Browse content similar to Part 1. Check below for episodes and series from the same categories and more!
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This is where Sarah Jane Smith lives. | 0:00:02 | 0:00:03 | |
And it's home to things way beyond your imagination. | 0:00:03 | 0:00:07 | |
There's an extra-terrestrial super computer in the wall, | 0:00:07 | 0:00:10 | |
a genetically engineered boy genius in the attic, | 0:00:10 | 0:00:13 | |
a schoolgirl investigator across the road, | 0:00:13 | 0:00:17 | |
and a whole universe of adventure right here on the doorstep. | 0:00:17 | 0:00:21 | |
Ready? | 0:00:25 | 0:00:26 | |
Always. | 0:00:26 | 0:00:28 | |
I don't know how you do that. | 0:00:33 | 0:00:35 | |
You've either got it, or you haven't Lukey-boy. | 0:00:35 | 0:00:37 | |
You see, art isn't something you can learn. | 0:00:37 | 0:00:39 | |
Surely it's a matter of bio-mechanical transference of what the eye sees to paper? Geometry. | 0:00:39 | 0:00:45 | |
You see, there's your problem, you work up here, you're all science | 0:00:45 | 0:00:49 | |
and logic and Spocky stuff like that, | 0:00:49 | 0:00:51 | |
but you can't break art down into maths. | 0:00:51 | 0:00:53 | |
-Everything comes down to maths. -See, not art. Art is in the soul. | 0:00:53 | 0:00:57 | |
You don't think it.. | 0:00:57 | 0:00:59 | |
you feel it. | 0:00:59 | 0:01:01 | |
Morning 11T. | 0:01:02 | 0:01:03 | |
Someone's in trouble. | 0:01:03 | 0:01:05 | |
That's Dad's serious face. | 0:01:05 | 0:01:06 | |
Yeah, like he's got any other sort. | 0:01:06 | 0:01:08 | |
All right, you lot, settle down. | 0:01:08 | 0:01:10 | |
If I may, Mrs Taylor? | 0:01:10 | 0:01:12 | |
I have an important announcement to make. | 0:01:12 | 0:01:16 | |
Told you. | 0:01:16 | 0:01:17 | |
Concerning you, Clyde Langer. | 0:01:17 | 0:01:18 | |
Me? | 0:01:18 | 0:01:20 | |
Oh, what have I done now? | 0:01:20 | 0:01:22 | |
Ah, no, no, don't tell me... I turned up. | 0:01:22 | 0:01:25 | |
All I have to do to get some teacher's back up. | 0:01:25 | 0:01:27 | |
You aren't in trouble, Clyde. For once, quite the opposite. | 0:01:27 | 0:01:31 | |
I've just had an e-mail, from a Mr Harding, | 0:01:31 | 0:01:34 | |
-Curator of the International Gallery. -Who? | 0:01:34 | 0:01:37 | |
At last! | 0:01:38 | 0:01:41 | |
Indeed, Mr Harding. | 0:01:41 | 0:01:44 | |
I never thought I would see the day when she came into my care. | 0:01:44 | 0:01:48 | |
So, so beautiful. | 0:01:48 | 0:01:51 | |
No-one else could have achieved this. | 0:01:51 | 0:01:53 | |
The years of dedicated planning. | 0:01:53 | 0:01:55 | |
No-one would have been man enough. | 0:01:55 | 0:01:58 | |
We got there in the end, Miss Trupp. | 0:01:58 | 0:02:01 | |
After all our tribulations. | 0:02:01 | 0:02:04 | |
Yours. I only assisted. | 0:02:04 | 0:02:07 | |
True, true. You did. | 0:02:07 | 0:02:11 | |
And here she is... | 0:02:11 | 0:02:12 | |
..the Mona Lisa! | 0:02:14 | 0:02:16 | |
Tomorrow morning, this entire class will be the first members | 0:02:20 | 0:02:24 | |
of the public to see the Mona Lisa here in the UK. | 0:02:24 | 0:02:30 | |
And all thanks to Clyde. | 0:02:30 | 0:02:32 | |
You won first prize! | 0:02:32 | 0:02:33 | |
THEY CHEER | 0:02:33 | 0:02:35 | |
You won! | 0:02:35 | 0:02:37 | |
Wait, wait, wait, wait, as much as I appreciate the adulation | 0:02:37 | 0:02:40 | |
and missing double maths tomorrow - there's been a mistake. | 0:02:40 | 0:02:44 | |
-I never put my work into any competition. -Someone did. | 0:02:44 | 0:02:49 | |
Well, I wonder who? | 0:02:50 | 0:02:52 | |
They were looking for a promising young artist. | 0:02:52 | 0:02:54 | |
-And you really are good. -Brilliant. | 0:02:54 | 0:02:56 | |
