Browse content similar to Episode 5. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
I'm Sarah Jane Smith. I defend the world from aliens. These are my Alien Files - | 0:00:02 | 0:00:05 | |
the collected information gathered by me and the rest of the Bannerman Road gang about extra-terrestrials | 0:00:05 | 0:00:11 | |
that have threatened our planet and might do so again. | 0:00:11 | 0:00:14 | |
The universe is amazing, and don't be fooled by what some people might tell you - | 0:00:16 | 0:00:22 | |
it's full of strange and wonderful life. | 0:00:22 | 0:00:25 | |
I've met so much of it out there among the stars, and here on Earth. | 0:00:25 | 0:00:29 | |
But not all of it is friendly. | 0:00:29 | 0:00:31 | |
Pay attention, because, one day, Earth might be depending on you. | 0:00:32 | 0:00:38 | |
Entering Sarah Jane's Alien Files, this time, are the all-controlling Berserkers, | 0:00:41 | 0:00:47 | |
plus the alien truth behind the world's most famous painting, the Mona Lisa. | 0:00:47 | 0:00:52 | |
OK, Mr S. Keep still for a few minutes longer. | 0:00:58 | 0:01:01 | |
Maintaining visual outward stasis is more operationally draining than you might imagine, Clyde. | 0:01:01 | 0:01:08 | |
I would appreciate a swift move to more pressing matters, as agreed. | 0:01:08 | 0:01:12 | |
After all, I was not designed to be an artist's muse. | 0:01:12 | 0:01:15 | |
You can say that again. It does not matter, because the Picasso of Bannerman Road is finished. | 0:01:15 | 0:01:22 | |
-Have I got you? -Yes, Clyde, you do exhibit a talent for manual image creation | 0:01:23 | 0:01:29 | |
that would become especially useful if the camera were ever to be uninvented. | 0:01:29 | 0:01:34 | |
OK. | 0:01:34 | 0:01:35 | |
Mr Smith, a deal's a deal. | 0:01:35 | 0:01:38 | |
You sat for me, now you get to pick my alien-whooping brain. | 0:01:38 | 0:01:41 | |
Clyde's Guide to Alien Behaviour and Whatnot for Sarah Jane's Alien Files. | 0:01:41 | 0:01:46 | |
Information upload to the Alien Files commencing in three, two, one. | 0:01:46 | 0:01:52 | |
Might I suggest, if the memory of events are not too painful, | 0:01:58 | 0:02:02 | |
that you focus first on the time your father reappeared in your life, | 0:02:02 | 0:02:06 | |
and the alien warrior technology that took control of him? | 0:02:06 | 0:02:10 | |
The Berserker. If ever there was a day I wouldn't want to live again, it was that one. | 0:02:10 | 0:02:15 | |
It started with a ring at the door. | 0:02:17 | 0:02:20 | |
-Hello, son. -Dad? | 0:02:28 | 0:02:31 | |
I think you can safely say that was totally, definitely and absolutely the last thing | 0:02:31 | 0:02:36 | |
I was expecting to happen. | 0:02:36 | 0:02:37 | |
-Nice place. -What do you want, Dad? | 0:02:38 | 0:02:41 | |
I had business over here, thought I'd pay you a visit. That's all right, isn't it? | 0:02:41 | 0:02:45 | |
It's been five years. | 0:02:45 | 0:02:47 | |
I detect that your father's return provoked in you a complicated emotional response? | 0:02:47 | 0:02:52 | |
You're telling me. | 0:02:52 | 0:02:54 | |
He'd let me down before, my dad, | 0:02:54 | 0:02:56 | |
but that didn't stop me wanting to impress him as soon as he turned up again. | 0:02:56 | 0:03:00 | |
Big mistake. | 0:03:00 | 0:03:01 | |
I knew that Sarah Jane would go ballistic if she found out, | 0:03:05 | 0:03:08 | |
but I couldn't resist telling Dad what we did and showing him the attic and the amazing things in it. | 0:03:08 | 0:03:14 | |
Here...is the attic. | 0:03:14 | 0:03:16 | |
-It's alien. Do you get what that means? -Alien. Yeah, right. | 0:03:25 | 0:03:29 | |
Come on, then. Show me something alien, hmm? | 0:03:31 | 0:03:34 | |
Come on. Sell it to me. | 0:03:34 | 0:03:37 | |
Well... We have this mate who lives in America, but Sarah Jane has this. | 0:03:37 | 0:03:43 | |
