What?
01:01:29I saw them in the corridor together.
01:01:31Said him and George almost came to blows at one point.
01:01:35Oh, well, that gives him a motive.
01:01:36To get rid of his wife so he can marry a billionaire.
01:01:39Exactly.
01:01:40Come on.
01:01:43If it is him, we can't leave him alone with Gabrielle for too long.
01:01:49All the banking codes, they are gone.
01:01:51Are you sure they were in there earlier?
01:01:53Yes.
01:01:53When I came to get the Ormolu from the safe, I clearly remember seeing the file.
01:01:59And who else knew the combinations of the safe?
01:02:02Only me.
01:02:02And Eve, he helped me collect the Ormolu earlier.
01:02:07Okay.
01:02:08Right, yeah.
01:02:09We all have to stay in the same place.
01:02:12It's what Karen would make us do.
01:02:14Yeah, yeah, you're right.
01:02:15Okay.
01:02:15Right, we have to stick together.
01:02:17There's a murderer amongst us.
01:02:23Yeah.
01:02:24Come on, my friend.
01:02:24Gloria, I must be near.
01:02:36I can hear your voices.
01:02:37You're right underneath the events room.
01:02:40Carry on for about another ten yards,
01:02:42and you'll see a ladder on your right.
01:02:44That'll take you directly up to the museum.
01:02:45Are you okay, love?
01:02:49Yes.
01:02:52I'm fine.
01:02:54Yards to meters.
01:02:57Multiply the length given in yards by 0.9144.
01:03:03I found the ladder.
01:03:05He's found the ladder.
01:03:11I'm heading up now, Gloria.
01:03:13Well, Lord, Andre, you're nearly there.
01:03:16The security engineer has now landed at the airport,
01:03:18and she's on her way now in a police car.
01:03:19Brilliant, my sir.
01:03:20Use.
01:03:24Andre!
01:03:33Andre, are you okay?
01:03:35Andre, can you hear me?
01:03:44Maybe we should start praying to them paintings we found.
01:03:47It looks like that's our only choice.
01:03:50You like to have a choice, don't you?
01:03:52What's that meant to mean?
01:03:53You know exactly what that means.
01:03:56If you've got something to say, George,
01:03:57why don't you just come out with it?
01:03:59If I've got something to say,
01:04:01I will decide when I say it.
01:04:05Always loving the control, eh, George?
01:04:07Even when we're about to die,
01:04:09you still have to be in control.
01:04:11You know the best thing about this situation?
01:04:15We're both going to die together.
01:04:19Which means you won't inherit a thing.
01:04:25Wow.
01:04:26Just when I thought you couldn't go lower.
01:04:45What 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.
01:04:53You two.
01:04:54Jean needs help.
01:04:55I'm not sure I'm not help to anyone, Dominic.
01:04:58Judith's not feeling great.
01:04:59We're all not feeling great, Jeremy.
01:05:03Sorry.
01:05:04Sorry, I didn't mean to snap.
01:05:07No, actually, I did.
01:05:09Jean is over there trying so hard to help us.
01:05:12To help all of us.
01:05:13The very least you two can do is to help her.
01:05:15Okay?
01:05:17Sorry, old chap.
01:05:18Yes, of course.
01:05:19Oh, great.
01:05:21Okay.
01:05:22So, whoever murdered Sangeeta and Suzanne
01:05:25has something to do with the bomb
01:05:27and this whole nightmare evening.
01:05:29It makes sense for everything to be connected.
01:05:31Yeah.
01:05:32Who would kill Sangeeta?
01:05:33Who 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
01:05:46talking about it.
01:05:47Do you think he bumped off his wife to run off with a billionairess?
01:05:52That's what I said.
01:05:53Or maybe George killed her to frame Ali.
01:05:57You're certainly on the verge of it.
01:05:58Or maybe Auriel killed her in a jealous rage
01:06:02because she couldn't wait a moment longer for Ali.
01:06:05Well, in the office,
01:06:07Gabrielle said all the codes to the museum's bank
01:06:10had been stolen from the safe.
01:06:11Yeah, and he was certain that they were there earlier.
01:06:14So, could that have something to do with it?
01:06:16Oh, it's all so confusing.
01:06:19My head hurts.
01:06:21Dom, come with me.
01:06:23There's only one person that used the map.
01:06:46Of course.
01:07:03It's so small.
01:07:05Oh, it's a nose ring.
01:07:11Oh.
01:07:14It was Ali.
01:07:16It 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?
01:07:23Oh, she couldn't be in two places at once.
01:07:26I mean, she was definitely here when we arrived.
01:07:29So, how could she be murdering the security guard at the same time?
01:07:37Unless, oh, this question.
01:07:45Don.
01:07:50Don, give us a hand with this.
01:07:53Yeah.
01:07:59She's still alive.
01:08:17Let's get her near.
01:08:25What the hell?
01:08:27Who on earth is this?
01:08:28Jean, for God's sake, explain.
