(INAUDlBLE MUSlC AND CHATTERING)
(INAUDlBLE DlALOGUE
(INAUDlBLE DlALOGUE)
(MARTIN) l've got a surprise for you.
- (ALLIE) Really? What's this in aid of? - Just saw it, it made me think of you.
(ALLlE) That must have cost you a fortune.
I got it cheap, it was going out of season.
(CHUCKLES) Well, thank you.
(MELLOW ROCK MUSIC PLAYlNG OVER SPEAKERS)
Thanks.
I love it.
I've got a surprise for you too.
Me. You. A midnight screening of The Hills Have Eyes II.
What? Tonight?
Yeah! lt's Wes Craven.
I mean, pre Elm Street, and so I have to admit it's an acquired taste.
All right. OK, yeah, you're really selling it to me.
Come on, aren't you up for it?
- Of course l am. - Mm. I meant the film.
Look, it'll be fun.
Yeah? So will the other thing.
You know what they say, being scared can actually be a turn-on.
- So, you never know. - Ahh. Really?
(SIGHS)
(MAN SPEAKING lNAUDIBLY OVER SPEAKERS)
Where's Stuart?
I don't know.
Stuart, come in.
Pick up, Stuart.
- Yes? - Where are you?
Break room.
You can go. Anthony will do the clean up tonight.
I'd rather stay.
You've had a longer shift.
I'm quite sure Anthony's got more places to be than I do.
You'd have to stay for the midnight special.
Right, fine.
l noticed Screen 3 is running the wrong aspect.
Again. (CHUCKLES)
You do know what an aspect--?
Of course I bloody know what aspect is, it just doesn't matter.
How doesn't it?
Look, someone will come to fix it.
So in the mean time we continue to project a film in a substandard way?
Nobody has complained. Except you.
l'll fix it.
You're not allowed up there. We've had this conversation.
Head office only allows trained staff to use the projectors.
You refused the training.
I don't need a certificate to show I can push one bloody button.
Stuart. Are we gonna have a problem tonight?
No, no problem.
(CHUCKLlNG)
Huh. Weird, l took you for more of a Justin Bieber kind of girl.
Sod off!
- What, another boyfriend? - Oh, are you my boyfriend now?
(MOCKING ALLlE) Oh, are you my boyfriend now?
Come on, we're going to be late.
Oh! Whoa, sorry, dude.
- You all right? - Tickets please.
- Oh. You got the tickets? - No. l gave you the--
- (MARTlN) Sorry again, dude. - (ALLIE CHUCKLES)
(MARTIN) Come on! Quick, quick, quick!
Hello?
Excuse me.
Hello?
(CLEARS THROAT) So sorry. How may l serve you?
Oh. Um... Pbbt.
Popcorn? Small?
Mm. You know l like it large.
(ALLlE CHUCKLES)
Here at Midnight Cinema we're offering a large drink special for a pound extra.
- Would you care to upgrade? - (ALLIE) Yeah, OK.
So, what's this film actually about then?
OK, well, survival, revenge, primal fears.
All right, and big breasted women running towards the camera.
(MARTIN) l've not been scared by a movie since l watched Candyman.
(SCOFFS) Yeah, yeah.
They're so cheesy, and you always guess how they're gonna end.
(ALLlE) But it's not just about the end.
(MARTIN) Fine, the beginning and middle. They're the same.
No, people just like to be scared.
I bet they freak you out just like everyone else.
(STUART) Which drink then?
- (ALLIE) Um, lemonade, please. - Right.
Hollywood just churn out these formulaic, predictable, cheap movies.
And they make copies of each other.
It's like when you photocopy the same picture over again.
- The quality just gets worse. - (ALLIE) When did you last photocopy?
- That's not the point. - Would you mind just having a taste?
- The pumps are playing up a bit. - Sure.
Wouldn't want you to have to come back.
Mm. Yeah, you're right, that does taste funny.
I do apologise.
It's fine. We'll just leave it, thanks.
Cool, thanks, mate.
Are you coming?
Whoa, whoa, whoa, hold your horses. My change.
