0:00:02 > 0:00:05I'm Sarah Jane Smith. I defend the world from aliens. These are my Alien Files -
0:00:05 > 0:00:11the collected information gathered by me and the rest of the Bannerman Road gang about extra-terrestrials
0:00:11 > 0:00:14that have threatened our planet and might do so again.
0:00:16 > 0:00:22The universe is amazing, and don't be fooled by what some people might tell you -
0:00:22 > 0:00:25it's full of strange and wonderful life.
0:00:25 > 0:00:29I've met so much of it out there among the stars, and here on Earth.
0:00:29 > 0:00:31But not all of it is friendly.
0:00:32 > 0:00:38Pay attention, because, one day, Earth might be depending on you.
0:00:41 > 0:00:47Entering Sarah Jane's Alien Files, this time, are the all-controlling Berserkers,
0:00:47 > 0:00:52plus the alien truth behind the world's most famous painting, the Mona Lisa.
0:00:58 > 0:01:01OK, Mr S. Keep still for a few minutes longer.
0:01:01 > 0:01:08Maintaining visual outward stasis is more operationally draining than you might imagine, Clyde.
0:01:08 > 0:01:12I would appreciate a swift move to more pressing matters, as agreed.
0:01:12 > 0:01:15After all, I was not designed to be an artist's muse.
0:01:15 > 0:01:22You can say that again. It does not matter, because the Picasso of Bannerman Road is finished.
0:01:23 > 0:01:29- Have I got you? - Yes, Clyde, you do exhibit a talent for manual image creation
0:01:29 > 0:01:34that would become especially useful if the camera were ever to be uninvented.
0:01:34 > 0:01:35OK.
0:01:35 > 0:01:38Mr Smith, a deal's a deal.
0:01:38 > 0:01:41You sat for me, now you get to pick my alien-whooping brain.
0:01:41 > 0:01:46Clyde's Guide to Alien Behaviour and Whatnot for Sarah Jane's Alien Files.
0:01:46 > 0:01:52Information upload to the Alien Files commencing in three, two, one.
0:01:58 > 0:02:02Might I suggest, if the memory of events are not too painful,
0:02:02 > 0:02:06that you focus first on the time your father reappeared in your life,
0:02:06 > 0:02:10and the alien warrior technology that took control of him?
0:02:10 > 0:02:15The Berserker. If ever there was a day I wouldn't want to live again, it was that one.
0:02:17 > 0:02:20It started with a ring at the door.
0:02:28 > 0:02:31- Hello, son.- Dad?
0:02:31 > 0:02:36I think you can safely say that was totally, definitely and absolutely the last thing
0:02:36 > 0:02:37I was expecting to happen.
0:02:38 > 0:02:41- Nice place.- What do you want, Dad?
0:02:41 > 0:02:45I had business over here, thought I'd pay you a visit. That's all right, isn't it?
0:02:45 > 0:02:47It's been five years.
0:02:47 > 0:02:52I detect that your father's return provoked in you a complicated emotional response?
0:02:52 > 0:02:54You're telling me.
0:02:54 > 0:02:56He'd let me down before, my dad,
0:02:56 > 0:03:00but that didn't stop me wanting to impress him as soon as he turned up again.
0:03:00 > 0:03:01Big mistake.
0:03:05 > 0:03:08I knew that Sarah Jane would go ballistic if she found out,
0:03:08 > 0:03:14but I couldn't resist telling Dad what we did and showing him the attic and the amazing things in it.
0:03:14 > 0:03:16Here...is the attic.
0:03:25 > 0:03:29- It's alien. Do you get what that means?- Alien. Yeah, right.
0:03:31 > 0:03:34Come on, then. Show me something alien, hmm?
0:03:34 > 0:03:37Come on. Sell it to me.
0:03:37 > 0:03:43Well... We have this mate who lives in America, but Sarah Jane has this.
0:03:47 > 0:03:49Hey, hey, Maria. This friend of Sarah Jane
0:03:49 > 0:03:53has given her this holographic postcard whatsit thing, so...