01:08:30What on earth is going on?
01:08:32Ali, then, just a minute.
01:08:35I'm intrigued.
01:08:38We still have a few minutes before we escape.
01:08:42How did you know?
01:08:44Eve, what are you doing?
01:08:48Go on, Madam 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.
01:08:58You mistakenly left your map on the floor
01:09:03at the side of the safe.
01:09:06I suppose when Sangeeta came in
01:09:09to override the fingerprint control,
01:09:12well, she caught you red-handed.
01:09:16And then I worked it back.
01:09:19I mean, how did you get in the safe in the first place?
01:09:23Only Gabrielle and Eve knew the combination,
01:09:29so it made sense one of them was your accomplice.
01:09:33And then I remembered, earlier in the evening,
01:09:45Sangeeta recognized you, Eve,
01:09:48from a prison outreach event.
01:09:50Have we met somewhere before?
01:09:52Very much doubted.
01:09:53I don't do prisons on charity.
01:09:55I assume you've not been out of prison for very long.
01:10:00For Sangeeta to recognize you from something so recent.
01:10:04Eve, is this true?
01:10:08But you, Ellie, yeah.
01:10:11I couldn't work out how you could be in two places at once.
01:10:15Serving champagne here and, well,
01:10:18murdering the security guard down there.
01:10:20But you weren't, were you?
01:10:26This is what I think.
01:10:29You went to the museum
01:10:30and you forced a security guard to activate the shutters.
01:10:45Once you'd started the bomb,
01:10:48you raced up here.
01:10:50You changed your outfit
01:10:52and you placed the bomb
01:10:55in the cabinet
01:10:57just outside this room.
01:11:09Then you accosted that poor waitress
01:11:11and you bundled her into the cupboard.
01:11:16And it's brilliant, really.
01:11:18All Eve had to do was
01:11:20hire an agency waitress
01:11:22who looked a little bit like you.
01:11:24I mean,
01:11:24no one had ever met either of you before,
01:11:27so no one would realize that
01:11:29you were an entirely different person.
01:11:32But how did you get the bomb
01:11:35inside the Ormalu?
01:11:36Well, you throwing champagne over George was no accident, was it?
01:11:45The minute that you heard Gabrielle and Eve in the corridor,
01:11:49that was your cue to cause a distraction.
01:11:52giving Eve just enough time to plant the note for me
01:12:03and to put the bomb in the box.
01:12:06Very good, Madam White.
01:12:19I sort of understand the murders to steal the bank codes.
01:12:23But why the bomb?
01:12:26Why the poem?
01:12:29Well,
01:12:30that is what you would all take to your graves
01:12:32without knowing.
01:12:35Well, there's no way out.
01:12:37Not for you, anyway.
01:12:38The security engineer is almost here.
01:12:58Oh, we've only got two minutes left.
01:13:08Two of the most important people in my life
01:13:16were in that building.
01:13:17Heads down, please.
01:13:20Right.
01:13:21I'm going to smash this door down.
01:13:23What's the point?
01:13:24There's enough Semtex in there
01:13:25to block the whole bloody building.
01:13:26But they managed to escape, didn't they?
01:13:28Oh, God, I didn't think I was going to die
01:13:30from a bomb in a bloody jewellery box.
01:13:35Maybe the actual box is a clue.
01:13:37It's an actual Marie Antoinette box.
01:13:45This is a picture of Marie Antoinette
01:13:47dressed as a vestal virgin
01:13:48by Charles Leclerc in 1777.
01:13:52In relation to the poem,
01:13:55Fruit from Above, well,
01:13:56Marie Antoinette's father was a pope,
01:13:59faced like their son.
01:14:00Well, she was married to the great-great-grandson
01:14:03of the Sun King,
01:14:05and fate was not kind.
01:14:06Well, it wasn't kind to her.
01:14:07She had her head cut off.
01:14:16One.
01:14:18Seven.
01:14:19Seven.
01:14:20Seven.
01:14:23Seven.
01:14:24Oh, Judas!
01:14:37I said it would be all right.
01:14:40Oh, Judas!
01:14:42Judas, you're a genius.
01:14:43The box, Marie Antoinette,
01:14:45of course it was to do with her.
01:14:46Oh, I'm going too old for this.
01:14:48Clever, clever darling.
01:14:50I'm so pleased I didn't tell you what I bought you for Christmas.
01:14:59What happened?
01:15:02Nothing.
01:15:03Hi!
01:15:10Listen, I don't want to break up the party, but we are still locked in.
01:15:14I know we don't have the threat of the bomb anymore, but we are still locked in.
01:15:18Come on, let's get this door open.
01:15:20Right, come on.
01:15:22Right, I can't let anybody crack.
01:15:23I'm counting three.
01:15:24One, two, three!
01:15:27Oh!
01:15:28I must have loosened it earlier.
01:15:31Loosened it.
01:15:48Oh!
01:15:49It's a real dreamboat there, hey, my darling wife.