- Oh, wow, macho and cheap. - Thanks, mate.
You are quite a catch.
(MARTIN) So is it like an instant turn-on or a slow burner?
(ALLlE) Well, maybe you'll find out.
(MARTIN) Hmm.
So, what seat numbers are we?
Funny.
Ah, you just keep those hands to yourself.
(MAN 1 ONSCREEN) Stop the train. (MAN 2) We're in the middle of a tunnel.
(MAN 1 ) This train terminates here.
Manager to Stuart. Come in.
Pick up, Stuart.
Oi!
I know you can hear me, pick up.
Stuart!
Did you close down the ladies--?
That fucking guy.
(GRUNTlNG)
Here we go.
(YELLlNG ONSCREEN)
(DRAMATlC ORCHESTRAL MUSIC PLAYlNG ONSCREEN)
(CLlVE) Stuart!
Out! You're not allowed in here anymore.
I corrected the aspect on your Screen 3.
I told you not to touch anything.
You need to start fucking listening to me!
You to me!
I've spent longer in projection than you've had hot meals.
I'm not about to take some course attended by spotty teenagers
in how to fix the aspect ratio.
Nobody gives a shit how the film is shown.
Everything's digital these days, kids want realism.
And that's just what they're going to get.
- Look, l'm sorry that this happened-- - No, you're not.
No, this is just a job to you.
This was my life.
(CAMERA WHlRRS)
What's with the camera?
(CHUCKLES)
Stop it.
(DOG BARKlNG ON SCREEN)
I will not serve another Combo Special Number 3
at a venue managed by inept adolescents.
Nor will l clean up after a bunch of animals that show me no respect!
That's it, Stuart, you're fired.
I quit. Quit.
You can't quit. You have to wait at least six months before l retire you.
No.
Sorry.
I'm done.
Shh!
(MUTTERS)
(CLlVE & STUART GRUNT)
Get off me! Stuart.
What are you doing?
(MUFFLED GRUNTlNG)
(MARTIN) Why are the lights on?
It's about time.
(BOY SPEAKlNG INDlSTlNCTLY ONSCREEN)
That was to shut you up.
Did l mention how much l hate horror movies?
(MARTIN) Was that it?
(ALLlE) You wish.
(MARTIN MOANlNG)
(RlNGING ONSCREEN)
(ALLlE) Come on!
Oh, man, my ears are ringing.
(RlNGING CONTlNUES)
You OK?
I think so, just one too many cocktails I guess.
I'll be fine.
Where is everyone?
- Martin, let's-- - Hang on, we deserve a refund.
Let's just go! (GROANS)
You all right? You don't look so good.
Thanks.
Want me to get you anything?
Just gonna find that bathroom.
Do you want me to come with you?
All right, I'll just go and look for someone then.
Hello?
(SIGHS)
(KNOCK ON DOOR)
(MARTIN) Allie?
Al?
You all right?
Allie?
(LlNE RlNGING)
Come on.
(ALLlE ON MACHlNE) This is Allie. Sorry I can't come to the phone right now but--
(PHONE BEEPS)
(LlNE RlNGING)
Hi, this is Allie. l'm sorry l can't come--
(MARTIN) Come on, come on.
(ALLlE) Hi, this is Allie. I'm sorry I can't come to the--
(MARTIN) What is this?
(CHUCKLES) OK, very good, you got me!
Game's over!
(GRUNTS)
(INAUDlBLE DlALOGUE ONSCREEN)
So come on, then.
Where is she? Huh?
Where is she?
OK, fine.
There. lt's done.
(PHONE CHlMlNG)
Whoa! OK! OK! OK! Fine! Fine! I'll do it this time!
Fine! Yeah! l've done it now, OK? Are you happy?
So! Now what?
(RlNGING ONSCREEN)
OK, OK, fine, fine, fine! Fine!
Why are you doing this?
(PANTING)
Very fucking funny.
(YELLS)
Fuck!
(STUART) Good morning.
Now, now, take a moment.
I read on the internet somewhere that it takes a bit of time to...
