All language subtitles for Astrid.et.Raphaëlle.S05E08.Un.mariage.et.quatre.enterrements

MATHIEU: What are these questions?

You don't trust me or what?
- You think I should?

- Honey, stop!
- I'm leaving, Nico! You're a cop.

You're a fucking cop!

- Let's stop everything right now;

avoid so many deaths.

I'll cover for you, I swear.

GUN COCKS

Don't do anything stupid, my love.

- Don't call me that!
SHOT

HE GRUNTS

THUD

Nico?

Nico?

Nico?
NICO?

CRYING, SOBS

SOBS

PAUL: Cut!

BACKGROUND CONVERSATIONS

- (Ah, thank you!)
- You all right?

- Great.

PAUL:
Well well, on my life— so well done! It was great.

- Thank you.
- Maybe it would be good to do it again?

- No, I tell you, it was perfect!
So we'll pick it up after the break!

Thank you everyone, enjoy your food!
- Fine, let me go.

- Coming?
- Yes yes,
I'm coming.

- Yes yes,
I'm coming.

. WOMAN:
. Did you know-

- Paul! Come here.
- SIGHS What's up?

- Why're you .
contradicting me in .
front of the team? .

. - Hold on, Mathieu,

You're mad we didn't do an
extra take, right? I tell you, it's fine!

It's my job to say when it's good. Well,
you weren't good, you were excellent.

- You think you're clever?
- Not at all!

- What do you think this film is
built on? Your name, or mine?

I can get you fired with .
a snap of my fingers. .

. - Okay.

. We'll do it after
. the break, all right?

MECHANISM CLICKS

. . .

. . .

LOCK CLICKS

- You want your tea?
- Yeah, I wouldn't mind, yes.

- That scene was awesome.

When you went, 'Don't call
me that!' You had an intensity!

- What do we shoot after the break?
- Well, after that scene,

I think it's the reunion.
Will you check?

MÉLODIE: Yeah, that's it.

- Yes, it's gonna be awesome.

- I love it.

- ♪ Here it is!♪
Madame is served.

- Thanks.
- Here.

Whew! Oh my! I'm pooped!

- I think I'm going to take a little nap.

- You know what?
I'll join you for once. Let's.

- Wake me if I don't hear it, okay?

- Yes, of course. Hup!

HAPTICS

(Mélodie?)

DETERMINED BREATH

LOCK UNLOCKS

MECHANISM CLICKS

SIGHS

LATCHES CLICK

ALARM BEEPS
- Mmm!

SIGHS

ALARM

Oh!

- Phew.

These naps are becoming
less and less helpful for me.

Did you sleep?

- I drowsed slightly. But it did me good.
MÉLODIE: Hmm.

MATHIEU: Thank you.

PROPS:
Loaded weapon, ready to shoot!

AD: Let's go. Silence! Turn over!*
* START RECORDING

- Sound rolling!
- Scene 31, take 4!

First. Camera 2.

CLAPPER

PAUL: Action!

MATHIEU: I don't understand.
What are these questions?

You don't trust me or what?

- You think I should?

MATHIEU: What are you talking about?

Honey, stop!

MELODIE: I'm leaving, Nico.

You're a cop. A fucking cop!

I trusted you!

- Let's stop everything,

we can avoid so many deaths.

I'll cover for you, I swear.

GUN COCKS

Don't do anything stupid, my love.

- Don't call me that!
SHOT

THUD

- MATHIEU!

MATHIEU! MATHIEU!

NO! DON'T STAND
THERE, CALL FOR HELP!

- What's going on? What's going on?
- Mathieu!

- He's dead.

♪

TRAIN WHEELS ON RAILS

TETSUO: You added an
element on your table.

Did you remember something?
ASTRID: Yes.

The monitor from the equestrian center.

This man seems to be linked to
each of my memory shortcomings.

- 'Denis Chartreux.'
- Exactly.

- A missing person report concerning him

was filed on July 23, 2004.

Only, Denis Chartreux was not found.

The fact that this man is linked
to every moment I don't remember

A WEDDING AND FOUR FUNERALS

seems like a coincidence.
Except Raphaëlle

reminds me that coincidences don't exist.
MOBILE VIBRATES

It's Raphaëlle. Hm-hmm!
. . .

. . .

Yes? Hello.
- Astrid?

- Raphaëlle.

- 'Mathieu Marnier,' do
you know who that is?

- I don't remember
reading that name in a file.

- No, not in a file. In the movies, Astrid.

- I don't go to the movies.
- Mathieu Marnier, the actor!

- Oh.
- In short, he's dead.

At first glance it's an accident.

But given the media aspect to the case,

we're called upon to sort out false from true.

- False from true. All right.

RAPH:
Look Astrid, have you seen the costumes?

(Wow!) That's incredible!

Hello, gentlemen. Cmdr Coste.

Can you tell me if Capt Perran
is already here, please?

- Excuse me, we're extras, actually.

- Oh! You're not...
you're not the police.

Oh! Really well done!

Can you tell me where
the film set is, the filming?

