SAW
Written by
James Wan & Leigh Whannell
Darkness.
The soft sound of moving water can be heard in the background.
From the top of the screen a tiny, floating light moves its way
downwards across the screen. As it passes, we see just under
the water part of a young man�s face. His eyes are closed. The
light disappears, and across the darkness appears the title S
A W. The title fades away.
The tiny light appears again, this time floating down at the
end of a tub of water, just near someone�s bare foot. The camera
cuts again to the face of the young man underwater. This is ADAM.
Suddenly, his eyes fly open and he comes to life, opening his
mouth and gasping for air. As he wakes up and struggles within
the bathtub, we see his foot catch on a drain plug, unplugging
it. The water starts to drain, and we see go with the water the
tiny light, which we can also see has some kind of key attached
to it. The room itself is pitch black, but we can still just
barely make him out in the dark. Adam lifts himself out of the
tub and falls onto the floor, coughing and gasping from the shock.
He manages to get to his feet, but as he moves forward he realizes
that his ankle is chained to something. He feels his way over
to a pipe in the corner, reaching down and pulling at his chain
that is attached to it. He cries out, his voice frantic, frightened,
and a bit hysterical.
ADAM
Help! Someone help me! (He stops when
he hears a loud dragging sound somewhere
in the room. He looks out into the darkness
and calls out.) Is someone there? Hey!
(He turns back to the corner to which
he is chained, says in a slightly softer
but still panicked voice) Shit, I�m
probably dead.
Suddenly, from out within the darkness comes a man�s low, raspy
voice. It startles Adam. The voice, we will soon learn, belongs
to LAWRENCE.
LAWRENCE
You�re not dead.
Adam quickly turns in the direction of the voice. Holding his
arms out for balance, he tries to look across the room to whoever
is speaking, but still cannot see a thing.
ADAM
Who�s that? Who�s that?!
LAWRENCE
(his voice strangely a bit on the calm
side, and almost irritated with Adam�s
reaction to the situation. This shall
be his tone for many scenes to come.)
There�s no point in yelling, I already
tried it.
ADAM
Turn on the lights!
LAWRENCE
Would if I could.
ADAM
What the fuck is going on? Where am
I? (He turns into his corner, touching
the wall.)
LAWRENCE
I don�t know yet.
ADAM
(smelling something; in disgust) What
is that smell?
LAWRENCE
Shh! Hang on a second, I think I found
something.
With a loud click and an even louder buzzing sound, the very
bright fluorescent lights come to life, lighting up in rows,
starting from Lawrence�s end and moving towards Adam. As they
come on, Adam is nearly blinded by the sudden change from pitch
black to bright white and squints in pain, holding up his arms
to cover his face. In the light we now see that he is in his
mid-twenties, with short brown hair, wearing a dark blue striped
shirt over a white tee shirt and jeans, looking like a drowned
rat from the tub. It takes him a moment but his eyes finally
start to adjust, and he looks around the room. He and we see
Lawrence, who also winces from the glare of the lights, standing
by the light switch and the door. He is on the opposite end of
the room, also chained to a pipe in the corner by his foot. He
wears a blue button-down dress shirt, now soaked with sweat stains.
He is middle aged, mid to late forties, with pale blonde hair
and even paler skin. Dark circles are under his eyes. Both men
are barefoot.
Lawrence�s eyes adjust to the light and he sees across the room.
Then, his gaze starts towards the center of the room, as does
Adam�s, who steps forward as much as he can, a look of horror
on his face. We see lying face down the body of a man who has
blown his brains out, lying in a pool of blood, clad in only
boxer shorts and a tee shirt. In his left hand is a gun, in his
right hand is a micro cassette recorder. A gunshot and a scream
are heard as the camera moves up and in a fast 360� angle above
and circling the man, ending in a full overhead view of him.
The shot cuts to Adam, who reels in shock and disgust.
ADAM
Holy shit!
He turns towards the tub and leans over, gagging and coughing.
Lawrence in the meantime hops forward the best he can, studying
the body with a look of fear and concern. Adam stops coughing
and turns back around, takes another look at the body and around
the room. He looks down at his chain then starts to completely
freak out, grabbing and pulling at his chain.
ADAM
(screaming) HELP!!! (He falls back onto
his bottom on the floor as he yanks
at the chain as hard as he can.) HELP!!!
Help!
Lawrence just stands and watches him with an almost embarrassed,
appalled look at his behaviour. It seems that Lawrence, despite
being in the situation he�s in, is above that kind of uncontrolled
reaction. He speaks a bit coldly.
LAWRENCE
No one can hear you.
Adam stops pulling at the chain, stands up and looks to Lawrence,
his breathing fast and heavy. His voice is not yelling anymore
but still just as hysterical.
ADAM
What the fuck is this?
LAWRENCE
Calm down, just calm down. (He knows
that to remain calm is to remain in
control, something he must be no matter
what the situation.) Are you hurt?
Adam looks down at himself, shrugging slightly.
ADAM
I don�t know...yeah!
Lawrence moves over to the pipe in the corner, leaning against
it for support.
LAWRENCE
(calmly) What�s your name?
ADAM
(sarcastic) My name is Very Fucking
Confused! (demanding) What�s your name?
What�s going on here?
LAWRENCE
(internal eye roll; he�s getting more
and more aggravated with Adam�s behaviour)
My name is Lawrence Gordon, I�m a doctor.
I just woke up here, just like you.
(He reaches up, wipes his face with
his sleeve)
Adam kneels back down facing the pipe, pulling at his chains
once more, but not with his prior panic. He winces at the metal
biting into his skin.
ADAM
(in pain) Ah!
Lawrence looks at Adam with a look that seems to say I�m stuck
in here with THIS guy? He then glances down at the body.
LAWRENCE
Recognize him?
Adam continues to pull at his chains, does not and will not look
at the body, just shakes his head.
ADAM
(sharply) No.
LAWRENCE
(trying to get SOMETHING out of this
kid) Well, do you have any idea how
you got here?
ADAM
No.
LAWRENCE
What�s the last thing you remember?
ADAM
Nothing. (he sits back onto the floor,
stops pulling at his chains for a moment.)
I went to bed in my shithole apartment,
and woke up in an actual shithole. (He
raises his left leg slightly, starts
trying to pull his foot out of the iron
cuff. He glances to Lawrence, who has
moved over to the wall to his left,
bent over slightly and resting a hand
against a pipe.) So what about you,
huh?
LAWRENCE
(He shrugs slightly, shaking his head.)
Well there�s...there�s not much to tell,
really. (Across the room, Adam gives
up with the chain for the time being
but remains sitting on the floor.) I
was on my way home from work and uh,
I don�t remember anything else.
Adam just sits there, glancing over to the body and then focusing
on it much more. The initial panic has worn off for now, replaced
simply with fear and shock. His voice is a bit softer.
ADAM
First dead body I�ve ever seen. Look
different in real life. They don�t move.
Lawrence slowly lowers himself into a sitting position against
the wall. He pokes slightly at the iron cuff around his foot.
LAWRENCE
From the looks of these chains, someone
didn�t want us to go very far either.
Suddenly, Adam leaps up, lifting up his shirt and exposing his
abdomen. His panic is back, but not at full force like before.
He studies himself then glances to Lawrence.