0:03:53 > 0:03:58- Hi, Maria. We miss you.- Soft boy!
0:03:58 > 0:04:02'I wanted him to think I was cool, and I think you'd have to say I succeeded.'
0:04:02 > 0:04:04See?
0:04:05 > 0:04:06Alien tech.
0:04:06 > 0:04:11Sarah Jane had laid down strict rules about entering the attic in her absence.
0:04:11 > 0:04:14I knew it was against the rules, but this was my dad.
0:04:14 > 0:04:16Suddenly everything felt different.
0:04:16 > 0:04:18That's Mr Smith.
0:04:18 > 0:04:22He is basically this big alien computer.
0:04:22 > 0:04:24You say, "Mr Smith," and then...
0:04:24 > 0:04:28'My dad wasn't listening. He was more interested in a pendant that he'd spotted.
0:04:28 > 0:04:32'Rani found it at school and realising it had alien properties
0:04:32 > 0:04:36'she left it in the attic so you could analyse it, Mr Smith, when Sarah Jane got back.'
0:04:37 > 0:04:38Dad, what are you doing?
0:04:41 > 0:04:43Just looking.
0:04:43 > 0:04:48The artefact your father had taken was, in fact, a Berserker pendant.
0:04:48 > 0:04:54OK, Mr Smith. Time for that data analysis thing you do. Berserker pendants are...?
0:04:55 > 0:05:02Berserker pendants are talismans worn by a Norse tribe who were actually a warlike alien race.
0:05:02 > 0:05:07Use of the pendant affects its wearer both mentally, by increasing aggression levels,
0:05:07 > 0:05:12and physically, producing the Berserker symbol on the palm
0:05:12 > 0:05:18and then ever more prominent blue blood veins across the surface of the skin.
0:05:18 > 0:05:22The pendant allows its wearer to gain power over the actions of those around them.
0:05:25 > 0:05:30To sum up, the Berserkers are alien originators of a warlike Norse tribe,
0:05:30 > 0:05:33and use of personality-changing pendants
0:05:33 > 0:05:38was fundamental to expanding the armies of these ferocious warriors.
0:05:39 > 0:05:43My dad found out how the pendant's powers worked by chance
0:05:43 > 0:05:48when Mr Chandra came over to give us a grilling about why we were hanging around Sarah Jane's place.
0:05:48 > 0:05:51- Can I ask what you are both doing here?- Er...
0:05:51 > 0:05:55Come on, mate, it's not that serious. Just drop it, eh?
0:05:58 > 0:06:03- You want to watch it with the pizza, though. Cholesterol city.- Thank you, I do plenty of exercise.
0:06:03 > 0:06:08- With all that pizza, too right. You should exercise, mate.- I should exercise...
0:06:10 > 0:06:12Mr Chandra!
0:06:12 > 0:06:15Is he? He is.
0:06:15 > 0:06:18He's doing what I tell him.
0:06:18 > 0:06:23Oi, mate, jogging's for wimps. Get doing some push-ups, yeah?
0:06:28 > 0:06:31You have to admit, that was kind of fun.
0:06:31 > 0:06:35My analysis suggests that this is a scenario devoid of humour.
0:06:35 > 0:06:42Mr Chandra's repetitive actions could have resulted in severe injury, a distinctly non-comic outcome.
0:06:42 > 0:06:45Yep, yep. You're right, Mr Smith.
0:06:45 > 0:06:48A control-freak headmaster losing power over his own body
0:06:48 > 0:06:53and unable to stop himself doing press-ups - there's nothing funny about that(!)
0:06:53 > 0:06:55I am pleased to know we are in agreement.
0:06:55 > 0:06:59There was definitely nothing funny about what happened next.
0:06:59 > 0:07:02Jogging's for wimps, I'm doing press-ups.
0:07:03 > 0:07:05What's happened?
0:07:05 > 0:07:08Have you taken something that doesn't belong to you?
0:07:08 > 0:07:11Don't you go around accusing my dad of nicking stuff.
0:07:11 > 0:07:15- Who do you think you are?- You take your dad up to the attic
0:07:15 > 0:07:17and suddenly my dad's doing what your dad says.