...acclimate.
Stuart?
Yes, Mr Russell? That's what l'm supposed to call you, right?
Proper etiquette and all that.
Untie me, please.
Let me go.
Uh, I won't tell anyone.
Perfect dialogue.
I didn't actually think someone would say that in real life.
So, we are making a film.
Do you enjoy the movies, Mr Russell?
I'm sorry I fired you, please.
You didn't fire me, l quit.
You must be confused.
What are you doing?
You see, every horror film needs a victim.
Please.
In my day, horror was all about what you didn't see. Now, that was scary.
These days, they feel compelled to see everything.
Every movie seems to be about one-upmanship.
The next death's got to be gorier, it's got to be more violent, more shocking.
More inventive than the previous.
Torture porn, I believe they call it.
I don't much care for that.
It's not scary, it's rather sick.
But l digress.
So, Mr Russell, this is what I came up with.
You see, we must give the audience what they want.
(GAGGING)
Don't take this personally, Mr Russell.
There, l think we've got enough of that. (CHUCKLES)
Cheers for being such a good sport.
This should look fantastic in the edit.
(GROANS)
(GRUNTS) Come on!
Where is she?
How am l supposed to play your sick little game...?
Come on, dickhead, direct me!
Oi! Stop!
- (CLlVE) Don't shoot! - What have you done with her?
I don't know what you're--
Please. Look, I'm not the guy you want, OK? He tried to kill me.
Shut up! Where is she?
OK, look at my neck, OK? You see these cuts? He did this to me.
Stop lying! Just let us out of here, please!
You're the one holding the gun.
You gave this to me! Just please, just stop. Stop with this act!
Please, you're not making any sense.
(MARTIN GRUNTS)
I bet this looking real good for your perverted little film, isn't it?
A guy with a gun, will he shoot him? Won't he?
I bet this gun doesn't even have a bullet in it.
You wouldn't give a real gun, would you?
I mean, what if l did shoot you? Right now.
Where would that leave you?
Huh?
You know what, I'll play along. Yeah?
- l don't even think any of this is real. - Please.
You don't think I'll do it.
I'll pull this trigger and your whole game will be up!
Look, l'm not the guy you think l am.
His name is Stuart, he's the projectionist. Was.
He's the one doing this.
- Bravo. Real tears and everything. - Please.
You have to believe me, I have no idea.
(BEETHOVEN'S MOONLlGHT SONATA OVER PHONE)
You are a fucking liar!
(GUNSHOT)
(SIGHS)
(PANTING)
You sick fuck.
No. No.
How about l phone the police, huh?
How will that factor into your sick little plot?
Fuck!
I don't know.
No, don't make me do that.
Why?
(WHIRRlNG lN DlSTANCE)
(ALARM RlNGlNG)
(MONITOR CHlMlNG)
Help! Help! Anyone please?
Help! Help! Help! Anyone?
Help! Please! Help!
Anyone please help!
(ALARM TURNS OFF)
(PANTS)
Allie? Al. Allie, wake up.
Allie.
Allie?
Allie, wake up, Allie.
Allie!
Allie, come on, get up.
Come on, come on.
(STUART) I do hope you've not broken it.
Took me ages to save for this.
Bet you wish you had a second bullet now!
Don't you, killer?
- Could you just do that last bit again? - What?
You need help, you killed someone.
- You killed someone, I just captured it. - lt was your fault!
Oh. Now, now, grow up.
All good villains take responsibility for their actions.
Look, l'm not the villain here.
Lovely, more great dialogue.
I'm so pleased I cast you.
- Why me? - Why not?
I watch people.
I've spent years looking down on them,
observing what makes them laugh and cry,
be shocked or scared. And I realised l required a couple.
Well. you looked like perfect leading man material, and her,
well, she's the girl next door. Got to have something to fight for, right?
Presto! (CHUCKLES)
We've got a film.
Look, this isn't some game! This is my life you're fucking with!
I know, that's why l want to give the people the film they crave.
You're just a sad old man, with a shitty little camera.
I'm not some amateur, Martin.