Hey, hey, Maria. This friend of Sarah Jane | 0:03:47 | 0:03:49 | |
has given her this holographic postcard whatsit thing, so... | 0:03:49 | 0:03:53 | |
-Hi, Maria. We miss you. -Soft boy! | 0:03:53 | 0:03:58 | |
'I wanted him to think I was cool, and I think you'd have to say I succeeded.' | 0:03:58 | 0:04:02 | |
See? | 0:04:02 | 0:04:04 | |
Alien tech. | 0:04:05 | 0:04:06 | |
Sarah Jane had laid down strict rules about entering the attic in her absence. | 0:04:06 | 0:04:11 | |
I knew it was against the rules, but this was my dad. | 0:04:11 | 0:04:14 | |
Suddenly everything felt different. | 0:04:14 | 0:04:16 | |
That's Mr Smith. | 0:04:16 | 0:04:18 | |
He is basically this big alien computer. | 0:04:18 | 0:04:22 | |
You say, "Mr Smith," and then... | 0:04:22 | 0:04:24 | |
'My dad wasn't listening. He was more interested in a pendant that he'd spotted. | 0:04:24 | 0:04:28 | |
'Rani found it at school and realising it had alien properties | 0:04:28 | 0:04:32 | |
'she left it in the attic so you could analyse it, Mr Smith, when Sarah Jane got back.' | 0:04:32 | 0:04:36 | |
Dad, what are you doing? | 0:04:37 | 0:04:38 | |
Just looking. | 0:04:41 | 0:04:43 | |
The artefact your father had taken was, in fact, a Berserker pendant. | 0:04:43 | 0:04:48 | |
OK, Mr Smith. Time for that data analysis thing you do. Berserker pendants are...? | 0:04:48 | 0:04:54 | |
Berserker pendants are talismans worn by a Norse tribe who were actually a warlike alien race. | 0:04:55 | 0:05:02 | |
Use of the pendant affects its wearer both mentally, by increasing aggression levels, | 0:05:02 | 0:05:07 | |
and physically, producing the Berserker symbol on the palm | 0:05:07 | 0:05:12 | |
and then ever more prominent blue blood veins across the surface of the skin. | 0:05:12 | 0:05:18 | |
The pendant allows its wearer to gain power over the actions of those around them. | 0:05:18 | 0:05:22 | |
To sum up, the Berserkers are alien originators of a warlike Norse tribe, | 0:05:25 | 0:05:30 | |
and use of personality-changing pendants | 0:05:30 | 0:05:33 | |
was fundamental to expanding the armies of these ferocious warriors. | 0:05:33 | 0:05:38 | |
My dad found out how the pendant's powers worked by chance | 0:05:39 | 0:05:43 | |
when Mr Chandra came over to give us a grilling about why we were hanging around Sarah Jane's place. | 0:05:43 | 0:05:48 | |
-Can I ask what you are both doing here? -Er... | 0:05:48 | 0:05:51 | |
Come on, mate, it's not that serious. Just drop it, eh? | 0:05:51 | 0:05:55 | |
-You want to watch it with the pizza, though. Cholesterol city. -Thank you, I do plenty of exercise. | 0:05:58 | 0:06:03 | |
-With all that pizza, too right. You should exercise, mate. -I should exercise... | 0:06:03 | 0:06:08 | |
Mr Chandra! | 0:06:10 | 0:06:12 | |
Is he? He is. | 0:06:12 | 0:06:15 | |
He's doing what I tell him. | 0:06:15 | 0:06:18 | |
Oi, mate, jogging's for wimps. Get doing some push-ups, yeah? | 0:06:18 | 0:06:23 | |
You have to admit, that was kind of fun. | 0:06:28 | 0:06:31 | |
My analysis suggests that this is a scenario devoid of humour. | 0:06:31 | 0:06:35 | |
Mr Chandra's repetitive actions could have resulted in severe injury, a distinctly non-comic outcome. | 0:06:35 | 0:06:42 | |
Yep, yep. You're right, Mr Smith. | 0:06:42 | 0:06:45 | |
A control-freak headmaster losing power over his own body | 0:06:45 | 0:06:48 | |
and unable to stop himself doing press-ups - there's nothing funny about that(!) | 0:06:48 | 0:06:53 | |
I am pleased to know we are in agreement. | 0:06:53 | 0:06:55 | |
There was definitely nothing funny about what happened next. | 0:06:55 | 0:06:59 | |
Jogging's for wimps, I'm doing press-ups. | 0:06:59 | 0:07:02 | |
What's happened? | 0:07:03 | 0:07:05 | |