0:07:17 > 0:07:20Clyde, mate, I really can't be bothered with all this.
0:07:23 > 0:07:27- Rani, perhaps we should go inside and speak to Mr Smith.- Clyde!
0:07:27 > 0:07:29Yeah, I'm coming, Dad.
0:07:29 > 0:07:35Good. Oh, and Clyde, forget about those two.
0:07:35 > 0:07:41- See? He's got it.- I want you to forget about them completely.
0:07:44 > 0:07:45Clyde?
0:07:45 > 0:07:48I'm...I'm fine.
0:07:49 > 0:07:52Clyde! Clyde, wait...
0:07:52 > 0:07:54Sorry, do I know you?
0:07:54 > 0:07:57Luke's like my brother and Rani's the most...
0:07:59 > 0:08:03Rani's great, too. But I didn't care about them one bit.
0:08:03 > 0:08:09I can remember thinking that now it was Dad and me again, nothing else mattered.
0:08:09 > 0:08:15And now he knew the pendant's powers, my dad didn't waste any time using them.
0:08:15 > 0:08:17Good afternoon, sir. Can I help you?
0:08:17 > 0:08:19All right, mate? We are looking for a motor.
0:08:19 > 0:08:24- Something flashy, something that will turn a few girls' heads. - Of course, sir.
0:08:24 > 0:08:30- Just out of interest, what sort of price range are we looking at? - Oh, money's not a problem.
0:08:30 > 0:08:34- We do offer a number of different payment schemes. - Save the patter, mate.
0:08:34 > 0:08:35I'm having this one.
0:08:35 > 0:08:38It is a bit on the expensive side, sir.
0:08:39 > 0:08:42I'm sure it is, but you're going to give it to us for free.
0:08:42 > 0:08:44CRACKLING
0:08:45 > 0:08:49I'm...I'm going to give it to you for free.
0:08:56 > 0:08:58My dad certainly wasn't hanging about.
0:08:58 > 0:09:01He wanted control over everything and everyone.
0:09:03 > 0:09:07So, next, it was off to the shops.
0:09:09 > 0:09:12Whatever my dad asked for, he got.
0:09:12 > 0:09:13It was amazing.
0:09:15 > 0:09:17Loads of cool gear for free.
0:09:17 > 0:09:21I knew it wasn't right, but it was impossible not to get swept along.
0:09:21 > 0:09:23Even when he wiped memory of my mum.
0:09:23 > 0:09:27That is what the pendant does and why it has to go in the Alien Files.
0:09:29 > 0:09:34The scariest thing is, I know there's a lot of me that's just like my dad.
0:09:34 > 0:09:36Maybe one day that's how I'll end up.
0:09:36 > 0:09:40Human character development is not only a matter of family DNA, Clyde.
0:09:40 > 0:09:46The influence of experience and, crucially, of friends, are also major factors.
0:09:46 > 0:09:51Luckily, my friends, who I'd told to take a running jump, was still looking out for me.
0:09:51 > 0:09:54Even friends on the other side of the Atlantic.
0:09:54 > 0:09:57BEEPING
0:09:57 > 0:10:00- What is it, Dad? - Your computer's beeping.
0:10:00 > 0:10:04With you disabled, Mr Smith, Luke and Rani needed another way to find out
0:10:04 > 0:10:08what was going on with this pendant, so they improvised...
0:10:08 > 0:10:12- Hey, how are you? - ..by contacting Maria in America.
0:10:12 > 0:10:15Well, it was her dad whose help they were really after.
0:10:15 > 0:10:19You can hack into any computer, can't you, Mr Jackson?
0:10:19 > 0:10:23We need you to get into UNIT, see if they know what this pendant is.
0:10:23 > 0:10:28We're sending over a picture now. It's a drawing of an alien pendant.
0:10:28 > 0:10:30OK. Let's do it.
0:10:34 > 0:10:38Maria's dad discovered just how dangerous the pendant could be.
0:10:39 > 0:10:41- Oh, my God.- Dad?