I knew you wouldn't enter. | 0:02:56 | 0:02:58 | |
Well, it's not good for the image is it, some nerdy competition. | 0:02:58 | 0:03:01 | |
I've gotta text Mum. | 0:03:01 | 0:03:03 | |
How many times? No mobiles in the classroom. | 0:03:05 | 0:03:08 | |
Or at the gallery tomorrow. | 0:03:08 | 0:03:11 | |
Their rules, not mine. | 0:03:12 | 0:03:13 | |
You're not annoyed with me, are you? | 0:03:14 | 0:03:16 | |
Are you serious? | 0:03:16 | 0:03:18 | |
It's the Mona Lisa! | 0:03:18 | 0:03:20 | |
We should press on. | 0:03:25 | 0:03:26 | |
Yes. | 0:03:28 | 0:03:30 | |
Oh, tomorrow will be such a day for me! | 0:03:32 | 0:03:36 | |
Mum? You won't believe what's happened. | 0:04:07 | 0:04:09 | |
-Mum? -I'm in your room. | 0:04:09 | 0:04:13 | |
Look at the state of this place. | 0:04:17 | 0:04:19 | |
-Yeah, I know, but... -I thought I told you to tidy it. | 0:04:19 | 0:04:21 | |
-I will. Just listen. -When? | 0:04:21 | 0:04:23 | |
Oh, I hate to think how long all these cups have been here. Ugh. | 0:04:23 | 0:04:27 | |
OK. | 0:04:27 | 0:04:29 | |
No, it isn't. And you can forget any other plans you had for this evening | 0:04:30 | 0:04:33 | |
because you're blitzing this place. Don't think K9's zapping it. | 0:04:33 | 0:04:37 | |
He's out of bounds till it's done. I am so disappointed in you. | 0:04:37 | 0:04:40 | |
I don't know what you want from me. | 0:04:40 | 0:04:42 | |
You try to give me a normal life, but when I act like | 0:04:42 | 0:04:44 | |
a real teenager you want me to be perfect, the way the Bane made me. | 0:04:44 | 0:04:48 | |
I'm sorry you feel like that. | 0:04:54 | 0:04:55 | |
So am I. | 0:04:55 | 0:04:57 | |
Hand in your mobile phones at reception and no running. | 0:05:11 | 0:05:14 | |
No running! We're here as honoured guests, not like some hormonal SAS. | 0:05:14 | 0:05:19 | |
Oh, what's the use? | 0:05:22 | 0:05:24 | |
Ah freebies! | 0:05:32 | 0:05:34 | |
No, I'll pass, thanks. | 0:05:39 | 0:05:41 | |
Your loss. Anyway, what did Sarah Jane say | 0:05:41 | 0:05:44 | |
about me winning this prize? | 0:05:44 | 0:05:46 | |
Nothing. We're not really talking. | 0:05:46 | 0:05:49 | |
She's being such a mum. | 0:05:49 | 0:05:51 | |
Yeah, well, it's probably best she doesn't know. | 0:05:51 | 0:05:54 | |
Careful, Clyde. Even star pupils need to watch where they're going. | 0:05:54 | 0:05:58 | |
-Sir. -So, how're you feeling? Erm, nervous? | 0:05:58 | 0:06:01 | |
Weirded out. I mean teachers are never this friendly. | 0:06:01 | 0:06:04 | |
You see, diligence has its rewards. | 0:06:04 | 0:06:08 | |
Perhaps now you'll put the same enthusiasm | 0:06:08 | 0:06:10 | |
into your other school work. | 0:06:10 | 0:06:12 | |
-Mr Chandra? Park Vale? -Yes. | 0:06:12 | 0:06:15 | |
-Mr Harding will receive you upstairs. -Great. | 0:06:15 | 0:06:17 | |
Come this way. | 0:06:17 | 0:06:19 | |
OK, everyone follow me. | 0:06:19 | 0:06:21 | |
-It's very exciting. -I'm very excited, as well. | 0:06:21 | 0:06:23 | |
-Actually much, much smaller than you'd imagine. -Really? | 0:06:27 | 0:06:30 | |
It's very surprising because you always... | 0:06:30 | 0:06:32 | |
What d'you reckon, Luke? Who's got the more enigmatic smile, | 0:06:34 | 0:06:38 | |
me or Lisa? | 0:06:38 | 0:06:40 | |
I really don't understand, why is the Mona Lisa so special? | 0:06:41 | 0:06:46 | |
It's just brown. | 0:06:46 | 0:06:47 | |
Maybe when you see the real thing, you'll understand. | 0:06:47 | 0:06:50 | |
-I don't really get art. -Careful, it's an art gallery, | 0:06:50 | 0:06:55 | |
you're not supposed to pick it up either, OK. | 0:06:55 | 0:06:58 | |
You look, you don't touch. | 0:06:58 | 0:07:00 | |
