All language subtitles for L.art.du.crime.S08E01.Mission.Raphael.FRENCH.AD.1080p.WEB.H264-BTT.en

...

- Goodbye.
- Good evening.

- The Virgin and Child,
a recurring theme in Raphaël's work.

- Oh yeah?
- Mm.

Do you see that apple right there?

That is the fruit of sin.
In the Garden of Eden.

In the jar is the remedy
against snakebite.

Against Satan,

against the angel of darkness.

- Oh yeah? You really write
stuff like that in your book?

- Yeah.

Do you believe in the devil?

- Ladies and gentlemen,
the museum will close its doors.

Please return to the exit.

- Shall we?

- (Don't move.)

Shh.

He whistles.

Steps sound.

...

Eva!

Eva!

Look, this is fake!
Look, it doesn't do anything!

It's plastic!

Eva!

- You're such an idiot!
- No,

but...
- Damn, you're stupid!

- All right!
- Your crappy weekend,

you don't give a shit!
- Take it easy.

The hotel is this way.
- Shut the fuck up!

- All right, you're on your own.

...

Message beep.

Captain Verlay: I need to talk to you.

- This statement,
he doesn't know he did it to me,

but he did it to me. I know he did!

"I need to talk to you." It's
his text message. I didn't open it.

When he sees me, he's going to want
to make some declaration to me.

- Is that good or bad?
Because I don't understand anymore.

When you want, he doesn't want.

And when he wants, you don't know anymore.
I don't know anymore either.

- All I know is that I'm paralyzed.

I'm going through a complicated period.

I've lost my appetite, I can't sleep.
Hiccup.

I've had hiccups all morning!
- Mme. Chassagne, you need to eat.

And you have to sleep, too.

This is very important.

Otherwise, I don't see how
I can help you.

I don't understand anything anymore.
I don't understand how

a little text like this has
put me in such a state!

I can no longer

work with him.
I'm going on sick leave for

one or two months. And then some.
- Mme Chassagne.

- I'm going to get some fresh air.

- Did she tell you about me?

- Huh?

- Did she mention me?
- No.

- I texted her.
Once it was gone, I thought:

"Oh fuck!"

- Antoine, she didn't speak

about you.
- Captain, the prosecutor's on the phone.

- I'm on my way.

I'll be right back.
- Yes.

- Yes, Madam Prosecutor.

- Did he mention me?
- So, this won't be possible.

- What did he say?
- Mme. Chassagne, you need to see

a shrink for your anxieties.

I'm in charge of a police department.
- Yes.

- If not, I'll get the time off.
- Oh no, no!

- Where do you think you are?
- Er...

We have a homicide

at the Château de Chantilly.
The prosecutor wants us to go.

- Go ahead.
Hiccup.

A big glass of water

and off we go.

Come on, really.

Come on, let's go. Go on, get out of here. Now.

- Mme. Chassagne, did you receive

my message this morning?
- Yes, but I haven't read it.

This is not the time, Captain.
- Just a moment.

How do you know it's not
if you haven't read it yet?

- Listen, I'm going through a complicated
period. I've lost my appetite,

I don't sleep anymore...
Hiccup.

You see!

So, it's...

It's meh.

So, if we could limit our exchanges

to work, and only at work, well...

... well, that would be great.
Wouldn't it?

- Okay, yes.
- Thank you.

- Captain, it's time.
- Yes, sorry.

("Meh"?)

- Good afternoon.
- Good afternoon.

Thank you.
- Put these on.

- Good afternoon.

Thank you.

- We found it here this morning.
I've never seen anything like it.

- Really?

- We'll have to take photos, too.

- The body moved?

Was it there?
- Yes.

He stabbed him there and dragged him
here to do this staging.

- He was posed like that.
- May I?

- Yes, it's fine.

-No fingerprints.

The killer put it there.

Vasari.

Does it mean anything to you?
- I...

- Giorgio Vasari.

He was an Italian from the 16th century.
He was the first to write

biographies of the painters.

The book has been corned
to Raphaël's page.

- OK. So what?

You think

he plays?
Is he trying to tell us something?

Mme. Chassagne?
- It's obvious.

- What?
- Memorize it carefully. Look at it.

- Yes.

- Good?

- Yes.
- Follow me.

This way.

- Damn! It's all the way to
ceiling. Totally sick!

- The Duc d'Aumale bequeathed the château
as long as we don't touch anything.

In other words, it's all about hanging.
It dates back to 1886.

It's crazy!
- Yes.

- Yes, it feels like the 19th century.

- The guy did
all the flea markets in France.

It's loaded, though.
- It's here.

Come.

Take a good look at this picture.

What is it?

- A Raphaël.

- Yes, OK, not that. Check out
the picture. What do you see?

- A baby.
- No, concentrate.

- I'm focused.
- The blue cover.

- Yes.
- Yes?

The pillow. Do you have it?

The veil?

The green veil.

- Ah, fuck!

- The killer imitated it.

Why are you looking at me like that?

- You're great.

- Thank you.

- Yeah?

- You're the last person
to have seen him.

- And he was alive.

- So, he makes this joke,

not funny, indeed. What's next?
- We had a fight

and then, I don't know.

I wasn't going to stay with him
after that.

- Mr. Bergman wrote
a detective story

about this painter?
- I believe so, yes.

- It's Raphaël.
Do you know if he used

this painting?

No manuscript has ever been found.
- I don't know.

I'd known him for 15 days.
- He lived with

a certain Alice Laurent.

Did you know that?
- Yes.

- She was aware

of your little weekend?
- I don't know,

I guess so, yes.