Hello!

Hello.

Hello, uh, could we
see, uh, Paul Gérard, please?

- Paul!

RAPH: Hello.

- Hello, I'm the director, Paul Gérard.

- You have two first names.

- Uh, no. 'Paul' is my first
name, 'Gérard' is my last name.

ASTRID: Oh.

I didn't understand it was
a first name. It's not practical.

- (Yeah, that's it.)
- Hmm.

Hello, Mr Gérard.

- Nice to meet you.
- Cmdr Coste, Lt Nielsen.

- You want to see- I imagine?
- Oh, yes!

HE SIGHS
- It's really a tragic accident.

RAPH: Ah.

- Mathieu was more than just
an actor to me: he was my best friend.

- Can you tell me what happened exactly?

Of course. In the scene Mélodie
Duplessy, one of the leads,

has to kill Mathieu—
well, her character.

Uh, she was there.

And when she fired, well—

—it was no longer a movie.
Mathieu collapsed. Dead.

- You work with real weapons?

- Yes, real guns but fake bullets.
Everything's fine, all is in order.

- Oh! (I'm sure.)

Our propmaster is world
renowned and experienced.

We load blanks.
- (Ah.)

- We've never had a problem.

- Hello, Dr Fournier.
- Yes, hello Lt Nielsen.

- I don't understand, I don't understand...

- There has to be an
explanation: a real bullet

that got slipped into
your blank cartridges?

- At first glance no, with the precautions

we take, I think it's really impossible.

- Were their two shots?
- No, only one.

- A pouch of false blood, there.
- Oh yeah? My bad.

Something tells me it'll be difficult
to tell true from false on this one.

- If I understand correctly,
the crime was filmed?

- 'Accident,' you mean.

- Yes. If you want.

- Do you want to see the footage?
- With great pleasure!

PAUL: I'm putting the images
from this morning on this screen.

Here we go.

MATHIEU:
Don't do anything stupid, my love.

MÉLODIE: Don't call me that!
SHOT

MÉLODIE: Nico? NICO?

- And now, here are
the images of the accident.

BUTTON CLICKS

MATHIEU:
Don't do anything stupid, my love.

MÉLODIE: Don't call me that!
SHOT

MÉLODIE: Nico? NICO!

PAUL: Mathieu! Mathieu!

PAUL: No! Don't stand there, call for help!
MÉLODIE: What's going on?

PAUL: Mathieu!
BUTTON CLICKS

- Oh, that was hard.
- I couldn't tell the difference between

the take where he fake-dies
and the take where he really dies.

- Oh? Yeah-
- And how did you figure out

so quickly that he wasn't acting?

- Mmm... experience, commander.

Yes, I have been working
with actors for so long, that

distinguishing true from false
has become a bit of my job!

CHUCKLES
- Funny, mine too.

ASTRID: Mr Gérard?

- Yes?

- Would it be possible to view the images
filmed this morning simultaneously

with the images you
filmed this afternoon?

- Oh, good idea.

- Please.

-Yes of course, I can
do that for you. Here we go-

SHOT SHOT

THUD THUD

. - Nico? NICO?
. SCREAMS

- Mathieu! Mathieu! .
Don't just stand there- .

- Something is wrong.
- How so?

- Mr Marnier's shirt is unbuttoned,

one button on the right,
and two buttons on the left.

The zippers on his jacket are reversed,

Open, closed. Closed, open.

The lamp on the desk
isn't oriented the same way,

there and there.

- Well I never!

If you ever want to change
professional direction,

I'll hire you as a script doctor!

- No thank you.
I haven't finished.

The weapon is not
the same, there and there.

- Pardon? No, but-

- The weapon is not the
same, there and there.

- Excuse me. Can you
freeze it there, on this screen?

- Yes... there.
BUTTON CLICKS

- Back, go back.
PAUL: All right.

RAPH: Stop!

- It- it's the same weapon!
ASTRID: Mm-mmm.

- They are two Beretta 92s,
only they are two different models.

The weapon found at the crime scene,

seen there on the right,

the weapon is a Beretta 92A1.

The weapon on the
left screen is a Beretta 92FS.

- How do you see that?
- The barrel of the Beretta 92A1

has a groove for installing a laser sight.

This doesn't exist on
the Beretta 92FS. Hm-hmm!

RAPH:
So, we have two different weapons

in the morning and afternoon.
ASTRID: Mm-hmm.

RAPH: How do you explain that?

Well, I- I don't know.
LAUGHS UNCOMFORTABLY

Let's go see the propmaster,

he'll probably have a
very good explanation.

CAMERA FIRES
- (There...)

. . .

- Hold on, two Beretta 92s?

- A Beretta 92FS
and a Beretta 92A1.

- Mr Gérard says you have

the whole armory at your disposal.
- Yes, but

I only have one Beretta 92.
RAPH: Look.

Lt Nielsen pointed out to us

that the weapon fired
had a groove under the barrel.

It's not obvious here, but
when we get closer... Hmm?

- Yes, indeed.
- Mmm.