But this isn't art... it's something else. | 0:07:00 | 0:07:03 | |
Clyde. | 0:07:03 | 0:07:05 | |
This is Mr Harding. Curator of the gallery. Clyde Langer. | 0:07:06 | 0:07:11 | |
-We're really proud of him. -Congratulations, Clyde. | 0:07:11 | 0:07:13 | |
-You're very talented. -Such a handsome boy. | 0:07:13 | 0:07:16 | |
Oh. This is my assistant, Miss Trupp. | 0:07:18 | 0:07:20 | |
-Now... -You really are so gifted, Clyde. | 0:07:20 | 0:07:23 | |
-Cheers. -When I saw your picture, I knew you'd win. | 0:07:23 | 0:07:25 | |
It wasn't up to me, but if it had been you'd definitely have won. | 0:07:25 | 0:07:28 | |
Well, you did! So... it's all turned out for the best. | 0:07:28 | 0:07:32 | |
Miss Trupp, perhaps you should go and check the final preparations. | 0:07:32 | 0:07:36 | |
Oh. Yes. | 0:07:36 | 0:07:37 | |
Big day for all of us. | 0:07:39 | 0:07:40 | |
Clyde, follow me. | 0:07:41 | 0:07:42 | |
Your masterpiece awaits. | 0:07:45 | 0:07:48 | |
Come along, chop-chop, this place should be clear by now. | 0:07:51 | 0:07:55 | |
Do you know how lucky you are? | 0:08:10 | 0:08:13 | |
Lionel worships you. | 0:08:13 | 0:08:16 | |
If only he looked at me with the same eyes. | 0:08:18 | 0:08:21 | |
Oh, quit your moaning, love... | 0:08:22 | 0:08:24 | |
do us all a favour. | 0:08:24 | 0:08:26 | |
Who said that? | 0:08:37 | 0:08:38 | |
You can hear me? | 0:08:40 | 0:08:42 | |
Well, now there's a first. | 0:08:43 | 0:08:44 | |
So let's try this for another. | 0:08:44 | 0:08:47 | |
SHE SCREAMS | 0:08:49 | 0:08:50 | |
SHE LAUGHS | 0:08:50 | 0:08:51 | |
And here we are. In pride of place. | 0:08:55 | 0:08:59 | |
No way. | 0:09:02 | 0:09:03 | |
Is something wrong? | 0:09:03 | 0:09:05 | |
It's just... | 0:09:05 | 0:09:07 | |
..my work in a proper gallery. | 0:09:09 | 0:09:11 | |
We told you, Clyde, it's brilliant. | 0:09:11 | 0:09:14 | |
CHEERING AND CHANTING | 0:09:18 | 0:09:21 | |
-Shut up! -Agreed. Some order, please. | 0:09:24 | 0:09:28 | |
Mrs Taylor. | 0:09:28 | 0:09:29 | |
Apart from the obvious artistic flair, | 0:09:32 | 0:09:35 | |
your imagination is so impressive. | 0:09:35 | 0:09:38 | |
The detail in the weaponry! | 0:09:38 | 0:09:42 | |
I don't know where you get your inspiration. | 0:09:42 | 0:09:44 | |
Please. | 0:09:44 | 0:09:47 | |
They're Sontaran blasters, aren't they? | 0:09:48 | 0:09:50 | |
-Well, spotted. -That's why you didn't want Mum to know. | 0:09:50 | 0:09:53 | |
Yeah, oh, and don't tell her I've been drawing K9, either. | 0:09:53 | 0:09:56 | |
You know, I always used to play this sort of stuff down. | 0:09:58 | 0:10:01 | |
I thought people'd laugh at me. | 0:10:01 | 0:10:04 | |
-You mean you thought drawing wasn't cool. -Something like that. | 0:10:04 | 0:10:07 | |
Well, it is cool and believe me no-one's laughing. | 0:10:07 | 0:10:11 | |
When I was younger, no brothers or sisters... | 0:10:11 | 0:10:14 | |
I used to draw, for company. | 0:10:14 | 0:10:18 | |
But maybe I could really do something with this. | 0:10:18 | 0:10:20 | |
And so to the prize. | 0:10:20 | 0:10:23 | |
Prepare to meet the Mona Lisa! | 0:10:24 | 0:10:28 | |
The Mona Lisa, a painting begun by Leonardo da Vinci in 1503 | 0:10:33 | 0:10:37 | |
in Florence, but finished only shortly before he died in 1519. | 0:10:37 | 0:10:43 | |
For over 500 years the Mona Lisa's beauty has remained undimmed. | 0:10:43 | 0:10:49 | |
She has been gazed upon by millions in her Paris home, | 0:10:49 | 0:10:53 | |
now, she is here. | 0:10:53 | 0:10:57 | |
Feast your eyes, and lose your hearts... | 0:10:58 | 0:11:02 | |
I give you... | 0:11:02 | 0:11:05 | |
the Mona Lisa! | 0:11:05 | 0:11:07 | |
She has let herself go. | 0:11:11 | 0:11:14 | |