Nathan was not
the kind to take the gloves off.

- I know what you mean.

You studied art history?

Paris 1?

- I met Nathan there.

- Does this painting mean anything to you?

- Uh, yes. Yes, it's...

"The Virgin of Loreto".
He wrote his master's thesis on it.

Why?

- This painting depicts the Virgin Mary
with her son Jesus

who plays

with a veil.
- Yes.

- You know that this veil

announces the tragic end of Christ.

It's like a shroud.

- Yes.

- You wouldn't have tried
to crucify your beautiful sweetheart?

Out of jealousy, maybe?

- Mlle. Laurent, do you
have a history with this painting?

- But no, I...

I don't have any history with this painting.

This picture was Nathan's job,

that's all.

- And in his novel?

- His novel?
- Did he use it

to write his novel?
Yes or no?

- (Ah yes.)

Yes, all right.

That's what he would talk about
to his girlfriends.

He wrote

a novel.

- What did he write?

- Nathan didn't write anything.
He was just a document researcher.

He was researching

Raphaël for Patricia Richter.

- Sorry, for whom?

- Who's that?

- She's a novelist.

Don't you know her?

- No, I...

Mme. Chassagne?
- Yes?

- What are you doing?
- I'll be back.

I just thought of something.
I'll be right back.

- He never wrote anything, in fact.
That was Ritcher.

- Richter.

It's Patricia Richter.
- Richter. She publishes a bestseller per year.

She can easily pay
a guy to do research.

- Nothing on Bergman's computer?

- No. His girl says
that Richter is paranoid,

that he keeps everything at home.

- Summon her.

I want to know what she knows
on the evidence board.

- (See? Since this morning...)

(She's like that.)
- It seems she didn't sleep well.

- Not to me.

- Keep a low profile. I don't want
to have the whole press on our backs.

- Yes, I'm fine, as usual.
- Yes, but I'll say it again.

Discretion. Velvet curtain.

- Are you okay, Mme. Chassagne?

Shall we go to the interrogation room?

What...
- I'm getting some air.

- You're indoors here.

- I'm a bit meh.

- Adèle.

You summon her.
The victim works for her.

She's screaming.
- Patricia Richter !

- What's up?
- Is Patricia Richter coming here?

- Yes, she's coming.
- Oh my God!

- OK! I'll call her publisher.
- But is she really that famous?

Is she Céline Dion or what?
- Yes, she's quite well-known.

She writes the Rosewater novels

James who loves Kate,
who loves Peter. I've never read one.

- She writes Michael Danavan.
- The what?

- He's her hero.
He solves cases. He rocks.

- Really?

- I love it. It's so hot.

- Are you summoning her?
- Yes.

*-And with this Mme. Richter, then,
how did it go?

*Were they close?
- It's okay.

Richter is summoned.

I can already see the dedication:
"For Adèle, my faithful reader."

Mme. Chassagne,

don't act like you don't care.
Your cover's blown.

James, Kate and Peter?
I can see Richter fans 200m away.

But I can understand:
a great researcher like you,

for your image, it's not the best.

I wouldn't have thought that of you.
- No, I'm sorry,

but I'm not a fan of Richter.
- But you've read some.

- I've read some.

But I've read one or...

If I've read three, that is,
was when I was a teenager,

that's the maximum.

- No, but relax,

it's just between us.
- I hope so,

especially since there's nothing to share.

- We need your help.
- I'm on my way.

- (Shit!)

- Ah, it's her.

Ah!

- No, eh, Adèle...
Adèle, it's only an interview.

You're forgetting about Michael Danavan,

and we'll do our job.

Wipe that smile off your face.

Mme. Richter?
- Yes.

- Captain Verlay.
- Ah, very good.

- May I present Mme. Chassagne.

- Adèle Attias.
- Good afternoon.

What happened?
- We'll explain. Please come this way.

Adèle, you will take the file,
please?

- Captain?
- Yes?

Excuse me.

Here.

Mme. Richter, this is confidential.
You can't look at this.

It's not at all...

- That's exactly as in the novel

I'm currently writing.

- What do you mean by that?
- What?

- I make death

my hero like that,

imitating Raphael's painting.

"Michael Danavan lay there,

"pale and motionless,
on a white pillow.

"His blood barely stained

"the sheet,

"eyes half-closed under the veil

"which served as

"his shroud."

There's even

Vasari's book.

- You haven't told anyone this ending?

- Only my editor.

But I don't see why Thomas

would have killed my researcher.

- Mme. Richter. Patricia.

- Sorry, no signatures today.

- The manuscript never leaves your home?

- No, it stays in my office.

- I'm so sorry.
- I'm a maniac on the subject.

Come on, you'll understand.

- Why did you kill Danavan?
- I've written so many.

I had to move on.

It was beginning to feel like work.

- This is where you worked
with Nathan Bergman?

Was this his desk?

- Yes.

We were talking about the investigation
on Raphaël.

He was explaining the paintings to me.

His research remained here.

The manuscript is in there.

Keys beep.

- Apart from you, who has the code?

- No one.

And I change it every month.

This is the only copy.

I make a backup every evening and
I erase the text from my computer.

I'm wary of hacking.

- Did Nathan Bergman read the ending?
- Obviously, yes. But he knew

if he didn't want to be fired,
he had to keep his mouth shut.

- The manuscript never saw the light of day
from here?

- I took it to my publisher

and I returned it here
the same evening.

Thomas would be my top suspect.

- What about you?

- Yes, who knew the end but you?

- Yes, I see....

Now you're thinking that maybe
I'm the murderer.

- Where were you last night?

- Here.

