Original subtitles

- Have a good evening. - Bye.

- Bye.

- That was awesome. - Yeah, it was great.

- Good evening.

- Sorry, we're closed. - I know. I'm running late.

I'm Christian Alonso, the historical consultant.

Mr. Péri must have warned you. I'm here to check the Marat plaque.

- Ah yes, that's right. Come in! - Thanks.

- You know where it is? - Yeah, thanks.

...

So...

"The Death of Marat", 1793, painting by Jacques-Louis David

in tribute to a friend.

"Actual bathtub of Marat." (A phone vibrates)

...

Hello?

*- Mr. Alonso? - Speaking.

*- I work with Mr. Péri. - Good evening.

*- He told me there's an error on the Voltaire label.

- An error? Hold on.

There's no error. *- I'm just messing with you, Mr. Alonso.

*I've read all your books. - I don't have time for jokes.

*- If we're sending people

*to the guillotine, we're more of an asshole than a martyr.

- I don't understand.

*- According to you, would David have painted you as an asshole

*or as a martyr? - Harassment is a crime.

(Sound of a door slamming)

Is someone there?

What the...

hell is this?

*- Don't like my surprise? - Where are you?

(Muffled scream)

...

What do you want? *- To show you

*a David painting full of a suffering he never forgot.

*I haven't forgotten either. After this, it'll be time for your bath.

- What are you talking about?

Why are you doing this? What do you want?

...

- Morning, Lucien. How's it going? - Good, and you?

- Good, thanks. - Can I talk to you?

- Problem?

What's up?

- I'm sick of answering your crush.

-(My crush?

(Vincent?)

- He's trying to reach you. The switchboard keeps putting him through to me. I'm losing it.

Did you block his number? - No, but...

(Phone rings) Excuse me.

...

- Is that him? Answer!

-(No...) - Give it to me.

I'll tell him you had a thing for him,

but he looks like Antoine, so you find the whole thing weird.

And done! Answer him.

Vincent hung up. Oh...

- But it's not weird. They can look alike without being the same person.

- If you're so sure, why are you ghosting him?

- I'm ghosting him because I feel like I'm hurting the captain.

I was supposed to see Vincent yesterday.

I canceled, I need to call him back and I just can't.

I like him, so I don't know why I'd say no.

It's complicated.

(Phone rings)

...

- There. On loop.

Mr. Doppel.

-(I'm not here. I need to think.)

- Yes. I'll put you through.

(Go on!)

(Go!)

- Yes, Vincent?

No, actually I was just telling Adèle I needed to call you back.

What do you mean, here?

Yes, I...

I'm looking.

He's here.

You think Antoine saw him? - No,

but he'll be here soon.

It's gonna get awkward after.

- Wait,

one thing at a time.

Your phone.

I'm on my way right now!

- Ah, Florence! -(You can't stay here.)

- You're haunting me. We going out tonight? - Yeah, of course.

- You know, I... - Promised.

- I'm gonna say hi to my cousin. - No.

- Why? - Because.

- Here. - Thanks.

- Ah! - Sorry.

- See you tonight. - Flying kiss.

- Ah, you're here.

- Ah! - Whoa!

- You scared me.

- You thought about it too, that's cool.

I thought about it too,

but yours is better. It's a nice little nod.

Six years we've been working together, deserves a celebration.

Here.

- Thanks.

That's really sweet. - It's nothing.

Thanks.

- Happy birthday. - Happy birthday.

- We got a call

about a homicide at the Grévin Museum linked to a David painting.

- Let's go! You coming? - On my way.

- Can you hold this for me?

- Yeah. - Careful, I'm attached to it.

- You throwing that in the water?

Grévin? - Grévin.

- I'll call you. - Sounds good.

- Everything good with my cousin?

- Yeah, it's fine.

- He wouldn't stop calling yesterday. - Oh, the Van Gogh statue!

It's insanely well done.

- Yeah. Too bad

I'm not famous: I'd have my own double in the shop.

We could've put a Doppel

with his face.

Anyway!

-(Yeah, "anyway"!)

- No,

I didn't see it coming. Then I got hit on the head.

I woke up.

- So?

- Christian Alonso, 50 years old, university professor.

He was the museum's historical consultant.

- Where's Marat? - The killer moved him over there.

And this

is Alonso's phone. He was on the line with the killer.

It recorded everything.

Listen. *- What do you want?

*- To show you another David painting

*full of a suffering he never forgot.

*I haven't forgotten either, Christian. After this, it'll be

*time for your bath. *- Who are you?

*Stab sound.

*Why?

*Sound of paper being unfolded.

- What's that?

Sound of paper unfolding?

- Maybe he's showing him the other painting.

- Which one?

- A work by David

that talks about a suffering he never forgot.

I need to look it up.

(That's not it.

(That's interesting.)

(She mumbles)

A suffering you never forgot...

- My tumor, maybe.

I've suffered from it my whole life. - Maybe, but I'm looking for...

something like a trauma.

For example, you almost got guillotined during the Revolution.

You did time in prison.

And this self-portrait,

you painted it while you were locked up.

- All my friends had been executed.

I clung to the only thing I had left: painting.

- After the Empire came the monarchy, and then

they accused you of voting for Louis XVI's death. You went into exile

and painted this in Brussels.

- It was heartbreaking. I never came back to France.

- That's not it.

- That's a lot of suffering.

- So a lot of paintings to check.

