A small crowd wearing desert outfits sit watching them, holding photographs of landmine victims. The men beg for mercy and confess to supplying arms to the IRA, ETA, and Darfur combatants. Marconi and De Fenouillet fall and discover that the grenade and mine are not armed. The small audience is revealed to be Bazil and his friends in disguise, who have been recording the event with a video camera. In a flashback inspired by Brian De Palma's "Mission Impossible", we see that Bazil and his friends simulated the entire plane flight with various sound effects, and the desert setting is simply a clearing in a Paris suburb. Bazil and Calculator upload their video to YouTube, and Marconi and De Fenouillet are publicly disgraced. Bazil and Elastic Girl become a couple. Jean-Pierre Jeunet originally wrote the character of Bazil for Jamel Debbouze, but Debbouze left the project after three weeks, citing artistic and financial disagreements. The role was later given to Dany Boon. Jeunet toured arms manufacturing plants in Belgium for research when developing the film. Some dialogue was taken directly from interviews from arms dealers. The sabotaged machine in De Fenouillet's factory was modeled exactly after an actual machine in a plant which Jeunet visited. The film was shot in several locations in and around Paris including the exterior of the Musée d'Orsay and the Crimée bridge on the Canal de l'Ourcq, where the Marcel Carné's 1946 film "Gates of the Night" was shot. Jeunet also filmed in several train stations, including Gare de Lyon, Gare Saint-Lazare, and the Charles De Gaulle airport train station. Though the film contains no obvious special effects sequences, digital color manipulation is used throughout, and specific digital manipulations were used on about 350 shots. These manipulations often involved removing people and objects in backgrounds of scenes shot on Paris streets. The closeup of Dany Boon's face during Marconi's speech was out of focus when shot, but his performance was so good that Jeunet decided to digitally focus the face rather than reshooting. De Fenouillet's first appearance in his office was constructed entirely in post production from footage filmed for a different scene. Bazil, Buster, and Slammer were digitally removed from the frame, and De Fenouillet was given dialogue whose audio would synchronize exactly with the original lines filmed. The character of Elastic Girl performs several contortions on screen which were not digital effects.