No one can testify to that.
I was alone.

No alibi.

- OK.

- Let me guess.

You say to yourself
that it could be me.

But why would I put you
on the trail of my manuscript?

- Yes.

But you also tell yourself that with
my twisted novelist's mind,

it would be up to me to try
to put you in my pocket

and ward off suspicion.

It would even be smart of me.
But you don't have a motive.

And of course,
to make a good story,

you need a motive.
- That's right.

- Why is this so?

I would have killed my researcher
by imitating my own novel?

- But why did the murderer exactly stage

the end of your novel?

- Mme. Richter?

- Nathan had seen that I was
nearing the end with Danavan.

He suggested I write one last
novel and make him die.

- It would be revenge.

Is that what you're saying?

Bergman was killed because she
killed off Michael Danavan?

- Who else knew?

- It was supposed to stay
between him and me.

- OK. Either Bergman leaked it,
or your walls have ears.

Could I ask your staff?

- Of course you can.

Follow me.

- Mme. Richter,

the crime scene and all that,

don't tell anyone.

- You take me for a beginner?

- Either someone has read the manuscript,
or Bergman spoke to his wife.

- Yes, but we can't prove it.

We don't have enough on
Alice Laurent.

We have to let her go.
*-Ah yes, damn it!

I'll call you back.
*-OK, that works.

- Michelangelo?

Why Michelangelo?
It's all Raphaël.

- I admired that artist so much.

- Yes, you did. You even wanted to go and see
what he was doing

in the Sistine Chapel.
He didn't want anyone to come in.

- Yes. A friend took me there in secret.

- And what you saw there,
you were absolutely captivated.

You were dazzled by his work
to the point of stealing his ideas.

That cloth there,

inflated by the wind.

That's Michelangelo.
And this is yours.

Much the same,
all the same.

- He accused me of plagiarism.
But he too, took things from me.

He saw me as a rival.

- Because you were very good, you
could have imitated anyone.

You even imitated Da Vinci.

- I wanted to measure myself against them.

I was their best pupil
without them having ever

taught me any lessons.

- "Your painter is a dirty thief like you!"

- No one from outside the house

came in here?

- No.
- Mme. Richter!

Captain!

- We're here.
- Don't move, I'm coming.

- Thank you.

- Have a look what I found.

- "Your painter is a dirty thief like you!"

This is Thierry's handwriting, but
I don't know why he wrote that.

- Who's Thierry?

- Thierry Françon, my other
researcher, with whom I wrote

all the Danavans.
Well, except for the last one.

- He was fired?

- No!

He's working on one
of my other novel projects.

- I don't know this project is,

but Mr. Françon doesn't
look very happy.

- Good afternoon.

- You were the one

who sent this to Nathan Bergman?

- Yes, it was just
some documentation

to help.

- Helping someone who stole your place

is generous.

- Especially since Bergman's arrival was no gift to you.

He sent you

sweet nothings.
We found this at your place.

"Working with Patricia.
I'm thinking of you, Nathan."

He's taunting you right there.

That's not very nice.

- That's mean.

- Apparently, he found pleasure
in putting you down.

- You know this picture,
Mr. Françon? It's a painting

by Raphaël: "Self-portrait
with a friend". This is Raphaël,

and this is supposed to be

the painter Giulio Romano. His friend,
but above all, also

his closest collaborator.
A sort of...

How should I put it?

He was a kind of

spiritual son,
spiritual heir.

A little like you
at Richter's.

Anything you shared
with Patricia Richter,

she would

then share

with Nathan Bergman.

- Were they sleeping together?

- No.

- How can you be sure?
- Patricia thinks of nothing but her novels.

She needs to be admired,
that's all. He needs his...

his court.

I knew Patricia would end up

bored with Nathan, whom she
wouldn't take more interest in than a book.

- Except that this book is... is
now the last in the series,

finally.

- I have your cell phone here.

With this on it...

*-Hello Thierry, this is Nathan.
This is to tell you that Danavan

*is finished. So, you see,
Patricia followed my advice.

*Don't worry, she'll kill him in style.

*Anyway, see you later.

- So, it stings you that

your novelist

shoots your hero.

You are

avenged.

- I didn't do it.
Everything with the painting

by Raphaël,

I didn't know.
- Don't tell me that after this message,

you didn't check

in the manuscript.
- I didn't have the code for the safe.

And above all, I wanted

Patricia to tell me herself.
- I should have warned Thierry.

I was so involved in my writing.

Believe it or not,

in those moments, nothing else exists anymore.

- Françon could be violent?
- Not at all.

Working on murder stories

doesn't make you a murderer.

I want to know who killed Nathan.

You're wrong about Thierry.

- Oh, yeah? You'd be surprised
what we learn from some

people after a night in police custody.

- If Thierry had killed someone,

would he have left all these traces?

If I had written that,

he would have made me throw it all away.
That would have been very bad.

- Even if you find it disappointing,

a good motive often makes a good murderer.

- Have you read

my novels, Commander?
- That is, I...

I've... I started a...

No.
- You don't know anything about Thierry.

You need to master the subject.
I'll drop some off for you...

a few copies.

- You're very kind.
- You'll be surprised

of all we can discover
through reading.

Good evening, Commander.

- Good evening.

- Michelangelo.

When you paint

"The school of Athens",
this character here,

is Heraclitus. You have
the features of Michelangelo.

He was your exact opposite.

He was shady and extremely angry.

In fact, he was downright antisocial.

- It's crazy, I painted him and yet he
always considered me his rival.