- You loaded the weapon before the take?

- Yes, of course, it's part of my job.

I loaded it before lunch,

and I checked the clip before
the take. I do that every time.

But, hold on-

since the weapon that
killed Mathieu isn't mine,

the only explanation is that someone
switched the weapon during the break.

- Wait, wasn't this weapon
supposed to be in a secure place?

- Yes, it's in a locked box.

But I'm not paranoid
to the point of keeping the key

around my neck
when I sleep or whatever.

- Thank you, sir, Mr Propmaster.
- You're welcome.

- So? What do you think?

- Believe me, Mr Gérard,
I have a nose for these things.

The death of your actor was not accidental:

he was murdered.

See you soon, Mr Gérard.

- See you soon, Commander.

- Lieutenant.
- Goodbye.

- Fine.

RAPH: This guy's oozing with guilt!

CARL: Are you sure Coste?
- We have a set of consistent clues.

- Mm-mmm, Cmdr Coste,

there is absolutely
no set of consistent clues.

At this stage of the investigation
there is no concrete evidence

allowing me to affirm that Paul Gérard
is involved in Mathieu Marnier's death.

- No, I mean my set
of consistent clues, okay?

It comes from the gut! I don't
know how to explain it to you.

- You're moving a lot.

CARL: Oh, that. Well,

it will take something
more tangible than your

inner conviction, Coste,
if we want the prosecutor to-

- Ah, the guy got up too
fast when the victim was shot.

That means he knew
what was going to happen.

- Okay, so you don't
know what 'tangible' means.

- Then, when Astrid realized
there were two weapons,

the guy got upset
right away about the guns

being different models.
I think he hadn't planned on that.

Maybe that's how we're
going to bring him down.

- Hmmp.

What do you think, Astrid?

- I don't always understand
the way Cmdr Coste thinks.

However, experience has taught me

to take her fanciful
reasoning seriously. Hmm!

- I'll take that as a compliment.

- All right.
CARL: All right.

Find me something solid
and I'll call the prosecutor.

TEXT ALERT

You can dial the number
now, boss. It's Fournier.

I think we have something solid.

ASTRID: (Hm-hmm.)

- These are metal fragments found in the body,

supposedly from the cartridge.

Well, it's more like a blank cartridge.

It lets you think that
what we have is an accident.

- Except that?
- Except that...

I found this in the wound.

- Hm-hmm! A bone fragment. .

Probably a shard from .
the victim's skeleton .

at the time of impact .
of the projectile. .

. - Hmm.

This phenomenon is commonly

recorded in autopsy reports, Dr Fournier.
- Remember what I said

at the crime scene?
'True from false', lies from truth?

- I didn't understand any of that.

- This, is a fragment of femur.

- What is a bit of leg doing in his chest?

- It's not a fragment
from the victim's skeleton,

This, was the projectile that killed him.

And it's beautifully ingenious.

A blank was modified with
a piece of bone to make a bullet.

A simple surface check would've said it was bone, everything normal.

- So, it wasn't an accident.

CHUCKLING
- Impossible. It's murder.

- Mélodie? Here.

(Ahem.)

- Will you arrest me?

- Why would I do that?

- I killed Mathieu Marnier.

- You pulled the trigger.

What killed Matthieu Marnier
was the bullet in the magazine.

For the moment you're a witness, Mélodie.

So, at the lunch break,

you didn't go to the canteen
with the rest of the team,

you went to your dressing room.

Is it always that way,
or was it an exception?

- It's always that way, I hardly eat lunch.

I always take a nap during the break,

it helps me feel better.

Usually, it makes me feel great.
- Not this time?

- I didn't feel well when I woke up, I was

a little groggy, as if

I were coming down with something.
- And your husband,

does he often join you in your
dressing room at the lunch break?

- That happens sometimes,

but it's important he eats with the team.

So, he commonly
takes his meals in the canteen.

♪ SOLO CLASSICAL PIANO

NO RESULTS

- A femur fragment as a lethal projectile,

I'm sure I've read that before in a file.

♪

FOLDER SLIDING

♪

DENIS CHARTREUX

STATEMENT
DENIS CHARTREUX

FOOTSTEPS,
QUARTER SPEED, ECHOING

DENIS: A-strid!
HALF SPEED, ECHOING

Well then,
what're you doing here?

I came to get you.
SNOWFLAKE BLOWS, WHINNIES

Don't make me.
SHE GASPS

SNOWFLAKE MURMURS

Whoooa!
SNOWFLAKE MURMURS

Whoooa!
CHUCKLES

What are you
going to do with that?

Huh? You think that'll protect you?

SNOWFLAKE WHINNIES
Come on, go ahead.

Go ahead, stab me.

Please. Now.

Go ahead, don't be afraid.
Stab me.

COME ON!

COME ON, PUT ON A SHOW!

COME ON!
GO AHEAD!

GO AHEAD!

COME ON!
GO AHEAD!

NEIGHS

COME ON!

. . .

INVESTIGATION REPORT

CASE FILE

PIECES CLICK

ON PHONE
- Thank you, sir.

