You all look fantastic.
Thank you, Gloria.
It's a treat to have an opportunity to really make an effort.
Yes, we've been very casual of late, haven't we, darling?
We have. Where is it you're going to, again?
Is it just a Christmas party?
To be perfectly honest, I'm not sure, Gloria.
It's all very cloak and dagger.
I'm on the board of the museum with Gabriel Jelbart,
our new curator.
Very excitable chap,
says he wants to put our lovely old museum on the map.
He insisted that this afternoon was very important
for the future of the museum and that we all came.
Especially you, Jean.
What? I'm...
Right. Very mysterious, but I do like a free drink.
'Ey, and I bet there'll be free Champagne.
It better be. This dress deserves more than cheap Prosecco.
Now, where is Dominic? We really must be going soon.
I'll give him a quick ring.
Sorry. Sorry I'm late, everyone.
Oh, doesn't matter, Dominic, you're here now.
Let me just finish my drink.
Have a fab time. You're not coming?
Special invite only.
Enjoy yourselves.
Thanks, love. You got plans, Glo?
Yeah, Patrick's doing a Christmas quiz.
Me and Douglas have been swotting up.
You smell nice.
Well, I've got my special aftershave on.
You're very lucky, actually, cos it's my last bit.
Well, you never know,
Father Christmas might bring you some more tomorrow.
Oh, that'd be a nice surprise.
Oh! Jean, your bag.
Now, Dominic, this vintage dress will not love the back of your car.
Would you mind awfully, Jean, if I sat in the front?
Be my guest, Judith. Thank you.
Don't forget me.
Hey, it's so funny.
In all the years I've lived in Sainte-Victoire,
I've never been in here. Really?
No, I dropped Claudie off on a school trip once,
but never been inside.
Let's see what you've been missing.
Ah! Hello there.
IN FRENCH:
We are the invited guests of Gabriel Jelbart.
I think she wants us to head to the event room.
Merci. Merci.
Thank you.
Et voila!
I've never really seen the point in museums.
They preserve our history, Judith,
give people a chance to get up close to amazing works of art.
Well, I suppose so. But there's so much to look at.
I find them quite claustrophobic.
I mean, where do you start?
Hang on, darling, what about that trip we made to the Louvre
when we first met?
THEY CHUCKLE Yes, how could I ever forget that?
I've never looked at a picture of the Mona Lisa
in quite the same way again.
You're in your element, aren't you? Moi?
Oh, this way.
MUFFLED GASP
AUTOMATED VOICE:
BUZZER BLARES
SHE GRUNTS
# Do you remember the first time
# That my eyes set on you?
# Your smile came from nowhere
# For some time never
# Or some time soon
# The road is a long one
# I was only passing through
# I was only passing through. #
LAUGHTER AND CHATTER
Ah-ha! Ah-ha!
At least they've got the good stuff.
Priorities, priorities.
Ooh. Lovely escutcheon.
Beg your pardon?
Oh, it protects the door being scratched by a key.
Practical and fancy at the same time.
Hm. Bit like me, innit? Mm.
Merry Christmas, Jean White.
Oh, Merry Christmas, Dominic Hayes.
Chin-chin.
So, what's this massive painting about, then?
It's very beautiful.
This is a sublime sample of a baroque fresco.
Right. Mm. They're very popular in Europe.
But I've never seen one in Sainte-Victoire before.
It's really exciting. Yeah.
Well, a fresco is basically a wall painting
where the paint is brushed straight onto wet plaster.
By someone called Baroque.
Er, no, actually.
No, baroque was an artistic movement of the 17th and 18th century.
So, like, paintings, music, architecture.
Everything was, like, big and bold.
And sexy, Dominic.
Very sexy. My absolute favourite era.
Ah! So, that is Dr Ali Pardeep.
He's head of the charity L'Art Change La Vie. Oh.
What's L'Art Change La Vie?
Something about art helping ex-prisoners or something.
Oh, it sounds great. That must be his wife.
I think her name is Sangita.
I've invited her to several of my bridge evenings,
but to no avail. Oh.
And they're talking to George and Aurielle Alfonse.
Hm?
As in Alfonse from Alfonse Crush?
What, the soft drink?
Oh! I used to love that.
Kept me awake at night when Claudie was a baby.
They're an amazing couple.
They just floated their company last year for 100 million euros.
Lucky sods.
Apparently, they can't stand each other,
but they can't leave because they are literally too rich.
AURIELLE LAUGHING
Ah-ha! Jeremy!
Ca va, mon ami?
If you say so. THEY LAUGH
Ah, and Judith. Mwah, mwah. Mwah.
Doux Jesus! Will you ever age like us mere mortals?
George, you really are too much.
Let me introduce you to our dear friends Jean and Dom.
Very pleased to meet you. Oh, and you.
I was just saying I used to love your drink.
Ah, well, not MY drink any more, but thank you, Dom.
I really appreciate that. That's very kind of you. Very kind.
GEORGE CHUCKLES, DOM CLEARS THROAT
Thanks for witnessing my loan agreement, Andre.
Not a problem, Patrick.
I sometimes come across trouble with financial affairs,
but having the chief of police as my witness,
that should shut them up.
PHONE ALERT
Oh, no, Jean's left her phone.
I am on my way home now. I can drop it off for her.
But she's at a do at the museum.
No problem, that is near my house.
Oh, brilliant. Au revoir.
Thanks again, Andre. See you at the quiz later?
You will indeed. I am bringing Richard.
She's very good at politics questions.
Merry Christmas.
Bye! Joyeux Noel.
Never thought I'd be mates with a copper.
THEY CHUCKLE
Ah, Gabriel!
Here he is, our curator himself.
Jeremy, Judith, good to see you both.
You too, Gabriel.
And this is Jean White, delivered as promised.
WHISPERS: Delivered? REGULAR VOICE: Hello.
It's a pleasure to meet you, Mrs White.
Your expertise precedes you. Thank you so much for being here.
Oh, right, it's a pleasure. This is my partner...
Your fiance. Oh, yes, fiance, Dom.
Yeah, it's quite a recent thing, so...
Congratulations to both of you.
And this is my partner, Yves.
Hi. And your field of expertise is, Mrs White?
I'm an antiques dealer.
Ah, how quaint.
Shall we grab a horse's doofer and leave them to it? Yes.
Merci beaucoup. Pardon, Judith. Champagne on the way tout de suite.
You are a darling, Gabriel.
I think you're gonna fit in very well around here. Thank you.
Yes, and by the way you threw that last glass down your neck,
we wouldn't want you going thirsty, would we?
Excuse me, I'm just going to run through my speech.
Oh, Jean, this is Dr Ali Pardeep.