I've projected films for over 25 years, and if l can no longer show them,
then l might as well learn how to make them!
You know what l learned?
I learnt that these days, you've got to have an angle.
I decided that l was going to make a horror film using real people.
No one's done that before, you're going to be famous, we all are.
Who's going to watch a film that someone died making?
Bruce Lee, Enter the Dragon.
Brandon Lee, The Crow.
And what about those children that were decapitated by the helicopter
in that Twilight zone movie, what about that then?
Guess what. They were accidents.
Well, so could this be if l edit it differently.
So come on then, how does this end?
- What do you mean? - You're the filmmaker.
You must know how it ends.
Of course I do. And why would l tell you?
You should never spoil the ending, never.
(CLEARS THROAT) Now, Martin, isn't it?
Martin, we're between takes here.
Tell us, how's it going?
What the fuck is this?
How's it going?
This is for the special features.
DVD, extras and such.
It's an interview.
Martin, we're not done here.
Martin?
(STUART RAPPING ON DOOR)
Martin?
Martin!
(MARTIN GRUNTS)
- Where's Martin? - l'm right here.
- How you feeling? - My head.
- Look, we've just got a few more steps. - lt hurts.
Come on, come on. Come on, you can do it, get up.
Ready?
There we go, OK, right. You ready?
(GUNSHOT ONSCREEN)
(GLASS SHATTERS ONSCREEN)
(GUNSHOT THEN GLASS SHATTERS ONSCREEN)
Please, don't kill me.
Please, don't kill me!
Please don't kill me!
Please, don't kill me.
(STUART ON PLAYBACK) Please, don't kill me.
(GUNSHOT ONSCREEN)
Please, don't kill me.
(REPEATED SOUND OF GUNSHOT THEN GLASS SHATTERS ONSCREEN)
(ALLlE GROANS)
(ALLlE) l don't feel too well.
Just step over here, OK?
- Wait, what are you doing? - Hurry up.
Why are we in here?
We came to watch a film, remember?
Oh, no, l'm sorry, have I ruined our date?
No. It's really important we leave right now.
- l'll explain when we get home. - Stop rushing me.
- Come on, hurry up. - Hang on, I'm going to be sick.
(VOMlTING)
(GATE OPENING)
Al?
- Al? - Give me a minute.
- l'll be right back! - Where are you going?
Let's cut to the chase, shall we?
(MARTIN) Allie?
- Al? - Yeah, what's wrong?
- We need to leave right now! - l'm almost done.
The shutters are closing, l haven't got time to explain. Come on!
You're scaring me. What are you doing?
- Come on! - You're acting crazy!
Allie, come on!
Let's leave, quick! Quick, quick, quick!
Shit!
What's wrong? Don't they know we're in here?
What's going on?
Hey.
Talk to me, please.
We're never getting out of here.
(SOBS)
Here. It's OK, it's just a mistake.
Someone will see us on the cameras.
Someone can.
Look on the bright side, if we get stuck in here all night,
we can gorge ourselves on vending machine chocolate and fizzy drinks.
Hey.
I was only joking.
(SOBBlNG)
I thought I'd lost you.
What's this?
- l've done something. - What?
It's something terrible.
Why have you got all this money?
I don't want-- He made me take it.
- What? You mean you stole this? - Yes! No!
I was trying to find you.
(STUART) "Don't you know there's a psycho killer running amuck?"
"No, l don't trust you."
"l'm on your side."
"My side? No, you're lying."
Why can't l remember anything since then?
I don't know, I went to come and find you and...
Look, listen. There's this guy, he's got a camera.
He's watching us, he's locked us in here.
What guy?
The bald man, the old guy. He served us popcorn.
- OK, well, he'll let us out. - No! Allie, don't!
I'm just going to find someone.
- There's no one. - You said there was!
Yes, l know, but--
(STUART) "You've hurt me again."
"l'm so sorry. Come with me, I'll rescue you."
- This isn't you! - This isn't my fault!
- Please, tell me the truth. - You were drugged!
What?