0:10:41 > 0:10:46- That's the UNIT archives, a photo, December 1940.- What is it?
0:10:46 > 0:10:50It's what happens to you when you use the pendant.
0:10:50 > 0:10:53I didn't need any UNIT computers, though.
0:10:53 > 0:10:57I was getting a good look at how the Beserker Pendant works close up for myself.
0:10:57 > 0:11:00Dad and I headed to the docks.
0:11:00 > 0:11:02He was after a yacht.
0:11:02 > 0:11:04There's nothing stopping us.
0:11:04 > 0:11:07We can go anywhere out there. SQUELCHING
0:11:07 > 0:11:08Argh!
0:11:08 > 0:11:10Dad?
0:11:12 > 0:11:17But he'd used the pendant one time too often and here he was turning into a Beserker.
0:11:17 > 0:11:20- And I had no idea how to stop it. - Boat.
0:11:20 > 0:11:21SQUELCHING Argh!
0:11:21 > 0:11:27'I shouldn't have let it get to this. That's worth putting in the alien files.'
0:11:27 > 0:11:28Someone help me, please!
0:11:28 > 0:11:34'If something's not right, you need to act straightaway, not just go with the flow like I'd been doing.
0:11:34 > 0:11:37'Luckily, help was at hand.
0:11:37 > 0:11:40'My mum, Luke and Rani had found us.
0:11:40 > 0:11:42'Not that I knew who they were.'
0:11:43 > 0:11:45Please, will you help us?
0:11:45 > 0:11:50- What's happening to me? - Mr Langer, it's the pendant.
0:11:50 > 0:11:53Every time you use it, it overpowers you.
0:11:53 > 0:11:55Clyde, get back, it's not safe.
0:11:55 > 0:12:02He's my soldier and you can't stop us, because if you do, if you try to,
0:12:02 > 0:12:06I'll tell you to walk into the water. I'll destroy you all.
0:12:08 > 0:12:14This whole world will do as I say!
0:12:14 > 0:12:15Dad, please.
0:12:16 > 0:12:18I'm a Beserker
0:12:18 > 0:12:21and you will follow my orders.
0:12:21 > 0:12:23Oh, I don't think so.
0:12:27 > 0:12:31'At last, someone I recognised. Not wiped from my memory by my dad.'
0:12:31 > 0:12:33I don't understand. What's happening?
0:12:33 > 0:12:37These people reckon I should know them but...I don't.
0:12:39 > 0:12:41It's the strangest feeling I've felt in my life.
0:12:41 > 0:12:44I can remember thinking, "Who on earth are this lot?"
0:12:44 > 0:12:48but at the same time, I could tell I knew them somehow.
0:12:48 > 0:12:52'But then there was this voice telling me that I didn't. Weird.
0:12:52 > 0:12:57'But now Sarah-Jane was here, Maria's dad had tracked her down
0:12:57 > 0:13:02'and she knew how to turn this raging Beserker back into my dad again.'
0:13:02 > 0:13:05Look...at the mirror. Look at your reflection.
0:13:05 > 0:13:07That isn't you.
0:13:07 > 0:13:09Just remember what you are.
0:13:09 > 0:13:15Remember before the pendant, no Beserkers, no mind control.
0:13:15 > 0:13:18That's not you, Paul. You need to remember who you are.
0:13:30 > 0:13:31Aggh!
0:13:35 > 0:13:38Aggh!
0:13:48 > 0:13:52That's it. You're human, just like the rest of us.
0:14:02 > 0:14:04Hi, Mum.
0:14:04 > 0:14:06Oh, my darling!
0:14:07 > 0:14:08'So, the nightmare was over.
0:14:08 > 0:14:12'I had my mum and my friends back, and my dad was back to normal.
0:14:14 > 0:14:15'And before I knew it,
0:14:15 > 0:14:18'he was out of my life once more.'
0:14:20 > 0:14:23I guess me and my dad are never going to be that close.
0:14:23 > 0:14:27Nevertheless, my supposition is that he is appreciative of what you did to save him.