We were telling you about his charity.
Oh, L'Art Change La Vie, is it?
It sounds like you do some great work.
Oh, he does.
Oh, hi, I'm Aurielle. Hello.
Thank you. It's a vocation that absolutely consumes me, I'm afraid.
As my wife could confirm. Oh!
Lovely to finally meet you.
So, how did you find this vocation?
Well, I'd been working in prisons for a few years
as a visiting doctor,
and I saw so much artistic talent just hidden away in the cells
that I felt compelled to, er, liberate it.
So I started an art club for the prisoners,
and, well, the charity just grew from there.
How interesting.
You let criminals play at being artists, then?
You know, that's exactly what we do.
You're encouraging the egos of murderers.
Is that what you're saying?
Don't worry, Ali, I take care of the charity in our business,
so you can ignore George.
Erm, your husband is a very inspiring man.
Oh, he is indeed.
Excuse me. Yes?
Have we met somewhere before?
I can't think where.
Maybe at one of our outreach events?
Very much doubt it.
I don't do prisons or charity, dear.
CORK POPS Oh, that's my cue.
Sorry.
Allez, s'il vous plait.
Pour vous, monsieur. Merci.
JUDITH: Good Champagne. Yeah, quite like it.
Thank you.
Thank you, everyone, for being here tonight,
for tonight is a very special night for the museum.
Mr and Mrs Alfonse are very generously
about to invest 10 million euros... GASPING
10 million euros into our acquisition account.
It will keep the museum afloat for many year.
Just a minute, Gabriel.
Erm, remember what we discussed a couple of weeks ago
when you first took the job.
If you have what you say you have and it's the real deal,
we are more than happy to invest.
I 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.
Of course.
The stakes are very high for us,
but I have contacts all over the world
to make this museum great, I promise.
Madame White, this is where we could use your help.
Oh, right.
We apologise for not warning you beforehand,
but everything had to be completely top-secret.
Oh, I'm intrigued.
We have something very rare,
and we need you to verify it.
Jeremy and Judith tell me you are second to none in your field,
so, please, will you help?
Well, I'm here now, so, yeah, of course.
Thank you.
If you will excuse me
for one moment, ladies and gentlemen,
we will go and fetch our treasure.
Yves.
Oh, so that's why I'm here. Makes sense now.
Gabriel didn't tell me the finer details,
just who I knew who I trusted
and was the best in the business, so I...
Well... Thank you.
You better be good, Mrs White, and ensure it is what he says it is.
We wouldn't want any mistakes.
Well, let's put it this way - this isn't my first rodeo.
Oh, thank you, darling.
What's your name, dear? Ellie.
Big cash tip, Ellie, if you keep our champers topped up,
if you know what I mean.
I'll do my best, madame, but I've never worked here before,
so I don't know how much we have in stock.
Good girl. Off you pop.
Alors...
RAPID BEEPING
Ooh.
Voila ma petite merveille. Wow.
Prends la boite et on y va.
GEORGE: Oh, good God, girl. What the hell?!
Ugh!
George, George, George, so sorry, so sorry.
What happened? I'll tell you what's happened.
This poor excuse of a waitress of yours
has ruined my bespoke shirt!
Are you stupid? George... No, I...
Don't speak to her like that, George.
These things happen. We can get it cleaned.
What's your name?
Ellie. I'm so sorry.
I'm pretty new at this. I'm actually a student.
Well, I would like to apologise
for the Neolithic behaviour of my husband, Ellie.
Thank you.
George, we are going to pay for the cleaning, of course,
but I can clean.
Just... Just leave it. I can do it.
You can do it. OK. Perfect.
So where's this damn box of yours? It is...
GASPING
Is that what I think it is?
DOM: Go on, what is it?
This is a French ormolu gilt jewellery case
owned by, I think, Marie Antoinette herself.
Am I right? Yes, exactement, madame.
Well, 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, so how can it be here?
Erm...
I have been totally obsessed with this box.
So I tracked it down over the years and persuaded them to sell.
Wow. Well, Gabriel is right.
I mean, if you can get stuff like this, well...
This is, like, such a fantastic draw for the museum.
Game-changer, really.
EXHALES Well, so far, so good.
BEEPING
What?
My God.
Jean?
It... It looks like a...
like a bomb. OTHERS EXCLAIM
GEORGE SNIFFS
It doesn't just look like a bomb. It's... marzipan.
Marzipan? GEORGE STUTTERS
I was in the army for years, I'd recognise that smell anywhere.
What is it? It's Semtex.
Semtex? What... What can that do?
Put it this way, there's enough in there
to blow this whole museum sky-high.
CLAMOURING
Quickly, this way.
Come on!
ALI: They won't move!
Well, what if we all lift together?
They're locked. OK, OK.
Erm, well, why don't we try the other exits?
No, no. They will all be locked, too.
And all the windows are barred.
Oh, my God, what the hell are we gonna do?!
Stop with the hysterics, George.
In case you hadn't heard, there is a Semtex bomb in that room!
Yes, we all know that!
JEAN CLEARS THROAT
Gabriel... Yes.
..how do we open the shutters?
As far as I know,
the security guard has fingerprint recognition.
She's the only one who can deactivate the code.
Where is the guard?
In the security booth.
Come on, come on, come on. Come.
WHISPERS: Oh, my God.
She's gone.
JUDITH: Oh, my God, Jeremy, what's going on?
How are we gonna get out now?
You all right, love?
Yeah. Poor woman. I know.
So... one fingerprint to control your entire security system?!
Stop it, George!
Yes, I let the security team arrange it between them.
I have only been here three weeks, so...
It was on my to-do list, but...
Good grief! So you've no idea how to deactivate it?
No. No idea.
Well, then... GEORGE CLEARS THROAT
..why don't we use her finger?
George! Oh, really.
ALI: We can't.
Why not?
It's not like she's gonna mind now, is she?
It's not that, it's...
once the tissue is dead, it loses its electrical charge.
Hang on. Now, I saw this on one of those American crime dramas,
and it worked a treat, so let's give it a go, shall we?
Good God, George. Oh, I see.
You watched an entire box set,
so of course now you know more than an actual doctor?!
Only saying.
Once the heartbeat dies,
the electrical charge dies.
It won't work.
POLICE RADIO CHATTER
DOM: Can I ask a question, Gabriel?
The security guard, what was her name?
It was Suzanne.
Shall we call her that, then?
Look, I'm not suggesting we sever Suzanne's finger...
George, leave it!
DOORBELL RINGS, THEY SHOUT
Help us!
SHOUTING AND BANGING
BIRDS TWEETING
BANGING AND SHOUTING
DOORBELL RINGS Why can't they hear us?!