Have you taken something that doesn't belong to you? | 0:07:05 | 0:07:08 | |
Don't you go around accusing my dad of nicking stuff. | 0:07:08 | 0:07:11 | |
-Who do you think you are? -You take your dad up to the attic | 0:07:11 | 0:07:15 | |
and suddenly my dad's doing what your dad says. | 0:07:15 | 0:07:17 | |
Clyde, mate, I really can't be bothered with all this. | 0:07:17 | 0:07:20 | |
-Rani, perhaps we should go inside and speak to Mr Smith. -Clyde! | 0:07:23 | 0:07:27 | |
Yeah, I'm coming, Dad. | 0:07:27 | 0:07:29 | |
Good. Oh, and Clyde, forget about those two. | 0:07:29 | 0:07:35 | |
-See? He's got it. -I want you to forget about them completely. | 0:07:35 | 0:07:41 | |
Clyde? | 0:07:44 | 0:07:45 | |
I'm...I'm fine. | 0:07:45 | 0:07:48 | |
Clyde! Clyde, wait... | 0:07:49 | 0:07:52 | |
Sorry, do I know you? | 0:07:52 | 0:07:54 | |
Luke's like my brother and Rani's the most... | 0:07:54 | 0:07:57 | |
Rani's great, too. But I didn't care about them one bit. | 0:07:59 | 0:08:03 | |
I can remember thinking that now it was Dad and me again, nothing else mattered. | 0:08:03 | 0:08:09 | |
And now he knew the pendant's powers, my dad didn't waste any time using them. | 0:08:09 | 0:08:15 | |
Good afternoon, sir. Can I help you? | 0:08:15 | 0:08:17 | |
All right, mate? We are looking for a motor. | 0:08:17 | 0:08:19 | |
-Something flashy, something that will turn a few girls' heads. -Of course, sir. | 0:08:19 | 0:08:24 | |
-Just out of interest, what sort of price range are we looking at? -Oh, money's not a problem. | 0:08:24 | 0:08:30 | |
-We do offer a number of different payment schemes. -Save the patter, mate. | 0:08:30 | 0:08:34 | |
I'm having this one. | 0:08:34 | 0:08:35 | |
It is a bit on the expensive side, sir. | 0:08:35 | 0:08:38 | |
I'm sure it is, but you're going to give it to us for free. | 0:08:39 | 0:08:42 | |
CRACKLING | 0:08:42 | 0:08:44 | |
I'm...I'm going to give it to you for free. | 0:08:45 | 0:08:49 | |
My dad certainly wasn't hanging about. | 0:08:56 | 0:08:58 | |
He wanted control over everything and everyone. | 0:08:58 | 0:09:01 | |
So, next, it was off to the shops. | 0:09:03 | 0:09:07 | |
Whatever my dad asked for, he got. | 0:09:09 | 0:09:12 | |
It was amazing. | 0:09:12 | 0:09:13 | |
Loads of cool gear for free. | 0:09:15 | 0:09:17 | |
I knew it wasn't right, but it was impossible not to get swept along. | 0:09:17 | 0:09:21 | |
Even when he wiped memory of my mum. | 0:09:21 | 0:09:23 | |
That is what the pendant does and why it has to go in the Alien Files. | 0:09:23 | 0:09:27 | |
The scariest thing is, I know there's a lot of me that's just like my dad. | 0:09:29 | 0:09:34 | |
Maybe one day that's how I'll end up. | 0:09:34 | 0:09:36 | |
Human character development is not only a matter of family DNA, Clyde. | 0:09:36 | 0:09:40 | |
The influence of experience and, crucially, of friends, are also major factors. | 0:09:40 | 0:09:46 | |
Luckily, my friends, who I'd told to take a running jump, was still looking out for me. | 0:09:46 | 0:09:51 | |
Even friends on the other side of the Atlantic. | 0:09:51 | 0:09:54 | |
BEEPING | 0:09:54 | 0:09:57 | |
-What is it, Dad? -Your computer's beeping. | 0:09:57 | 0:10:00 | |
With you disabled, Mr Smith, Luke and Rani needed another way to find out | 0:10:00 | 0:10:04 | |
what was going on with this pendant, so they improvised... | 0:10:04 | 0:10:08 | |
-Hey, how are you? -..by contacting Maria in America. | 0:10:08 | 0:10:12 | |
Well, it was her dad whose help they were really after. | 0:10:12 | 0:10:15 | |
You can hack into any computer, can't you, Mr Jackson? | 0:10:15 | 0:10:19 | |
We need you to get into UNIT, see if they know what this pendant is. | 0:10:19 | 0:10:23 | |
We're sending over a picture now. It's a drawing of an alien pendant. | 0:10:23 | 0:10:28 | |