- Yeah, for 37 and 42, we should
be able to do without the character.

Maybe I can try to rewrite the scenes.

On 78 I can't do anything.

We can't manage with a stand-in.
We have no choice.

- Excuse me, excuse me!
Am I disturbing you?

- No, no, not at all,
we're reviewing the work plan.

- Oh.
- Obviously if it were up to me

I wouldn't stop filming, huh?
RAPH: Mmm.

Well, filming will
resume sooner or later,

but the investment's too heavy .

- Ah yes, I can imagine.

Uh, I have one or
two questions to ask you,

can you give me a minute?

- Mmm, for you I have all the
time in the world, commander! Hmm?

Perhaps some coffee?
- Oh, with pleasure.

MACHINE HUMS

- There!

Go ahead.

- Um, I've heard your wife,

an- and what bothers me
a little, can you picture it,

is that her statement doesn't really

validate your alibi, as she was sleeping.

- Oh, I see!

I see, but in this case it works both ways:

I can't confirm Mélodie's alibi
either, because I was sleeping too.

And even Mathieu Marnier,
if you think about it:

yes, he was alone in his dressing room,

no one can confirm what he was doing.
- Ah!

The suicide lead!

That he switched the two pistols.

That's very smart!
I hadn't thought about it,

you're right. Mm-hmm.

Ah!
- What are they doing here?

- A search, to find the second weapon

the one from the morning take.

The actors dressing rooms are there?
- Uh, yes, yes. Yes, over there.

- Go ahead, gentlemen.

- Do you mind if I'm there?

Out of professional
curiosity. I've filmed so many...

It might be instructive to see how it goes...

in real life.

- Let's go.

So?

Not too disappointed?

It's less loud than the
movies, that's for sure, huh?.

- No, not at all, it's...

very instructive.

METAL GRILLE UNCLIPS

RAPH: So?

You're right.

It's very instructive.

NORAH: It's funny though, huh?
All these people who use

secure messaging
thinking they're protected,

when it's just a tiny bit harder to crack.

- What did you find?

- A motive.

- Oh! ... Oh!

Oooohhh!
Oh, Norah, thank you.

BEEP

Mr Gérard, Cmdr Coste.

I was thinking about something,

would you like to discover the
behind-the-scenes of a crime squad?

To satisfy your professional curiosity.

ASTRID: I managed to
solve the Hanoi Towers. Hmm.

Thank you for coming, Sami.
- You're welcome, Astrid.

- I have a very important
question to ask you.

Do you remember

if Denis Chartreux was guilty

of mistreatment towards certain
students of the equestrian center?

- I don't know.

I don't know anything about it.

- Oh.

- I've got to go.

FOOTSTEPS

- Your book. Sami,
you forgot your book.

- Mr Gérard! Welcome!
PAUL: Commander.

- I won't offer you coffee, it's disgusting

- Tell me, have you ever thought
about being an actress?

No, because you have potential,
believe me, I have a good eye.

- Oh, how flattering, how flattering!

- So, here it is!

- Yes, here it is. There you
have the commissioner's office.

Here's the "open space"
where we work on the files.

There's my office, it's the most messy.

Here you have the meeting room.
And the icing on the cake—

—the interview room.
- Ah!

With the famous
mirror one-way mirror!

Awesome!

Anyone there?
LAUGHS

- This place makes people
talkative, I assure you!

- Oh, I don't doubt it, I don't doubt it.

- Have a seat, Mr Gérard.
- Okay.

- The trick is to ask the right questions.

- NERVOUSLY Yes...
- For example,

if I had to question you,

The first question I'd ask you is:

How do you explain
that your partner Mélodie

woke up particularly exhausted

after her nap during the lunch break?

- Where are we going?
- And, if I told you

that I asked the squad
doctor to give her a blood test,

and that the tests
revealed traces of sedatives?

- Well, I'd tell you that you did well,

And above all that,
I'm only half-surprised:

I know Mélodie always
takes sleeping pills to sleep.

- (I didn't know...) Well since
you seem to know her so well,

I guess you know about her affair.

- Affair? What affair?

- Mélodie's been having an affair with
Mathieu Marnier, for at least 6 months.

We have kilometers of torrid exchanges
on an encrypted messaging system.

- Listen, if this is a joke it's pretty harsh-
RAPH: To have his wife's lover

killed by his wife,
eliminating a rival and punishing

her infidelity by making her
bear the guilt of his death—

—that is indeed a murder by a director.

- Listen, Commander, this film is
the most important of my career.

Do you really think I'd risk it all
because an asshole is banging my wife?

- An 'asshole'?

He's not your best friend anymore?

- I don't know what you're
playing at, but I have a film to finish,

one with a much more
credible story than yours.

So, unless you intend
to take me into custody— no?

Yeah. Good evening, Commander.

ENGINE PURRS

CUTS ENGINE

REVS SCOOTER

CUTS ENGINE

PAUL: Hey! I paid a
fortune for your murder script!