No, no, because the front doors are solid oak,
the shutters are solid steel, and the walls,
it's very thick Mediterranean stone.
Oh, that's just great (!) So is the place bombproof, as well?
You're not helping, George!
It's OK, I'll call Caron. Yeah.
Er...
Oh, there's no signal. Oh, God.
Ah, no. No, no. I haven't had any since I arrived
because, erm, we are quite high up, and the walls are too thick.
OK, what's the Wi-Fi code?
I am going to share it with you. Yeah.
I know I had my phone in the pub. I must have dropped it. Oh, God!
No, the Wi-Fi is off, too.
But don't worry, don't worry, I have, er...
One moment. I remember something.
FOOTSTEPS RECEDE Where's he going now?
SIGHS
MUTTERS
Someone has sabotaged the comms cupboard.
It's beyond repair.
Comms cupboard?
It's where all the Wi-Fi hubs lead to to keep us on the internet.
All the connections have been ripped to pieces.
JEREMY: Oh!
So we are completely trapped in here.
Oh.
Good God.
You have got a foolproof security system
that you don't even know how to operate?
Who's a bloody fool now, eh?!
Hey?! Get your hands off him, you brute!
I am a 4th Dan black belt in jujitsu.
You lay one more finger on him, and I will take you down.
Do you understand? Gentlemen, we have to calm down.
Don't suppose you serve Valium as well as Champagne?
Valium? Is that a cocktail?
Never mind, dear.
So... someone knew that we were here tonight
and trapped us under the threat of a ticking bomb?
This psycho must really hate one of us.
Well, it was Gabriel who wanted us here. He sent the invite.
I don't think I would bomb my own museum, Judith,
and trap myself inside.
OK, can we just stop sniping at each other, OK?
It can't be anyone here, can it?
I am not so sure.
What do you mean?
I do remember on my first day briefing,
they said once the shutters are activated,
they close very fast,
and there is very little time to get out.
You mean that the murderer might still be in the building?
Possibly.
RINGING TONE
Patrick, can you call Judith?
I can't get hold of Dom or Jeremy.
Obviously, I have Jean's phone, and I don't have Judith's number.
There is no answer at the museum, and the doors are locked.
Something is not right.
SIGHS DEEPLY
You OK?
Yeah, I think so.
Caron just asked me if I can get in touch with Judith,
but there's no answer.
She's with Jeremy and Dom. Give them a call.
No, he's already tried that,
and there's no reply from them, either, and...
no-one's answering the door.
Well, I don't like the sound of that.
Nor do I.
Diane can look after the bar for now.
Electric Lady Van outside? Yeah.
Then let's go.
What idiot takes the job of a curator of a massive museum
and doesn't know how to work the security system?
I have only been here three weeks.
OK? There was so much to do that it didn't seem like a priority, OK?!
Well, it's a priority now, isn't it, Gabriel?
It's a priority now!
No, no, no. It's OK. It's OK.
If you're gonna say something,
say it in a language we can all understand, eh?
SANGITA GASPS I beg your pardon.
For one moment, I thought we were in France.
If you have something to say...
..why don't you say it straight?
You clearly have something to hide, monsieur.
Bullying my partner, shouting at your wife.
Classic defence tactics.
How dare you suggest that I...
Shh, shh, shh!
What's that? What?
FAINT RADIO STATIC Listen.
STATIC CONTINUES
STATIC INTENSIFIES
Hello? Hello? Can anyone hear me?
Oh, come on. Hello, hello, hello?
DOM SIGHS
RADIO BEEPS
CRACKLY, ON RADIO: 'Hello, can anyone hear me?
'Help, help!'
Dom? Dom, is that you?
Oh, thank God. Look, we are trapped inside the museum.
The shutters are down, the security guard's been murdered,
and there is a bomb ticking away.
What, a bomb?
OK, Dom, you need to say all that again but much slower.
There is a bomb.
Someone has activated the security shutters.
They can only be deactivated
by the fingerprint of the security guard.
But the... the security guard...
..has been murdered.
OK, Dom, have you seen the bomb?
'Er, yeah.' What does it look like?
'Hang on.'
All right, OK, so...
..it's like a big lump of orange.
Bloke in here said it looks like Semtex.
Erm, there's an old-fashioned phone on one side,
and in the middle, there's a... like a digital clock counting down.
There's three wires -
a blue one, a red one and a yellow one.
'And how much time does the bomb say you have?'
59 minutes.
I will get help immediately.
I need you to keep this communication open.
'OK.' We will get you all out.
Dom? Dom, you need to keep this channel open!
An... Andre, I can't hear you. Are you still there?
Andre? RADIO STATIC
RADIO BEEPS
DOM BLOWS
Andre?
BOMB BEEPING, DOM SIGHS
BEEPING CONTINUES
JEAN: What you doing? Hang on a sec.
There's got to be a spare. There's got to be a spare.
Oh, bingo!
Caron, can you hear me?
Caron!
VEHICLE APPROACHING
Gloria! Stop, stop!
Don't come in, don't come in.
I managed to speak to Caron. He's calling for help.
Brilliant. How did you manage that?
Well, Suzanne's walkie-talkie.
Oh, that's great. Well, we can use that, then.
Er, no. No, no, it's just died.
Maybe it just needs a new battery, or...
No, no, I tried that. It's no joy, so...
Oh, God.
Well, at least we're getting some help from the professionals.
Something you've needed for years, darling.
JUDITH: Caron will help us, won't he, darling?
Oh, absolutely, darling.
Erm, Jean...
What? What's the matter?
Erm...
..I found this under the bomb.
For me?
I don't understand.
Who would do something like this to you?
I've no idea.
I mean...
thinking about it,
I have put a few people away over the years, but...
I mean, this is beyond the pale.
"Look at the heart Her fruit from above
"Her face like the sun Her heart full of love
"But fate is not kind And her future is bleak
"Two attempts to survive One date do you seek."
Oh, come on, Jean, think.
OK. "Two attempts to survive One date do you seek."
So? What do you reckon?
Well, it appears that this... sicko
wants me to find a piece of art in the museum that...
that matches the riddle.
"Two attempts to survive One date do you seek."
So, well, I'm guessing
that you put the date in the keypad...
..to stop the... stop the bomb.
JEAN SIGHS WHISPERS: Wow.
Somebody must really hate me to go to all this trouble.
GEORGE: It's just a child's riddle.
We should wait for help. Good grief.
But what if help doesn't get here on time?
Someone is out to get me. This is all my fault.
I've got to do something to help.
Slay.
OK, Jean, you've absolutely got to solve this riddle.
Come on, chaps, let's separate and find a way out of here.
And, Gabriel, you attempt to override
this god-awful security system.