ADAM
Can you see any scars?
LAWRENCE
(looking at him strangely) What?
ADAM
Huh? This is what they do man, (he gestures
to his stomach, where there are in fact
no scars.) They kidnap you and drug
you and before you know it, you�re in
a bathtub and your kidneys are on eBay.
(A ridiculous theory to us and to Lawrence,
but Adam states it with conviction.)
LAWRENCE
(a scoffing tone in his voice) No one
has taken your kidneys.
ADAM
(disbelief) How can you tell from way
over there?
LAWRENCE
(matter of fact) Because you�d either
be in terrible agony, or you�d be dead
by now. Trust me.
ADAM
What are you, a surgeon? (He lowers
his shirt and turns and bends down to
prod at the chain around the pipe again.)
LAWRENCE
Yeah. (He sighs. He�s getting tired
of Adam already. He speaks sharply.)
So, you gonna tell me your name, or
what?
Adam stands back up, turns to Lawrence, his voice once again
calm.
ADAM
Adam.
LAWRENCE
(getting to his feet, his voice a bit
calmer) Well Adam, what we need to do
(he leans with one hand outstretched
against the pipe to his right. Adam
watches him, scared but calm) is start
thinking about why we�re here. Whoever
brought us there could�ve killed us
by now. But they didn�t. They must want
something from us. (He looks up and
around the room) Question is what. (He
sees something up on the wall, moves
forwards a bit towards it. We see that
it is a brand new clock on the wall,
ticking away. It reads currently at
10:22.) That clock.
ADAM
What about it?
LAWRENCE
It�s brand new. (squints, studying it)
ADAM
(not getting what he�s implying) So?
LAWRENCE
(sighs; it�s quite simple, why can�t
Adam see it?) So, someone obviously
wanted us to know the time. (Adam looks
a bit confused still, mulls over that
information. Lawrence thinks for a moment.)
Wait, I think I may be able to reach
that door.
Lawrence moves over as far as the chain will allow him to the
giant, wooden sliding door, pushing against it as hard as he
can. In the meantime, we see Adam thinking. He pauses, then reaches
down and starts going through his pockets. There is nothing in
the front two, but in his back left pocket he pulls out a plastic
baggie with a white envelope in it. He unfolds the baggie; the
envelope says ADAM. He stares at it in his hands, wondering what
it is.
Lawrence continues struggling with the door, quickly glances
over his shoulder to see what Adam is doing. He sees Adam holding
the baggie. Adam reaches into the envelope, pulls out a micro
cassette tape. A close up shows the words Play Me written on
the tape label. Adam holds it in his hand, studying it. Lawrence
turns away from the door, looking over and trying to see what
Adam has in his hand.
LAWRENCE
What is that? (Adam doesn�t answer,
continues looking at the tape. Lawrence�s
voice grows impatient.) Excuse me.
ADAM
(glances up briefly at Lawrence, then
back down at the tape. His voice sounds
slightly surprised.) It�s a tape.
LAWRENCE
Where did you find it?
ADAM
It was in my pocket.
Lawrence thinks about that briefly then starts digging through
his own pockets, finds within them a white envelope with LAWRENCE
written across it in the same black lettering as Adam�s.
ADAM
(regarding his tape) It says Play me.
Lawrence tears into his envelope, empties the contents into the
palm of his hand. First, he holds up a similar tape to Adam�s.
It also says Play Me. Then he holds up a single bullet, studying
it, not sure what it�s there for yet. Then, he holds up a tiny
key. He bends over, gets down on the floor and starts to try
to unlock his chains with the key. It doesn�t seem to be working.
LAWRENCE
(frustrated, mumbling to himself and
to the key) Come on, come on, come on....
ADAM
(seeing that it doesn�t seem to be working
on Lawrence�s lock) Throw it over here.
Lawrence gives him a slightly mistrustful look, but then holds
up the key and throws it. Adam misses the key at first as it
hit�s the floor in front of the dirty toilet near his corner.
ADAM
Fuck. (He leans over and picks up the
key, then bends down and tries the key
on the lock on his ankle, which doesn�t
work. He tries the lock on the chains
around the pipe. It isn�t working there
either.)
LAWRENCE
(watching him) No?
Adam gives up, drops the key onto the floor frustratedly, shaking
his head. That�s when he looks over to the body again, and the
shot closes up on the hand holding the tape recorder. A small
loop handle juts out of the hand�s grip. Adam stands up, then
bends down and picks up the tape on the floor, looking at it.
He puts it back down then stretches himself flat out on the floor,
trying to reach. Unfortunately, there is still a good three to
four feet between him and the body.
LAWRENCE
Use your shirt.
ADAM
(gets back up to his knees) What?
LAWRENCE
Your shirt.
Adam looks down at himself, then takes off the long sleeved blue
shirt. He lays back down, holding the shirt by the ends of each
sleeve, and throws it, trying to catch it on the tape recorder.
It misses. He tries a second time; same result.
LAWRENCE
Come on...
Adam tries again; it misses. It is just barely reaching. He pulls
the shirt back, gets back up on his knees, aggravated.
ADAM
It won�t work.
LAWRENCE
(trying to get him to not give up yet)
Well, look around, there must be something
else you can use.
ADAM
(stands, ready to give up, skeptical)
There�s nothing.
LAWRENCE
(insistent) Well there must be something!
Adam looks around his area, then into the bathtub. He sees something,
bends over, takes out the tub plug, which is attached to a long
cord. He ties the cord around the sleeve of his shirt. He kneels
down, holding out the shirt, aiming.
LAWRENCE
Come on, you can do it.
Adam throws it, attempting to get the plug through the loop at
the end of the tape recorder. He misses.
LAWRENCE
Come on, come on, again.
He tries again and misses. On the third try, however, he gets
the plug right through the loop. Lawrence smiles in relief. Adam
very slowly pulls it back, dragging the tape recorder along the
floor towards him. He picks it up, getting rid of the plug and
dropping it and the shirt on the floor. He picks up the tape,
pops it in and presses play, holding the tape recorder out a
bit so that they can both hear, but keeping his head tilted so
he can hear better. A chilling deep, raspy, sinister male voice
The Jigsaw Killer comes from the tape. As it speaks, Adam�s expression
is fearful, but the thought How does he know? can be detected.
JIGSAW
(on tape) Rise and shine, Adam. You�re
probably wondering where you are. I�ll
tell you where you might be. You might
be in the room that you die in. Up until
now, you simply sat in the shadows,
watching others live out their lives.
But what do voyeurs see when they look
into the mirror? Now, I see you as a
strange mix of someone angry and yet
apathetic. But mostly just pathetic.
So are you going to watch yourself die
today, Adam? Or do something about it?
(end)
Adam looks frightened but not sure of the entire meaning of the
message.
ADAM
I don�t get it. (He presses the stop
button on the tape.)
LAWRENCE
(eagerly, gestures.) Throw me the player.
ADAM
(pauses, thinks) No, you throw me your
tape.
LAWRENCE
(a heavy sigh. He looks at Adam as a
slow-minded fool who simply doesn�t
understand the full capacity of the
situation that they�re in, and speaks
to him as such.) Look, we�re going to
have to work together if we want to
get out of here. Now just throw it to
me.