- Did you reach Alonso's family? - No, his wife is unreachable.

And forensics?

- They couldn't trace the call. - And the voice?

- There was probably a filter. Could be a man or a woman.

- Keep me posted. - Yeah.

(Phone rings)

- It's his wife.

- Answer it.

- Hello?

- Christian, I can't wait any longer.

*I've got a meeting at the château. Where are you?

- Answer her.

- Christian?

- Hello. Captain Verlay, judicial police.

- I didn't sleep at home because of work.

I was away. My agency is organizing a conference.

And we...

We were supposed to meet up this morning with Christian...

- Was he having any problems lately?

- No.

No, not really.

He had an argument at the university a week ago.

- With who?

- A girl who was taking his course on painters of the Revolution.

Complicated profile, former addict.

- What happened? - I don't know.

Christian didn't tell me much,

just that she had relapsed and got aggressive with him.

- Most of your masterpieces are here.

"The Coronation of Napoleon at Notre-Dame", it's sublime.

Here there's no suffering involved.

So it's not that.

"The Lictors..."

Would there be some pain in this painting

that you never forgot? I don't see it.

I'll find it.

"The Oath of the Horatii".

- Why doesn't anyone tell me anything? That asshole Alonso filed a complaint,

is that it? - Mrs. Caron, please.

- I took a test five days ago. I'm clean.

- If you're clean, you can take another test.

And calm down. Is the drugs making you aggressive?

- He's gonna make me lose custody of my son.

Don't touch me!

- No one forgets the suffering of war.

- You're treating an ancient subject

where women try to stop the war between Romans and Sabines,

but you're really talking about the Revolution. The towers,

like the Bastille, the pikes, the Phrygian caps.

One there, there, there.

- We were on the brink of civil war.

We were massacring each other. It had to stop.

- No, it's not personal enough.

We need a painting that really talks about you,

a painting that changed your life.

- Only one painting changed my life.

- Of course!

The Academy of Painting.

When you wanted to get into the Academy of Painting.

Hallelujah!

You were barely 20,

and without the Academy you had no chance of becoming a painter.

- They didn't want me. - Exactly, you failed three times,

but you didn't give up.

When you took the contest for the study of expressions,

you did a pastel... I saw it recently.

That pastel. And you called it "Pain".

- I remembered my mother's suffering when my father died.

I never forgot her face. - I know. One of your masterpieces

isn't on display, but it's here, being restored.

"The Grief of Andromache" finally got you into the Academy.

Hector has just died.

Andromache is devastated.

She and her son are now alone and vulnerable.

To paint Andromache, you used your pastel "Pain".

- I had just gotten married and become a father,

but I kept thinking about what happened to my mother and me,

like it was coming back up...

- From the bottom of your heart. - Exactly.

- I'll be back in a second.

Come look.

- What? - Come.

- Handle it.

What?

- I think I found the painting.

- "The Grief of Andromache"?

- David painted it thinking about his father's death when he was 8.

Here's the mother.

Here's the child.

Two years later, he paints "The Oath of the Horatii".

And look...

The mother consoling her two children. And it's not over.

Four years later, in "Brutus", look.

A mother and her two daughters.

This suffering, David never forgot it.

I'm almost sure

that when the killer murdered Alonso,

he showed him "The Grief of Andromache".

I'm watching you.

- Go ahead. Thanks.

We're gonna go over everything from the beginning, calmly.

You say you went back to school for your son,

to get a good job.

- Yes.

I want to get my son back and be there for him, that's all.

- But the exams at university put you under pressure, right?

- See you tomorrow. - See you tomorrow.

- I couldn't finish.

- You didn't finish? - No.

- I finished, but it was tough. And the shitty subject on David?

- I struggled with "The Coronation of Napoleon".

- "The Coronation of Napoleon".

- What? - It's Joséphine

who's being crowned. - Fuck, I knew that!

Laugh it up.

- You're dead. - Fuck, I'm screwed.

- You're dead. - Yeah!

- Alonso's gonna destroy you.

"The Coronation". - Yeah!

...

- Do you realize

what this means for me? - I had to fill out a questionnaire,

I answered.

- It was just a puff! Why did you check that box?

- When you're sick, you say so. You don't lie to your loved ones, you own it.

Being a mother isn't for you. - What did you say, you son of a bitch?

- What are you doing?

- Asshole! What's wrong with you? You're sick in the head!

- We're not done,

I assure you. - You realized it was over

for getting your son back.

- It's not over. I'm seeing the judge tomorrow, I'll explain.

It'll work out. - You won't see the judge tomorrow.

Mr. Alonso has been murdered.

- What?

- You're a suspect.

- It wasn't me, fuck!

It wasn't me!

-(Go ahead.)

- Do you know this painting?

- Yes. David, "The Grief of Andromache", 1783.

- The killer showed it to Christian Alonso before killing him.

This mother crying with her son clinging to her — does that speak to you?

- What?

I don't give a shit about that painting.

They ask me to work on David, I work on David.

- These are Anaëlle Caron's drug test results.

She's clean.

- So on that she's telling the truth. - Let me see.

She has a motive and no alibi, so she stays in custody.

Adèle, search her computer

and see what she looked up about "The Grief of whatever".

- Andromache. - I know.

- And we are seeing Alonso's wife tomorrow.

Maybe this painting means something to her.

- Well, I'm off. You don't need me anymore?

- No. - Good evening. See you tomorrow.