OK. Let's do it. | 0:10:28 | 0:10:30 | |
Maria's dad discovered just how dangerous the pendant could be. | 0:10:34 | 0:10:38 | |
-Oh, my God. -Dad? | 0:10:39 | 0:10:41 | |
-That's the UNIT archives, a photo, December 1940. -What is it? | 0:10:41 | 0:10:46 | |
It's what happens to you when you use the pendant. | 0:10:46 | 0:10:50 | |
I didn't need any UNIT computers, though. | 0:10:50 | 0:10:53 | |
I was getting a good look at how the Beserker Pendant works close up for myself. | 0:10:53 | 0:10:57 | |
Dad and I headed to the docks. | 0:10:57 | 0:11:00 | |
He was after a yacht. | 0:11:00 | 0:11:02 | |
There's nothing stopping us. | 0:11:02 | 0:11:04 | |
We can go anywhere out there. SQUELCHING | 0:11:04 | 0:11:07 | |
Argh! | 0:11:07 | 0:11:08 | |
Dad? | 0:11:08 | 0:11:10 | |
But he'd used the pendant one time too often and here he was turning into a Beserker. | 0:11:12 | 0:11:17 | |
-And I had no idea how to stop it. -Boat. | 0:11:17 | 0:11:20 | |
SQUELCHING Argh! | 0:11:20 | 0:11:21 | |
'I shouldn't have let it get to this. That's worth putting in the alien files.' | 0:11:21 | 0:11:27 | |
Someone help me, please! | 0:11:27 | 0:11:28 | |
'If something's not right, you need to act straightaway, not just go with the flow like I'd been doing. | 0:11:28 | 0:11:34 | |
'Luckily, help was at hand. | 0:11:34 | 0:11:37 | |
'My mum, Luke and Rani had found us. | 0:11:37 | 0:11:40 | |
'Not that I knew who they were.' | 0:11:40 | 0:11:42 | |
Please, will you help us? | 0:11:43 | 0:11:45 | |
-What's happening to me? -Mr Langer, it's the pendant. | 0:11:45 | 0:11:50 | |
Every time you use it, it overpowers you. | 0:11:50 | 0:11:53 | |
Clyde, get back, it's not safe. | 0:11:53 | 0:11:55 | |
He's my soldier and you can't stop us, because if you do, if you try to, | 0:11:55 | 0:12:02 | |
I'll tell you to walk into the water. I'll destroy you all. | 0:12:02 | 0:12:06 | |
This whole world will do as I say! | 0:12:08 | 0:12:14 | |
Dad, please. | 0:12:14 | 0:12:15 | |
I'm a Beserker | 0:12:16 | 0:12:18 | |
and you will follow my orders. | 0:12:18 | 0:12:21 | |
Oh, I don't think so. | 0:12:21 | 0:12:23 | |
'At last, someone I recognised. Not wiped from my memory by my dad.' | 0:12:27 | 0:12:31 | |
I don't understand. What's happening? | 0:12:31 | 0:12:33 | |
These people reckon I should know them but...I don't. | 0:12:33 | 0:12:37 | |
It's the strangest feeling I've felt in my life. | 0:12:39 | 0:12:41 | |
I can remember thinking, "Who on earth are this lot?" | 0:12:41 | 0:12:44 | |
but at the same time, I could tell I knew them somehow. | 0:12:44 | 0:12:48 | |
'But then there was this voice telling me that I didn't. Weird. | 0:12:48 | 0:12:52 | |
'But now Sarah-Jane was here, Maria's dad had tracked her down | 0:12:52 | 0:12:57 | |
'and she knew how to turn this raging Beserker back into my dad again.' | 0:12:57 | 0:13:02 | |
Look...at the mirror. Look at your reflection. | 0:13:02 | 0:13:05 | |
That isn't you. | 0:13:05 | 0:13:07 | |
Just remember what you are. | 0:13:07 | 0:13:09 | |
Remember before the pendant, no Beserkers, no mind control. | 0:13:09 | 0:13:15 | |
That's not you, Paul. You need to remember who you are. | 0:13:15 | 0:13:18 | |
Aggh! | 0:13:30 | 0:13:31 | |
Aggh! | 0:13:35 | 0:13:38 | |
That's it. You're human, just like the rest of us. | 0:13:48 | 0:13:52 | |
Hi, Mum. | 0:14:02 | 0:14:04 | |
Oh, my darling! | 0:14:04 | 0:14:06 | |
'So, the nightmare was over. | 0:14:07 | 0:14:08 | |
'I had my mum and my friends back, and my dad was back to normal. | 0:14:08 | 0:14:12 | |
'And before I knew it, | 0:14:14 | 0:14:15 | |
'he was out of my life once more.' | 0:14:15 | 0:14:18 | |
I guess me and my dad are never going to be that close. | 0:14:20 | 0:14:23 | |
Nevertheless, my supposition is that he is appreciative of what you did to save him. | 0:14:23 | 0:14:27 | |