- There's even a famous story:

in 1517, Julius de' Medici brought you
an order for this kind of transfiguration,

and exactly

at the same time, he asked
another painter for a second one,

putting you in competition with each other.

- Sebastiano del Piombo.

A very good painter
and a very good friend of Michelangelo.

- Yes, because in fact,
Michelangelo helped him in secret.

So you were in competition with
not one master, but two.

- I knew that I was risking my reputation.

- It's not your reputation
you risked,

but your life.

Because you essentially killed yourself
performing the task.

Died before finishing
your painting.

You were...

- 37 years old.

- You were 37 years old.

- Knock, knock.

- What are you doing here?

- Feeling better, Mme. Chassagne?

- Er...
- You didn't look...

- Yes, thank you.

- If you're not feeling "meh",

I'd like to talk to you.

Like this morning,

I sent you a message...
- What's in it?

- Well... Lots of stuff,
it's complicated...

- What's in it?
In this box?

- Ah!
- Yes.

- All Danavan.

Alex wants us to read them.

The last one,

and others. There's "Un givré bien
refroidi", "La chute d'airain".

And the last one,

"Mission Raphaël",

especially.

- Why me?
- He wants us to master the subject.

It has to do with Françon.
He wants us to read them

to capture his psychology.

- All right, then. OK.
- The one about Raphaël is a little more

your part.

So you should read it.
- Oh no!

Well, I... No. I know a little
about Raphaël,

so if I have to deal with the
psychology by Patricia Richter...

- You have a problem
with these books?

- Not at all. Absolutely not.

Read them and learn

2 or 3 things about Raphaël,
but I won't.

No.

He sighs.

- So...

"1982. Michael Danavan is thinking
of retiring,

"but he accepts a final
mission:

"find a painting by the famous
painter Raphaël."

Why did you accept this
mission, with your dick head?

Michael Danavan.

"Instead of being

"in the tropics,

"I found myself at the Louvre
for my investigation."

- Instead of being in the tropics,

I found myself at the Louvre
for my investigation.

Even specialists

didn't know where this damn portrait had gone.

Raphael's paintings seemed to be
staring at me with a smirk.

But it was time to restore.

one man's honor. His daughter
had asked me to in-person.

Barbara.

I liked Barbara.

This business made her nervous.
and I wanted to help her.

It was Jason

who had told her about me.

- Jason and Barbara. Damn,
so help me, it's not possible...

"I knew

"that Jason was crazy about her.

"How to tell Barbara
she was lying to herself?

"Despite having refused his advances,
her heart burned for him.

"In his office,

"Barbara couldn't see
that Jason was devouring her with his eyes."

Barbara.

- Jason!

- Don't worry.
We'll get your father out of there.

I'll leave you to it.

- Jason.

- Yes?

- I thought that after
what happened between us,

you'd hate me.

- No.

I'll always be there for you, Barbara.

Always.

"I need you, Jason."

"If you only knew how I suffer."

"I don't eat anymore."

"I don't sleep anymore."

"I feel your heart

fight mine, Jason."

- "I'll always be there for you."

- "Thank you."

"Oh, Jason..."

- Hi, there.

- Well, that's it, you've mastered the Richter subject.

- I started reading, yes.

I haven't just started,
I've read most of it.

- Really?
- It's not so bad.

Especially the stories

of love.

- Really?

- Yes.

In the last one, for example,

there's a woman who says no
to a man.

- Very original.

- Yes, but she saw him...
She's having a very, very hard time of it.

She realizes
that she's in love with him.

But... she doesn't want to tell herself.

- OK.

- We understand that...

That she's lying to herself a little.

- OK.

OK.

- As a result, she eats more...

Hiccup.

No more sleep.

...

She's very unwell.

She's "meh".

See what I mean?
...

Damn, Mme. Chassagne, what's this new thing?
As soon as I get close, you get hiccups?

- No, not at all.
Don't make it all about you.

It really has nothing to do
with you. I don't know what's wrong with me.

...

- (And now?)

Hiccup.

- Captain, Mme. Chassagne.

- Yes, I'm coming.

- Where are you off to?

- She's a literary influencer.
Hiccup.

This was posted 48 hours ago.

*-Hello, friends! I've got a sick exclusive
to share with you.

*Guess what they sent me?
1h ago.

*A manuscript about your
favorite hero: Michael Danavan!

- Patricia Richter's manuscript?
- She details Danavan's death.

*-"Michael lay pale and motionless
on a snow-white pillow,

*"eyes closed..."
- And the icing on the cake...

Fast forward.

*-So why did she do it?

*For this latest opus,
she has a new researcher.

*I'd like to meet him. Wouldn't you?

- She posted this, before the murder.
- Excuse me, 150,000 people have

seen this video?

- Yes.
- And therefore able to imitate the painting.

- 150,000 suspects.

Who is this guy in my office?

- Richter's publisher. He's the one
who told me about the influencer.

- Weren't you going to tell me?

- The publisher has arrived.
- There we are.

Mr. Sarkis.

- Good afternoon.
- Captain Verlay.

- Hello, Florence. Florence Chassagne.

- We've just seen the video
of the influencer there.

Have a seat.

If it was a fan who killed Bergman,
he would be obsessive.

He would've tried to get in touch
with Patricia Richter before.

- Perhaps, yes.

She receives many messages on the internet.

- Can we read them?
- Of course. I'll pass them on to you.

- If we can take a look.

- Tell me how this could have happened, Thomas.
- Patricia.

- You're the only one

who had the manuscript.

- What happened?
- When I read the ending,

I needed a pick-me-up.
I went to the café.

I forgot the manuscript
on the bench.

- What did you do?