- Goodbye. - Hello?

-(Where's she going?) - What do you mean?

- You guys talk, right? - No, not really.

"Hi", "bye". Work stuff.

- Stop it. - Ah no, really.

- Is she still seeing Vincent? - It's complicated.

It's not really... - Is it yes or no?

- Right now I need to work.

- Yes...

Your address and the code, I've got everything. Don't worry.

Do you want me to bring anything?

Okay.

I'll improvise.

See you soon. Kiss.

- Is this your first night with him?

What will Cupid have in store for you? - He'd better aim well!

At the same time,

if it's a total disaster, a real catastrophe, at least I'll know.

- Kind of a test. - Exactly,

it's a test. Can you move over?

- And if Cupid shoots an arrow straight through your heart?

- I'll deal with it.

- Go on! - Are you coming with me?

- Yes. - No. It's my private life.

- Ah...? Okay.

- Your daughter is acting crazy. What's going on in her head?

Can you explain it to me?

- Explain what? Vincent is really nice.

What I see especially is that with him,

Florence has finally solved her problem with you.

- Meaning? What are you talking about?

- She found a man with your physique,

who she's always fantasized about... Let's move on.

But this time, without the flaw.

- A flaw?

- You know what I mean.

Once you confused Botticelli with what again?

A tiramisu? - A brand of spaghetti.

- It's in your head that we wonder what's going on.

Talking to you makes me want to jump out the window.

- Go ahead, jump out the window. - Don't take it like that.

I just want to tell you that Vincent is perfect

for Florence and for me.

It's been 21 years since I said that.

Last time was with her fiancé.

You know she was engaged? - No.

- She stayed with him for six months.

She suddenly left him. I never understood why.

- Maybe he wasn't cultured enough.

- He was very. And she was very much in love.

It was weird.

- Wait. Weird how?

- She suddenly came home without any explanation.

I didn't say anything. Better not to get involved in couple stuff.

Six months was her absolute record.

With Vincent we'll see. I'm not inviting you upstairs,

it's an evening of painting and poetry.

- No thanks. - See you soon.

- Wait.

What was the fiancé's name?

- I don't remember the name of all my daughter's fiancés.

I just remember he was a musician.

I went to see him play with his orchestra in Lille.

He played the triangle really well.

...

Florence bursts out laughing.

- You scared me. - Sorry about this morning.

- I admit it was a bit forward.

- You still accept me, sir?

- As long as you leave your horse outside, yes, I accept you.

- I brought some wine

to apologize. - You know how to talk to me.

- It's really cute at your place.

- Thanks. Make yourself comfortable.

- I... I'm really sorry,

but I don't like mixing my personal life and work.

- Ah yeah?

I get it.

But earlier when I wanted to say hi to Antoine,

you said no.

I don't know. I thought...

I thought I detected a hint of nervousness.

- I know.

Want to come over here? You're a bit far.

- Yes.

- You're right, I'm sorry.

But you don't know him,

and this morning he was in a really bad mood.

- I'm not gonna hold it against him, it happens to me too.

- But that was this morning.

And now it's tonight.

- Tell me...

Nothing ever happened between you and Antoine?

- What?

- If it had, would you tell me?

- Well... Yes. No. I mean...

- No, sorry. I'm sorry,

but we look a lot alike, you didn't miss that.

- No.

- So I'm wondering...

how to be sure that when you're with me, you're not thinking about...

- You want to know?

Close your eyes.

- So, there was something between you two.

- No.

No.

- Florence... - No, really, actually...

Nothing happened.

- You're with me,

because you could never be with him?

- Stop, Vincent, I'm with you, not Antoine.

Stop talking about Antoine. It's just you and me.

- I can't.

I'm sorry.

- Why? - I can't stop thinking about him.

- What?

- You...

You're in front of me and I see him.

Why are you with me, Florence?

- What?

- Why are you with me?

I think you need to ask yourself that question.

Seriously.

Antoine mumbles.

- Triangle,

where is it?

"Percussion"...

Ah, here it is.

"Benoît Lalonde".

"Correctional Court

of Lille. Conviction for moral harassment.

Three years in prison and 45,000 euros fine."

Fuck...

...

- You think this woman

would have talked to Christian

about a David painting?

- Maybe to provoke him, to make him react.

He didn't say anything to you? - No.

But we weren't talking much these last few days.

He was preparing his lecture for the David conference, and I...

We were both swamped.

- We think we know which painting it is.

- We have nothing to prove it.

- Does this mean anything to you? - "The Grief of Andromache", yes.

No, that's not possible.

- What's going on? - No, it can't be that.

Joël is a close friend of Christian. They studied together.

It's even thanks to him that Joël got a position at this university.

Two years ago, Joël had problems because of a class on this painting.

- It's not a coincidence

that David painted this after his marriage.

Andromache is the woman who sacrifices herself out of loyalty.

She's the model of the good mother and the good wife.

Anyway!

The talented Christian Alonso explains it well in an article.

I invite you to read it.

I'll send it to you.

-(Is he serious?)

- That's not possible.

- What's going on?

- It's shocking, sir.

- What? - What you just said

about good wives and good mothers.

- Put it back in context.

These themes no longer speak to your generation.

- Does it speak to you?

- Why make us study this painter? Do you think like him?

- Did you come to study art history or to argue?

If I had chosen to give you a class on the nude,

for example, "The Intervention of the Sabine Women".