Well, I think we should wait for the police.
Something you are very welcome to do on your own, George.
I, for one, am going to help Jean.
Yeah. Yeah, me too. I'm in.
GABRIEL: Anything is worth a try.
I do tech support for the charity. Can I help?
Excellent!
Come on. Let's go to the booth.
Be careful. You too.
I think it's essential
that we keep dividing in order to conquer.
Gentlemen, follow me.
GEORGE GROANS
JEAN: OK. "Look at the heart."
The heart... Well, "the heart" could mean love.
Oh, now, that could be any work of art.
Er, OK. OK, think, Jean, think.
Well, erm, it could be the Sacred Heart.
Especially if it's qualified with a fruit.
Well, how so?
Well, erm, Jesus in art,
he's often referred to as fruit of the womb.
Oh. Yeah, let's go with that, OK.
"Face like the sun."
Now, obviously, Jesus was the son of God,
and the sun in the sky is often used as a metaphor for Jesus,
so, erm... "Fate is not kind."
Well, fate wasn't kind to Mary.
Certainly wasn't too kind to Jesus, either, was it?
Well, exactly, but "her future is bleak".
"Her". I think it's got to be about Mary and Jesus. It's got to be.
Right, I think we're looking for a religious painting or sculpture.
Well, there'll be a fair few of those, I'm sure.
Yes, but particularly the Madonna And Child.
There is about six main rooms. OK.
Let's split up, take a room each, and report back.
Right, erm... Thank you. Right.
Me and Dom will take Medieval and Renaissance.
Judith, you do Modern Art. Oh.
And, Aurielle, you do Metalwork,
and, Ellie, you do Jewellery and Glasswork.
And, erm, yeah. And remember, the Madonna And Child, OK?
Let's go. Right, which way? This way.
POLICE RADIO CHATTER
Richard, did you contact the bomb squad?
Not great news, I'm afraid.
The nearest active unit is Lyon, which is six hours by car.
They're trying to activate a plan to get here quicker,
but it's not looking good.
What about overriding the security system?
We have contacted the company,
but with it being Christmas Eve, we have the same problem.
The nearest engineer is in Marseille.
Oh, no. There is no guarantee they will be here in time.
If there was another way in, I think I could deactivate it.
What?
Before I joined the gendarmerie,
I trained in the bomb squad at La Police Nationale.
If it is a rudimentary device, I could deactivate it, I think.
OK, what about the tunnels underneath? Pardon?
The museum's tunnels were part of the bomb shelter system
during World War II.
I remember the tour guide telling us when I brought Xavier on a visit.
OK, I will go in.
I cannot put my best officer in danger, Richard.
I will go in. You can advise me. But, Sir...
That is an order. Let's find a map.
OFFICER: Madam.
On the count of three, we all pull together.
Ready? Ready.
One, two... Three!
I hadn't finished counting!
Oh, I think I've trapped a nerve in my shoulder.
That's a little dramatic.
If we all work together, we stand more chance. If we...
Did you just call me dramatic?
It was just an observation.
You like making observations, don't you?
What's that supposed to mean?
Like observing other people's wives.
I, er, don't know what you're talking about.
Do you think I was born yesterday?
I'm sorry? I...
The charity meetings with my wife, the dinners.
Come on, Ali. I've been through her phone.
I know what's going on with you two.
Well, tell me I'm wrong.
I said, tell me I'm wrong!
Well... there you go.
Just about says everything, doesn't it?
George, I, erm... Aurielle is my wife.
Come on, George.
You haven't loved each other for years.
Even a stranger would know that. It's just our shtick.
What? The couples thing.
The public act.
But when we get behind closed doors...
..we are still husband and wife.
ALI SCOFFS Oh.
So you think I'm lying, do you?
Well, I don't know what yarn she's been spinning you...
..but it's true.
And... I'll tell you something else that's true.
I will do everything in my power
to make sure that you never raise another penny
for your stupid charity!
G-G-Gentlemen, please, this is no time for a bloody showdown! Come on!
PHONE CAMERA CLICKS
Judith.
I didn't find anything.
Literally. Didn't even find a decent painting.
We thought we had a chance with a necklace,
but there was no reference to the sun.
Well, we can't give up. We still have two other rooms.
Well, you two can go on looking, but I'll be very honest with you,
I need a little top-up of Dutch courage.
BOMB BEEPING What, in here?
Can you not hear that bomb ticking?
BEEPING Yes. Yes, I can.
But I'll be perfectly honest with you, Aurielle,
if I am to get blown to smithereens,
I'd really rather like not to remember it.
Let's keep looking. Yeah.
I'll take Sculpture, you take Ancient Modern Art. OK.
BEEPING CONTINUES
GLORIA: Thank God the library was still open.
Right, this map dates from around 1943.
It shows the tunnels that were dug out
and used as bomb shelters during World War II.
I think it is the map she can't quite understand, not you.
I have always been terrible with maps.
It's a bit of an Achilles heel for me.
It's cos you're so young, love.
We forget we're the last generation that didn't have satnav.
'Ey, speak for yourself, I'm 20 years younger than you,
which makes me a straddler. Pardon?
I straddle pre- and post-technology.
Doesn't matter what form a map takes, I'm a dab hand.
Right, there's a labyrinth of tunnels under the museum.
You can see the entrances all around here,
but they can only be accessed from the inside.
Hang on.
This one looks like it's leading from the outside in.
What do you mean? Look.
It starts off as a small one
then joins up with the bigger ones.
What's its proximity?
Just underneath the main entrance, right around here somewhere.
Gloria, can you pull the van back a bit, love?
VAN SENSOR BEEPS
OK.
Lovely. That's it.
There's your way in.
ANDRE SIGHS Right.
You're not gonna open it up like that, are you?
You got a crowbar in the van? Yeah.
And, er, toolbox?
There's a knack to this.
Ta, love.
Right.
Are you ready?
And... PATRICK GRUNTS
You are full of handy tricks, Patrick.
I'm not going to ask where you learned them.
OK, I'm going in. Richard, get me an earpiece.
You'll need this as well. It's my head torch.
Thank you, Gloria.
Thank you. Are you sure I can't go with you?
Richard, I need you to take control here.
You are now in charge. Pleasure.
Gloria, take this headset.
I need you to stay on the map and on the radio.
You will be my ears and eyes.
When I reach the bomb, you will pass to Richard, OK?
Will the signal be strong enough down there?
This radio is analogue. It's like a walkie-talkie.
It works over short distances
because it doesn't need a signal to bounce up to the sky.
OK. Be careful in there.
I will.
Gloria, can you hear me?
Yeah, you OK? 'I'm fine. Which way?'