- I realized it, went back,

and it was still there.
- How long did it last?

- 10-15 min.
- Lots of things can happen in 10-15 min.

- You realize that Nathan is dead
because of this stupid oversight?!

I'm so sorry. It's my fault too.
I should never have written that.

- I'm very sorry, Patricia.

- Given the circumstances,

I must put you
under protection.

I ask you to stay here
in the meantime.

- Here? For how long?

- Just until tonight.
Tonight, you'll have an escort.

- "If Nina Plume is telling the truth,
it sucks.

"Michael doesn't deserve this!
I hope it's a hoax."

- It's crazy!

Below Richter's channel,
there are over 10,000 comments.

- Excuse me, we're looking for
an obsessive, right?

- Yes.
- It'll be complicated because they're all obsessive.

They write love letters
to a fictional character.

So they're lunatics!

- We weren't talking.
- They say what they feel.

- Mme. Chassagne.

May I have a word?
- No time.

- Just a minute.

It won't take long.
- One minute.

- This painting needs to be appraised
for another investigation.

- No, Adèle, I've got too much work to do.

- So, can I call your dad?
- My father?

But don't you think I have enough

problems?
- Well, too bad.

- Is that Richter's book?

- Yeah.

The ending is rotten, but the story
between Jason and Barbara...

Ooh! Madness!

- Can I see?
- No, sorry, I've got to get it back to the publisher.

- All right.

(Come here.)

(Can you lend it to me?)

(You lend it to me until tonight
and I swear to you

that I give it back to you.)
- So I can call

your father?

- Fine, you can call him.

- It's good stuff.

- Correction, it's not for
my personal use, it's really

for work.
- Yeah, we know.

...

She reads in a low voice.

"Barbara and I were
stronger than ever...

("Barbara clung to Jason...)

"Barbara clung to Jason like
he were the only one in the world,

"without seeing the obvious feeling
she had for him."

(What?!)

(The bitch!)

The bitch!

Where's the end?

("Barbara was terrified,
but in Jason's arms,

("it was suddenly as if
she felt invulnerable.")

Shooting.

- "They're gone."

No more risks.
- I was so scared.

Touch my heart.
It beats wildly.

- "Yes, I feel it. Barbara,

I'll always be there for you.

You are my life.

- "No longer able to resist...

"Barbara kissed Jason

"in a fit of passion."

What's happening to us, Jason?

- I think it's love.

- "Both abandoned themselves,
one to the other."

Your mouth...

- Yours...

- Ah, Jason.

- Ah, Barbara.

- "Like an abandonment too long
restrained,

"the dam finally broke.

"Oh, Jason...

Oh, Jason...

- Oh, Barbara.
- Oh, Jason...

"It was as if all the unhappiness
in Barbara

"was suddenly gone.

"She had finally stopped
lying to herself."

(It's total shit!)

It's a rag!

Barbara's an idiot!

- Mme. Chassagne?

What are you doing?
- Well...

I went to the evidence room
because... you remember

the fake pharaoh story?

- Er... I can't remember.
- Alright.

That's all there is to it.
- OK.

We found something on Insta
about Richter. Please come.

Quickly, if possible.
- After you.

- It's over there.

- Jason.

- Ah!
- Here it is.

- It's here.

Take a look. Here.
- "So, Richter,

"what are you going to do
without your researcher? You'll

"listen to me."

- A certain Michael-is-alive-87
posted this two hours ago.

And if you click

on the link, there...
- This is "Le Grand saint Michel".

- And so what?

- It's a painting by Raphael.

And there, the archangel Saint Michael. And here,
he kills the angel of evil who, himself,

rebelled against his god.

- In the novel, Danavan is
in the Louvre and sees this painting.

- Really?
- Yes.

- There's a message underneath.

- "Michael Danavan, like Saint Michael,

"is immortal.

"If at 11:00 on Thursday you don't save
Michael by rewriting the ending,

"you'll have a second murder
on your hands."

- (Fuck.)

- Well...

- He wants me to rewrite
the ending for tomorrow?

A madman telling me what to write?!

- He thinks he's the Saint Michael
of this painting who kills the angel.

He'll probably kill again.
He believes he has a mission,

something

mystical.
- Wonderful.

- We need to rewrite.
We can't take that risk.

Don't kill Danavan.
- So, they couldn't trace the link.

You had a meeting
with your fans at 3pm?

- We'll cancel it.
- No.

You're both going,
interviewing fans

and find
this Michael-is-alive-87.

- Me too?
- Yes, yes. Both of you.

- OK.
- We'll bring

your computer.

- Bring.
- Bring.

- We often err.

- Would you like a coffee?

- Can you bring it to me?
- I'll bring it to you.

- "She wanted to know who I was.

"This knowledge
increased his affection.

- Take a look.
- Listen to this.

"She was flattered to have made the
conquest of a lover like me."

- Stop!
- Isn't it deadly?

What, stop?
- I can't stand Richter.

- OK.

- You're not going to tell me all
the Richters you've read.

It can't be.
- Let me read you just one passage

which I really liked.
- I don't understand why you like it.

It's a bunch of clichés.
It's saccharine and corny!

- Saccharine and corny?
- Yes, saccharine and corny!

- Two people who, in time,
realize that they love each other,

I...
Hiccup.

- What do you know?
You haven't read them.

- Well... I know because
the advantage of these books,

is that we know what's there
before reading them.

- I'm so sorry.
We're sorry to disturb you.

Police... Judicial Police.

Do any of you know...

- A Michael-is-alive-87 account?
Dash 87.

- It's a fan account.

- I know a Danavan-is-alive.