You were drugged, I came to find you and you were unconscious. l--
But why would you assume. ..?
- You think l--? - Fucking coward!
Allie! Allie! Please don't go in there!
Allie, Allie, please let me in! Allie, open up!
Allie, please, come on!
Allie, come on, you know l'd never hurt you.
Don't you fucking lie to me! You just couldn't wait, could you?
You couldn't wait!
So you drugged me, and then what?
Where did you take me?
Did you drag me upstairs? Did you take my clothes off first?
Did it turn you on that I couldn't do anything? That I was lying there?
Well?
How was it?
Was it worth it?
Was l any good?
(SOBBlNG)
I'm going to fucking kill him. I'm going to fucking kill you!
(INAUDlBLE DlALOGUE)
(MUMBLlNG)
Please, do not hurt her again.
(MARTIN) Allie, Allie, this. This is the guy.
(STUART) I saw what you did. I've called the police.
- What? - They'll be here soon.
If that girl can hear me, help is on its way.
Allie! Allie, no, no, no, Allie! This is him, this is all him!
- l don't know what I could have done. - Listen! He is lying!
I think he killed my friend.
My friend too.
You're safe in there, just stay where you are. And you...
Allie, let me in and I'll explain everything.
Don't make things worse for yourself. Leave her alone.
Allie! Please just let me in, I can explain all this!
Allie! Please? Allie!
Allie! Open up!
Allie, open up!
Allie!
- Stay back! - Allie, you're bleeding.
Is it true? Did you kill someone?
Look, it was an accident.
Get away from the door.
- Please. You've got to believe me. - Move!
Look, l'm not going anywhere. You'll have to stab me first, please trust me!
- (STUART) There, there. Come on. - Who are you?
I'm Stuart, remember? We met earlier.
Did you hear my voice? Over the speakers?
Yes.
The police, are they on their way?
Right, yes.
Did he really kill your friend?
Listen, l've got a place for us to hide.
All right? You're safe now.
(ALLlE GROANS)
Here, for your cuts.
You want to put pressure on that.
I've got a first-aid kit upstairs.
Is he dead?
Dear me, l hope not.
This way.
I'm sorry, sorry.
I'm going to take you to the back office, you'll be safe there.
But, um, uh...
- Allie. - Allie, right. Allie, Allie.
Allie, before we cross the lobby, I must warn you,
do not look in the direction of the counter.
Why?
My friend, he's still there, and, well, trust me, it's not very pretty.
You'll be able to see it.
And I promise you, it is not something you want to see.
OK.
Right then, ready?
All right.
Just keep looking away.
No, no furtive glances.
Almost there.
Lift's just through here.
Sorry.
(ALLlE SOBS)
It's all right.
He did that?
Everything's going to be all right.
I've never seen him...
(STUART) Now, now, now, there, there.
Try not to think about it.
Come.
Let's get you somewhere nice and safe.
Don't worry, he can't get to us up here.
Ouch. This could hurt a bit.
How long have you been serving popcorn for? Aah!
Oh, sorry.
I'm the projectionist here, you see.
Well, was.
Now they've got me shovelling popcorn until l'm able to retire.
I'm just a relic, from a bygone era.
I saw what your boyfriend did to you.
You watched?
I didn't actually see anything.
Did he really kill someone?
Clive, my boss.
My mate.
I shall miss the banter between us.
Your boyfriend.. .
Your boyfriend will pay for that.
Please, please, don't call him that.
I need to see that tape.
(GROANS)
I don't think you should see this.
No, just play it please.
Why can't l hear anything?
No sound. Privacy law, l imagine.
Oh, God. Sorry you had to see that again.
It's all right.
I should have done something.
Stopped him.
What could you have done?
It wasn't your fault.
(PANTING)
He's awake.
(STUART) Oh, no worries. He can't get us up here.
- You called the police, right? - Of course.
- Did you tell them about your friend--? - l told them everything.
Then where are they?
Quite right, perhaps you should call them this time. I'll keep an eye on him.
Phone's down the corridor, third door on the left.
And be sure to mention that he's got a gun and he shot someone.