OK, you're going to your left first.
Bingo.
The shutters are connected to the museum's mainframe.
Meaning you don't need Wi-Fi? Exactly.
I may be able to override it if both systems are kept connected.
Where's your main computer?
Erm, it's...
in my office, er, next to the event room.
What's your passcode?
It's Yves, er, one-two-three-four.
Yves, press your finger firmly on this pad.
I may be able to change the fingerprint identity to yours.
Gabriel, when a code pops up, press "enter" straightaway.
Enter straightaway, OK. OK, I'm going to your office.
Oh, hello. What are you doing here?
SUPRESSED GUNSHOT, SHE GASPS
What came first, medieval or Renaissance?
Medieval. Oh, right.
So, medieval was the 5th to the 14th century,
and Renaissance was the 14th to the 17th.
Correct. Yeah, I know. It says it here on the card.
JEAN CHUCKLES
This is beautiful.
It's hand-spun wool and silk.
This is called a verdure tapestry,
derives from the French word for "green".
Verd. Yeah.
How do you do that? What?
Know all that.
It says it on the card.
DOM CHUCKLES Touche.
These two look how I feel.
How come none of them ever smiled?
There was a theory that they didn't wanna show their bad teeth.
Fair dos.
I think it was just really hard work to maintain a smile
whilst you're having your portrait painted.
I mean, sitting there for hours like that.
Not like taking a selfie, is it? That's true.
Dom, look at that.
OK, right.
"Look at the heart Her fruit from above
"Her face like the sun Her heart full of love."
I mean, I wouldn't exactly say her face is sunny, but...
Donatello, terracotta. You didn't look at the card.
Oh, well, he's one of my favourites.
Mind you, there is a debate that it could have been Robbia, but...
Says it's on loan from Florence.
Well, it fits all the clues.
Can I have your phone?
Oh. We best get back to the others.
Not much time left, is there?
I love you, Jean White.
Dom, we will get out of here.
Yeah? Yeah, come on.
One, two, three!
THEY GRUNT AND STRAIN
GEORGE SIGHS
All right, all right, all right. Let's just take a minute.
Good idea.
GEORGE SIGHS
So, how did you find out about the affair?
GEORGE SIGHS
I wasn't sure at first.
But I'd had my suspicions for months.
Then what made you suspicious, if you don't mind?
No, I don't mind. I don't mind.
We run our businesses like clockwork,
and then all of a sudden, she becomes interested in charity.
Now... I wouldn't mind,
but we have an office set aside for charity,
or tax relief, as I'd like to call it.
Absolutely.
And the only charity she really did was just turn up,
snip the ribbon, until...
she met him.
Ah. Dr Pardeep. Mm-hm.
We met him, and then she became obsessed
with going to his meetings for his prison art malarkey.
She couldn't get enough of it.
"Oh, you should see the difference it makes,
"blah, blah, blah."
GEORGE SIGHS
And then it's all the obvious signs -
never leaving her phone unattended,
always going in a different room to check her messages.
GEORGE EXHALES
You know what? I have never loved another woman.
I just thought... GEORGE SIGHS
..maybe she didn't love me as much as she used to,
that we'd always have...
..respect.
You're right, old chap.
Once the respect has gone... Mm.
Come on, George.
We've got to find a way out of here. Come on.
GEORGE SIGHS
Where on earth is everybody?
Ah, hello. Who have we here?
There's a zero chance of my reading that tiny writing.
You do have a look of a female, I suppose, but is that a child?
Oh, bloody hell, I forgot to pick up my glasses.
I know.
PHONE CAMERA CLICKS
Oh, I see.
Not a child, but a sheaf of wheat.
SIGHS Nearly.
Allez, allez, Messieurs Dames, circulez! Il n'y a rien a voir ici.
OK. The tunnel on your left appears to lead to another exit.
'But the tunnel ahead of you takes you to a door
'that leads you into the museum.'
ANDRE: OK, give me a second.
It's locked!
The door's locked. Give me your headset.
Andre, describe the lock to me as best you can.
Er, it is a rectangle with a large keyhole in the middle.
Looks like a church door lock.
And it is very rusted.
Sounds like a rim lock. Not too tricky.
So, use the screwdriver attachment on your multitool
to turn the lock to your right.
OK, I'm ready.
No.
Well...
No.
Oh, I give in.
AURIELLE: What do you mean, "George knows"?
ALI: He just came straight out with it,
said he'd been looking through your phone.
Looking through my phone? How?
It never leaves my sight.
We hardly see each other. We live separate lives.
Well, that's not what he said. What?
He implied that the two of you
were still very much in love. SHE GASPS
And that this whole dislike thing is just an act.
Oh, Ali, that is rubbish.
WHISPERS: We don't even sleep in the same room.
And the worst bit of it is...
..he said he's gonna make sure
that I don't receive another penny for the charity.
Oh. That's the worst thing, yeah?
SHE SCOFFS Well...
it's nice to hear you've got your priorities straight (!)
T-That's not... Aurielle, you are my priority.
But if you're still in love with him...
Ali, please, it's rubbish. He's just bitter, believe me!
I love you.
Did you find anything?
Oh, I've taken a picture of a few pieces,
but I haven't really got a clue what I'm looking for.
Yeah, I mean, the riddle is a little vague.
Yeah, that's the understatement of the century.
But the bomb threat is very clear.
Yeah, yeah. We should find the others and regroup, yeah?
That's where I was heading.
Ah. Oh, no, they're... they're all locked!
GEORGE GROANS
Surely, that idiot Gabriel has a set of keys?
I think we've established, George,
that Gabriel has literally no idea where they are.
Oh, hello, you two.
Hello. Oh, hello, darling. Any success?
No, it's bloody useless.
I can't find one single religious painting.
No, I've tried my utmost, and that's all I can do.
It's all so hopeless. How are you getting on?
We've tried all the doors. And windows.
Nothing! How utterly infuriating.
Maybe we should get back to the others.
Good idea, George. Come on.
We will get out of here, won't we, darling?
Oh, come here.
Of course we will, my darling.
One way or the other.
PATRICK: 'Very, very gently.'
ANDRE SIGHS Nothing seems to be biting.
'Take your time.'
That is something we do NOT have.
ANDRE GROANS
I think I can kick the door in.
'No, no, no, no. Don't do that.
'We don't want any unnecessary vibrations.'
ANDRE GRUNTS 'Andre?'
ANDRE YELLS, RUMBLING
'Andre?'
ANDRE GASPS
COUGHING
ANDRE SIGHS
BOMB BEEPING
Any joy? Yes.
Oh. No, erm...
This is a picture by Camille Corot in 1860,
and it's of a normal, earthbound human and child.