- This is Michael-is-alive-87.
No one knows?

- Danavan...

saw death in the face.

"...death in the face."

There was... no way out.

- It can't be.

- Hello, Victor.

I have an appointment,
with Lieutenant Attias.

It's regarding painting expertise.
- Yes.

Don't go away. I'll get her.

- And yet...

he'll make it.

Yes.

How?

- Patricia Richter.

"Don't bury me yet."

"The murderous summer seemed endless.

"His body was languid, crushed
under a hypnotic torpor."

She really writes like a foot.

"Under his shirt,

"his revolver slipped
on his sweaty skin."

Style like that, there are no words.

It's...

- It's...?

I would have liked to

hear

what comes next. Such a great admirer.

- Yes, hello.

- Nice to meet you.

- Pierre Chassagne.
- Mr. Chassagne!

Hello.

Did you introduce yourselves?

- We were going to.
- Yes.

- Pierre Chassagne - art historian, Patricia Richter - novelist.

She's the one who writes Danavan.
- Yes.

- The hero who always pulls through.

- Yes.

- Are you coming?
- Yes.

- Would you like an autograph?
It would be my great pleasure.

- Commander?
- Yes?

- We have a new message from the killer.

- I'll call Verlay.

- Thank you very much, ladies and gentlemen.
We apologize for the inconvenience.

Yes, Alex?

- We have a new message from the killer.
I'll send it to you.

- You're behind your keyboard,
Mme. Richter?

"You have 19 hours left."
- Show the image.

It's another Saint Michael
painted by Raphaël.

- Alex,

*we'll call you back.
- OK.

- "Michael Danavan

"walk in the middle

"of the two angels of light."
- Probably the two St Michael's

by Raphael.

- What,

Is this one in the Louvre too?
- I'll show you. I'll show you.

See?

The first one. And this is the 2nd.
In the Grande Galerie,

one on the right, one on the left.

- How can the killer

know it?
- He went to the Louvre.

- What?
- He saw the influencer's video

and wanted to follow in the footsteps
of his hero. He went to the museum.

-Then it must have been filmed
by surveillance cameras.

I'll ask the prosecutor
to retrieve the videos.

Low voice.

- What's that?
What nonsense!

- Are you the author?
- What's up?

- It sucks!

- No, it's okay! You wanted
Danavan alive. Here we are.

- But not like that! There's no
surprise. We don't believe it.

It's shitty!

- With vocabulary like that,
you could be a literary critic.

- I know what I'm saying. If you post it,
there'll be another death!

- We don't want the killer to think
you took his request lightly.

- Thank you.

- 7pm to go.
You could do some fine-tuning.

It's fine. It's not an attempt

at the Goncourt literary prize.
- If it's no good,

it's time to start again.
- You think it's easy?!

In a novel, if you change one element,
everything else moves!

Now we have to start all over again.

- Would you like a cup of coffee?

- Here are the last 48 hours
in the Grand Galllery.

- Perfect! Great!
- We speed up here.

- OK, that works. Thanks.

- Call me when you're done.
- Yes, of course.

Thank you very much.
- Yes, thank you.

- Here, "Le Petit Saint Michel" here,

and here, "Le Grand Saint Michel".
- Our nut case

stopped in front.

Can you zoom in on him?

Print this.

- Is it coming out?

- That's good, you can see him.

- Pierre,

the Italian Renaissance...
- My specialty.

The High Renaissance.

- Okay, fine. Raphaël.
Did he paint the same woman there or not?

It's for my novel.
A simple answer.

- Yes.

Very interesting.
There's a debate going on.

- OK.
- There are

studies that say
that it's the same woman.

- Stop. If some say so,
that's enough for me.

Thank you very much.

Danavan

couldn't help looking at
this veiled woman,

five centuries old,.

who seemed to be staring at him.
- It has to be said

that this is the woman Raphaël
loved in secret,

because he was engaged to the niece...
- OK, but I'm writing a novel,

not a history book.

- Would you permit me to take a look?

Since I'm here,
you might as well not write nonsense.

So...

Yeah?

- No...
- Here, take a look.

Now, we're not sure
that it's the same woman.

If it's not the same...
- It changes nothing.

- Yes, it does.
- No.

My story isn't about that.

- Her.

See? She looks weird.

- At the "Petit Saint Michel".

...

And that's it!

She goes to second Saint Michael.

- Zoom in and print.

The quality is perfect.

You can see it clearly.

- I hope she's a physiognomist, at least.
- Well, yes, she does everything.

- I can't write!
- No compromise

with history!

- What's up?
- She wanted help.

- He took me apart!

You're a nightmare.
Worse than a blank page.

- It's always better
than your nonsense.

- I beg your pardon?
- Just listen,

we have something new and we need you.

- Very good. Get me away from him!

Which way is it?
- In my office.

You're really serious.

- You went hard.

- Her books suck!

- I know.

- And they're bestsellers!
- I know, too.

- I can see the type
of its readers:

zero culture, no love life.

No, frankly, it's scary.

Don't you agree?

- Her. Her face is familiar.

- OK, are you sure about this?

- I remember her. I saw her
at several signing sessions.

With 5 or 6 books to sign.
- All right.

Do you have her name?
- No, I don't know about that.

- In all your fans,

there's sure to be someone who knows her.
I'll throw her picture

on the social networks.

- I hope you catch her.
- How far have you got with your novel?

The message said noon tomorrow.
We need this text, Mme. Richter.

- Yes, otherwise she might kill someone at random.

- Well, then... We'll show you out.
- Yes. Yes.

- Two agents will stay with her.
- Yes. Very good.