01:16:00Come on!
01:16:01Come on, come on!
01:16:01The shutters are opening!
01:16:03Come on!
01:16:03Come on, come on!
01:16:04Tire on, you little beauty!
01:16:13Excuse me.
01:16:14Excuse me.
01:16:15Excuse me for me.
01:16:16Excuse me.
01:16:16Excuse me.
01:16:17Excuse me for me.
01:16:18Oh, Dominic, Merry Christmas.
01:16:47Well, yeah, I wouldn't exactly say that, but Merry Christmas.
01:16:52Where's Karen?
01:16:54What happened?
01:16:56He came in to get you.
01:16:59How?
01:16:59The tunnels underneath the museum.
01:17:02The what?
01:17:03There's a load of bomb shelters.
01:17:05It was my idea, but...
01:17:07His radio's gone silent.
01:17:11We think he has fallen.
01:17:12What?
01:17:13They had to wait and see if the bomb exploded
01:17:17before they went to check on him.
01:17:19Just preparing to go and find him now.
01:17:23Allez.
01:17:26Avancé!
01:17:29Previte!
01:17:30OK, c'est bon.
01:17:34I assume these two have something to do with all this.
01:17:38I thought I'd killed you.
01:17:39Not quite.
01:17:42Oh, André.
01:17:44It's so good to see you for all.
01:17:47Good to see you, mate.
01:17:50Jean?
01:17:52Grisha.
01:17:55Jean, can you fill me in on what happened?
01:17:57Then I will interview those two in the morning.
01:18:00What?
01:18:01Now?
01:18:02Are you sure you're up to it?
01:18:03You know I like to keep busy at Christmas.
01:18:06OK.
01:18:07I do.
01:18:07Look.
01:18:12Oh, you have to see it.
01:18:37Oh, wait, please, no, how do you do this?
01:18:45Carol, what have you done to your poor face?
01:18:48Oh, my God.
01:19:04I'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.
01:19:15No, portmanteau is the blending of two words to make another one.
01:19:20Although, portmanteau also means a leather case with two sections, but...
01:19:24Where would it be without your brain, eh?
01:19:26I think we're daft.
01:19:27No, I 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?
01:19:41It's a croissant with a sausage inside and portmanteau in.
01:19:44Fresh coffee?
01:19:48Oh, thank you, Patrick.
01:19:49Oh, why 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 my 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.
01:20:27How 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.
01:20:52Calron is ready for me to go over.
01:20:54Oh, want me to come with you?
01:20:55No, no, it's all right.
01:20:56It won't be long.
01:20:57Um, I've just got to bob over to the station and Andre needs my help.
01:21:01Take some food with you.
01:21:02Oh, no, I'm really full.
01:21:04For Andre and Richelle.
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.
01:21:24Hey.
01:21:24What?
01:21:25Merry Christmas.
01:21:34Merry Christmas?
01:21:36What's the matter?
01:21:38Well, 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.
01:21:49Why don't you get on the morning champers and you won't even know I'm missing?
01:21:53Okay.
01:21:53Come here.
01:22:09Happy 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, from Patrick.
01:22:26Merci.
01:22:33So, what happened?
01:22:36No comment.
01:22:38Why did he plant a bomb?
01:22:40No comment.
01:22:41And why the poem?
01:22:44No comment.
01:22:46Look, I can understand you killing who you needed to to steal the bank codes.
01:22:52But why the bomb?
01:22:53Why the poem?
01:22:55Well, I don't know you and you don't know me.
01:22:57Well, the poem was obviously not my idea.
01:23:01So, there was someone else involved?
01:23:03Of course.
01:23:04I know nothing about poems.
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.
01:23:22If you are trying to protect someone, I would ask you to consider how important they are to you.
01:23:28It will affect your sentence considerably.
01:23:30Okay.
01:23:34The last time I was in prison, I shared a cell with a woman who worked as a consultant at the museum.
01:23:46She knew everything about it.
01:23:48Every nook and cranny.
01:23:52She said if I kept in touch once I got out, she would be able to help me get inside,
01:23:59override the security system, steal the bank codes, and get out scot-free.
01:24:04Go, go on.
01:24:07So, I kept on visiting her.
01:24:10And, sure enough, we came up with a plan.
01:24:14I got my friend Eve involved, flirting with that idiot of a curator, Gabrielle,
01:24:20to get someone on the inside.
01:24:24But still, why me?
01:24:27Why the bomb?
01:24:28It was very strange.
01:24:31The last time I went to see her, she had found out through her contacts that you,
01:24:38Mrs. Jean White, would visit the museum on Christmas Eve.
01:24:43And?
01:24:44She was wild, cold 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.
01:25:17But 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?
01:25:32Barbara.
01:25:33Barbara.
01:25:47Barbara.
01:25:51Barbara.
01:25:56Barbara.
01:26:02Barbara.
01:26:03what fun this is white
01:26:11till next time
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