-(No connection.) - What is David thinking here?

Does he want to glorify the powerful man, the warrior?

No. David is steeped in classical culture.

For him, absolute beauty is Greek and Roman statues.

- It may be beautiful,

but it carries the standards of the dominant man. It's shocking.

- And the female nude is shocking? Botticelli, Boucher,

Ingres, Rodin, Renoir,

*should we throw them out?

*- No, we study less degrading works.

- Like landscapes and flowers? - Nonsense.

*- Not much will be left of painting.

- The video went viral on social media.

*- This is an art history class.

*If you don't want to work, you have no business here.

- The university suspended Joël.

He couldn't believe it. He went to ask Christian for help.

- I just wanted

to talk about your article. - By badmouthing the students?

- No. Christian, please. No one listens to me anymore,

but they respect you.

I'm asking you to calm things down. - No,

defend yourself. - Yes. We need to stick together.

- You did say those things, right? - Yes, but...

- You thought it was like before, before social media,

that you could look down on your students? I can't let that slide.

- Christian...

I'm not talking to the dean,

I'm talking to my friend. Please.

- I'll talk to the university president

when things have calmed down.

I can't do anything right now.

Lay low, that's the best thing you can do.

I'm sorry.

- Did your husband talk to the president?

- To say what?

No. It was complicated.

- He didn't want to lose his job for him.

- Not at all.

Christian couldn't do anything for Joël.

- What happened after?

- Joël continued his research.

His articles were good, but no one wanted to publish them.

The president made it clear he shouldn't come to the university anymore.

- Thanks.

Guys, isn't that the...

isn't that the professor?

- Yes, it's the professor. - Joël Ferrier had reasons

to show this painting to your husband before killing him.

- Kill him?

Joël was his friend.

Christian insisted that Joël take part in this conference.

His wife works with me. They came to dinner at our house

ten days ago. It's...

Sorry. - I'll be right back.

- Sorry.

- I was looking for you. We're lifting Anaëlle Caron's custody.

But we have a new lead.

- "Joël Ferrier". - He's a university professor. Go question him.

First, come debrief.

- Hello. Joël Ferrier?

- Yes. - Lieutenant Attias,

Lieutenant Royon. We're investigating the murder of Mr. Alonso.

Can I ask where you were on the 5th in the evening, between 6pm and 9pm?

- Well...

- Two days ago.

- Hello. - Two days ago...

- You were here, honey. We spent the evening together. Why?

- You confirm?

- Yes, I confirm. We were together, my wife and I.

- If he was with his wife

the night of the murder, then I'm Florence Chassagne,

with the beret. - She's covering for him.

- We could just arrest them, grill them and see if they crack.

- And if they don't crack? We have nothing on them.

- What about the parking lot video?

- Their car didn't move,

no one saw them leave.

- Damn it!

- The David conference organized by Hélène Alonso,

it's still happening tomorrow? - Yes, she's keeping it

in memory of her husband. - And the Ferrier couple will be there?

- Yes, both days. - Perfect. We'll bug their room

so we can listen in. - And if they don't say anything?

- Why are you staring at us like that?

- I'm thinking they might meet a nice couple

who could get them to open up.

- What couple?

- If you don't mind, I won't do the photo.

I must have been traumatized by class photos.

- Hands in your pockets. That's good.

- It'll only take 30 seconds. - For you, I'll do it.

- That's kind. Thanks.

And it's nice of you to step in for Christian at the last minute.

- It's normal.

- Mrs. Ferrier,

a photo with your husband?

- I'm coming.

- I warn you, I don't do couple photo shoots.

Definitely not. *- Mrs. Chassagne,

*if you have to pose with Mr. Chassagne, do it.

And with a smile. Okay? *- But I'm smiling.

- That's fake.

*And take off your glasses.

There.

- Great, thanks!

That's great!

Look at each other.

Thanks.

- Thanks. - Mrs. Chassagne, your turn.

-(Go on.)

- There, perfect. - Is this good?

- They're in room 25. They'll be there at 7pm for the cocktail.

- OK. - And your room is ready.

- Perfect.

Don't worry, it'll be fine.

- Very good.

Nice smile.

Perfect!

With the gentleman.

- I'll leave you.

- Yes, of course.

- Come on.

Smile. - Relax.

- I am relaxed.

You're blaming me for being with your double, and now this is your triple.

- That's stupid. - Don't you have bugs to plant?

- Yeah.

- Go on.

- I'm going. - Be discreet.

- Obviously. (Noise)

- Discreet.

I'm going.

*- Stop complaining.

- I'm tired. I stayed up all night preparing a lecture on David.

- Get closer.

Put your hand on her waist. - Is that good?

- Take her by the waist.

Look at each other.

- It's a conference on David... - Yes. Look into each other's eyes.

Magnificent! Don't move, it's perfect!

Magnificent! Good for me.

- Come. - Was I smiling enough there?

I've seen beautiful places, but this one is impressive.

- Marriage never tempted you?

- No. It's to the right, I think.

- 15... - There, 14.

- Open it. - You have the key.

- No. - Yes, you do.

- I don't have the key. Wait, I have the key.

- Not even engaged?

- I need to change.

- Mrs. Chassagne.

Wait, I...

Alex, she kicked me out.

- I don't know what game you're playing, but this isn't the time.

*- I'm not playing. - I don't want to know.

Use the cocktail to approach the Ferriers.