Sorry. No, it's OK.
Ellie, anything? I couldn't find the card for this,
but it looks like a modern-art version
of Mary and Jesus.
Well, is it?
No, I'm afraid not.
It looks like modern art,
but I think it is a copy of the famous Kourotrophos,
which is one of the earliest Neolithic finds in Greece,
6000 BC.
ELLIE SIGHS
Not with George and Jeremy, then, Ali?
No, the, erm... We couldn't... The doors.
Hm. I've got something to tell you.
JEREMY: Ooh, Dom. Oh, how did it go?
We're really trapped. We've tried everything.
Every window, every door, is either deadlocked or barred.
Judith, did you find anything to match the poem?
I found a painting that might be a mother and child,
but I'm not entirely sure it's the right way up.
JEAN SIGHS
No.
JEAN EXHALES
Dom, can you get up that picture of the Donatello, please?
OK.
"Two attempts to survive," one date do we seek.
Do you think it's time to put our best option in?
Don't really have a choice, do we?
Well, shouldn't we wait to see
if Sangita and the others have had some success?
I don't think there's any harm in trying.
JEAN EXHALES
JEAN SIGHS
THEY GROAN
ANDRE GRUNTS
PATRICK: 'Andre? Can you hear me?'
Yes, Patrick.
Oh! We lost you for a few moments.
You had us worried. PATRICK CHUCKLES
So, how are you doing?
I'm a little trapped.
Part of the roof has collapsed and formed a barrier
between me and where I came in.
'Can you dig your way out?'
At the moment, that does not seem possible.
OK, so... We must keep trying the lock.
ANDRE SIGHS
The lock is so rusted, I just can't seem to get a grip.
There's a blockage in the tunnel, and he can't get out.
How's he doing with the lock?
He says he can't get a grip because it's all rusted up.
Rusted? Give me the headset.
Andre, this may seem like a stupid question,
but what's your gun holster made of?
Er, mainly leather, I think, but with some rubber on the inside.
Great. Take your knife and slice a thin piece of rubber off.
ANDRE GRUNTS
OK, I've done that.
Put it in the lock and rub as hard as you can.
OK.
'Is it working?' Yes! Yes, it's working!
Yes! How did you know how to do that?
Old mechanic's trick. Rust hates rubber.
I'm passing you back to Patrick.
'Right, I'm going to try the lock again.'
OK, Andre, remember,
screwdriver up and to the right, very gently.
LOCK CLICKS, ANDRE SIGHS
What's happening, Andre? Andre?
It's not opening, Patrick!
PATRICK SIGHS
OK. Er...
I want you to describe it for me again as best you can
with every detail, every detail you can.
ANDRE SIGHS Er...
It's brass, I think, with a fancy design on it,
like a fleur-de-lis, sort of.
Oh, Patrick, you idiot. It's an old French lock!
Gonna try something different, Andre.
Turn it to the left, very, very gently, hm?
Then turn it one more time.
LOCK CLUNKS It's unlocked!
Yes! Yes!
OK, Andre.
Once you're through the door, you're going to your right.
JEAN: 'I can't believe I got it so wrong.'
You can't blame yourself, Jean. Well, whose fault is it?
I sent you all on a wild goose chase.
You did something, though. Yeah, and I got it wrong.
I don't want to die like this, Jeremy.
Oh, I know, my darling. I know.
Why didn't you tell me it'll all be all right?
What? You always say, "It'll all be all right, darling."
And it always is. Well...
SHE SOBS
PANTING
How much time have I got left?
How much time has he got left?
Only 17 minutes, I'm afraid.
17 minutes, Andre.
'Keep going straight on.
'You're nearly there. You're doing great.'
No, no!
Do you want to know what I bought you for Christmas?
You know I prefer a surprise.
But you might not get to see it.
I want to keep it a surprise.
Thank you, Jeremy.
What for?
Our life together. I've had such a lovely time.
I thought... after losing the twins, we wouldn't last.
Lots of couples split over less, you know?
I know, my darling.
I know.
Maybe, if there is something after this life,
we can meet them again.
That's a nice thought, isn't it?
That's a wonderful thought, darling.
Wonderful.
Anyway, I'm glad we're here together.
I've always dreaded the thought of going first and leaving you behind.
Me too. HE CHUCKLES
DOOR OPENS
Sangita, she's dead.
No! What?
Are you sure? YVES: Positive.
How?! She has been shot.
Shot? She was trying to change the fingerprint control
and needed access to the main computer in my office,
so she left us and went to the office.
We waited for ages.
And you just found her there? Yes.
I need to see her. No, no, no, I'm not sure you should.
Look, I'm a doctor. M-Maybe she's still alive.
Take me to her. Ali... Ali, listen. Look at me.
I just need to see my wife.
Show me to your office.
JEAN: OK.
Everyone needs to stay here. No-one must leave.
Dom, come with me. Yeah.
Oh... my love.
Ali, you can't touch her.
I am a doctor and her husband.
I know, but this is a crime scene.
What?
There's still a very good chance that we could get out of here,
and if we do, we want every shred of evidence intact, don't we?
ALI EXHALES
ALI INHALES SHAKILY
SOBS
Ali is having an affair with Aurielle. What?
I saw them in the corridor together,
said him and George almost came to blows at one point.
Oh, well, that gives him a motive.
To get rid of his wife so he can marry a billionaire.
Exactly.
Come on. If it is him,
we can't leave him alone with Gabriel for too long. Yeah.
All the banking codes, they are gone.
Are you sure they were in there earlier?
Yes. When I came to get the ormolu from the safe,
I clearly remember seeing the file.
And who else knew the combination to the safe?
Only me. And Yves, he helped me collect the ormolu earlier.
OK... right.
We all have to stay in the same place.
It's what Caron would make us do.
Yeah. Yeah, you're right. OK.
Right, we have to stick together. There's a murderer amongst us.
GABRIEL MUTTERS
Gloria, I must be near. I can hear voices.
'You're right underneath the events room.
'Carry on for about another ten yards,
'and you'll see a ladder on your right.
'That will take you directly up to the museum.'
GRUNTS
Are you OK, love?
GROANS
Yes, I'm fine.
Yards to metres, multiply the length given in yards by 0.9144.
I found the ladder!
He's found the ladder! Oh.
I'm heading up now, Gloria.
Well done, Andre. You're nearly there.
The security engineer has now landed at the airport,
and she's on her way now in a police car.
Brilliant! Great news!
ANDRE YELPS
SCREAMING, CRASHING
Andre? Andre, are you OK?
Andre, can you hear me?
BOMB BEEPING
Maybe we should start praying to them paintings we found.
It looks like that's our only choice.