- OK. - And, Allie.
It's important that you tell them that.
Key's on the table.
Fuck!
Where--?
(INAUDlBLE DlALOGUE)
(RlNGING ON SCREENS)
Look, l don't understand what you mean.
Fuck, just tell me what is going on?
(LlNE RlNGS)
Yeah, police please, it's urgent!
(MAN OVER DISPATCH) Hello, what's the emergency?
We're trapped, and there's-- We can't get out and I don't know where he is.
He has a gun and he's shot someone.
Who's been shot?
I don't know him, but he's dead.
Are you hurt?
Hello? Hello? Are you injured in any way? Hello? Hello?
Um, please help us.
Your address is on our screen, emergency personnel are on their way.
- Man with the gun, do you know him? - Yes.
(BUlLDlNG POWERS DOWN)
Hello?
What happened?
- He must have cut the power. - Why?
Don't know, I'm not the killer. (CHUCKLES)
- Did you manage to get through? - Are you sure we're safe?
Absolutely positive.
(GAGS)
Why don't we make a break for it?
You know this place. You could get us past, we can make it outside.
- l don't think so. - Why?
Well, we're safe here.
We don't know where he is, plus we're trapped.
With the power out, I don't know how we could get through those shutters.
(THUMPS)
What was that?
Maybe it's the power trying to come back on.
(POLICE CHATTERING INDlSTlNCTLY)
Come on, come on.
(SIRENS WAlLlNG)
(MAN 1 OVER RADIO) Blue team, go.
(POLICE CHATTERING OVER RADlO)
(MAN 2) Sir, you're gonna want to see this. We've found a body.
It's him.
It can't be.
Look, we need to go, now!
Come on!
Just let me get my keys.
Quickly.
Oh, the keys.
Come on!
(MARTIN) Allie! Wait!
(COLLlNS) Poor kid.
OK, listen up, we have a body, we need to make sure all exits are secure.
The suspect is possibly armed, but he is most certainly still inside this building.
And somebody, find me that footage.
Come on.
Oh, my God!
(MARTIN) Allie, please let me in.
Allie, trust me! He's not who he says he is! Please, let me in!
He tricked me, I was trying to protect you!
- Don't listen to him! Look, get the keys. - Let me in! Come on!
I don't believe you! l know what you did, I've seen the tapes!
- Allie, the keys! Do it! - What about you?
Please, Allie, let me in!
Allie, he's tricked me, I was trying to protect you, just please let me in!
It says roof on it. Take it off the ring!
Down the corridor, there's a roof access.
Aren't you coming?
No, you just make sure you leave that roof open, I'll see you up there.
(GROANS)
So looks like it's just the two of us now, hey, Martin?
Good vs. evil, right vs. wrong. (CHUCKLES)
Oh, I do love this part of a movie.
(MARTIN) The police will be here any second.
(STUART) And who do you think killed him?
I'm getting the impression you don't know this is all part of the plot, Martin.
We called them exactly 1 3 minutes ago.
Pretty standard rapid response time when you select a few key phrases.
And that poor little Allie, all alone on the roof.
She's got not idea that in three minutes, someone else will be killed.
- Stuart, it's open! - Where are your camera's now, eh?
Powers out! Looks like you won't get to finish your film!
I'm not stupid, Martin! Of course the cameras are recording.
We couldn't let all this drama not be captured, could we?
Not when l'm about to win!
You'll never win.
Have you not figured it out yet? I'm the hero, Martin.
You're the villain.
Hero always gets the girl.
He always wins. It's classic storytelling. It's a fact!
Stuart, come on!
Please listen to me? I'm begging you, don't hurt her.
Such sincerity.
Best line yet, Martin.
(WHISPERS) Approaching the projection room now.
And now we have reached the third act.
I'm so excited.
What are you doing?
I'm giving you one final chance.
(GUNSHOTS)
(COLLlNS) Shots fired, repeat, shots fired.
No tricks here, Martin.
Oops.
(COLLlNS) Armed police!
Put down your weapon!