*Is that doable? (Phone rings)

*Antoine, are you listening? - Gotta go, I have a call.

- He hung up. It's the daycare.

- Mine is planted.

- Finally some good news!

(Phone rings)

...

- Hello, Captain Verlay, Paris judicial police, thanks for calling back.

I need information on a moral harassment case

against Benoît Lalonde.

Lalonde, yes. 2009.

Do you know who handled the file?

Is she still on duty?

Can you ask her to send me the file?

I'll forward my email right away.

That would be great. Thanks, ma'am. Goodbye.

- That's why we made this bicentennial of David's death

a unique moment of sharing knowledge.

Christian Alonso was supposed to give us

a talk we imagine would be of great finesse...

- I'm getting worked up, but so are you. - It's open, I let you in.

- The French Revolution marked many of you here.

It was actually Christian

who had the idea for these living paintings.

We miss him so much. We've decided to dedicate this conference to him.

(Phone) - Phone.

...

-(Oh...) -(Oh no, hang up.)

-(My father, my burden.)

- I warmly thank the company Living Stones,

and especially Tristan,

the mastermind behind this sublime reconstruction.

- I got so scared.

You've been there the whole time? Bravo!

- Thanks.

- It's amazing.

Shall we go? It's amazing. - Oh my god!

- Did you see the statue? It's so well done.

Bravo!

Incredible!

Loud applause.

- Thanks to them. Thank you.

- You have nothing to do with art history?

- No. - He has nothing to do with it.

He has more to do with

"I ruin your conference, your life".

He's good at that. - No, she's joking.

- No. Stop asking me questions.

- You stop. - No. I can't take it anymore,

your jealousy. With him I must have confused culture with bodybuilding.

That's good, right?

Look, I'll prove to you that...

- Whoa!

- I'm sorry. I'm clumsy.

- It's nothing. - Sorry.

I'm really... Thanks, Joël.

- I'm sorry. - No...

- Everything's there. - Sorry.

I'm a bit nervous. - I'm really embarrassed.

- I'm gonna go say hi...

- Sorry.

- I'm gonna get a drink. - There you go.

Sorry. - It's okay.

- OK for the mics.

- Great!

- It's recording. - Over to you, Mrs. Chassagne.

- I'm sorry, Joël, I got carried away.

- It's okay.

- Things are a bit complicated right now because...

Can I talk to you? - Yes.

Of course.

- It happened once.

Since then he keeps asking me questions about that night.

He asks questions all the time.

You could help me, Joël.

- How? - You could be my alibi.

I'll tell him we were supposed to write an article on some painter.

We'll make up a good story, because he's insanely jealous.

We'll agree on it and that's it. What were you doing three days ago?

- Three days?

- Yes, the night of the 5th.

Were you alone, with someone? What were you doing?

*- The night of the 5th...?

- Say your wife wasn't with you.

- The night of the 5th? It's a bit... - Mrs. Chassagne.

- Two seconds, please. - Sorry, but it's your father.

*- I'm coming.

Go ahead. - He really insists.

Thanks for taking it.

He says it's urgent. - OK. Thanks.

You won't move? I'll be back in two seconds.

Think about it.

*- Yes. *- Take your time.

*Hello, Dad? - You need to cut the cord.

I can't talk to you, I'm working.

Do you realize I have a job?

Yes, absolutely.

- You call that working? What's this conference?

You're speaking on David? Sorry, but I know more than you.

- I can't talk to you.

- Flo... She hung up on me.

Background noise.

- Shit.

Shit!

- Yes, that's it.

- We found it a shame it didn't get broader.

- Excuse me. The man I was talking to,

did you see him pass? - No.

- I'm gonna check on my wife.

Where is he? - He left. He didn't say anything.

- Shit.

- We move to phase 2 tonight. Maybe he'll talk to his wife.

- Okay. - Let's hope.

- Here, thanks.

- How did it go with Florence Chassagne?

What did you talk about? You looked surprised.

- Nothing special.

- I don't know what she wants, I gave everything.

- OK. *- I wasn't even listening.

I didn't feel like chatting.

- Joël, Florence Chassagne isn't just anyone.

- "Isn't just anyone"! - I heard.

- If you want your job back, you have to make an effort. Me,

I've already done a lot.

I'm gonna take a bath.

- Why doesn't he tell her? - I don't know.

Water running.

...

*Dial tone.

- He's calling someone.

*- Hello? - It's me.

Sorry, I could only call you now.

*- Joël, I'd rather we stop here.

- What?

*- You're married. What do I get out of it?

*I'm tired of hiding. - We can't stop like this.

*- Joël, I'm sorry.

- I need you, I need to see you. *- Don't call me anymore,

*it's better this way. - Wait...

-(Han...!

(It's him who has a mistress. (Phone rings)

(He has a mistress!) - Why are you whispering?

Alex, wait, I'll put you on speaker.

- Did you hear?

- It just got complicated. *- Yes, I confirm.

- If she finds out he's cheating... - She won't want to protect him anymore.

*That's good. - Tomorrow we'll focus on Lise.

*We'll debrief in the morning. - OK, sounds good.

- Good night. - Good night.

- Bye. - See ya.

*- And not too much screen! See you tomorrow.

- What? - "Culture and bodybuilding"?

- It was good, right. - Yeah, it was good.

Why didn't you stick to the text?

- I thought it was effective. I even thought "You're not bad at improv".