You like to have a choice, don't you?
SHE SIGHS What's that meant to mean?
You know exactly what that means.
If you've got something to say, George,
why don't you just come out with it?
If I've got something to say, I will decide when I say it.
Always loving the control, eh, George?
Even when we're about to die, you still have to be in control.
You know the best thing about this situation?
We're both gonna die together.
Which means you won't inherit... a thing.
SHE EXHALES Wow.
Just when I thought you couldn't go lower.
HE SCOFFS
What you thinking?
I'm trying to work out the murder in real time.
Get Jeremy and Judith over to help, will you?
Hey, you two.
Jean needs your help.
I'm not sure I'm much help to anyone, Dominic.
Judith's not feeling great.
We're all not feeling great, Jeremy!
Sorry. Sorry, I didn't mean to snap.
No, I... No, actually, I did.
Jean is over there trying so hard to help us, to help all of us.
The very least you two can do is to help her. OK?!
Er... Yeah, sorry, old chap. Yes, of course.
Oh, great. OK.
So, whoever murdered Sangita and Suzanne
has something to do with the bomb and this whole nightmare evening.
It makes sense for everything to be connected. Yeah.
Who would kill Sangita? Who would murder someone like that?
Well... Ali's having an affair with Aurielle.
Oh, yeah, Dom told me. What?
Yeah, George just poured his heart out to me.
The poor chap is broken.
Yeah. And I saw Ali and Aurielle in the corridor earlier
talking about it.
Do you think he bumped off his wife to run off with a billionairess?
That's what I said.
Or maybe George killed her to frame Ali.
He was certainly on the verge of it.
Or maybe Aurielle killed her in a jealous rage
because she couldn't wait a moment longer for Ali.
SHE SIGHS Well, in the office,
Gabriel said all the codes to the museum's bank
had been stolen from the safe.
Yeah, and he was certain that they were there earlier.
So, could that have something to do with it?
Oh, it's all so confusing. My head hurts.
Dom, come with me.
SHE EXHALES HEAVILY
There was only one person that used the map.
This way.
Of course.
It's so small, it's...
'It's a nose ring.'
SHE GASPS
WHISPERS: It was Ellie. It was all Ellie.
What? Ellie is the murderer.
Don't, don't. Don't look. But how did she do it?
She couldn't be in two places at once. I mean...
She was definitely here when we arrived.
So how could she be murdering the security guard at the same time?
Unless... SHE GASPS
The escutcheon.
Dom.
Dom, give us a hand with this. Yeah.
SHE GASPS
Oh, my God. HE GASPS
She's still alive. SHE EXHALES
Let's get her in here.
DOOR OPENS, THEY EXCLAIM
What the hell?!
Who on earth is this?!
Jean, for God's sake, explain what on earth is going on.
AURIELLE: Ali, again. Just a minute.
ELLIE: I'm intrigued. THEY GASP
We still have a few minutes before we escape.
How did you know?
Yves, what are you doing?
Go on, Madame White.
It didn't come to me straightaway.
Then I worked out that it was you who killed Sangita
and stole the bank codes.
You mistakenly left your map on the floor,
at the side of the safe.
I suppose when Sangita came in to override the fingerprint control,
well, she caught you red-handed.
SHE GROANS
And then I worked it back.
I mean, how did you get in the safe in the first place?
Only Gabriel and Yves knew the combination,
so it made sense one of them was your accomplice.
And then I remembered, earlier in the evening...
..Sangita recognised you, Yves, from a prison outreach event.
Have we met somewhere before?
I very much doubt it. I don't do prisons or charity, dear.
I assume you've not been out of prison for very long
for Sangita to recognise you from something so recent.
Yves, is this true?
HE SCOFFS
But you, Ellie, I...
Well, I couldn't work out how you could be in two places at once,
serving Champagne here and, well...
murdering the security guard down there.
But you weren't, were you?
This is what I think.
You entered the museum,
and you forced the security guard to activate the shutters.
BUZZER BLARES
SUZANNE GRUNTS
Once you'd started the bomb...
BOMB BEEPING ..you raced up here...
..changed your outfit...
..and you placed the bomb
in the cabinet just outside this room.
Then you accosted that poor waitress...
..and you bundled her into the cupboard.
It's brilliant, really.
All Yves had to do was hire an agency waitress
who looked a little bit like you.
No-one had ever met either of you before,
so no-one would realise that you were an entirely different person.
But how did you get the bomb inside the ormolu?
Well...
you throwing Champagne over George was no accident, was it?
The minute that you heard Gabriel and Yves in the corridor,
that was your cue to cause a distraction...
GEORGE: Oh, good God, girl. What the hell?!
..giving Yves just enough time to plant the note for me
and to put the bomb in the box.
..stupid! ELLIE: No, I...
AURIELLE: George, don't speak to her like that!
Very good, Madame White.
I sort of understand the murders, to steal the bank codes.
But why the bomb? Why the poem?
ELLIE SCOFFS Well...
that is what you will all take to your graves without knowing.
But there's no way out. Not for you, anyway.
DOOR CLOSES, LOCK CLICKS
SIREN WAILING
The security engineer is almost here.
But we've only got two minutes left!
BOMB BEEPING
Two of the most important people in my life
are in that building, Patrick!
Heads down, please!
Right, I'm gonna smash this door down.
What's the point?! There's enough Semtex in there
to blow up the whole bloody building!
Well, they managed to escape, didn't they?!
God, I didn't think I was gonna die
from a bomb in a bloody jewellery box!
Maybe the actual box is a clue.
It's an actual Marie Antoinette box.
SHE GASPS
This is a picture of Marie Antoinette
dressed as a vestal virgin by Charles Le Clercq in 1777.
In relation to the poem...
"Fruit from above." Well, Marie Antoinette's father was a pope.
"Face like the sun."
Well, she was married to the great-great-grandson
of the Sun King.
And fate was not kind - well, it wasn't kind to her,
she had her head cut off.
DRAMATIC DRUMS PLAY
SHAKILY: OK. One...
..seven, seven, seven.
DRUM TEMPO INCREASES
DRUMS STOP
SHE GASPS
UPLIFTING MUSIC PLAYS
ALL EXCLAIM
I said we'd be all right. THEY LAUGH
Oh, Judith! Judith, you're a genius!
The box, Marie Antoinette. Of course it was to do with her!
DOM EXHALES HEAVILY I'm getting too old for this.
Clever, clever darling.
I'm so pleased I didn't tell you what I bought you for Christmas.
GLORIA: What happened?
Nothing! 'Ey!
THEY LAUGH, SIREN WAILING
GEORGE CLEARS THROAT Listen,
I don't wanna break up the party, but we are still locked in.