Isn't that his assistant? | 0:11:16 | 0:11:18 | |
Security. | 0:11:20 | 0:11:21 | |
The Mona Lisa has been stolen. | 0:11:21 | 0:11:24 | |
Excuse me, Sarah Jane, I am detecting unusual brain | 0:11:26 | 0:11:30 | |
pattern activity and your ability to concentrate appears compromised. | 0:11:30 | 0:11:35 | |
-Are you unwell? -No. I'm fine, Mr Smith. | 0:11:35 | 0:11:37 | |
-It's Luke. -But Luke has perfect health. | 0:11:39 | 0:11:42 | |
That is how he was made by the Bane. | 0:11:42 | 0:11:44 | |
Yes, I know. The perfect human being. | 0:11:44 | 0:11:47 | |
-But nothing stays perfect for ever, does it? -I am sorry. | 0:11:47 | 0:11:50 | |
I'm not sure that I understand. | 0:11:50 | 0:11:52 | |
Luke isn't ill. He's growing up. | 0:11:52 | 0:11:55 | |
I believe it is a normal part of breeding patterns in most species. | 0:11:55 | 0:11:58 | |
Yes, I know. | 0:11:58 | 0:12:00 | |
And I've tried so hard to make Luke's life as normal as possible. | 0:12:00 | 0:12:05 | |
In a way it helped make mine a little more normal, too. | 0:12:05 | 0:12:09 | |
Before I met Luke, who was I? | 0:12:09 | 0:12:12 | |
A lonely, frosty woman in the big house | 0:12:12 | 0:12:14 | |
who knew more about creatures from outer-space than she did humans. | 0:12:14 | 0:12:18 | |
I have always considered the intricacy of human | 0:12:18 | 0:12:20 | |
nature excessively complicated in comparison to most other life forms. | 0:12:20 | 0:12:24 | |
You and me both, old friend. | 0:12:24 | 0:12:27 | |
And being a mum is just about as complicated as it gets. | 0:12:27 | 0:12:31 | |
Most parents have years to get used to it. I'm still finding my feet | 0:12:31 | 0:12:34 | |
and already I'm realising that one day it's going to be over. | 0:12:34 | 0:12:38 | |
One day Luke will be gone. | 0:12:38 | 0:12:41 | |
One day, perhaps, very soon. | 0:12:41 | 0:12:42 | |
I told them security had to be improved here. | 0:12:46 | 0:12:49 | |
I told them, after that Cup of Athelstan fiasco at Easter. | 0:12:49 | 0:12:53 | |
Oh, my beautiful Mona Lisa! | 0:12:53 | 0:12:57 | |
The French will have my head! | 0:12:57 | 0:12:59 | |
If you could all stay calm as we move out | 0:12:59 | 0:13:02 | |
and let the police do their job. | 0:13:02 | 0:13:04 | |
There's something freaky about this. | 0:13:04 | 0:13:06 | |
Just because something shady happens doesn't mean | 0:13:06 | 0:13:09 | |
there are aliens behind it. | 0:13:09 | 0:13:10 | |
When my bike got nicked, | 0:13:10 | 0:13:12 | |
did you think that was ET the ASBO, cycling home? | 0:13:12 | 0:13:15 | |
-Did I mention aliens? -Rani's right. | 0:13:15 | 0:13:17 | |
Why would they put a picture of Miss Trupp in the Mona Lisa's place? | 0:13:17 | 0:13:20 | |
Maybe she's behind it all. | 0:13:20 | 0:13:22 | |
Maybe it's her calling card? "The Truppmeistress has struck!" | 0:13:22 | 0:13:25 | |
Even if this isn't alien, it's weird enough for Sarah Jane. | 0:13:25 | 0:13:29 | |
-We should call her. -No. We don't need her. We can... | 0:13:29 | 0:13:32 | |
do this ourselves. | 0:13:32 | 0:13:33 | |
OK, then. | 0:13:33 | 0:13:36 | |
But first we need to lose my dad. | 0:13:36 | 0:13:39 | |
Have you seen Jonathan, no? Are you sure? | 0:13:40 | 0:13:43 | |
Excuse me, Mr Chandra. | 0:13:45 | 0:13:46 | |
-Yes, what is it, Luke? -I need the toilet. | 0:13:46 | 0:13:48 | |
Me too, sir, I'm busting. | 0:13:48 | 0:13:50 | |
-And me. -OK. But be quick. | 0:13:50 | 0:13:51 | |
-Sir. -And then straight to the coach. -Nice one, Luke. | 0:13:51 | 0:13:55 | |
-What? -Good cover story. | 0:13:55 | 0:13:57 | |
No, I really need the loo. | 0:13:57 | 0:14:00 | |
Oh, well, like Dad says...be quick! | 0:14:00 | 0:14:03 | |