I can't be thinking about him all day. | 0:14:27 | 0:14:30 | |
Not when there's the planet to save. | 0:14:30 | 0:14:32 | |
Indeed, full concentration has been essential in repairing alien threats | 0:14:32 | 0:14:37 | |
as diverse as Kudlak and the Trickster. | 0:14:37 | 0:14:41 | |
Although I note that you always find time in your busy schedule for your art. | 0:14:41 | 0:14:45 | |
Although, being a whizz with the old paints can get complicated, too. | 0:14:45 | 0:14:49 | |
I assume you are referring to the alien encounter that was not so much | 0:14:49 | 0:14:53 | |
about an invading hoard, as a priceless work of art. | 0:14:53 | 0:14:56 | |
Yeah. Who would have thought that the world's most famous painting would have an alien connection? | 0:14:56 | 0:15:01 | |
It was an adventure full of surprises. The first was at school, | 0:15:03 | 0:15:07 | |
when Mr Chandra came in with news about an art competition. | 0:15:07 | 0:15:11 | |
Tomorrow morning, | 0:15:11 | 0:15:12 | |
this entire class will be the first members of the public to see... | 0:15:12 | 0:15:16 | |
..the Mona Lisa, here in the UK. | 0:15:18 | 0:15:21 | |
-And all thanks to Clyde. -Bit of a shock, winning the competition. | 0:15:21 | 0:15:25 | |
Not the winning bit, just that I hadn't entered it. | 0:15:25 | 0:15:28 | |
I'd never do anything like that, but Luke had done it without telling me. | 0:15:28 | 0:15:32 | |
One of the surprises you humans enjoy so much. | 0:15:32 | 0:15:36 | |
Too right. I was well chuffed. | 0:15:36 | 0:15:38 | |
No way! | 0:15:39 | 0:15:41 | |
-Is something wrong? -It's just... | 0:15:43 | 0:15:46 | |
..my work in a proper gallery. | 0:15:47 | 0:15:49 | |
And so to the prize. | 0:15:49 | 0:15:51 | |
Prepare to meet the Mona Lisa. | 0:15:52 | 0:15:56 | |
So this was exciting, the most famous painting ever | 0:16:00 | 0:16:03 | |
in a private viewing just for us, and not an alien in sight. | 0:16:03 | 0:16:07 | |
Or so we thought. | 0:16:07 | 0:16:08 | |
Feast your eyes and lose your hearts. | 0:16:09 | 0:16:13 | |
I give you... | 0:16:13 | 0:16:15 | |
..the Mona Lisa. | 0:16:16 | 0:16:18 | |
She has let herself go! | 0:16:21 | 0:16:23 | |
Isn't that his assistant? | 0:16:27 | 0:16:28 | |
Security! The Mona Lisa has been stolen! | 0:16:30 | 0:16:34 | |
This wasn't just an art theft, it was much weirder than that. | 0:16:34 | 0:16:37 | |
It was like a kidnapping at the same time. | 0:16:37 | 0:16:40 | |
Because the woman in the Mona Lisa's place was Phyllis Truck, | 0:16:42 | 0:16:45 | |
assistant to the gallery's curator, Lionel. | 0:16:45 | 0:16:48 | |
How on earth had she got in the picture, and where had the Mona Lisa gone? | 0:16:48 | 0:16:52 | |
SCREAMING | 0:16:52 | 0:16:55 | |
We started to investigate. And my painting threw up another surprise. | 0:16:57 | 0:17:01 | |
-Clyde? -Yes, I know, my picture would look great in your lounge. | 0:17:01 | 0:17:05 | |
Just get your dad to make me an offer. | 0:17:05 | 0:17:07 | |
-I don't want your painting, I want to know what happened to the gun that was in it! -Galaxia's gun? | 0:17:07 | 0:17:13 | |
Who's? | 0:17:14 | 0:17:15 | |
-OK, so I gave them names. Can we move on now? What matters is... -What are you doing here?! | 0:17:17 | 0:17:21 | |
The police are conducting an investigation. | 0:17:21 | 0:17:25 | |
They don't need a bunch of school children roaming around, disturbing evidence. | 0:17:25 | 0:17:29 | |
It isn't just your precious Mona Lisa that's been stolen, is it? | 0:17:29 | 0:17:32 | |
One of the guns in Clyde's painting has vanished. Look! | 0:17:32 | 0:17:35 | |
It's dry. | 0:17:47 | 0:17:49 | |
The gun wasn't painted out, Mr Harding. It was taken. | 0:17:49 | 0:17:52 | |
-Whatever we're dealing with, it's more than just an art thief. -Oh, you better believe it, sugar. | 0:17:52 | 0:17:58 | |