I know we don't have the threat of the bomb any more,
but we are still locked in.
Come on, let's get this door open!
Right. Come on.
Right, OK. Everybody grab it.
On the count of three. ALL: One, two...
three! THEY EXCLAIM
Darling! I must've loosened it earlier.
Loosened it.
SHE EXCLAIMS
SHE SIGHS
Picked a real dreamboat there, hey, my darling wife (!)
BUZZER BLARES
Come on! Come on, come on, the shutters are opening! Come on!
SHUTTERS WHIRR Oh, Caron, you little beauty!
Excuse me, excuse me, excuse me.
OFFICER SPEAKS FRENCH
PARAMEDIC: S'il vous plait, madame.
OFFICER: This way. This way, please.
AURIELLE: Thank you so much. This way.
GEORGE: Yeah, yeah. All right. Sit down there.
Jean! You're all right!
SHE LAUGHS
DOM: Am I glad to see you! You too, son.
That must have been so scary.
Certainly had its moments. Oh, Dominic, Merry Christmas!
Well, yeah, I wouldn't exactly say that, but...
Merry Christmas.
Where's Caron?
JEAN: What happened?
He... He came into get you.
How?
The tunnels underneath the museum. The what?
There's a load of bomb shelters.
It was my idea, but...
His radio's gone silent.
We think he has fallen.
Had to wait and see if the bomb exploded
before they went to check on him.
Just preparing to go and find him now.
ANDRE:
YVES: OK, c'est bon!
I assume these two have something to do with all this.
SOBS: I thought I'd killed you!
HE SIGHS Not quite.
Oh, Andre! It's so good to see you.
JEAN CHUCKLES
Good to see you, mate. ANDRE SIGHS
JEAN EXHALES HEAVILY Major.
Richard.
Jean, can you fill me in on what happened?
Then I will interview those two in the morning.
What, now?
Are you sure you're up to it?
You know I like to keep busy at Christmas.
LAUGHS: Yeah, I do.
ANDRE SIGHS
PATRICK EXHALES, INDISTINCT CHATTER
Oh, out of the way, please. Now, I'll deal with this.
Caron, what have you done to your poor face?
ANDRE SIGHS, CHUCKLES
JEREMY LAUGHS
I'm not sure I like brunch. What?
Well, the word, the blending of two words to make another,
like, erm, motel.
Portmanteau. Oh, bless you.
LAUGHS: No.
Portmanteau is the blending of two words to make another one.
Although "portmanteau" also means
a leather case with two sections, but...
Where would we be without your brain, eh?
Don't be daft. No, I mean it.
You saved a lot of lives yesterday.
Oh, well, I just did what I had to do.
Yeah, and what only you can.
Well, thank you.
Now, can I tempt you to a "croiss-age"?
A what? It's...
It's a croissant with a sausage inside. I'm portmanteau-ing.
SHE CHUCKLES No?
Fresh coffee. Ah!
Oh, thank you, Patrick.
Oh, well, I'll do it, darling. HE CHUCKLES
I'm terribly hungry this morning.
I think it's all the trauma.
Of course, darling. It can do that.
I remember when my gran was ill,
all anybody could do was make sandwiches,
like it'd make everything better.
Feeding the soul. Not with white slice and beef paste.
We ended up feeding the ducks. LAUGHTER
There you are, plenty more where that came from. Oh, lovely.
Will you sit down? We've got loads here.
We need to save a little bit of room for Christmas dinner.
You sound just like I did when you were a nipper.
Do you know? One Christmas morning,
he ate three packets of mince pies and half a Christmas cake -
before breakfast.
CHUCKLING How old was he?
Five. 15, actually.
I was a little bit worse for wear, but I didn't know that then.
I just needed a sugar rush.
I've never really believed in hangovers.
I think it's a case of mind over matter.
I think that's why I've never had one.
PHONE CHIMES Oh. Excuse me.
Ah. Caron is ready for me to go over.
Oh, want me to come with you?
No, no, it's all right. I won't be long.
Erm, I've just got to bob over to the station.
Andre needs my help.
WITH MOUTH FULL: Take some food with you.
Oh, no, I'm really full. For Andre and Richard.
Oh. Yeah, great idea.
Tell them that they're both invited to lunch. Four o'clock start.
Will do. Talking of starts -
do you think it's too early for a little Champagne?
Wonderful idea, darling.
Carpe bloody diem after yesterday, that's what I say.
I'll get some glasses.
HE INHALES SHARPLY
Hey. What?
Merry Christmas.
Merry Christmas. What's the matter?
Well, after yesterday, I...
..I don't wanna let you out of my sight.
Don't be daft. I won't be gone long.
Yeah, I know, but...
I tell you what, why don't you get on the morning champers?
And you won't even know I'm missing.
OK.
Come here.
Happy Christmas.
Well, it would be, if you could get these two to speak.
Oh, no joy? Nothing from him.
He's just playing games.
But the girl, I think, is starting to break.
That's why I asked you here. She's upstairs.
Oh, from Patrick. Merci.
So, what happened?
ELLIE: No comment.
Why did you plant a bomb?
No comment. And why the poem?
No comment.
Look, I can understand you killing who you needed to
to steal the bank codes...
but why the bomb, why the poem?
Well, I don't know you, and you don't know me!
Well, the poem was obviously not my idea.
So there was someone else involved?
Of course!
I know nothing about bombs, less about poems.
And I had no idea who you were until yesterday!
So, what happened?
No comment.
If you are trying to protect someone,
I would ask you to consider how important they are to you.
It will affect your sentence considerably.
The last time I was in prison...
I shared a cell with a woman
who worked as a consultant at the museum.
She knew everything about it.
Every nook and cranny.
She said if I kept in touch once I got out...
she would be able to help me get inside,
override the security system,
steal the bank codes and get out scot-free.
Go... Go on. So I kept on visiting her.
'And sure enough, we came up with a plan.'
I got my friend Yves involved,
flirting with that idiot of a curator, Gabriel...
to get someone on the inside.
But still... why me, why the bomb?
It was very strange.
The last time I went to see her,
she had found out through her contacts
that you, Mrs Jean White,
would visit the museum on Christmas Eve.
And?
She was wild.
'Cold with rage. God, she really hated you.'
So, instead of a simple robbery as planned...
..I was to plant a bomb and a letter to you.
She said I would be safe...
..that there was a way out under the museum.
She said it was a game she liked to play with you.
It all seemed a bit psychotic to me...
..but then again, so did she.
And I had nothing to lose...
so I did what she said.
What was her name?
Barbara.
PHONE BUZZES, CHIMES
What fun, Mrs White.
Till next time.
SHE LAUGHS WICKEDLY