ADAM
(picks up on the tone, speaks defensively)
I�m not going to risk breaking it! You
throw me your tape!
Lawrence pauses, looking at Adam as though he�d like to smack
him, then holds up and tosses the tape. It hits the floor behind
Adam, who kneels down and picks it up, pops it in, presses play.
It�s the same chilling voice as on Adam�s tape. As the tape plays,
Adam stares at Lawrence, and Lawrence at the tape recorder.
JIGSAW
(on tape) Dr. Gordon, this is your wake
up call. Every day of your working life,
you have given people the news that
they are going to die soon. Now you
will be the cause of death. Your aim
in this game is to kill Adam. (Adam
glances down at the tape recorder wide-eyed,
then back up at Lawrence) You have until
six on the clock to do it. There� sa
man in the room with you. When there�s
that much poison in your blood (another
view of the body from Lawrence�s POV),
the only thing left to do is shoot yourself.
(Jigsaw coughs) There are ways to win
this hidden all around you. Just remember:
X marks the spot for the treasure. If
you do not kill Adam by 6:00, then Alison
and Diana will die, Dr. Gordon. And
I�ll leave you in this room to rot.
Let the game begin. (end)
The looks on each man�s face clearly say Oh Shit. The tape ends.
Lawrence stands up.
LAWRENCE
(firmly) Give me that. Now. (Adam tosses
him the tape. He catches it, rewinds,
plays back. Adam stands up from his
spot on the floor.)
JIGSAW
(on tape)...then Alison and Diana will
die, Dr. Gordon. And I�ll leave you
in this room to rot.
ADAM
(thinking, trying to figure this out)
Any idea who that is?
JIGSAW
(on tape) Let the game begin.
ADAM
He knows us.
LAWRENCE
Wait a minute. (rewinds more)
ADAM
(false hope) What do you think? Probably
a joke, right?
LAWRENCE
Shh, shh! (presses play)
JIGSAW
(on tape) Let the game begin.
LAWRENCE
(softly) Listen...
JIGSAW
(on tape, in a VERY hushed tone after
a brief silence)...Follow your heart.
Lawrence stops the tape.
ADAM
What the hell does Follow your heart
mean?
Lawrence is looking around, on the walls and everywhere else
in the bathroom for a heart. He spots a small one drawn in brown
on the toilet next to Adam and points.
LAWRENCE
There! Right next to you, on the toilet.
Adam looks, sees the toilet. Slowly, he bends down, resting his
hands on the seat, looking down into the bowl of liquid shit,
not really sure what he�s looking for.
LAWRENCE
(impatient, gesturing) Come on, come
on.
Adam glances up at Lawrence with a look of You�ve got to be kidding
me, but Lawrence watches him expectantly. Adam sighs, then reaches
in with his right hand, fishing around in the mess.
ADAM
Oh man...(he gasps, making gagging sounds,
his face turned away from the bowl.
He coughs, fishes around for another
brief moment, then quickly pulls back,
trying to shake some of the shit off
of his hand, spitting.
LAWRENCE
(expectantly) Anything?
ADAM
(disgusted) No solids.
LAWRENCE
Take off the lid. (He points to the
lid. Adam looks to it, slowly stands
up, reaches for it. Lawrence has no
patience.) Come on!
Adam takes off the lid, places it down on the toilet seat. The
water is clearer inside, and he reaches in and pulls out something
wrapped up in a black garbage bag. He holds it up for Lawrence
to see, turns to him.
ADAM
I really wish I had checked in there
first.
LAWRENCE
Huh. (he smiles slightly) What is it?
Adam tears into the bag, reaches in and pulls out two hacksaws.
He drops the bag on the floor, bends down and takes up his chain,
holding one of the hacksaws and beginning to saw at the chain
with it. Lawrence watches him for a moment.
LAWRENCE
Hey! (Adam turns and looks. Lawrence
speaks in an irritated voice) Mind passing
me the other one?
Adam reaches over and picks up the other hacksaw, then carefully
throws it across the room. It hits the pipe to Lawrence�s left.
Lawrence reaches down and picks it up, then sits down on the
floor. Quick shot back to Adam, who, while Lawrence is preoccupied
with picking up the hacksaw, quickly picks up the garbage bag
and tosses it into the bathtub. Both men start to saw away at
their chains furiously, but neither are making any progress.
Suddenly, Adam�s saw snaps in the middle, and his temper flares.
ADAM
(enraged) Fuck! Fuck! (He reacts violently,
hitting the broken saw twice against
the iron pipe then turns and hums it
across the room, right into a mirror.
A small piece of the mirror breaks off
and flies to the floor.)
Lawrence glances over at what Adam has done, then goes back to
sawing for another moment. Adam sits back down, breathing heavily,
leaning against the pipe in his corner. Finally, Lawrence gives
up, turning and sitting with his back against the pipe, also
breathing heavily for a moment. He sits there, when a look of
realization comes across his face. He holds up the saw, looking
at it, understanding. He lowers it to the floor, shaking his
head slightly.
LAWRENCE
(everything is becoming more clear now)
He doesn�t want us to cut through our
chains. He wants us to cut through our
feet. (Adam looks up at him, eyebrows
raised.) I think I may know who�s done
this to us.
ADAM
What did you say? (he stands up; is
Lawrence hiding something from him?)
LAWRENCE
It�s not someone I know personally.
It�s...just someone I know of.
ADAM
(getting slightly frantic again) Jesus
Christ! Tell me, who is it?!
The camera closes up on Lawrence�s face. To the right of it,
the screen is fading into a flashback of a crime scene. As Lawrence
speaks, his face fades and the flashback scene grows clearer,
until it is only the crime scene, with three detectives walking
down a flight of stairs.
LAWRENCE
The last I heard...the police still
hadn�t caught him.
We now see the three figures descending through a trap door down
a flight of stairs. The lighting is a bright lime green that
is strangely dark at the same time. The trio enters a small,
cell like room with a low ceiling. They are TAPP, SING, and KERRY.
Tapp is a tall black man in his late forties-early fifties. Sing
is an Asian man in his mid to late thirties, and Kerry is a Caucasian
woman in her mid to late thirties with long, curly brown hair
that is tied back in a ponytail. All are well dressed, Sing and
Tapp in suits, the woman in a jacket and dress slacks. They are
the detectives working on this case.
As they move into the room, Sing sees something that brings a
look of shock to his face, shining a flashlight on it. We cannot
see it yet.
LAWRENCE
(VO) And the only reason I know that
is because I was a suspect.
Tapp comes into the room last, ducking slightly from his height,
and comes up alongside Sing, looking at the same thing.
LAWRENCE
(VO) I�ll start from the beginning.
KERRY
This one�s not fresh anymore. At least
three weeks out. (Detective Tapp squints
as he peers in and studies the body)
Victim�s a 46-year old male. (Quick
flash of a crime scene photo, a closeup
of behind the man�s head and upper back.
There are deep cuts all over. The camera
cuts upwards to the detectives.) Died
of massive blood loss. Mostly through
the femoral artery. (The camera pans
around to Detective Tapp, who moves
around the side fo the cage to get a
better look inside, shining his flashlight
in.) He started at the back of the cage
and tunneled his way through the razor
wire so fast it�s amazing he got as
far as he did. Cut himself so deep,
we found traces of stomach acid on the
floor. (Another more gruesome crime
scene photo shot of the body from the
side; we can see the razor wire digging
in under his arm. Also, a close-up shot
of some of his wounds; long, deep cuts.)