- I'd rather stay here.

I started writing here and...
I feel at home in your office.

- Well, no problem.

No worries. Very good.

- I have just created
a new character.

- Ah?
- Mm.

You look great in that vest.

- Thank you.
- If I need information

on Raphael's painting,
what do we do for tonight?

*Music in the headset.

*...

No issue.

No, that doesn't work.

We're bored.
Something's stuck.

If Danavan no longer dies,
something else has to happen.

Another test. If you have
an idea, now's the time.

- If you ask me : Jason and
Barbara don't end up together.

- The test would be impossible love

between Jason and Barbara.

Why would Barbara say no to Jason?

- Because she's wary.

Because she's already had her fill
of the perfect man.

That's all there is to it.

- All right.

So, a big disappointment
in love in the past

that would have branded her.

And since then,
she can no longer say yes.

- Here we are.

Exactly that.

- Mm hmm.

- Do you think this new ending
will solve the problem?

- Absolutely.

I figure he'll read the end.

and say: "I've got to stop
implying anything, and

"stop trying to give her my declaration of love."

- A lover never lets go

the object of his passion so easily.

He'll do it again another way.
- Really?

- Of course.

- I have no other solution.
Unless you say:

"I need to talk to you
frankly. I'm traumatized,

"I am unable to build
a relationship with a man."

That's not even a dream.

- Why not?

- Because...

You told the truth

to your fiancée, Cardinal Bibbiena's niece?

- No.

- But she didn't get engaged
to a creep.

She wasn't
with a manipulative pervert.

- That's it.

Did he cut you off from your friends?
Hmm?

Did he control your exits?

Was he telling you
how to dress,

what to think?

Were you his thing?

- I was his... little thing.

I kept reading Richter.

I believed in the ideal man.

I was too stupid.

- "Whispers

"slipped through the mysterious thick air."
I love it!

- So, where do you stand?

- We stand with Jason and Barbara
no longer ending up together.

- And it works?

- It rocks!

Now that's Danavan!
- Bravo, Mme. Richter.

We're on the right track.

- I saw the photo
on social networks.

But now I'm sure,

I spoke to her at a book signing,
last year.

Her name is Charlotte.
- OK, I'll make a note of it.

Charlotte what?

- I don't know about that.

We were talking about Michael Danavan,
we don't tell each other about our lives.

Contact this guy.

He organized the dedication.

He must still have the names.

- One last chapter left?
- Yes.

I only have two hours, I know.
I'll drink a coffee and go back.

- Charlotte Vallet. She works

in a real estate agency
in Sèvres.

- OK, let's do it.

- Come on.

- Good afternoon.
- Good afternoon.

- Good afternoon.

Captain Verlay. - Mr. Laurin.
- Commander Pardo. - Hello.

It's over here.

As you see, it's empty.

As I was saying,
she housesits for us.

It reassures customers.

- You haven't contacted her?
- No, no. Not at all.

- Madame Vallet?

Police!

He knocks.
Mme. Vallet?

(Come, open.)

...

Antoine, come.

...

Antoine. Come and have a look.

"Veil = shroud."

It's her. I'm calling

the prosecutor.

Hello? Madam prosecutor?

It's Charlotte Vallet all right.
We need a search warrant.

- (Damn it!)

Alex.

- I'll call you back.

Françon is

the next victim.

- Are you sure about this?
- It's the only way to catch her.

- If we send her the new ending,
we'll never find her.

- Here we are.

- I refuse. Culture feeds

"people. You kill them.

"Patricia Richter."
It's perfect.

- We'll hear you

as if we were with you.
Thanks to this.

So don't worry.
I'll install it for you.

*-We're here, Mr. Françon,
don't worry.

*Act as if
nothing had happened.

*-Everyone, Françon has returned home.
I repeat, Françon has returned home.

- OK, got it.

*-Get ready.

- OK.

...

*...

Stepping on stairs.

*...
...

*...

*Crashing sounds.

*...

- What was that?

- Nobody entered on your side?
- No, no one.

Be ready.

- Mr. Françon?
- No!

*No!

- Here we go!

- Leave me alone!

I beg you!

Leave me alone!

No, no!

No!

*...

She threw herself at me.

*...

- (Oh, fuck!)

Alex!

- I was just defending myself.

*...

I'm very sorry.

I didn't mean to.

I'm very sorry.

I didn't mean to.

- She's dead.
- No!

- I'll call

an ambulance.
- I don't know what happened.

She was completely crazy.

I thought...
- Get an ambulance

at 84, rue du général Crépin,
in Sevran.

Hurry up, it's urgent.

Siren.

- Room, top left:
clear.

- No, we don't know how she got into his home.

*-You don't know.
Is that your answer?

*Our main suspect is dead
and you don't know.

- We'll bring you some answers.

We'll find it.

*-No, you're not going to find it,
you find it!

*I want an answer soon!
- Very good,

Madame Prosecutor.
You'll have a report in the morning.

*-I'm counting on you, Commander.

...

- Alex, come down to the cellar.

- I'm on my way.

- Here I am!

Come and see.

- Oh, fuck.

- She was already there.

She was waiting for him.

Take a look.

- The whole time we were looking
for Charlotte Vallet,

was she at Françon's house?
- Yes.

I don't even understand how
it was her idea to do this.

- She read it.

In "Visée nocturne",
a novel I wrote

10 years ago.

Certainly,

if I had imagined that
my novels would serve as a manual...

All that's left is for me to say goodbye.

And thank you.

Thank you both.

And... He's charming, isn't he?

I'm sure it would be a good fit,
both of you.