0:14:27 > 0:14:30I can't be thinking about him all day.
0:14:30 > 0:14:32Not when there's the planet to save.
0:14:32 > 0:14:37Indeed, full concentration has been essential in repairing alien threats
0:14:37 > 0:14:41as diverse as Kudlak and the Trickster.
0:14:41 > 0:14:45Although I note that you always find time in your busy schedule for your art.
0:14:45 > 0:14:49Although, being a whizz with the old paints can get complicated, too.
0:14:49 > 0:14:53I assume you are referring to the alien encounter that was not so much
0:14:53 > 0:14:56about an invading hoard, as a priceless work of art.
0:14:56 > 0:15:01Yeah. Who would have thought that the world's most famous painting would have an alien connection?
0:15:03 > 0:15:07It was an adventure full of surprises. The first was at school,
0:15:07 > 0:15:11when Mr Chandra came in with news about an art competition.
0:15:11 > 0:15:12Tomorrow morning,
0:15:12 > 0:15:16this entire class will be the first members of the public to see...
0:15:18 > 0:15:21..the Mona Lisa, here in the UK.
0:15:21 > 0:15:25- And all thanks to Clyde.- Bit of a shock, winning the competition.
0:15:25 > 0:15:28Not the winning bit, just that I hadn't entered it.
0:15:28 > 0:15:32I'd never do anything like that, but Luke had done it without telling me.
0:15:32 > 0:15:36One of the surprises you humans enjoy so much.
0:15:36 > 0:15:38Too right. I was well chuffed.
0:15:39 > 0:15:41No way!
0:15:43 > 0:15:46- Is something wrong?- It's just...
0:15:47 > 0:15:49..my work in a proper gallery.
0:15:49 > 0:15:51And so to the prize.
0:15:52 > 0:15:56Prepare to meet the Mona Lisa.
0:16:00 > 0:16:03So this was exciting, the most famous painting ever
0:16:03 > 0:16:07in a private viewing just for us, and not an alien in sight.
0:16:07 > 0:16:08Or so we thought.
0:16:09 > 0:16:13Feast your eyes and lose your hearts.
0:16:13 > 0:16:15I give you...
0:16:16 > 0:16:18..the Mona Lisa.
0:16:21 > 0:16:23She has let herself go!
0:16:27 > 0:16:28Isn't that his assistant?
0:16:30 > 0:16:34Security! The Mona Lisa has been stolen!
0:16:34 > 0:16:37This wasn't just an art theft, it was much weirder than that.
0:16:37 > 0:16:40It was like a kidnapping at the same time.
0:16:42 > 0:16:45Because the woman in the Mona Lisa's place was Phyllis Truck,
0:16:45 > 0:16:48assistant to the gallery's curator, Lionel.
0:16:48 > 0:16:52How on earth had she got in the picture, and where had the Mona Lisa gone?
0:16:52 > 0:16:55SCREAMING
0:16:57 > 0:17:01We started to investigate. And my painting threw up another surprise.
0:17:01 > 0:17:05- Clyde?- Yes, I know, my picture would look great in your lounge.
0:17:05 > 0:17:07Just get your dad to make me an offer.
0:17:07 > 0:17:13- I don't want your painting, I want to know what happened to the gun that was in it!- Galaxia's gun?
0:17:14 > 0:17:15Who's?
0:17:17 > 0:17:21- OK, so I gave them names. Can we move on now? What matters is... - What are you doing here?!
0:17:21 > 0:17:25The police are conducting an investigation.
0:17:25 > 0:17:29They don't need a bunch of school children roaming around, disturbing evidence.
0:17:29 > 0:17:32It isn't just your precious Mona Lisa that's been stolen, is it?
0:17:32 > 0:17:35One of the guns in Clyde's painting has vanished. Look!
0:17:47 > 0:17:49It's dry.
0:17:49 > 0:17:52The gun wasn't painted out, Mr Harding. It was taken.
0:17:52 > 0:17:58- Whatever we're dealing with, it's more than just an art thief. - Oh, you better believe it, sugar.