We also found this. (She holds up an
evidence baggie with a micro cassette
tape recorder, just like the one Adam
and Lawrence found in their cell. She
presses the play button, and Tapp and
Sing listen. It�s the same chilling
voice from Adam and Lawrence�s tapes.)
JIGSAW
(on tape) Hello Paul. You are a perfectly
healthy, sane, middle-class male. Yet
last month, you ran a straight razor
across your wrists. Did you cut yourself
because you truly wanted to die, or
did you just want some attention? Tonight,
you�ll show me. The irony is that if
you want to die, you just have to stay
where you are. But if you want to live,
you�ll have to cut yourself again. (Flashback
shot of Paul waking up in the cage,
looking around, scared and confused.
The shots go back and forth between
the detectives and the Paul flashback,
with him grabbing and shaking the razor
wire, screaming. His screams sound distant
under Jigsaw�s voice.) Find the path
through the razor wire to the door.
But hurry. At 3:00 that door will lock
and then this room becomes your tomb.
How much blood will you shed to stay
alive, Paul? (end)
KERRY
(stopping the tape) The door was on
a timer. It was unlocked until 3:00.
Then it slammed shut. He was given two
hours.
Cut back to Detective Tapp, who notices something and shines
his light on it. We see a strange wound on Paul�s body, a piece
of flesh carved out into the shape of a jigsaw piece.
TAPP
Jigsaw piece. (Sing looks in as well,
see it. There is a quick flash of crime
scene photos showing a close up of the
wound. Tapp sighs.) I think we�re gonna
be here for a while, Sing. (Sing looks
to him. We get another quick crime scene
shot of Paul.)
LAWRENCE
(VO) The newspapers started calling
him the Jigsaw Killer.
Cut back to Lawrence in the bathroom. For his next two spoken
lines, the shot switches back and forth between him and the detectives
in the razor wire room.
LAWRENCE
Actually, technically speaking, he�s
not really a murderer. He never killed
anyone.
Sing, wearing gloves, gets in the cage and examines Paul�s body
a bit. A flash of another crime scene photo of the wound with
a ruler held up to it is shown. More gruesome crime scene photos
of that and other wounds are flashed across the screen.
LAWRENCE
(VO) He finds ways for his victims to
kill themselves.
Cut to Sing kneeled down over a charred corpse, completely blackened,
at another crime scene. We hear Jigsaw�s voice from a tape recorder
play over the scene as the detectives look around, and over the
flashback shots.
JIGSAW
(VO, on tape) Hello Mark. If you�re
so sick, then why do I have so many
photos of you up and about? (there is
a quick montage of a camera snapping
several black and white shots of Mark
up and about, looking around and getting
into a car.) Let�s put your so-called
illness to the test. (Flashback image
of Mark waking up. He is a younger man
in his mid to late twenties, with dark
brown hair. He is completely nude, smeared
in some kind of Vaseline-like ointment.
In front of him is a small, square glass
plate held up by some chains. On the
plate is a micro cassette player, a
lit votive candle, and a box of matches.
He gets up, looking around confusedly
and scared.) Right now, there is a slow-acting
poison in your veins. The antidote is
in the safe. (Black and white crime
scene shot of the safe, then a shot
of Mark standing over it, screaming,
his screams distant under Jigsaw�s voice,
as with Paul.) The combination to the
safe (quick montage of several black
and white crime-scene photos of numbers
written all over the walls) is written
on the wall. Hurry up and program it
in. But watch your step (Mark�s bare
foot steps on the broken glass scattered
all across the floor). And by the way,
that�s a flammable substance smeared
on your body (shot of Mark looking at
the ointment on his hand, up his arm,
everywhere), so I would be careful with
that candle, if I were you...
MARK
(huddled over the safe; screams, but
it is still distant sounding) Help!!!!!
JIGSAW
(VO ct�d)....or all the people you�ve
burned with your act (Mark starts to
turn the lock on the safe) just might
have their revenge.
We see Mark desperately going around the room, holding the candle,
looking at the walls, trying to find a combination. The camera
goes back and forth a few times in a sped-up shot to him doing
this and turning a the lock on the safe, trying to program the
combination into the safe. He moves in a circle, clockwise to
us. When he gets to facing right in front of us, the flame from
the candle flares up and engulfs the shot, flaring into a close-up
crime scene photo of Mark�s charred face.
The shot moves back to the trio of detectives, with Sing holding
the tape recorder.
KERRY
I found something else. Well, two things,
actually. (She moves past them and we
go with her over to a wall where there
is a small hole cut, about an inch or
two in diameter. The light from the
outside shines in.) There was someone
standing outside here watching through
this peephole. Looks like our friend
Jigsaw likes to book himself front row
seats to his own sick little games.
He was there at the last one as well.
(She walks over to Sing and Tapp) Only
this time, he left us his penlight.
(She holds up the penlight in an evidence
baggie, clicking it twice then handing
it to Tapp.)
TAPP
(taking the baggie, studying it) Get
a rush on the prints. (He hands it back
to her.)
KERRY
(taking the baggie, moving out of the
room) Copy that.
CUT TO
Hospital room. Lawrence in his white
doctor�s coat along with three blue-scrub
clad medical students. A nurse in white
stands off to the side. Lawrence is
going over the patient�s charts. He
goes over to the x-ray display, pushing
the light on to view two x-rays of someone�s
skull. He points to it with his pen
as he speaks.
LAWRENCE
Okay. This patient has an inoperable
frontal lobe tumor extending across
the midline. Started as colon cancer.
(He turns back to the three young medical
students. One of them, a pretty Asian
girl named CARLA, smiles at Lawrence
as he speaks, seems particularly infatuated
with him.) The patient has come in for
a standard checkup by which we are able
to monitor the rate at which his condition
is declining.
In the doorway, an orderly pushing a cart of cleaning supplies
is passing by and stops when he sees Lawrence and the medical
students in the room, listening to what Lawrence is saying. This
is Zep. He�s a man in his early to late forties dressed in orderly
whites with short brown hair and large blue eyes that show a
kindness that the others in the room seem to be lacking. Kindness,
and something else below the surface. He glances down at John
sleeping, then up at Lawrence.
LAWRENCE
The patient had...
ZEP
(cutting him off) His name is John,
Dr. Gordon. (He looks down at the patient,
who we see is a man in his late forties-early
fifties, hairless except for a small
white goatee. His head is to the side
and he is sleeping. On the tray table
in front of him is a notebook and some
colored pencils. As Zep looks at him
and speaks of him, there is caring in
his voice, something Dr. Gordon has
yet to display regarding this patient.)
He�s a very interesting person.
Lawrence looks almost slightly embarrassed, not for himself but
maybe for Zep. A condescending, smug smile plays across his face
and he nods. His tone matches his look.
LAWRENCE
Thank you for that information, Zep.
(he looks to the students, who all share
his smug smile) As you can see, our
orderlies form very special bonds with
the patients. (Zep just stares at Lawrence,
his expression mostly blank but with
pure loathing just underneath the surface.