I am picking up news reports from the International Gallery. | 0:14:08 | 0:14:12 | |
The Mona Lisa has been stolen. | 0:14:12 | 0:14:14 | |
The Mona Lisa? I don't believe it. | 0:14:14 | 0:14:15 | |
The security at the International Gallery was supposed to be massive. | 0:14:15 | 0:14:19 | |
So the reports suggest. | 0:14:19 | 0:14:21 | |
All the same, if it hasn't been taken by inter-galactic art thieves, | 0:14:21 | 0:14:24 | |
it's not really my thing. | 0:14:24 | 0:14:26 | |
Or are you trying to distract me, Mr Smith? | 0:14:26 | 0:14:28 | |
I simply thought the news report would be of interest. | 0:14:28 | 0:14:31 | |
OK. Show me. | 0:14:31 | 0:14:34 | |
It's understood that the theft was discovered | 0:14:35 | 0:14:38 | |
as the Mona Lisa was about to be unveiled for a party of students | 0:14:38 | 0:14:42 | |
from Park Vale Comprehensive in Ealing. | 0:14:42 | 0:14:44 | |
-What? -Park Vale pupil, Clyde Langer | 0:14:44 | 0:14:46 | |
won first prize in the gallery's Artists of the Future competition. | 0:14:46 | 0:14:52 | |
This is Lizo Mzimba reporting from the International Gallery. | 0:14:52 | 0:14:56 | |
Then Luke must have been there too. | 0:14:56 | 0:14:59 | |
He never said anything. | 0:14:59 | 0:15:01 | |
-Not a word. | 0:15:01 | 0:15:03 | |
Police! | 0:15:05 | 0:15:07 | |
-We'll never get past them. -There has to be another way in. | 0:15:08 | 0:15:12 | |
-We need a map. -Like this one? | 0:15:12 | 0:15:15 | |
You see, you never turn down a freebie, Luke. | 0:15:15 | 0:15:18 | |
Luke's not answering. | 0:15:26 | 0:15:27 | |
The gallery prohibits the use of mobile telephones. | 0:15:27 | 0:15:30 | |
But I have info from the Metropolitan Police | 0:15:30 | 0:15:33 | |
computer system that you may find of interest. | 0:15:33 | 0:15:35 | |
What exactly am I looking at? | 0:15:35 | 0:15:37 | |
This is a Crime Scene photograph of the Mona Lisa. | 0:15:37 | 0:15:39 | |
Mr Smith, that isn't the Mona Lisa. | 0:15:39 | 0:15:41 | |
My infra-red analysis confirms the brush-stroke patterns | 0:15:41 | 0:15:45 | |
of Leonardo da Vinci. This is the Mona Lisa. | 0:15:45 | 0:15:47 | |
But it can't be. Who is that woman? | 0:15:47 | 0:15:49 | |
Phyllis Trupp, personal assistant to the gallery's curator. | 0:15:49 | 0:15:53 | |
Her most detailed personal profile can be found on Peapodsoulmates.com | 0:15:53 | 0:15:57 | |
where she lists her interests as "salsa dancing." | 0:15:57 | 0:16:00 | |
She says she is open minded and willing to try... | 0:16:00 | 0:16:03 | |
Thank you, Mr Smith. What's happened to her? | 0:16:03 | 0:16:05 | |
I can only surmise molecular trans-placement. | 0:16:05 | 0:16:08 | |
She is still alive and conscious... | 0:16:08 | 0:16:10 | |
but trapped in the canvas of a 500 year old painting. | 0:16:10 | 0:16:13 | |
-What could have caused this? -Insufficient data. | 0:16:13 | 0:16:15 | |
So this isn't anything like a straight-forward art theft, is it? | 0:16:15 | 0:16:19 | |
It would seem not. | 0:16:19 | 0:16:20 | |
Which means, the other question is, if that's Phyllis Trupp... | 0:16:20 | 0:16:25 | |
where on earth is the Mona Lisa? | 0:16:25 | 0:16:27 | |
This place is like a maze! | 0:16:32 | 0:16:34 | |
Or like finding your way through Level Four | 0:16:34 | 0:16:37 | |
of Alien Devastation Three. | 0:16:37 | 0:16:39 | |
I thought you said you could find your way with that map? | 0:16:39 | 0:16:42 | |
-Men and maps! -Hey! | 0:16:42 | 0:16:43 | |
I can read a map. I was in the cubs... | 0:16:43 | 0:16:45 | |
well until they kicked me out. But you don't want to hear about that. | 0:16:45 | 0:16:48 | |