It had to be a perfect crime!
LAMARCK: Whose fault is it?

This script-changing mania,
you rewrite everything.

You couldn't help it,
it's stronger than you

- The modus operandi used
by Mathieu Marnier's murderer,

the femur fragment in a blank bullet,

I knew I had already read it somewhere.

- Oh, so you found the file?

- It's in a book,
Blank Bullet For Man In Black,

a mystery novel by Eric Ernest.

- Alias Alain Lamarck.

- Yes. He escaped from prison
two years ago. He was never found.

- Why did you get
rid of the victim so quickly?

- I don't know, at the time
it seemed more fair to me.

LAUGHS
- No way.

Luckily, I'm here to fix your nonsense.

- Thank you, sir.

- What a sense of observation,
in any case, for a director.

A real plus.

- What, now I'm
Mr Criminal Strategy Genius?

With the eccentric blonde and the
stubborn brunette hot on my heels?

- A blonde?

An eccentric blonde and
a stubborn brunette?

Ha, that's interesting!
- Yes, very interesting,

Lt Nielsen and Cmdr Coste.

- What's he doing? It's been ten
minutes since he entered the building.

RAPH: He must've sensed
we were going to follow him

and is going out the back.

- I asked the concierge,
there's no rear exit,

no shared cellar with another building.

- What do I do now, huh?

- When things turn sour like this,

it's important to eliminate,
as quickly as possible,

anything that could
cause problems later on.

And it is clear that, with us,

the weak link— I'm saying
this as delicately as possible—

—is you.

- And so?

- (Surprise!)

RAPH: You just have to wait for him
to come out, because you don't have-

CRASH
SHE YELPS

- Norah? Hello?

Hello, Norah?

- Crap...

- I can't hear you, hello? Norah?

TRAIN HORN

- We don't see each
other for weeks, and

now 2 days in a row on the
same case. 'When it rains...'?

- Yes! You know the saying, bad
luck comes in bunches, Fournier.

HE MURMURS
AGREEMENT

- Well anyway, this looks like what it is,

a fall from a six-story
building, the unforgiving kind.

Forensics is up there.

They found no trace of
another person on the roof.

- And I guarantee you
that no one has entered or

exited this building
since he went in.

- Astrid, come see.
Am I wrong or is that a—

—Beretta.
92FS?

- Hm-hmm!
Exactly. Well done, Cmdr Coste,

there is no groove. Hm-mmm.

- This looks like proof of guilt.

- Even if there's no admission of guilt,

as one does before a suicide.

- Cmdr Coste, there, in the pocket.

RAPH: Yes.

Yes. A metro ticket.

- A metro ticket that was punched at

the exact moment of
Matthieu Marnier's death.

This metro station has the code 2012.

I'm looking it up.

((Ah ah ah!))

- What's wrong?
Astrid, what's wrong?

- Code 2012;

it's the Lamarck station.

- You think Alain Lamarck has
something to do with all this?

- Well, this ticket didn't
get there by chance.

This kind of charade is just like him.

- Why did he draw your attention to him
when we could've closed the case?

- He's playing with us, Commissioner!
We know this guy's no ordinary criminal,

we've already had dealings with him.
- Ah, it's not enough to

stop the prosecutor from closing the case.

- What's bothering you, Astrid?

Wedding preparations? Hmm?

It's normal to freak out.
But we always get there in the end.

- Raphaëlle-
- Hmm?

I inquired about this pre-wedding tradition

about which you are particularly insistent.

- The bachelorette party!
- That's it,

the 'burial of the young girl life,'
a particularly funeral name.

- Yeah, it doesn't matter,
we'll change it. What could we say...

'Protocol.'

'Protocol for concluding life
as a young girl'— how's that?

- I inquired about
this pre-wedding tradition.

I have looked at videos, which show

young women drinking extremely
unsafe amounts of alcohol, and

adopting inappropriate
behavior with men—

—particularly men in
outfits that are... brief.

As much as the exercise
appears adapted to your personality,

as far as I'm concerned-
- Astrid, for me, this protocol- uh,

for concluding life as a young
girl we're planning for tomorrow

will be perfect. No one will
be naked, everyone will be dressed.

- Actually, that's not what bothers me.

- The Alain Lamarck case?

- It's not the Alain Lamarck case.
It's about the Paul Gérard case.

Despite my research, I can't understand
how Alain Lamarck left the building,

when the building and
neighborhood were fully secured.

I don't understand.
- Astrid, Astrid, hold on.

The prosecutor may be right,
maybe Lamarck wasn't there.

Paul Gérard murdered Mathieu Marnier,

with an MO borrowed
from one of Lamarck's books,

and then killed himself. Case closed.

- There is no evidence that
Alain Lamarck is linked to this case.

- Yeah.

- But there is none that he is not.

So there.

SIGHS

BOTTLE SCRAPES

- Hm-hmm!

- Good morning, Astrid.

Oh, did I scare you?

- You don't scare me.
- I hope so.

I'd never harm you,

you're my model, the only
opponent to measure up to me.