0:17:58 > 0:18:00She's got my gun!
0:18:00 > 0:18:02- Run for it! - SHE LAUGHS
0:18:03 > 0:18:08The Real Mona Lisa shooting at us with a weapon stolen from my painting. Talk about weird.
0:18:08 > 0:18:11Lionel Harding, the gallery's curator, seemed thrilled, though,
0:18:11 > 0:18:14to be meeting his favourite painting in the flesh.
0:18:14 > 0:18:16It IS you!
0:18:16 > 0:18:19It really is you!
0:18:19 > 0:18:23And YOU are going to have to get used to that
0:18:23 > 0:18:26- because we've got a lot of work to do.- I don't understand.
0:18:27 > 0:18:29We have to find my brother.
0:18:31 > 0:18:34What does he look like, your brother?
0:18:37 > 0:18:39I've never seen him so I haven't got a clue.
0:18:39 > 0:18:42But he'll have been painted around the same time as me.
0:18:42 > 0:18:45The same place as me.
0:18:45 > 0:18:46Next door, in fact.
0:18:48 > 0:18:50I've got it! Follow me.
0:18:52 > 0:18:55Pretty freaky, hey? And well worth including in the alien files.
0:18:55 > 0:18:59A painting, come to life, looking for another painting,
0:18:59 > 0:19:01which it calls her brother.
0:19:01 > 0:19:05Time for the low-down on the alien connection with the Mona Lisa and her brother, Mr Smith.
0:19:07 > 0:19:11The Mona Lisa was actually painted six times by Leonardo da Vinci.
0:19:11 > 0:19:16After being commissioned in 1505 by a Captain Tancredi,
0:19:16 > 0:19:20who was, in fact, Skaroff, the Jagaroff, posing as a human.
0:19:20 > 0:19:23Leonardo borrowed paint from his neighbour,
0:19:23 > 0:19:26another artist called Giuseppe di Cattivo,
0:19:26 > 0:19:30not realising that the paint originated from sentient minerals
0:19:30 > 0:19:32carried to Earth in a meteorite.
0:19:32 > 0:19:36One of di Cattivo's paintings that had been created with the same paint
0:19:36 > 0:19:39was also being stored in the international gallery.
0:19:39 > 0:19:42It was this painting that Mona Lisa called her brother.
0:19:42 > 0:19:48And the Mona Lisa's brother wasn't just a nice farmyard scene or a bowl of fruit, was it?
0:19:48 > 0:19:52It was a work of art called The Abomination.
0:19:52 > 0:19:54Painting it drove di Cattivo insane.
0:19:54 > 0:19:58To ensure that no-one else ever laid eyes on what he had created,
0:19:58 > 0:20:02he locked in a wooden case, secured with a Chinese puzzle.
0:20:02 > 0:20:07A sight so horrific that if you look at it once, you go mad.
0:20:07 > 0:20:09There are few like that teaching maths and my school.
0:20:10 > 0:20:15To sum up, the Mona Lisa is a masterpiece with an unexpected alien connection,
0:20:15 > 0:20:20as sentient minerals contained in its paintwork can lead to the animation
0:20:20 > 0:20:24of its highly unpredictable subject - Mona Lisa herself.
0:20:24 > 0:20:26Definite traces of alien energy.
0:20:26 > 0:20:29Sarah Jane had heard on the news what had happened
0:20:29 > 0:20:33and knew that we were there, so she headed straight to the International Gallery.
0:20:33 > 0:20:35And straight into trouble.
0:20:35 > 0:20:37No! HE SCREAMS
0:20:37 > 0:20:39That's Mum!
0:20:43 > 0:20:44- Sarah Jane!- Mum!
0:20:45 > 0:20:47Luke...
0:20:47 > 0:20:50Sarah Jane had wanted to put herself in the picture, and
0:20:50 > 0:20:54that's exactly what happened, but not in the way she had intended.
0:20:54 > 0:20:55No...
0:20:55 > 0:20:56Mum!
0:20:56 > 0:20:59SCREAMING
0:20:59 > 0:21:02I'd heard have been immortalised in oils, but this was ridiculous.