Suspect is armed and is making his way to the roof.
Jeans, blue shirt, all units move in. Repeat, all units move in.
Stop! Tell me why l shouldn't shoot you right now.
Martin, please.
Allie, why don't you believe me?
(MAN 3) Drop the weapon!
Please! Please don't shoot!
He planned all of this! Why don't you get him? I'm trying to protect her!
(COLLlNS) Hold your fire!
Now, we can figure this out.
Nobody is going to shoot anybody.
Please, just don't let him get away with this.
Just lower your gun, son.
(WATCH BEEPS)
I can't let him win.
(POLICE SlRENS WAlLING)
I said, hold your fire!
There, there.
It's all over now.
(AMBULANCE SIRENS WAlLlNG)
(COLLlNS) And you made the 999 call?
(STUART) No, Allie did.
(COLLlNS) And where were you?
(STUART) l was watching the monitors and keeping an eye on where he was.
(COLLlNS) And that's when the power went out?
(STUART) So many questions.
He almost killed us, you know.
(COLLlNS) I just need to know the facts.
Martin Watts. Did you know him?
(STUART) Not personally.
I think I might have seen him around the cinema a few times.
(COLLlNS) When did you first see him tonight?
(STUART) Let's see, I served him some popcorn,
and then I saw what he did to that man.
He shot him.
I think he wanted to rob the place, so I hid.
(COLLlNS) The manager, Mr Russell. Was he a friend of yours?
(STUART) He was my superior.
Why did you leave the back office, Mr Lloyd?
I saw him trying to attack the girl.
She's lucky you were feeling brave.
You're a hero, Stuart.
Looks like you saved her.
Oh, um, just one more thing.
Why did Martin think that he had to protect her?
- Sorry? - From you.
He said, "please don't let him get away with it."
Do you know what he was referring to?
Got no idea.
- (CLEARS THROAT) - Show me.
It's cueing up.
Popcorn?
I don't think so.
Stop there.
There, play it.
(JAMIE) This guy is sick.
Rewind it.
Play it from there.
What's he saying?
(JAMIE) lt's just video here, boss, there's no sound.
Who's he talking to?
Do you think he had an accomplice?
Maybe.
Hello.
Oh, so sorry, l-- I didn't mean to frighten you.
You all right then?
I can't believe he's. ..
Well, better him than us, right?
OK, rewind this to the beginning of the shift.
What are you looking for?
I don't know.
I won't know until I find it.
- The devil, my friend-- - ls always in the detail.
I know, I know.
What did the police want? (CHUCKLES)
(ALLlE) l just told them everything. Everything l could remember anyway.
Look, l wanted to thank you.
Oh, not necessary.
No, you could have done nothing.
I mean, most people would.
So thank you for doing something.
Well, you're quite welcome.
Well, then.
See you around.
(COLLlNS) What is it?
(JAMIE) It's like software you make films with.
(COLLlNS) Can we watch it?
(JAMIE) Well, someone was working on something,
- but all the footage isn't here. - So where is it?
External hard drive maybe?
I mean, this programme basically links video files together.
But without the actual files, we can't see anything.
Shall I have it returned?
No. No, you're all right.
I'll do that.
Mr Lloyd, l thought you'd like this back.
Oh, thank you.
Filmmaker, eh?
I'm sure this must be good research for the film you're working on.
Don't they tell you to write what you know?
(STUART) I'm afraid you've lost me. (COLLlNS) The film you're making.
I'm sure somebody who is surrounded by movies must be able to make them.
You must be pretty good.
(STUART) It's not finished.
(COLLlNS) Well, maybe you'll let me see it sometime.
(STUART) Maybe. Sometime.
Well, thank you for returning my laptop.
- May l go now? lt's been a long night. - (COLLlNS) Of course.
(COLLlNS) I guess that explains the smile.
On the roof.
You know,
suddenly finding yourself involved in something as exciting
as the movies you project, well, must raise a smile.
Good day, detective.
(STUART ONSCREEN) Please, don't kill me.
(GUNSHOT THEN GLASS SHATTERING)