- What did she say?

- That if I walked, it might get better.

- Uh huh.

- Yes, it's weird.

Captain, about that, I...

You've read the new ending

of the novel?

- Yes.
- I think it's great

that Jason and Barbara
don't end up together.

- Really?
- Yes. Don't you?

- Well, no.

- It's more realistic.

Didn't you believe it?
- No, I preferred the other ending.

- I thought it was such a cliché.
- OK. Maybe I'm a cliché.

- You like endings at sunset,
with your wife at your side,

and the Amazon in the background?

You like that?

- Well, I... Yes.
Maybe that's just the way I am.

- All right.

- I'm the kind of person
to make declarations.

I...

- Captain, the evidence
from Françon

has arrived.

You'll look at them
before they go to the lab?

Captain...

- I...

- There are also statements to sign
establishing self-defense.

- Yes.
- Come on, then.

- Of course.
- Yes?

- Yes.
- Yes?

- Oh, fuck!

Why don't you do it yourself?
We were only two seconds away!

In short, what is it?

- We need a signature here.

Very good. And there too.

Here we go, we're not done yet.

- Captain, see this blue ribbon?

- It's in a painting by Raphael,
"La Fornarina".

Take a look.

Here, this blue ribbon on her arm.

Is it the same one?
- Yes.

Definitely.

From whom?
- Er... "From Thierry Françon."

- From Françon?
- Yeah.

- He wasn't working on Raphaël.

- Yes, thank you.

An invoice

for 1m of ribbon.

- Richter alludes to this ribbon
in her book?

In "Mission Raphaël",
does she talk about it?

- You're right, it rings a bell.

It rings a bell. It's at the beginning.

- OK, let me explain.

La Fornarina was a daughter of the
people, with whom he was madly in love.

As she was a daughter of the people,
he couldn't marry her.

Besides, he was already engaged.
Anyway, it doesn't matter.

Take a look.
You see this ribbon with

"Raphael"?
- Raphaël.

It's a way of saying:
"You're mine." I don't say it right,

but you get the idea.
It's... a painting wedding.

- Here: "He strangles a jealous lunatic
chick

"with this ribbon."
- "To shout to the world that she was

"for him."
- "For him."

Oh, boy!

- I've given the staff the day off.

I couldn't find the proper glasses.
- What are we celebrating?

What ending do we keep for Danavan?

- Have a look. This is the copy
that we didn't send to the killer.

The only copy where Danavan is saved in the end.

- Fuck!

Françon is the murderer.

- He hated Bergman.

- Time to move on
to something else.

- He knew he would be
the first suspect.

He put us there on purpose

on the wrong track.

- Charlotte Vallet.

- A woman a little out of her depth,
a little isolated. It was perfect.

He found an excuse
to go to her house.

He told her about the death
of Danavan.

He sent her to the Louvre
following the tracks

of her hero.

...

He kept her for three days.
at his house while he knew

we were going to arrest him.

And he erased

his tracks.
He was the only witness.

He kept her locked up
and took her out of his cellar

when he needed her.

*...

- He never accepted that Richter
replaced him with Bergman.

He considers Danavan
to be his creation.

- Now he's going after Richter.

Phone vibrates.

- Ah!

...

- No! Ah!

...

- Police! Police! Let her go! Let her go!

Put your hands on your head,
hurry up.

Turn around!

Hurry up!

Sarah, handcuff him.

Go, Sarah, go.

- Your arm!

- Call an ambulance. Hurry!

- Mme. Richter?

We're here.

I'll be fine.

- (I'm disgusted.)

- Your father, proud of me?
- Yes, he instructed you.

- She did it.

She killed him.

- What?
- She killed him.

Danavan is dead. I feel like
I've lost my best friend.

I'm depressed.
- But no.

That's all right.
You'll find a better one.

- Here.
- Huh?

- I'm going to write tickets,
it will do me good.

- A great idea.
- Yes.

It's not so bad

as an end, in fact.

- Really?
- Yes.

The new ending's not so bad.

Barbara doesn't end up with Jason,
but he accepts it.

They're not together,

but... they...

They continue to see each other.

They...

- They never leave each other.
- They don't leave each other, that's it.

They never leave each other.

- Here they are.

It makes me so happy.
to see you.

That's right!

You were right, they're...
- They're surprised, yes.

It shows.

- Now that's a surprise.
We're delighted to see you.

- I wasn't going to give up on the team.
And plus, now I'm part of it.

- Really?
- Pretty much.

Just about.
Patricia's next novel, well...

from Mme. Richter,.
will take place at OCBC.

So she'll be spending a bit of
time with us to soak it all in,

for inspiration.
- OK.

- It's good for the service's image.
And the wife

of the minister is an admirer.

- If she's an admirer...
- My investigation will unfold

in the art world, and I think it's important

to include an epic

love story.
- Wonderful.

- An epic love story.

- How do you...
- A love story...

- I'm thinking of resuming the adventure
between Jason and Barbara.

Something tells me
their story isn't over yet.

Excuse me. May I...

- You're home. You're home.

Good news, isn't it?
- Is this a joke?

- It'll be fine.
- You've got to be kidding me.

- No, it's going to be

very nice.

Go ahead, settle in.

Just like home.
Would you like a coffee?

- Gladly.

- I'll bring it to you.

I'll go... See you soon.

- That's it, they stick together.

It's not over yet.

Hiccup.

- Commander Dopard had chosen
a pearl gray cardigan.

He didn't want to miss

this arrest.
- The party's over, Chastard.

Give me back that Raphaël.

Don't make me shoot.

- What do you know about Raphaël?

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