- It's not about improv, there's a subtext.

Do I need to understand something? - Come on, it's fine.

Excuse me, could you move?

Take the tablet. - What are you doing?

What are you doing?

He sighs.

This is ridiculous.

This is ridiculous.

You're overdoing it, aren't you?

- Good night.

- It looks like you're about to put on a show.

- I can hear you.

Good night! - Good night?

I can't sleep.

- Want to take a break? - Yeah, I do. Then we'll switch.

- I'll wake you in two hours. - Thanks.

Is that it?

- I think so. - I'm not tired.

No, I'm good to go.

We'll keep going. - Then I'm off.

...

- Why do you do this?

- What?

- I don't know. We're already trying to find some balance, it's hard enough,

and you fall in love with my double.

Why do you do this?

- OK, captain. - Thanks.

- Yes.

I loved him.

...

- Courage and honor are two themes that haunt

the work of David.

In "The Oath of the Horatii", the three Horatii brothers

swear to avenge their compatriots

by fighting the Curiatii to the death.

- My husband is not sleeping with your wife, okay?

He was with me that evening. Sorry.

Can you let me listen to the lecture?

- It's touching, this naïveté you have.

- Pardon?

- Your husband sent sweet texts right next to me.

But maybe it's

some arrangement you have, to have flings on the side.

- "...offers me nothing as great..."

- Is it good?

- Very good.

I'm learning a lot, thanks.

*- Let them stew,

then let them talk to each other. - She's gonna tear him apart.

- There! "David, Art and Politics",

that's an example of a "rolling suitcase" title:

you throw everything in and do that when you have nothing to say.

- Still a good lecture though.

- ...is held responsible...

-(What are you talking about?) -(You know very well.)

- Barnave, against all expectations, starts defending the monarchy.

At that moment... -(What are you doing here?)

- And you?

- He's messing with me. - It's not true.

- Go on, I've got this. - He's gonna ruin everything.

- You can't stay. - My daughter

is stealing my job.

- Your wife is great.

- Pardon? - Your wife is great.

- Great.

- You see

that David reused...

Excuse me.

David therefore reused the same gesture in his two compositions.

- I can explain.

- No need, I get it. I'm ruining your romantic weekend.

- Listen... Can you leave, please?

- She's practically married.

You disappoint me.

Whispers.

You disappoint me a lot.

- Mr. Chassagne.

- Oh, commander. - We're investigating a murder.

If you don't leave, I'll have you arrested

for obstructing justice, is that clear? Yes, it is.

- ...it's a Catholic coronation. The nation is called as witness.

*- Come get Mr. Chassagne. - OK, I'm coming.

- In 1784, David is not yet a political opponent,

even if he's a man of his time.

Does "The Oath of the Horatii"

announce the "Tennis Court Oath"

and the Revolution? Nothing is less certain.

This lecture is ending.

Thank you for listening. I really enjoyed

sharing my knowledge with you.

- Thank you so much.

- It's your turn soon.

- You okay? You look nervous.

- It's just that you haven't spoken in public for a while, so...

- Thanks. I ask you to welcome Joël Ferrier.

- But it'll be fine.

Applause.

...

- What?

-(Nothing. I'll explain later.

(We'll meet in an hour in the cellar.)

- In the cellar?

- Come.

- Oh... Incredible!

Incredible!

This is the perfect place for a little domestic scene, right?

*Interference. - Antoine, can you hear me?

- Alex, what do you think?

Someone's coming in. - Antoine.

They're not answering anymore. - Really?

I can't hear anything.

- Shit, we've lost signal. - How?

- Alex...

- They're in a cellar. Signal doesn't reach.

- That's why she set the meeting here,

because there's no signal, so we can't listen.

- How does she know she's being bugged?

- I don't know.

Fuck! - We'll find a solution.

We'll hide here. Front-row seats.

- OK, where?

- You go there.

Can you see me there? - Honestly, yes, I can see you.

- OK, we'll find something.

There's a corridor there.

Damn, it's locked.

- Ah, it's locked?

- I know.

I'll stand behind the curtain. I won't move.

Does it work? - No, I can see your feet.

It doesn't work. - Yeah, of course.

I'll find something. - I have no doubt.

- I'll find...

I found it.

Like this, you can't see me? - Well...

It's better, but...

- I'm out of ideas. - Yes, I can see clearly.

- I know. - What?

Come on, hurry up. - You're always in a rush.

Ferrier finishes his lecture in 30 minutes, we have time.

Here he is.

Excuse us, can we talk to you?

- Yes. - We have a proposition for you.

- OK.

- In 1816, David is banished from France by the White Terror.

Three years later, from Brussels, he writes: "In France,

"I have never stopped being tormented in my work."

Applause.

What the hell are we doing here? What's going on?

- Wait!

The cops are here. - What?

- You remember the lieutenant who came to question us?

- Yes. - I saw her in the park.

I'm sure they put us on listen.

So be careful. - I'm always careful.

- Really? You think so?

Chassagne's husband knows you're cheating on me.

- What is this story? I'm not cheating on you.

- Stop.

I know everything. And we have other problems.

- Anyway, she dumped me. - But you're still texting her.

He told me he saw you doing it. Stop! The cops don't know anything,

but if they find something, they'll question her.

She'll tell them you were with her the night of the murder.

And then they'll know I lied. - Wait...

You knew I wasn't home?

- I don't care where you were. You needed an alibi.