Without you, life would be deadly boring.

- What role did you have
in the murder of Mathieu Marnier?

- I became like you, Astrid.

I became a crime consultant, but—

AMUSED
—on the side of the criminals.

Do you understand?

- Absolutely.
ZIPPER

- Murder specialist, assassination expert...

I have know-how accumulated over years,

it'd be a shame not
to transmit this know-how.

Our friend Gérard
wanted to kill his wife,

but there he was
a bit of a novice, I'm afraid.

I provided him with a valid scenario,
something that would hold up.

He did it wrong,
but how can we blame him?

Thanks to him our paths crossed again.

I found the experience fascinating!

It's true, what's the point of
writing fiction, if you can write for...

...for life, Astrid?

- How have you been able to
escape the police for two years?

- I have a lot of money,
it opens up infinite possibilities.

- You're a criminal escaped from
prison, you're going back there.

- Ha ha. Jail has very little
for me, and I've already given.

On the other hand,
I've brought you a little gift.

- I don't like gifts.

- You'll love this one, believe me.

And then, I know that
you can't resist a good riddle.

And I learned that
it's your wedding, Astrid.

Congratulations! All my best wishes.

What news!

Ah!

Cmdr Coste!
Delighted with this reunion— really!

ENVELOPE HITS DESK

You haven't changed; lovely.

RECEDING FOOTSTEPS

- Raphaëlle...
- Astrid, you did well to call me.

I sent a team to Criminal
Documentation, it'll be fine now,

all right?
- They will arrive too late.

- No.

MATERNALLY
No...

Astrid, opening this envelope
is to enter Lamarck's game.

If we do that, it's
him who makes the rules.

- But opening it could perhaps prevent
another crime from being committed.

- You're not wrong.

And to do that we must
try to solve his riddle, huh?

Fine, all right.
- Hm-hmm!

I have to go back to
Criminal Documentation.

- Fine, all right, but don't forget, Astrid,

you have a meeting tonight
at 8 pm, the social aptitude workshop.

- Yes, 8 pm, in ten hours.
- Yes.

But take a little break, it'll do you good.
- I must solve the riddle.

- Yes— but 8 pm, huh? Don't forget?

Everyone came.
WILLIAM: Yes, everyone.

Apart from Sami.
A conflict, perhaps.

- It doesn't matter now.
Astrid's not coming.

I don't understand, William.
I did everything right.

- A few years ago,

Astrid was terrified at the
idea of giving you a birthday present.

- I remember.

We had just met, and she gave me a thimble.

- I had told her that sometimes,
to please someone,

just look for the
gift that most suits them.

Maybe it's the same with a party.

RECEDING FOOTSTEPS

HAPPY PROTOCOL
FOR CONCLUDING
LIFE AS A YOUNG GIRL

DOOR OPENS

APPROACHING FOOTSTEPS

- It's 9:34 pm.

I was supposed to meet you at
8 pm at the social aptitude workshop.

I am 1 hour and 34
minutes late. 94 minutes late.

You must not be late,
and I did not set an alarm, I-

RAPH: It's not you, it's me.

I'm so sorry.

I tried to force your
hand to come to a party

that, in the end,
made me happier than you.

- That is absolutely correct.

- But I have something else to offer you:

if we looked into Lamarck's
riddle together. Hmm?

MAN: Hello!

- All right.

ASTRID: The first riddle
is written cryptographically.

And on this sheet there is an

incomprehensible text
of numbers and letters.

You need to find the encryption key,

your science and math
skills put you in a good position

to try to find the solution.

The second riddle is of a pictorial nature.

On this sheet several
images are represented.

You have to find the link
between these representations.

Capt Perran, Max, Angèle, Vincent:

Your knowledge covers
a wide range of general culture,

and this may help you find the solution.

The third riddle is an abstract image.

I think once the pieces
are cut out it's a jigsaw puzzle.

My experience in the field gives me
an advantage in finding the solution.

Raphaëlle and I will take
care of the resolution of this riddle.

The solution to Alain Lamarck's riddle

is probabaly the intersection
of these three solutions.

Our time is running out.

Get to work.

♪ INDUSTRIOUS

♪

♪ TIRED

This protocol for concluding
life as a young girl

suits me perfectly.

RIDDLE

- That's it!
HAPPY CROSSTALK

- Okay. Here it is!
MAX: Huh?

- Sorry.

- You shouted. .

- The solution is 'Johannes Vermeer.'

All the objects depicted are
objects we see in his paintings:

The pearls, in Girl With
A Pearl Earring, for example;

we have a view of the port of Delft,

featured in one of his
most famous paintings;

the cloth has the same
pattern as in The Astronomer.

- All right, so, we have the name of
a painter and geographical coordinates.

- And my portrait.

RAPH:
Lamarck is a fucking manipulator.

- In the meantime we
have geographic coordinates,

maybe a murder will happen there?

- Well, let's go.

Call the squad and
ask for a team on site.

Astrid, you stay here.
- Mm-mmm. Raphaëlle,

I have to come with you.