She's got my gun! | 0:17:58 | 0:18:00 | |
-Run for it! -SHE LAUGHS | 0:18:00 | 0:18:02 | |
The Real Mona Lisa shooting at us with a weapon stolen from my painting. Talk about weird. | 0:18:03 | 0:18:08 | |
Lionel Harding, the gallery's curator, seemed thrilled, though, | 0:18:08 | 0:18:11 | |
to be meeting his favourite painting in the flesh. | 0:18:11 | 0:18:14 | |
It IS you! | 0:18:14 | 0:18:16 | |
It really is you! | 0:18:16 | 0:18:19 | |
And YOU are going to have to get used to that | 0:18:19 | 0:18:23 | |
-because we've got a lot of work to do. -I don't understand. | 0:18:23 | 0:18:26 | |
We have to find my brother. | 0:18:27 | 0:18:29 | |
What does he look like, your brother? | 0:18:31 | 0:18:34 | |
I've never seen him so I haven't got a clue. | 0:18:37 | 0:18:39 | |
But he'll have been painted around the same time as me. | 0:18:39 | 0:18:42 | |
The same place as me. | 0:18:42 | 0:18:45 | |
Next door, in fact. | 0:18:45 | 0:18:46 | |
I've got it! Follow me. | 0:18:48 | 0:18:50 | |
Pretty freaky, hey? And well worth including in the alien files. | 0:18:52 | 0:18:55 | |
A painting, come to life, looking for another painting, | 0:18:55 | 0:18:59 | |
which it calls her brother. | 0:18:59 | 0:19:01 | |
Time for the low-down on the alien connection with the Mona Lisa and her brother, Mr Smith. | 0:19:01 | 0:19:05 | |
The Mona Lisa was actually painted six times by Leonardo da Vinci. | 0:19:07 | 0:19:11 | |
After being commissioned in 1505 by a Captain Tancredi, | 0:19:11 | 0:19:16 | |
who was, in fact, Skaroff, the Jagaroff, posing as a human. | 0:19:16 | 0:19:20 | |
Leonardo borrowed paint from his neighbour, | 0:19:20 | 0:19:23 | |
another artist called Giuseppe di Cattivo, | 0:19:23 | 0:19:26 | |
not realising that the paint originated from sentient minerals | 0:19:26 | 0:19:30 | |
carried to Earth in a meteorite. | 0:19:30 | 0:19:32 | |
One of di Cattivo's paintings that had been created with the same paint | 0:19:32 | 0:19:36 | |
was also being stored in the international gallery. | 0:19:36 | 0:19:39 | |
It was this painting that Mona Lisa called her brother. | 0:19:39 | 0:19:42 | |
And the Mona Lisa's brother wasn't just a nice farmyard scene or a bowl of fruit, was it? | 0:19:42 | 0:19:48 | |
It was a work of art called The Abomination. | 0:19:48 | 0:19:52 | |
Painting it drove di Cattivo insane. | 0:19:52 | 0:19:54 | |
To ensure that no-one else ever laid eyes on what he had created, | 0:19:54 | 0:19:58 | |
he locked in a wooden case, secured with a Chinese puzzle. | 0:19:58 | 0:20:02 | |
A sight so horrific that if you look at it once, you go mad. | 0:20:02 | 0:20:07 | |
There are few like that teaching maths and my school. | 0:20:07 | 0:20:09 | |
To sum up, the Mona Lisa is a masterpiece with an unexpected alien connection, | 0:20:10 | 0:20:15 | |
as sentient minerals contained in its paintwork can lead to the animation | 0:20:15 | 0:20:20 | |
of its highly unpredictable subject - Mona Lisa herself. | 0:20:20 | 0:20:24 | |
Definite traces of alien energy. | 0:20:24 | 0:20:26 | |
Sarah Jane had heard on the news what had happened | 0:20:26 | 0:20:29 | |
and knew that we were there, so she headed straight to the International Gallery. | 0:20:29 | 0:20:33 | |
And straight into trouble. | 0:20:33 | 0:20:35 | |
No! HE SCREAMS | 0:20:35 | 0:20:37 | |
That's Mum! | 0:20:37 | 0:20:39 | |
-Sarah Jane! -Mum! | 0:20:43 | 0:20:44 | |
Luke... | 0:20:45 | 0:20:47 | |
Sarah Jane had wanted to put herself in the picture, and | 0:20:47 | 0:20:50 | |
that's exactly what happened, but not in the way she had intended. | 0:20:50 | 0:20:54 | |
No... | 0:20:54 | 0:20:55 | |
Mum! | 0:20:55 | 0:20:56 | |
SCREAMING | 0:20:56 | 0:20:59 | |