The look seems to say Fuck you, Dr.
Gordon. He stares at him for a moment,
then turns away, and continues down
the hall with his cart.) Continuing
on, the patient....
But he is cut off by a voice on the intercom.
INTERCOM
Dr. Gordon, Dr. Lawrence Gordon, please
page the operator.
LAWRENCE
(a smug but annoyed smirk) Obviously
someone doesn�t want me to tell you
what the patient has. Excuse me. (He
steps around the students, leaves the
room. The three students watch after
him with great admiration.)
Cut to Lawrence�s office at the hospital . Inside, Tapp is leaning
against Dr. Gordon�s chair, studying the various framed degrees
on the wall. Sing is sitting in one of the two chairs across
from the desk, twisted around in his seat to look at a couple
of small picture frames on the bookshelf behind him. Lawrence
opens the door and enters, and the two detectives turn to look
at him. He removes his white coat and hangs it on a rack by the
door. Tapp speaks first, his tone is friendly, but searching.
TAPP
Dr. Gordon, I�m Detective Tapp, this
is Detective Sing, City Homicide. (he
gestures to the degrees on the wall.)
Very impressive.
Lawrence smiles, pretending to care about what they think, truly
just wanting to get this over with so as to not waste any more
of his time. As he speaks, he walks over to the chair behind
his desk.
LAWRENCE
Oh. Thank you, I do my best. (He sits
in his chair. Tapp takes the seat next
to Sing across from him. Sing studies
him silently, chewing gum.)
TAPP
Sorry to interrupt you while you�re
working.
LAWRENCE
That�s fine. Now, how can I help you
gentlemen?
Tapp�s tone turns a bit more serious, but still amiable enough.
TAPP
Are you able to tell us where you were
between the hours of 11:00 p.m. and
1:00 a.m. last night, Doctor?
LAWRENCE
(his tone just barely masking his concern)
Why is it that you�re interested?
TAPP
We�d like to ask you a few questions
about it. For your sake, I think it�s
best if we do it down at the station.
Would you like to follow us there?
LAWRENCE
(Shaking his head, this is unbelievable)
No, I�m afraid that�s...that�s quite
out of the question. I can�t just leave,
I have work to do. Plus, my wife has
the car today, so...
SING
(amiable but hinting that he knows something)
Oh, that�s okay, you can ride with us.
Doc.
LAWRENCE
(chuckles uncomfortably) I�m sorry,
you�ll have to tell me again. What is
this all about?
Tapp produces the penlight from his pocket, holds it up for Dr.
Gordon.
TAPP
Is this yours, Doctor?
He puts the penlight down on the desk. Lawrence picks it up,
a brief oh shit look flashing across his face only to be quickly
covered up. He looks at the pen strangely. The two detectives
carefully study his reaction. Lawrence looks back up at them.
Cut to the Police Station. In an interrogation room, Lawrence
paces back and forth nervously, now wearing his suit jacket.
His lawyer sits at the table, taking notes.
LAWYER
So you have no idea how your penlight
showed up at the murder scene?
LAWRENCE
Of course not!
LAWYER
I have to ask. What were you doing last
night.
LAWRENCE
(a slight hesitation, a bit of guilt
in his voice. As much as he would allow.)
I was seeing someone.
LAWYER
(a slight pause) Who? (Lawrence doesn�t
answer, just continues his pacing. The
lawyer gets frustrated, noisily puts
down his pen.) Look, if you can�t be
honest with me...
LAWRENCE
(His tone quick, almost blurting) I
was visiting someone. It wasn�t a patient.
Alright? (He sighs, shakes his head.
He�s fucked, either way.) What am I
gonna do?
LAWYER
Well, as your lawyer and your friend,
my advice to you is to bite the bullet
and give them your alibi now. Because
no one is going to believe you later.
Cut back to the Bathroom. Lawrence, still sitting against the
wall, throws down his hacksaw next to him, resting his hand against
his knee.
LAWRENCE
(sighs) That was five months ago. He
tried to set me up for murder.
Cut back to the Interrogation room, some time Later. Lawrence
is sitting alone at the table. Sing comes through the door, shuts
it behind him.
SING
Okay. We checked your alibi. It holds
up. (His voice indicates that he still
believes there�s more to it; he does
not and will not trust Lawrence.)
LAWRENCE
Good! Can I go home now?
SING
(continuing) We have one of the victims
who managed to escape. (As he speaks,
we see a young woman with brown hair
in a ponytail wearing a visitors pass
being led carefully into the room next
to them and sat at a table. This is
AMANDA. Lawrence and Sing can see her
clearly; she cannot see them.) Want
to know if you wouldn�t mind sticking
around and listening to her testimony?
Maybe it�ll trigger something. (Tapp
and an unidentified bald black man in
a suit enter the room. The man guides
Amanda into her chair, stands behind
her against the wall. Tapp sits in a
chair to her left.)
LAWRENCE
(doesn�t really care) I�d like to help,
really, but...
SING
(cutting him off quickly, won�t let
him out of this that easily) Well, we�d
really appreciate it. She�s the only
one who made it.
LAWRENCE
(quietly, giving in.) Okay.
Camera moves into the Interrogation room with Amanda, Tapp, and
the unidentified man. As Tapp speaks, the camera slowly moves
closer over his shoulder and towards Amanda. As we get closer
to her, we see long, strange, scar-like markings along each side
of her mouth. She is shaken, her eyes distant, never looking
anyone, including Tapp, in the eye. It is clear that her mind
is still lost somewhere within her nightmare.
TAPP
(speaking slowly, gently) Amanda...in
your own time, tell me the first thing
you remember.
We move closer and closer to Amanda, then suddenly the camera
spins round quickly and snaps into an alternate view of her,
her flashback. The room she is in has the same lime-green lighting
as Paul�s cell. Amanda sits in a chair wearing a strange iron
contraption around her head, a bear-trap like device covering
her mouth. We can see her eyes, surrounded with black eyeliner,
as they slowly open, groggy, just waking up.
AMANDA
(VO) I woke up. All I could taste was
blood. (The camera moves back quickly,
and we see her tied to the chair, her
wrists bound to the arms of the chair.
She pulls against her bonds, moaning
loudly, trying to speak or cry out but
cannot.) And metal.
She continues to struggle against her bonds some more. The camera
circles around her, and we get a better view of the strange device
on her head, and the padlock and timer on the back of it. A long
wire hangs down from the timer and below the screen.
The view switches to the side of her and we see next to her an
old television set, which suddenly switches on, startling her.
After a brief moment of static, the frightening image of a demented
clown-like doll its face white with red spirals on its cheeks,
its red eyes leering at Amanda from the screen. She stares at
it, her moans a bit softer to match her fear and utter confusion.
The doll speaks, the jaw moving; it is the voice of Jigsaw.
JIGSAW
(from the TV) Hello Amanda. You don�t
know me, but I know you. I want to play
a game. Here�s what happens if you lose.
(The video moves next to the doll, to
a device like the one she�s wearing
attached to a mannequin head. As he
continues, explaining what it is, her
breathing grows faster and heavier,
and her moans pick up more.) The device
you�re wearing is hooked into your upper
and lower jaws. When the timer at the
back goes off, your mouth will be permanently
ripped open. Think of it like a reverse
bear trap. Here, I�ll show you.