I gave you one.

I know very well you didn't kill Christian.

- Oh fuck... - What?

- Why are you lying? The night of the murder, you said you were with Hélène.

She wasn't in Paris.

Where were you? - What are you implying?

- You never liked Christian.

When you found out he wouldn't help me, you said: "I'm gonna kill him."

Is that what you said or not?

- Do you realize what you're throwing at me?

Don't you see everything I'm doing for you?

- Where were you, Lise?

Where were you?

Lise.

Lise!

- She left without answering him.

- When she covers for her husband, she's covering herself too.

- We'll take your statement. Alex. - Thanks, Tristan.

*- I heard. We're arresting Lise Ferrier.

Great job everyone!

- Where were you the evening Christian Alonso was killed?

- I was following my husband.

- Meaning?

- I didn't understand what he was doing with his days,

so one day I searched his phone

and I understood he was seeing this student.

So that evening, I followed him

to see what she looked like. - Okay.

Can I have her name?

- Please...

A professor with a 20-year-old student,

if that gets out, Joël will never work at the university again.

- You'd rather go down?

- I didn't kill Christian. We didn't do anything, neither Joël nor I.

- Why should I believe you?

You've been lying from the start.

Why didn't you make a scene with your husband that night?

"How long have you been cheating on me? Who is she?" That's what people do.

- I didn't want to. - You didn't want to what?

- I paid that girl to dump him.

- What? - I paid her to break up with him.

I don't want to destroy our family.

It took us years to have our child. So the night of the murder,

I...

I was just handling... an adultery issue.

That's it.

- I'll need your alibi, Mrs. Ferrier.

She scoffs.

- Her name is Doriane Lesieur.

- We'll check.

You're staying with us tonight.

Cédric, take madame to a cell, please.

...

- Dad, it's me. I can't see you. I need to talk to Vincent.

I'll explain...

- All this

for an infiltration.

My daughter loves playing Fantômette. Look.

There.

You're gonna understand why I insisted on seeing you so quickly.

- Ah, okay. "Mrs. Chassagne

and her husband."

- That's not true.

- So I wanted to see you,

because you could have come across this without explanation.

There are already enough misunderstandings in a couple's life.

- She didn't tell me anything.

- She didn't want to worry you.

Don't worry. With you, she'll stop her nonsense.

I'll leave you.

I don't want her to think I'm meddling in her relationship.

Have a good evening. Nice to see you.

Ah, Florence. - What are you doing here?

- Well... I was passing by...

Just quickly. - By chance.

- Yes. I'll leave you. Good evening.

- Please.

- I think I fixed the problem with your photo

with Captain Verlay.

-(My burden.

(He's really a burden.)

- I think all this deserves an explanation.

- I...

My father explained it to you, I heard everything.

We thought that...

that an infiltration

was the best way to carry out the investigation properly.

That's all it is.

- It was mostly the best way to be with him.

- Is that how you see me?

What I think...

You told me to take my time and ask myself the right questions.

- Mm hm...

- I asked myself the right questions.

That's it.

- Ah...

- I'm sorry, Vincent.

Really.

- Good.

-(And there it is.)

*Email notification.

"Moral harassment aggravated..."

(Fuck...)

He reads the report out loud.

...

What did he do to you?

What did that bastard do to you?

- Have a good day, Mr. Ferrier. - Thanks, you too.

...

He didn't want... to.

- The painting, was it this one?

- Yes, with the corpse.

And...

There... There was something written...

"Céline". - "Céline"? Where?

- There.

- Are you sure?

- Mm...

- The person who did this, will you find him?

- For that, you'll need to help us a bit.

Do you know if someone had a grudge against both your husband

and Christian Alonso?

- I don't know.

- A woman named Céline, does that ring a bell?

- Céline?

- Yes.

There was a Céline.

She was Christian's ex,

before Hélène,

but that was a long time ago. I think he dumped her.

- Actually,

we're looking for the link between this painting

and Céline.

I think this crying woman is that famous Céline.

- He dumped her.

Do you remember how it happened?

- When he found out she was sick,

he understood what was coming and he couldn't...

or didn't want to, I don't know.

But he left her from one day to the next.

- Did your husband know her?

- Yes. Originally she was one of his friends.

They met in high school.

- What is it?

- I remember that at the time,

Christian insisted that Joël stop seeing her.

But it can't be her. - Why can't it be her?

- Because of her illness...

I don't remember exactly, but I think it was something nasty,

a kind of extremely rare paralysis.

She must be dead by now.

- Do you remember her last name?

- What did you say? - Sevin, S-E-V-I-N.

- It's annoying me.

- "Céline Sevin", I got it.

She died in 2010.

- Damn it!

- It definitely has to do with her, it's driving me crazy.

The motive is there.

I looked at everything: the smoke, the scar,

the helmet, the child...

- What? - Check if she had a child.

- If Alonso had had a child, we'd know.

- Maybe not. Check. - She had a child

in 1999. Tristan Sevin.

Fuck, Tristan Sevin!

I took his statement yesterday. - He's the one playing the statues.

- What was he doing there? He got himself hired?

- He's taking revenge on those who abandoned his mother.

- He came to kill Joël Ferrier. But we were there too.

You took his statement, did he leave an address or anything?

- He said he lives with his girlfriend, Gabrielle Jagot.

- Search "Jagot".

Where is he? - I don't know where he is.

And he doesn't have a phone.