-Clyde. -Yes, I know my picture would look great in your lounge. | 0:16:48 | 0:16:52 | |
Just get your dad to make me an offer. | 0:16:52 | 0:16:54 | |
I don't want your painting, Clyde. | 0:16:54 | 0:16:56 | |
-I want to know what happened to the gun that was in it. -Galaxia's gun! | 0:16:56 | 0:17:01 | |
Whose? | 0:17:01 | 0:17:02 | |
OK, so I gave them names. Can we move on now? What matters is... | 0:17:03 | 0:17:07 | |
What are you doing here? | 0:17:07 | 0:17:09 | |
The police are conducting an investigation. | 0:17:09 | 0:17:12 | |
they don't need a bunch of schoolchildren | 0:17:12 | 0:17:14 | |
roaming around, disturbing evidence. | 0:17:14 | 0:17:16 | |
Well, it isn't just your Mona Lisa that's been stolen now, is it? | 0:17:16 | 0:17:20 | |
One of the guns in Clyde's painting has vanished. Look. | 0:17:20 | 0:17:23 | |
It's dry. | 0:17:34 | 0:17:37 | |
The gun wasn't painted out, Mr Harding. It was taken. | 0:17:37 | 0:17:39 | |
Whatever we're dealing with it's more than just an art thief. | 0:17:39 | 0:17:42 | |
-Oh, you better believe it, sugar. -She's got my gun! | 0:17:42 | 0:17:47 | |
She went to the toilet and that's the last I saw of her. | 0:17:50 | 0:17:53 | |
No, Gita, the police won't let me back in. No, I can't ring her. | 0:17:53 | 0:17:56 | |
No phones allowed inside. Look, I'll call you back. | 0:17:56 | 0:17:59 | |
-Haresh, hello. -Sarah Jane. I suppose you know about the Mona Lisa? | 0:17:59 | 0:18:03 | |
Of course. The crime of the century and story of the year. | 0:18:03 | 0:18:06 | |
-Where's Luke? -The thing is they've closed the gallery | 0:18:06 | 0:18:09 | |
and Luke, Rani and Clyde are still inside so... | 0:18:09 | 0:18:11 | |
Why don't you look after the rest of the kids, | 0:18:11 | 0:18:14 | |
and I'll see what I can do. | 0:18:14 | 0:18:15 | |
In my line of work you get a knack for opening closed doors. | 0:18:15 | 0:18:18 | |
-You sure? -Mmm. -Thank you. | 0:18:18 | 0:18:20 | |
Mrs Taylor, kids, come on. Quickly. Move. Phones away. Are you chewing? | 0:18:20 | 0:18:26 | |
Put your phones away please. | 0:18:26 | 0:18:28 | |
-Thank you. -OK. -Come on. | 0:18:28 | 0:18:32 | |
Who are you? | 0:18:37 | 0:18:39 | |
And I thought you were supposed to be an art expert! | 0:18:40 | 0:18:43 | |
I am the Mona Lisa. | 0:18:44 | 0:18:48 | |
-No, but really? -Yeah, really. | 0:18:50 | 0:18:53 | |
You can't fake this kinda class. | 0:18:53 | 0:18:55 | |
You can't be the Mona Lisa, | 0:18:55 | 0:18:57 | |
you have to be some sort of alien manifestation. | 0:18:57 | 0:19:00 | |
Whoooh. And why's that, then? | 0:19:00 | 0:19:02 | |
Because, on Earth, women in paintings | 0:19:02 | 0:19:04 | |
don't just jump out of their frames. | 0:19:04 | 0:19:05 | |
And nick guns from someone's painting. | 0:19:05 | 0:19:08 | |
Do you know how long that took me to paint? | 0:19:08 | 0:19:10 | |
SHE SHIVERS | 0:19:10 | 0:19:11 | |
Not bad. Not in my league, of course. | 0:19:17 | 0:19:21 | |
But then Leo was a bit of a ledge even back then. | 0:19:21 | 0:19:25 | |
Although he had to blag the oils off his weirdo neighbour to paint me. | 0:19:25 | 0:19:30 | |
OK. Say that's true. Now you're out of your frame, what is it you want? | 0:19:30 | 0:19:34 | |
I've just had five centuries hanging on a wall, sugar. | 0:19:34 | 0:19:38 | |
What is it you think I want? | 0:19:38 | 0:19:40 | |
It's time I had a bit of fun. | 0:19:40 | 0:19:44 | |
-And I think I'll start with some target practice. -Run for it! | 0:19:45 | 0:19:49 | |
So it's just you and me now, Harders. | 0:19:57 | 0:20:01 | |
Sonic Scarlet, | 0:20:09 | 0:20:11 | |
my favourite shade. | 0:20:11 | 0:20:13 | |
Oh, boy. That's it... now I have seen everything. | 0:20:15 | 0:20:18 | |