I'd heard have been immortalised in oils, but this was ridiculous. | 0:20:59 | 0:21:02 | |
What can it have been like for poor Sarah Jane? | 0:21:02 | 0:21:05 | |
Stuck there, powerless to do anything inside a painting. | 0:21:05 | 0:21:10 | |
So, while Sarah Jane was otherwise engaged, it was down to us to try to | 0:21:10 | 0:21:14 | |
stop the madness the Mona Lisa was letting loose in the gallery. | 0:21:14 | 0:21:18 | |
Run! | 0:21:18 | 0:21:20 | |
He's right behind us! | 0:21:20 | 0:21:22 | |
You might ask, how come Mona Lisa had been brought to life | 0:21:22 | 0:21:25 | |
and was able to do the same to other paintings? | 0:21:25 | 0:21:27 | |
It's a picture come to life, he can fire is many times as he likes! | 0:21:27 | 0:21:31 | |
Well, let Clyde explain. It was all down to the paint Leonardo Da Vinci had used to create her, | 0:21:31 | 0:21:36 | |
the living paint extracted from the meteor, which had created an energy that could bring paintings to life. | 0:21:36 | 0:21:42 | |
The same paint was also used to create The Abomination, the painting Mona Lisa called her brother. | 0:21:42 | 0:21:49 | |
Once she's unlocked her brother she'll be finished with you. | 0:21:51 | 0:21:54 | |
Helping her is going to make any difference. | 0:21:54 | 0:21:57 | |
Believe me...we're both going to get abominated. | 0:21:57 | 0:22:00 | |
I know. But what can I do now? | 0:22:00 | 0:22:03 | |
The Abomination had been locked away in the gallery's vault for years, but because the two paintings, | 0:22:07 | 0:22:13 | |
The Abomination and the Mona Lisa, were now close to each other, that allowed them to come to life. | 0:22:13 | 0:22:18 | |
The Abomination was still locked in its case, and that was lucky, judging by the noise it was making. | 0:22:25 | 0:22:31 | |
-CHAINS RATTLE -If you ask me, it doesn't seem all that pleased to see you. | 0:22:31 | 0:22:35 | |
You show some respect for my brother in living paint! | 0:22:35 | 0:22:38 | |
Once he's out of there, then you'll see some fireworks. | 0:22:38 | 0:22:42 | |
-Lisa, you can't do this. -He's right. You can't. -What's this? | 0:22:45 | 0:22:49 | |
Remember where you've left your backbone of a sudden? | 0:22:49 | 0:22:52 | |
No... | 0:22:52 | 0:22:54 | |
the puzzle lock is missing. | 0:22:54 | 0:22:56 | |
Where is it? | 0:22:58 | 0:23:00 | |
-Giuseppe's Chinese puzzle lock. -Luke worked out that the puzzle lock | 0:23:01 | 0:23:04 | |
that would open the cabinet The Abomination was held in was another exhibit in the museum. | 0:23:04 | 0:23:08 | |
This is the key to The Abomination. | 0:23:08 | 0:23:11 | |
Somehow it was separated from the painting and catalogued by the gallery as another work of art. | 0:23:11 | 0:23:16 | |
No-one ever realised what it really was. | 0:23:16 | 0:23:18 | |
But if Mona Lisa wants to free The Abomination, she'll need this. | 0:23:19 | 0:23:23 | |
-We can use that to force her to release Mum. -You're going to bargain with her? | 0:23:23 | 0:23:26 | |
It's a nice idea, kid, but I don't do deals. | 0:23:26 | 0:23:29 | |
Not while I'm packing heat. | 0:23:29 | 0:23:32 | |
Go fetch! | 0:23:32 | 0:23:34 | |
If you fire that blaster at us, you'll destroy the puzzle lock. | 0:23:38 | 0:23:41 | |
That's why I'm not going to fire it. Unless you do something stupid, like smash the puzzle, which you won't, | 0:23:41 | 0:23:46 | |
because I've got your friend, Clydey. | 0:23:46 | 0:23:49 | |
SHE CHUCKLES | 0:23:49 | 0:23:51 | |
But when it looked like Mona Lisa was about to get her hands | 0:23:52 | 0:23:55 | |
on the puzzle lock, it was Lionel's turn to spring a surprise. | 0:23:55 | 0:23:59 | |
Now, give me the puzzle lock. | 0:23:59 | 0:24:01 | |
Not until you have released Miss Trubb and this young man's mother. | 0:24:05 | 0:24:09 | |
You won't. | 0:24:09 | 0:24:10 | |
You wouldn't dare! | 0:24:10 | 0:24:12 | |