The video pans back to a view of the doll and the device. The
doll�s head moves and looks down at the device, and the camera
zooms in on it. A timer ticks away. A few seconds later, SNAP!
The device springs and the fake head is crushed and explodes.
Amanda shrieks, her eyes widening. The video switches back to
a close up of the doll.
JIGSAW
(from the TV) There is only one key
to open the device. It�s in the stomach
of your dead cellmate. Look around,
Amanda. Know that I�m not lying. You
better hurry up. Live or die. Make your
choice.
The video goes to white and gray static, then switches off. Amanda
begins to struggle like a madwoman against her bonds and the
chair. The camera swings around her, circling, making her movements
fast and jerky. Amanda manages to pull one arm free, then the
other and stands up quickly. That�s when the cord in the back
of the device is pulled out, and the timer starts. She freezes,
her eyes widening. We see a close-up of the timer, and it begins
its sixty second countdown. She reaches behind her head, pulling
at the lock and the timer, trying to pull it off, but it is stuck
there. She starts freaking out, pulling at it as much as she
can, the camera movements once again fast and jerky around her.
The camera spins back to Amanda sitting still in her chair in
the interrogation room, sniffling. We see a brief shot of Lawrence,
who watches and listens to her with grim amazement. Back to Amanda.
AMANDA
And then I saw the body.
We switch back into Amanda�s cell. Over her shoulder, we see
near the corner the body of a man lying on the floor on his back.
Amanda cautiously approaches it, the timer still ticking away,
her hands still at the device. She kneels down cautiously next
to him. She reaches down and with a shaking hand lifts up his
shirt, revealing a large, black question mark drawn on his abdomen.
She sobs harder, hunched over him.
Quick cut to the interrogation room, Amanda in the center of
the shot.
AMANDA
There was a knife.
Back to the cell. Amanda, still leaning over, picks up a small
knife next to the body. She slowly brings it up in both of her
shaking hands, clutching it. She looks closer at it. A quick
shot of the timer shows it to be at 25 seconds now, almost halfway.
The camera moves to a shot of the man�s face, when...
HE OPENS HIS EYES AND STARTS TO WAKE UP. He moans, unable to
speak or move. His eyes slowly, groggily look around a bit. He
cannot even open his mouth; someone has very heavily drugged
him. He sees Amanda over him with a knife and his eyes widen;
he tries to moan at her to stop, to not do what she�s about to
do, but she turns the knife upside down in both hands and quickly
stabs down. He moans in agony in the background as she stabs
down again, and again, and again. Blood splashes on her hands.
A quick shot back of Lawrence as he listens, his mouth open slightly,
eyes wide, staring at her. Cut back to Amanda in the cell as
she stabs down a few more times. Then back again to the table
in Lawrence�s interrogation room. Sing throws down an evidence
baggie with a used syringe in it.
SING
(VO as camera pans up to Lawrence) He�d
been injected with an opiate overdose.
He couldn�t move or feel much of anything.
LAWRENCE
You mean....he was alive?
SING
(staring, nods slightly) Was.
Back to Amanda�s Interrogation room, her head still hung, still
sniffling. A view of Tapp as he asks
TAPP
What happened after you took it off?
Cut back to the cell, her bloody hands sifting through intestines
for a key. Cut back to interrogation room Amanda, then cut back
again to her holding up a liver or some other organ. Back to
interrogation room Amanda, the horror on her face growing, then
back to the cell.
Amanda� s hand pulls a small key from inside the organ she�s
holding. She reaches around the back of her head, quickly trying
to unlock the padlock. The timer ticks away, faster and faster.
She gets it, pulls off the padlock and opens the device in the
back, ripping it away from her head and throwing it down as it
snaps open. She lets out the most terrible, agonized, heart-wrenching
scream, sobbing loudly, her hands held out in front of her, rocking
back and forth.
Suddenly from another corner of the room, a light comes on, revealing
the puppet from the video in the corner. Amanda sees it, staring
at it wide eyed, her sobs softening for a moment as she stares
at it. Slowly, it wheels towards her on a tricycle. She can only
stare and cry, not sure what to do or expect. It stops, leering
at her, then speaks.
JIGSAW
Congratulations. You are still alive.
Most people are so ungrateful to be
alive. But not you. Not anymore.
Cut back into a close up of Amanda in the interrogation room,
her head still shaking a bit, almost like a series of slight
spasms. She continues to sniffle, her eyes far off. Cut to Tapp.
TAPP
You are, in fact, a drug addict. Isn�t
that right, Mandy? (she nods, but doesn�t
look up.) Do you think that is why he
picked you? (She lets out a sob, briefly
nodding once.) Are you grateful, Mandy?
She finally raises her head, looking into his eyes for the first
time.
AMANDA
(softly) He...helped me.
As she starts sniffling and breathing more heavily, Tapp looks
over his shoulder into Lawrence�s room, right in his direction.
He may not see him, but he knows he�s there. The camera then
cuts back to Amanda, who starts sobbing more heavily again. Slowly,
the camera moves down into and under the table, fading back into
an overhead view of the bathroom where Lawrence and Adam are.
Adam sits in his corner, staring down at the floor as he has
been listening to Lawrence�s story. He looks up across to Lawrence.
ADAM
(softly) Are you sure it�s him?
LAWRENCE
(nods slightly) Yeah, I�m sure.
ADAM
(becoming a little hysterical again.
He speaks accusingly) How do I know
you�re telling the truth? You can be
the one who put me in this room! (he
gesticulates as he speaks, pointing
to Lawrence and himself.)
LAWRENCE
(internal eye roll, speaks slowly, as
to a simpleton) I�m in exactly the same
situation you�re in.
ADAM
Wrong. (he stands up, kicking his chained
foot out. Shouts.) Wrong! You�ve got
one thing I don�t: Information! (He
hovers as close as he can in a threatening
pose, pointing) You know who did this!
(He picks up a glass shard that fell
when he broke the mirror, holds it up
threateningly to Lawrence) Now you either
tell me what is really going on (Lawrence
rolls his eyes, turns his head over
to his left, away from Adam) or I�ll
cut you with this, you hear me? I�ll
cut- (But he stops short as he sees
something in the glass. He flips it
over, studying it, flips it back. He
looks over to the mirror on the wall,
studying it, thinking.)
Lawrence notices that Adam�s ranting has ended, glances over
at him.
LAWRENCE
What?
ADAM
(looks over at Lawrence, then back at
the mirror.) It�s a two-way mirror.
Adam drops the shard down on the floor carefully, then reaches
over to the corner behind him, leaning down and picking up a
loose padlock. He lifts it up and throws it as hard as he can
against the mirror, shattering most of the glass. Lawrence briefly
startles at the sound and force of the glass shattering. Adam
reaches back down, finds another piece of debris and throws that
at the mirror with just as much force. The rest of the glass
breaks away, and a camera with a red light can bee seen behind
a clear glass. Lawrence stands up to get a better look at it.
We movie in closer to the camera, getting a better look at it
as well.