We so have to get hold of Sarah Jane. And I mean now. | 0:20:18 | 0:20:21 | |
-No. -What's got in to you? | 0:20:21 | 0:20:23 | |
Why are you being so weird about your mum? | 0:20:23 | 0:20:26 | |
Luke and Sarah Jane have had a barney....Rani. | 0:20:26 | 0:20:29 | |
Never mind that. Where is everyone? | 0:20:29 | 0:20:31 | |
On the coach. My dad'll be going mental by now. | 0:20:31 | 0:20:34 | |
What about the police. Forensics should be | 0:20:34 | 0:20:36 | |
crawling all over this place. | 0:20:36 | 0:20:38 | |
Something's wrong. | 0:20:38 | 0:20:41 | |
It is. | 0:20:41 | 0:20:43 | |
So very, very wrong. | 0:20:43 | 0:20:46 | |
A whole new kind of wrong. | 0:20:58 | 0:21:01 | |
Mia Bella! | 0:21:04 | 0:21:06 | |
Is it... | 0:21:09 | 0:21:11 | |
is it really you? | 0:21:11 | 0:21:13 | |
Oh, go on then, touch me. | 0:21:13 | 0:21:16 | |
I know you want to. | 0:21:16 | 0:21:17 | |
I've seen the way you look at me. | 0:21:17 | 0:21:20 | |
-I remember when you came to the Louvre. -The Louvre? | 0:21:20 | 0:21:25 | |
Actually, every time you came. | 0:21:25 | 0:21:28 | |
Twenty seconds, that's all anyone gets to see me | 0:21:28 | 0:21:32 | |
and then, move along s'il vous plait. | 0:21:32 | 0:21:34 | |
You always put up quite a struggle. | 0:21:34 | 0:21:37 | |
It's a shame they had to ban you in the end. | 0:21:37 | 0:21:40 | |
It is you! | 0:21:41 | 0:21:44 | |
It really is you! | 0:21:44 | 0:21:46 | |
And you are going to have to get used to that | 0:21:46 | 0:21:49 | |
because we've got a lot of work to do. | 0:21:49 | 0:21:51 | |
I don't understand. | 0:21:51 | 0:21:53 | |
We have to find my brother. | 0:21:53 | 0:21:57 | |
Definite traces of alien energy. | 0:21:58 | 0:22:01 | |
Two of them. | 0:22:05 | 0:22:06 | |
He's here somewhere... | 0:22:10 | 0:22:13 | |
I know he is. | 0:22:13 | 0:22:15 | |
But there's nothing to suggest in any academic work | 0:22:15 | 0:22:18 | |
that you had a brother. | 0:22:18 | 0:22:20 | |
Not had, Harders, have. | 0:22:20 | 0:22:24 | |
And he's here somewhere amongst this tat just waiting for me. | 0:22:24 | 0:22:30 | |
You mean another painting. | 0:22:30 | 0:22:33 | |
Yes, I can see how you got the job here, Harders. | 0:22:35 | 0:22:38 | |
And that's why I need you. | 0:22:38 | 0:22:40 | |
You know every brush stroke in this place. | 0:22:40 | 0:22:43 | |
Well, what does he look like, your brother? | 0:22:45 | 0:22:47 | |
I've never seen him so I haven't got a clue. | 0:22:50 | 0:22:53 | |
But he'll have been painted around the same time as me, | 0:22:53 | 0:22:56 | |
the same place as me. | 0:22:56 | 0:22:58 | |
-Next door, in fact. -I've got it! | 0:22:58 | 0:23:03 | |
Follow me! | 0:23:03 | 0:23:04 | |
-Oh, it's locked. -We have to find a phone. | 0:23:11 | 0:23:14 | |
I don't care what you say, Luke, | 0:23:14 | 0:23:15 | |
what's happened to those people is beyond freaky. | 0:23:15 | 0:23:18 | |
We're calling your mum. | 0:23:18 | 0:23:19 | |
I don't think there's any need. | 0:23:19 | 0:23:21 | |
Her car's here. | 0:23:23 | 0:23:25 | |
Residual alien energy. | 0:23:30 | 0:23:32 | |
But if this is, or was, a painting by Leonardo, | 0:23:32 | 0:23:35 | |
how is that possible? | 0:23:35 | 0:23:38 | |
Do you know, Phyllis? | 0:23:38 | 0:23:40 | |
I know you can hear me, even though you can't answer. | 0:23:40 | 0:23:43 | |
I promise you, I'm going to get you out of there. | 0:23:43 | 0:23:45 | |
If he was painted at the same time as you, his has to be him. | 0:23:48 | 0:23:51 | |
Has to be. | 0:23:54 | 0:23:56 | |
Not only a contemporary of Leonardo, but a neighbour in Florence. | 0:23:56 | 0:24:00 | |