0:21:02 > 0:21:05What can it have been like for poor Sarah Jane?
0:21:05 > 0:21:10Stuck there, powerless to do anything inside a painting.
0:21:10 > 0:21:14So, while Sarah Jane was otherwise engaged, it was down to us to try to
0:21:14 > 0:21:18stop the madness the Mona Lisa was letting loose in the gallery.
0:21:18 > 0:21:20Run!
0:21:20 > 0:21:22He's right behind us!
0:21:22 > 0:21:25You might ask, how come Mona Lisa had been brought to life
0:21:25 > 0:21:27and was able to do the same to other paintings?
0:21:27 > 0:21:31It's a picture come to life, he can fire is many times as he likes!
0:21:31 > 0:21:36Well, let Clyde explain. It was all down to the paint Leonardo Da Vinci had used to create her,
0:21:36 > 0:21:42the living paint extracted from the meteor, which had created an energy that could bring paintings to life.
0:21:42 > 0:21:49The same paint was also used to create The Abomination, the painting Mona Lisa called her brother.
0:21:51 > 0:21:54Once she's unlocked her brother she'll be finished with you.
0:21:54 > 0:21:57Helping her is going to make any difference.
0:21:57 > 0:22:00Believe me...we're both going to get abominated.
0:22:00 > 0:22:03I know. But what can I do now?
0:22:07 > 0:22:13The Abomination had been locked away in the gallery's vault for years, but because the two paintings,
0:22:13 > 0:22:18The Abomination and the Mona Lisa, were now close to each other, that allowed them to come to life.
0:22:25 > 0:22:31The Abomination was still locked in its case, and that was lucky, judging by the noise it was making.
0:22:31 > 0:22:35- CHAINS RATTLE - If you ask me, it doesn't seem all that pleased to see you.
0:22:35 > 0:22:38You show some respect for my brother in living paint!
0:22:38 > 0:22:42Once he's out of there, then you'll see some fireworks.
0:22:45 > 0:22:49- Lisa, you can't do this.- He's right. You can't.- What's this?
0:22:49 > 0:22:52Remember where you've left your backbone of a sudden?
0:22:52 > 0:22:54No...
0:22:54 > 0:22:56the puzzle lock is missing.
0:22:58 > 0:23:00Where is it?
0:23:01 > 0:23:04- Giuseppe's Chinese puzzle lock. - Luke worked out that the puzzle lock
0:23:04 > 0:23:08that would open the cabinet The Abomination was held in was another exhibit in the museum.
0:23:08 > 0:23:11This is the key to The Abomination.
0:23:11 > 0:23:16Somehow it was separated from the painting and catalogued by the gallery as another work of art.
0:23:16 > 0:23:18No-one ever realised what it really was.
0:23:19 > 0:23:23But if Mona Lisa wants to free The Abomination, she'll need this.
0:23:23 > 0:23:26- We can use that to force her to release Mum. - You're going to bargain with her?
0:23:26 > 0:23:29It's a nice idea, kid, but I don't do deals.
0:23:29 > 0:23:32Not while I'm packing heat.
0:23:32 > 0:23:34Go fetch!
0:23:38 > 0:23:41If you fire that blaster at us, you'll destroy the puzzle lock.
0:23:41 > 0:23:46That's why I'm not going to fire it. Unless you do something stupid, like smash the puzzle, which you won't,
0:23:46 > 0:23:49because I've got your friend, Clydey.
0:23:49 > 0:23:51SHE CHUCKLES
0:23:52 > 0:23:55But when it looked like Mona Lisa was about to get her hands
0:23:55 > 0:23:59on the puzzle lock, it was Lionel's turn to spring a surprise.
0:23:59 > 0:24:01Now, give me the puzzle lock.
0:24:05 > 0:24:09Not until you have released Miss Trubb and this young man's mother.
0:24:09 > 0:24:10You won't.
0:24:10 > 0:24:12You wouldn't dare!
0:24:15 > 0:24:17No-o-o-o!