No-o-o-o! | 0:24:15 | 0:24:17 | |
ROARING | 0:24:17 | 0:24:21 | |
Oh, you're so going to wish you hadn't done that. | 0:24:22 | 0:24:25 | |
Well, for about a second, anyway. | 0:24:26 | 0:24:28 | |
No! Don't. | 0:24:28 | 0:24:29 | |
There's another way to release The Abomination. I can help you. | 0:24:29 | 0:24:33 | |
Turned out this other way to release The Abomination relied on Leonardo | 0:24:33 | 0:24:38 | |
da Clydey's ability to draw an exact copy of the puzzle lock. | 0:24:38 | 0:24:41 | |
Just do it. | 0:24:41 | 0:24:43 | |
Mind you, as that was going to uncage The Abomination, | 0:24:43 | 0:24:47 | |
it didn't seem like one of Lukey's better plans. | 0:24:47 | 0:24:49 | |
But he's a boy genius, so sometimes, you just have to give him the benefit of the doubt. | 0:24:49 | 0:24:54 | |
Give it to me! | 0:24:58 | 0:24:59 | |
-I hope you know what you're doing, my padawan. -That's not bad, Clydey. | 0:25:01 | 0:25:05 | |
-That's not bad at all. -Using the living paint energy, | 0:25:05 | 0:25:09 | |
Mona Lisa turned my drawn puzzle lock into a real one. | 0:25:09 | 0:25:13 | |
-I have it. -I really hope you know what you're doing! | 0:25:13 | 0:25:16 | |
Here, my brother. | 0:25:32 | 0:25:34 | |
Your deliverance. | 0:25:34 | 0:25:36 | |
You are free. | 0:25:43 | 0:25:45 | |
I was beginning to think Luke had got it horribly wrong, but I shouldn't have doubted him. | 0:25:52 | 0:25:57 | |
-It's coming out! -Don't look at it! | 0:25:57 | 0:25:59 | |
My brother! | 0:25:59 | 0:26:02 | |
He'd remembered that I had done a sketch of K-9 on the next page | 0:26:02 | 0:26:05 | |
in the pad, so when all that living paint energy was flying about, it also brought K-9 to life. | 0:26:05 | 0:26:10 | |
Who let that little mutt in here? | 0:26:10 | 0:26:12 | |
Don't mess with my dog, Lisa! | 0:26:12 | 0:26:14 | |
And he's more than a match for any Abomination. | 0:26:14 | 0:26:17 | |
No! | 0:26:17 | 0:26:19 | |
No, my brother, don't abandon me. No! | 0:26:25 | 0:26:28 | |
No...! | 0:26:34 | 0:26:35 | |
Oh, Miss Trubb! | 0:26:49 | 0:26:52 | |
Phyllis. | 0:26:52 | 0:26:54 | |
I've had the most bizarre dream. | 0:26:55 | 0:26:57 | |
Oh, Luke! | 0:26:57 | 0:26:59 | |
To conclude, Clyde, uploading two new entries | 0:27:02 | 0:27:06 | |
into the alien files as a permanent record | 0:27:06 | 0:27:08 | |
for all to learn about these deadly threats to Earth's safety. | 0:27:08 | 0:27:12 | |
The Beserkers: | 0:27:18 | 0:27:20 | |
Alien originators of a Norse warrior race. | 0:27:20 | 0:27:24 | |
The personality-changing pendants they utilise to help expand | 0:27:24 | 0:27:28 | |
their armies can have a drastic effect on anyone who uses them. | 0:27:28 | 0:27:32 | |
Do not be tempted to make use of one as only disaster can ensue. | 0:27:32 | 0:27:37 | |
The Mona Lisa: | 0:27:37 | 0:27:39 | |
This masterpiece, created by one Earth's greatest artists, | 0:27:39 | 0:27:43 | |
has an alien connection in the form of its paint, | 0:27:43 | 0:27:46 | |
made from sentient minerals, extracted from a meteor. | 0:27:46 | 0:27:49 | |
Its subject, Mona Lisa, if brought to life, | 0:27:49 | 0:27:52 | |
is unpredictable and dangerous. | 0:27:52 | 0:27:55 | |
The painting must be kept away from The Abomination, | 0:27:55 | 0:27:59 | |
to prevent them both reanimating once more. | 0:27:59 | 0:28:02 | |
So, if you ever come across any of this lot and the professionals | 0:28:02 | 0:28:07 | |
aren't around to help you, now you know what to do. | 0:28:07 | 0:28:09 | |
Think clearly, act decisively and expect the unexpected, | 0:28:09 | 0:28:13 | |
and try to make sure there's a genetically-modified boy genius | 0:28:13 | 0:28:17 | |
about the place - it can come in useful. | 0:28:17 | 0:28:19 | |
Subtitles by Red Bee Media Ltd | 0:28:19 | 0:28:22 |