I am a part of the riddle.

- Stay behind us, all right?

- With me?

GUN CLICKS

HINGES CREAK

- I think I've been to this house before.

- Hey! Come see.

- Girl With A Pearl Earring.

HOLLOW KNOCKS

- Looks like we have an invitation.
- Yeah.

- Astrid, step back.

Put on your headset.

- Okay? .

SLAM

. . .

SLAM,
PLASTER CRUMBLES

Something's behind there.

HE HITS

. . .

. . .

DRAMATIC STING

. . .

- It's not a mummy, but not far from it!

- The body could've
remained there for decades,

we're halfway between the
airport and a Romanesque church.

- What was that?
- The house is within

the perimeter of an airport
and declared not habitable.

But it's also less than 500m from a
church classified as a historic monument.

Basically, we can't
demolish it, or sell it either.

RAPH: So, Fournier?

- Well, we have an injury
to the back of the shoulder

which caused fractures of the upper ribs.

But I don't think that
was the cause of death.

No, this is more likely:

Yeah, these very localized
tears on the shirt correspond to

the injuries to the sternum and ribs.

So unless he was finished off by four

ice pick blows exactly
the same distance apart—

—and this remains to be
confirmed by autopsy— but I'd say

this man had his lungs and
heart pierced by a pitchfork.

NO DIALOG,
MID-PITCH WHINE

ECHOING,
INHALES

RAPH: You felt unwell, Astrid.
- A man has disappeared.

A monitor at the equestrian center.

This man is linked to
each of my memory gaps.

- Could it be him in the wall?

- The date of his disappearance
corresponds to the period

when my epileptic seizures started,
seizures which can be caused by shock.

Other memories have returned to me,

which I never (told anyone about.)

This man mistreated me.

Physical violence, verbal violence.

I saw myself very distinctly,

in front of him holding a pitchfork.

A pitchfork which can only be,
according to Dr Fournier's initial findings,

the weapon at the murder scene.

Raphaëlle...

I think I am guilty of doing this.
- No... No!

- That is why (I've suffered-)
that's why my seizures started,

that's why I forgot.

- No, Astrid-
- Yes, of course it is.

And why one of the pieces of
Alain Lamarck's riddle is... (my face.)

- Don't let yourself
be manipulated by Lamarck!

There's no evidence you're guilty, none!

- But there is no evidence
that I am not guilty.

- I don't understand you,
it's not like you to follow

such a flimsy trail,
I don't understand, Astrid!

- I think I killed a man.
- I don't want to hear it! Well,

the first thing to do
is to go see Sami.

He must've hidden something from you.

DOORBELL

- Mr Gourmet, hello.
This is Cmdr Coste.

We want to speak to Sami.

- The police?
- Yes.

- I'm worried sick!
- What's going on?

- We haven't heard from Sami in two days!

DOOR OPENS

- Send his description to all teams.

And Lamarck's too. Okay.
DOOR CLOSES

Yes, I'm with her. She remembers.

Astrid? We'll prove you
have nothing to do with this.

- What will you do
if I'm guilty of this murder?

- (I don't know.)

MOBILE VIBRATES

Phone.
You're not going to answer?

- Oh.
. . .

This number is not saved in my
contacts, I prefer not to answer.

- Answer it.
- Mm-mmm.

- Answer it.
- Mm-mmm.

SPEAKER BEEPS,
TONE

LAMARCK: Ms Nielsen.

- Hello?
- What do you think, Lieutenant?

SQUEAKING

Oh, this is my masterpiece:
'Astrid Nielsen guilty of murder'!

- Mr Lamarck. What proof do you
have that we can conclude I am guilty?

- Sami didn't tell you?
He confided in me,

and dared not reveal the truth
to you, the fact that you're a criminal.

He lied to you out of delicacy.
What a nice boy! Delightful.

- You know where Sami is?

- No, too soon, we must
do the next riddle, Astrid.

Call back on this number when
you have the solution to my charade. And

no need to try to trace me,
you won't make it. Good luck!

HANGUP TONES,
TEXT ALERT

SPHINX WITH A DARK GAZE, THE STARS WHISPER THEIR GAME,
LABYRINTH OF RUNES AND FIRE, THE SECRET PATH WEAVES IN TWO.

No. No, out of the question!

We don't reply to his, his thing!

No way I'm going to play his game again!

I told you not to open that envelope!

- You said to yes, open the envelope.

SIGHS

- He's playing with us.

He's playing with us,
we're characters in his story.

Know what we're going to do?
- Mm-mmm.

- Reverse things, gain the upper hand.

- Whose hand?

- Yes, we need to know where they are.

- I know where they are.

Raphaëlle, I know where they are.

TRAIN WHEELS ON RAILS

- Are you sure, Astrid? .

- I don't know.

But since the death of Paul Gérard,

I've been trying to understand how
Alain Lamarck got out of the building

the day he pushed
Paul Gérard into the void.

- And what did you find?

- Precisely nothing.

I concluded that if I can't answer the
question of how Lamarck left the building,

it was because he didn't leave.