Suddenly there is a flash of static and we find ourselves looking
at a fuzzy, black and white surveillance video of Lawrence and
Adam in the bathroom, staring right at us into the camera. The
shot pulls back a bit and we see that the video is on a silver
surveillance monitor. A partial view of other recording-type
equipment can be seen on either side of the monitor. A man�s
voice speaks, though it doesn�t sound quite the same as on the
Jigsaw tapes. As he speaks, a hand wearing a black leather glove
raises up slightly and waves its fingers at the screen.
MAN
(OS, Taunting) I can see you...
ADAM
(from on video) So that�s what this
is. Reality TV.
MAN
(OS. Still taunting, sounds as though
on a power trip) Don�t look at me. I
can�t help you.
The shot transitions from the video view of Adam back into regular
view in the bathroom. Adam stands in a threatening pose to the
camera, speaks angrily, loudly to it, his voice dripping with
sarcasm.
ADAM
Can you hear me in there? Huh? I�m having
a blast. (he bends down and picks up
another piece of debris from the floor)
This is the most fun I�ve had without
lubricant. (Hums the piece of debris
at the window. It makes a thwacking
sound, but doesn�t break. Not even a
crack.) Make sure you�re getting everything.
(Bends down, throws picks up and throws
another piece of debris. It hits, but
no breakage. Leans down for another
piece.)
LAWRENCE
(Scoffing tone as he watches Adam trying
to break the glass) That�s not going
to do anything.
ADAM
(pauses, looks to Lawrence) You just
want to leave it running on us? (the
shot switches to surveillance view)
LAWRENCE
(very matter-of-fact) Well, you won�t
stop it. (shot switches to regular view)
That�s why we can�t cut through these
chains. It�s why you won�t break that
glass. (he gestures to the pipe then
the glass) Every possible angle has
been pre-thought out by him. (He appears
deep in thought, starting to understand
the set-up more so, figuring out the
way this guy thinks. Almost admiring
him. The situation may be bad, but it�s
a brilliant design.)
ADAM
You sound like you admire this prick.
LAWRENCE
(explaining) To overcome something,
you have to understand what a perfect
engine it is. That�s how you fight disease.
(He looks up at the ceiling, at the
walls, around the room) Now the tape
told us to find an X. That X has to
be somewhere in this room. (determined)
Help me find it.
Adam does not help him look. He simply cannot believe Lawrence�s
calm demeanor in this situation anymore. It seems that he is
almost becoming as sick of Lawrence�s attitude as Lawrence is
of his. He speaks a with a bit of a hyper tone again, accusingly.
ADAM
How can you be the calm Doctor Guy when
your wife and kid are out there. (Shot
of Lawrence looking around the room)
He�s got them, too. (Shot of the clock;
it�s now 12:05.) He could be doing anything
to them right now. Are you thinking
about that?
LAWRENCE
(Suddenly looks right at him, snaps
angrily) I AM thinking about that. (Adam
backs off a bit. Lawrence pauses a moment,
his voice changes to calm but sad.)
I�ve been the last thing I said to my
daughter.
Lawrence turns away from Adam, placing his hand on the pipe behind
him, and the shot moves up into blackness, then up at the foot
of a little girl�s bed in a darkened bedroom. The little girl
is Diana. She�s about 5 or 6 years old, with long, wavy light
brown hair. She lays tucked in with her eyes closed, her favourite
teddy bear wrapped in her left arm. The camera moves up and over
her a bit, moving in closer to her. Chimes can be heard tinkling
very faintly against a soft breeze. As the shot pauses just above
her, her eyes suddenly open, blinking away sleepiness. She sits
up, pulling away the covers, still holding her teddy bear. She
remains sitting in her bed, staring over into the dark corner
to her right. The chimes jingle away. We move in closer to her
face; something has her spooked. A clock ticking is suddenly
heard as the image fades from Diana getting out of bed into a
strange, mechanical-looking clock on the living room wall of
the Gordon Household.
The shot lowers and we see the nicely furnished living room of
the Gordon home. The walls are a dark, crimson red, the furniture
in tones of red and brown. It definitely is the living room of
a well-off family. Not too cold, but not as warm and homey as
it could be. Diana slowly makes her way across the living room
towards her parents bedroom, moving almost dream-like, her teddy
bear hanging limply from her right hand. She moves to the frosted
glass double doors of her parents room, opening them both into
the bedroom, where we see her mother, Alison, laying on her side,
fast asleep. Alison is in her early to mid thirties with long
blond hair going just past her shoulders and very pretty despite
her sleepiness and messy hair in this scene. Diana moves into
the room, standing next to the bed, saying nothing, just watching
her mother sleeping. Alison�s eyes slowly open; the feeling of
being watched plus the instincts of a mother have awoken her.
She reaches over and turns on the light, looking upon her daughter
with concern.
ALISON
Diana, Honey, are you okay? (she pushes
back the covers and gets up, crouching
down in front of her daughter. Looking
up at her, she places her hands on her
daughter�s arms.) Diana, Honey, can
you hear me?
DIANA
(very softly, but showing almost no
fear) Mommy?
Alison reaches up and touches Diana�s hair, bringing her hand
down in a soft caress on Diana�s cheek.
ALISON
Oh, what is it, sweet pea?
DIANA
(very calmly) There�s a man in my room.
ALISON
(sighing, but not rudely. This is not
the first time this has happened) Oh
Honey, are you sure he�s not just hiding
in your imagination?
DIANA
He talked to me.
ALISON
(sighs) Okay, I�ll come and check your
room. (She smiles a small, assuring
smile)
DIANA
I want Daddy. He�ll get the scary man.
ALISON
(her smile fading a bit) Alright, if
you want. Come on.
She stands and leads Diana out of the room. Cut to Lawrence�s
office. Lawrence sits hunched slightly over his laptop computer,
focused on some paper he�s writing. Diana and Alison appear in
the doorway to his left. He doesn�t even look up, just keeps
typing. Alison�s tone when she speaks indicates that she knows
he�ll probably say no, or put it off on her.
ALISON
Larry, sorry to bother you, but your
daughter had a bad dream again.
LAWRENCE
(his eyes never leaving the screen;
raises his finger to pause them) Just
a minute.
ALISON
She wants you to check her room.
LAWRENCE
(keeps typing, never looks up) Mmm hmm,
mmm hmm, just gotta finish this paragraph.
Alison waits a moment, then turns to Diana.
ALISON
(softly) You know what sweetie? I�ll
go check with you.
They turn, slowly start to walk away as Lawrence quickly finishes
typing, then closes the laptop.
LAWRENCE
Nope! I�m done. (he smiles, turning
to look at them.)
Cut to Diana�s room. Lawrence reaches over and turns on the lamp
on Diana�s side table. Diana lies in bed, slightly propped up
against her pillows and stuffed animals. Lawrence sits on the
side of her bed.
LAWRENCE
(very reassuringly) See? (he pulls the
covers up over her, up to her chest.)
There�s no one in your room. There�s
no such thing as the bad man. Now can
you go to sleep?
DIANA
I�m still scared.
LAWRENCE
You are? Give me your tootsie. (He pulls
back the covers and she pulls out her
foot. He takes it in his hand.) Oh,
what a big tootsie. (He turns to her,
raising his eyebrows up) Remember this
one? (He counts on her toes as he says
the following) This little piggy went
to market, this little piggy stayed
home, this little piggy had roast beef,
this little piggy had none, and this
little piggy went �Weeee!� (he tickles
up her leg to her tummy and she giggles)
all the way home!