- OK... Did he talk to you about his mother?

- She died when he was 10.

He grew up alone, had to fight to get by. He's great,

I tell you it's not him.

- What does he say about his father? - He doesn't have one.

- Christian Alonso isn't his father?

- I don't know.

His father left when he found out Tristan and his mother

had this disease.

- Tristan is sick too? - It's been catching up with him for a year.

They're trying to slow the progression,

but he knows he'll end up like his mother.

- Is it a form of paralysis? - It's FOP,

fibrodysplasia ossificans progressiva. It turns muscles into bone.

They call it the stone disease.

- I thank

the Living Stones company, and particularly Tristan,

the mastermind behind this reconstruction

of "The Oath of the Horatii". Thanks to them.

- For Tristan, it's revenge.

He wants people to remember him like this, handsome and strong,

before he...

- For his mother,

Céline Sevin, it must have been revenge too, Tristan.

She must have hidden her illness from Christian Alonso until the end.

- When you're sick, you say so.

You don't lie to your loved ones. You're not made to be a mother.

- Tristan didn't care about his father. Why go after him?

- I doubt he didn't care about his father.

For example, Tristan is passionate about Jacques-Louis David.

Right?

We agree?

Yes. And his father studied David a lot.

- His mother told him his father was a David specialist.

Since he was little, Tristan has been fascinated by it.

...

We're going in.

- Antoine, can I see you? - Yeah.

What's up?

- Adèle got an email from Hélène Alonso to Tristan.

- What does it say? - That she liked his work

and wants to see him again. She gives him an appointment at the Louvre.

- It's in 20 minutes. - Are we thinking the same thing?

- Oh, you scared me.

Have you been here long?

- It's nice when there's no one around.

- That's the advantage of preparing an exhibition on David.

It opens in two weeks.

I'd like your company to take part.

- With pleasure.

- Voicemail.

Let's go!

- It's beautiful, huh. - Mm.

- David drew inspiration from ancient statues for his paintings.

My husband taught me all that.

- I wish he had taught me. - Did you know him?

- Me, no, but he knew my mother.

Céline.

Do you remember her? Well.

- Tristan... - You knew she was going to die.

She wrote to you so I could see Christian. You didn't reply.

- I didn't know what to do.

Christian couldn't stand anyone talking about Céline.

- I was alone with her when she died.

Alone.

I was 10.

- I'm sorry.

I should have replied. I'm sorry for you,

for your mother.

No...

- I wasn't gonna die before you!

Fuck...

- Help!

- Police!

Let her go! Let her go!

Let her go!

It's okay.

- Give me your hand.

- It'll be okay.

It's over, everything's fine.

This is Pardo. Send an ambulance to the Caryatids room.

- You okay? - Yeah, I'm okay.

- Do we have someone there? Anyone else over there?

What are you doing here? Is there a problem?

- Can I talk to you for a minute? - Right now?

- I got a message from the Lille PJ.

- I need to understand what's going on in her head.

Otherwise I'm gonna go crazy.

That guy was a pervert.

I don't know what he did to her, but I'm sure she's scared

of running into another guy who's gonna do the same thing.

- That's not the problem.

I know very well what it's like not to be able to forget someone.

It drives you nuts, I know.

I messed up too, you know. I did stupid shit.

And if you hadn't been there for me, I'd have been kicked out of the police.

Don't do what I did, please.

Please.

- What are you saying? You want me to forget her, is that it?

- I'm just saying...

that it might be worth trying to be happy without her.

That's what I'm saying.

- Are you happy without that girl?

If you could go back to her right now, wouldn't you?

We're the same.

- OK...

- So?

Did Cupid aim well?

- Cupid is a little shit who takes advantage of weak hearts.

And he's having fun,

with me. You know what my problem is?

I don't know what I want.

I know very well that I'm gonna end up alone with my books

and my painter friends.

Then I'll wait, quietly,

docilely, for my Prince Charming to knock on the door.

Someone knocks on the door.

- Can I come in?

- Yes, please.

I'm tidying up, because it's really messy.

- Listen...

- Go ahead,

I'm listening.

- I wanted to tell you that...

- Yes?

I'm listening. - That's a beautiful painting.

That one.

- "The Sabine Women"? - Yeah.

- This woman looks brave.

What do you know about her?

- Oh... - What?

- I love it when you get interested in painting.

- See, anything can happen.

- Little lesson. Let's start from the beginning.

Painting by David. Sit down.

It's a battlefield, as you can see.

Why is this woman holding her arms like that?

Sorry. Because she wants the fighting to stop.

For me, it's one of David's most beautiful paintings.

- OK.

Has she been wounded?

- You're asking me a tough one.

I don't know. History doesn't say.

But go ahead. Let your imagination run free. What do you think?

- I don't know.

Maybe she wasn't wounded at that moment.

Maybe she was wounded a long time ago.

Maybe one of those two guys

hurt her.

Right?

- I don't know.

- I think she needs to rebuild herself,

regain confidence in herself.

She doesn't know it yet,

but I'm sure she'll overcome it.

She'll get through it, it'll be okay.

She's strong.

Don't you think?

- Probably.

Probably...

I'm not sure David had all that in mind, but...

- It's a painting, you can interpret it however you want.

- Absolutely.

- To me, I see a super brave woman.

I think she's brave.

- In any case,

it would make a beautiful story.

Have you ever experienced something like that?

- No.

And you?

...

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