-Him? He's not much of a looker, is he? -Giuseppe Di Cattivo. | 0:24:04 | 0:24:08 | |
1450 to 1518, whose work is often compared to his more | 0:24:08 | 0:24:12 | |
famous contemporary Hieronymus Bosch. | 0:24:12 | 0:24:15 | |
Poor Giuseppe | 0:24:15 | 0:24:16 | |
he died in a lunatic asylum. | 0:24:16 | 0:24:19 | |
No... no, this isn't him. But... | 0:24:23 | 0:24:27 | |
Come out, come out, whoever you are! | 0:24:31 | 0:24:34 | |
I can hear you breathing! | 0:24:36 | 0:24:39 | |
Who would've thought a painting would have such good hearing, | 0:24:40 | 0:24:44 | |
Mona Lisa? But then Leonardo was such a stickler for detail. | 0:24:44 | 0:24:48 | |
On the subject of detail... | 0:24:48 | 0:24:51 | |
mind filling in the obvious blank? | 0:24:51 | 0:24:53 | |
My name is Sarah Jane Smith. And that is a Sontaran blaster, | 0:24:53 | 0:24:56 | |
do you mind telling me where you got it? | 0:24:56 | 0:24:59 | |
Oooh, I just took it from the painting | 0:24:59 | 0:25:01 | |
that lad Clyde did, cos I thought it looked a little bit flash. | 0:25:01 | 0:25:04 | |
Oh, Clyde. You'd better not have harmed him or his friends! | 0:25:04 | 0:25:07 | |
Oh, no, don't concern yourself. They're perfectly safe. | 0:25:07 | 0:25:10 | |
I'm Lionel Harding curator of the museum. | 0:25:10 | 0:25:13 | |
Mr Harding, whatever is happening here, don't worry. I can help you. | 0:25:13 | 0:25:17 | |
Thank you, I'm not sure I need it. | 0:25:17 | 0:25:20 | |
Ah, you see Harders here, he's my number one fan. | 0:25:20 | 0:25:24 | |
Listen to me, she is dangerous. Look what she did to Miss Trupp. | 0:25:24 | 0:25:27 | |
Now you don't want to worry about that old trout do you Harders? | 0:25:29 | 0:25:33 | |
I mean, you never did before, did you? | 0:25:33 | 0:25:35 | |
And, let's face it, she never was an oil painting. | 0:25:35 | 0:25:39 | |
At least not till now! | 0:25:39 | 0:25:41 | |
Release her. Now! | 0:25:43 | 0:25:45 | |
Oooh, I might think about it. | 0:25:45 | 0:25:47 | |
Depends if you stay out of my way. | 0:25:47 | 0:25:49 | |
Sarah Jane Smith? | 0:25:49 | 0:25:51 | |
Sarah Jane, | 0:25:51 | 0:25:55 | |
where do I know that name? | 0:25:55 | 0:25:56 | |
Oh! oohh that Sarah Jane. | 0:25:59 | 0:26:04 | |
Seems like no-one wants you around, Sazza. Not even your son. | 0:26:04 | 0:26:09 | |
-What? -Hmmm, heard him talking before... | 0:26:09 | 0:26:13 | |
he'd like you to keep your nose out. And so would I. | 0:26:13 | 0:26:16 | |
I'm sorry, whatever you're planning I am not stepping aside. | 0:26:16 | 0:26:19 | |
-That's your choice. -No, Mia Bella! | 0:26:19 | 0:26:21 | |
DEEP GROWLING | 0:26:21 | 0:26:23 | |
-What is that? -That is my brother. | 0:26:29 | 0:26:33 | |
Is it me, or did things just get uncomfortable? | 0:26:33 | 0:26:36 | |
What's going on? | 0:26:43 | 0:26:45 | |
Well, give me a second, and I'll put you in the picture. | 0:26:46 | 0:26:49 | |
No. | 0:26:50 | 0:26:52 | |
That's Mum!! | 0:26:52 | 0:26:54 | |
-Sarah Jane? -Mum? | 0:27:01 | 0:27:03 | |
Luke? | 0:27:04 | 0:27:05 | |
I've found her. | 0:27:06 | 0:27:08 | |
No, Mum! | 0:27:12 | 0:27:14 | |
EVIL LAUGHING | 0:27:19 | 0:27:21 | |
And that is how she'll stay... | 0:27:21 | 0:27:23 | |
..forever! | 0:27:24 | 0:27:26 | |
Run! | 0:27:35 | 0:27:37 | |
I have not been released from wood and paint to be trapped in here. | 0:27:37 | 0:27:42 | |
A legend, a painting too terrifying to be exhibited. | 0:27:42 | 0:27:45 | |
Once we are united your reign of fire and sulphur shall begin | 0:27:45 | 0:27:49 | |
and the world will be a rage of flames at our feet. | 0:27:49 | 0:27:54 | |
Subtitles by Red Bee Media Ltd | 0:28:10 | 0:28:13 | |
E-mail [email protected] | 0:28:13 | 0:28:16 |