0:24:17 > 0:24:21ROARING
0:24:22 > 0:24:25Oh, you're so going to wish you hadn't done that.
0:24:26 > 0:24:28Well, for about a second, anyway.
0:24:28 > 0:24:29No! Don't.
0:24:29 > 0:24:33There's another way to release The Abomination. I can help you.
0:24:33 > 0:24:38Turned out this other way to release The Abomination relied on Leonardo
0:24:38 > 0:24:41da Clydey's ability to draw an exact copy of the puzzle lock.
0:24:41 > 0:24:43Just do it.
0:24:43 > 0:24:47Mind you, as that was going to uncage The Abomination,
0:24:47 > 0:24:49it didn't seem like one of Lukey's better plans.
0:24:49 > 0:24:54But he's a boy genius, so sometimes, you just have to give him the benefit of the doubt.
0:24:58 > 0:24:59Give it to me!
0:25:01 > 0:25:05- I hope you know what you're doing, my padawan.- That's not bad, Clydey.
0:25:05 > 0:25:09- That's not bad at all. - Using the living paint energy,
0:25:09 > 0:25:13Mona Lisa turned my drawn puzzle lock into a real one.
0:25:13 > 0:25:16- I have it.- I really hope you know what you're doing!
0:25:32 > 0:25:34Here, my brother.
0:25:34 > 0:25:36Your deliverance.
0:25:43 > 0:25:45You are free.
0:25:52 > 0:25:57I was beginning to think Luke had got it horribly wrong, but I shouldn't have doubted him.
0:25:57 > 0:25:59- It's coming out!- Don't look at it!
0:25:59 > 0:26:02My brother!
0:26:02 > 0:26:05He'd remembered that I had done a sketch of K-9 on the next page
0:26:05 > 0:26:10in the pad, so when all that living paint energy was flying about, it also brought K-9 to life.
0:26:10 > 0:26:12Who let that little mutt in here?
0:26:12 > 0:26:14Don't mess with my dog, Lisa!
0:26:14 > 0:26:17And he's more than a match for any Abomination.
0:26:17 > 0:26:19No!
0:26:25 > 0:26:28No, my brother, don't abandon me. No!
0:26:34 > 0:26:35No...!
0:26:49 > 0:26:52Oh, Miss Trubb!
0:26:52 > 0:26:54Phyllis.
0:26:55 > 0:26:57I've had the most bizarre dream.
0:26:57 > 0:26:59Oh, Luke!
0:27:02 > 0:27:06To conclude, Clyde, uploading two new entries
0:27:06 > 0:27:08into the alien files as a permanent record
0:27:08 > 0:27:12for all to learn about these deadly threats to Earth's safety.
0:27:18 > 0:27:20The Beserkers:
0:27:20 > 0:27:24Alien originators of a Norse warrior race.
0:27:24 > 0:27:28The personality-changing pendants they utilise to help expand
0:27:28 > 0:27:32their armies can have a drastic effect on anyone who uses them.
0:27:32 > 0:27:37Do not be tempted to make use of one as only disaster can ensue.
0:27:37 > 0:27:39The Mona Lisa:
0:27:39 > 0:27:43This masterpiece, created by one Earth's greatest artists,
0:27:43 > 0:27:46has an alien connection in the form of its paint,
0:27:46 > 0:27:49made from sentient minerals, extracted from a meteor.
0:27:49 > 0:27:52Its subject, Mona Lisa, if brought to life,
0:27:52 > 0:27:55is unpredictable and dangerous.
0:27:55 > 0:27:59The painting must be kept away from The Abomination,
0:27:59 > 0:28:02to prevent them both reanimating once more.
0:28:02 > 0:28:07So, if you ever come across any of this lot and the professionals
0:28:07 > 0:28:09aren't around to help you, now you know what to do.
0:28:09 > 0:28:13Think clearly, act decisively and expect the unexpected,
0:28:13 > 0:28:17and try to make sure there's a genetically-modified boy genius
0:28:17 > 0:28:19about the place - it can come in useful.
0:28:19 > 0:28:22Subtitles by Red Bee Media Ltd