The building has 235 apartments.

Alain Lamarck was able to
buy one under a false name.

- Yes, it's true, he could
be in one of those apartments.

We'll keep searching the building, but

there are apartments
whose owners aren't there.

Sometimes we come
across children or the cleaning lady,

and there are apartments for rent.

Anyway, it remains very hypothetical.
- Mm-mmm. Absolutely not.

SQUEAKING

Raphaëlle, listen.

There.

- It's the squeaking we
heard during the phone call!

ASTRID: Exactly. Hmm!

- Do we think he's not far away?
Do we send teams through the building?

- No. I said it we gain the upper hand.
I'll take the initiative.

Astrid, I'm going to call Lamarck.
Your phone, please.

- Are you sure?
- Yes.

MOBILE BEEPS

Lamarck!

No, it's not Astrid.

- Mm-mmm.

- We no longer want to play, Lamarck.

Look out the window.

There are lots of cop cars.

We're on the roof.
So what do we do?

Are we coming to pick
you up, or do you join us?

- I'm here, Cmdr Coste!

- Sami!

- You disappointed me, Astrid.

Instead of solving my riddle
as I told you, you cheated.

- I didn't cheat, I didn't cheat!

- Serious error, Ms Nielsen.

I trusted you, but you're like
the others, without faith or law.

- It's over, Lamarck! The building's
locked down, there's no way out!

- Ha ha. Yes, .
there's a way out. .
.

A flamboyant finale. .

The excitement of my last fireworks.

Do you remember
the Reichenbach Falls?

SHOT

MID-PITCH WHINE

You always spoil everything, Cmdr Coste.

What a vulgar end!

We will meet again soon, Ms Nielsen.

All my best wishes-

. . .

GATE OPENS

- Sami!

- It wasn't Astrid who
hurt Denis Chartreux.

It was me.

- Sami, you don’t
have to try and protect me.

I see myself very distinctly again
with a pitchfork in my hands.

- He's telling the truth.
But it was an accident.

- What happened exactly?

- He was going to hurt Astrid.

So, I took the fork
out of Astrid's hands.

I wanted to scare
him, I wanted him to stop.

. I couldn't.

- Then something incredible .
happened that was hard .
to believe. .

The horse kicked, like he
wanted to protect the two children!

- The blow of his hooves
threw him forward,

and he impaled himself on the fork.

His eyes were wide open,

as if he remembered something.

And then

he fell.

- He was dead.

Sami called me. What could I do?

No one would've believed Sami,
he had the profile of the ideal culprit.

As for Astrid, when I arrived
I quickly realized she was in shock,

unable to say anything.

- What did you do next?

- I knew the house, I worked
on the airport implementation project .

No one would go digging there for decades.

- I was right—

—I had already been to that house.

- Yes,
we were there before.

It was me who took you there.

- I can't close my eyes
even if it's not a murder.

RAPH: But don't worry,
I'll testify in your favor.

- How far would you go
to protect what you love?

- I didn't kill Denis Chartreux.

BELL TOLLS

GASPS
- You wore my socks!

- Yes. They're woven from the
same material as my usual socks.

- Oh yes, I pay attention.
- Hm-hmm.

- How's your scrunchie, it's not too tight?

. - Mm-mmm, it
. doesn't bother me.

EXCITED GASP .

- Raphaëlle.
- Yes?

- You said before he died,
Alain Lamarck said two things:

'All my best wishes,'
'We will meet again soon, Ms Nielsen.'

I don't understand what they mean.

- Lamarck? We don't care. It's over.

He's not coming to ruin the
most beautiful day of your life, is he?

- He can't come, he died.
- There you go, huh?

It's your wedding, I'm just so moved!

Are you ready?

I'm ready. And here we go!

OFFICIANT: I speak on
behalf of your families and

all those dear to you
who are here today,

wishing you much happiness.

But everyone knows there
will also be days that test our love.

But it's in these moments that
love, presence, communication,

and involvement of both in the marriage

will have all their value and importance.

I am happy to unite
and warmly congratulate you.

I wish you a long life side
by side, and much happiness.

In accordance with the law, I will read you

Articles 212, 213, 214, 215,
and 371-1 of the Civil Code...

- (Do you have the rings?)
- (Yes, yes!)

SNIFFLES

- Article 371- 1:

'Parental authority is
a set of rights and duties

having as its purpose
the interests of the child,

which belongs to the father and the mother

until the child reaches
majority or is emancipated,

to protect them and their
security, health, and morality,

- (Raph!)
- (Shush!)

to ensure the child's education and
enable the child's development,

CLINK
- PAIN Ah! Ah!

with due respect for
the child's person.'

BREATHING WEAKENS

- (Lamarck... oh fuck...)

- What?
Raph, what's it?

- (The fucking bastard.)

(Poison...!)

CLINK

- RAPH!
SHE MOANS

- Raph!
Call for help!

NICO: Raph? Raph? Please
stay with me! Answer me!

I think she's been poisoned!
Raph? Can you hear me?

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