Just then, Lawrence�s beeper goes off. He leans back, takes it
out and looks at it.
DIANA
I hate that thing.
LAWRENCE
Well I have to go to work, sweetheart.
You know what Daddy�s job is like. Now,
come on. (he re-tucks her in, she smiles
at him.) Let�s see. Try and get some
sleep now, okay? (He gives her a kiss,
smiles, stands up and goes to the door.)
DIANA
You�re not going to leave us, are you,
Daddy?
LAWRENCE
(suddenly concerned) What? (He stops
at the door, turns, goes back over to
her bed, sits down next to her and leans
over. This was the last thing he�d expected
her to say) What are you talking about?
You mean, leave you and Mommy? (She
nods; he reaches up and gently brushes
her hair away from her face.) No, no
sweetheart, I would never do that. Who
gave you that idea?
DIANA
No one.
LAWRENCE
Well it�s not true, okay?
DIANA
(very softly) Okay.
LAWRENCE
How much do I love you?
He moves his face closer to her and together they say
LAWRENCE & DIANA
Love you very much
LAWRENCE
That�s right, that�s right! (He gives
her a kiss, pulls back.) Good night,
sweetie.
DIANA
Good night, Daddy.
Lawrence gets up and goes to the door, flipping the lights off.
He pauses before he steps out.
LAWRENCE
Tomorrow, I�ll read you your favourite
story.
DIANA
(with a small smile) Okay.
LAWRENCE
Okay. (he goes out.)
Quick cut to the Entrance Hall of the Gordon Residence. Lawrence
walks towards the door, Alison behind him. Alison�s voice starts
to cut over the scene. Her tone is very pissed off.
ALISON
I don�t know how much longer I can do
this, Larry.
LAWRENCE
(sounds as though he has no idea what
she means) What, what are you talking
about?
ALISON
(pissed, in disbelief) How can you walk
through life pretending that you�re
happy?
LAWRENCE
I am happy.
ALISON
(confrontational) That is complete bullshit.
(cut to a shot of Diana, laying on her
side in her darkened room, clutching
her teddy bear to her chest. Her eyes
are open, she can hear everything. We
stay with her for the rest of Alison�s
line, her voice now off a bit in the
distance but still very audible) I�d
rather you break down and tell me that
you hated me. At least there�d be some
passion in it.
LAWRENCE
Would you like to see her? (He reaches
into his pocket and takes out his wallet,
throws it across the room to Adam, who
is sitting with his back against the
wall, facing Lawrence. Adam picks up
the wallet and opens it. He sees two
pictures of Diana, side by side. The
one on the left is Diana hugging a dog.
The one on the right is a smiling portrait
outside somewhere.
ADAM
She�s beautiful.
LAWRENCE
Thank you.
ADAM
(sighs, then looks up at Lawrence) You
gonna have any more kids?
LAWRENCE
(a bit wearily, but not snobby) We�ve
talked about it, but uh, with our schedules,
it�s difficult enough to concentrate
on one. (The tone of his voice indicates
that maybe he�s starting to realize
that he should�ve spent more time and
attention to his daughter.)
ADAM
(referring to the wallet) So where�s
the lucky wife? (a small smile)
LAWRENCE
There�s another picture behind the one
you�re looking at. (Adam reaches behind
the photo on the right and pulls another
photograph out. Lawrence smiles slightly
as he speaks) It�s my favourite one
because we�re all in it together. Someone,
usually me, has to hold the camera,
which means I�m always missing from
the photos.
Cut to Adam, looking at the picture he pulled out. His face is
blank, but you can sense great disturbance behind it. Cut to
a shot of the photo he is holding. It is not the one Lawrence
described, but a Polaroid of Alison and Diana bound and gagged,
and the message Regards with a jigsaw piece drawn next to it.
He turns the photo over, and there is a message. As he reads
it, Jigsaw reads it aloud in a voiceover.
JIGSAW
(VO) X Marks the spot. Sometimes you
see more with your eyes shut.
Adam does his best to hide what he has seen, looks up to Lawrence.
ADAM
It�s uh, it�s not here.
LAWRENCE
(a slight disturbance from his momentary
nostalgic bliss) What?
ADAM
Uh, this photo you�re talking about...it�s
not here.
LAWRENCE
(slightly surprised, reaching out his
hand for Adam to toss the wallet.) Really?
Are you sure?
ADAM
Yeah. (Tucking the picture in his right
hand, he shifts slightly by lifting
himself a bit with his right hand, sneakily
putting the photograph down and tossing
the wallet with his left hand. Lawrence
picks up the wallet and starts looking
for it, creasing his brow in concern,
while Adam backs up against his wall,
holding the photograph out of Lawrence�s
sight against a pipe he rests his arm
on as he looks at the photograph.)
LAWRENCE
(disbelief, shaking his head) He...he
must�ve taken it. I...
Alison�s voice over is heard as he says this and continues to
look through the wallet, and we hear Alison�s voiceover from
the scene in the main hall.
ALISON
(VO) How can you walk through life pretending
that you�re happy?
CUT TO the Main Hall of the Gordon Residence, back to the earlier
flashback of Lawrence and Alison. This time, we stay with them.
LAWRENCE
I am happy. (He walks over to a chair,
leaning over it as he puts something
down, gets his briefcase ready to go
to work. Alison stands a few feet behind
him, trying her best to get him to react,
to stop the bullshit and end the masquerade.)
ALISON
(pissed) That is complete bullshit.
I�d rather you break down and tell me
that you hated me. At least there�d
be some passion in it.
LAWRENCE
(tired of this, brushing it off as not
that important, like there really is
nothing wrong) We can talk about this
alter, okay? (He leans in to kiss her,
but she shakes her head. He pauses there.)
ALISON
(firmly) Just leave.
He looks at her for a moment, searching, then slowly turns away
and heads out the door.
VOICE
Goodnight, little girl. (camera pans
up closer into the closet, and we a
widened blue eye and part of a face
(yet unidentifiable) watching her.)
The closet doors burst open and Diana screams. Cut back to the
main hall where Alison stands alone, her head lowered slightly.
As soon as she hears the scream she turns and bolts towards her
daughter�s room.
ALISON
Diana!?
Alison gets to just outside the door to her bedroom.
ALISON
Diana! (opens the door and flips on
the light, gasps when she sees a figure
covered by a blanket looming over Diana�s
bed. The figure suddenly grabs Diana
and she screams, struggling against
him. Alison goes for them.
Quick cut to NOW, in Alison and Lawrence�s bedroom. Waistline
shot of a figure wearing a black coat, black leather gloves and
blue jeans, holding a stethoscope. A gun is tucked into his belt
and Diana�s teddy bear tucked under his arm. He saunters over
to the gagged and bound Diana and Alison, on the floor and tied
to a corner end of the bed. Alison, her eyes streaming tears,
struggles and pulls against her bonds to try to get at him but
fails. Diana keeps crying Mommy! over and over again and sobbing.
The figure crouches down beside Diana, dropping the teddy bear
behind her, his face still unseen. He takes the stethoscope and
holds the end to Diana�s chest. The sound of a loud, steady heartbeat
is heard. Alison screams at him through her gag.
ALISON
Don�t do that! Leave her! Get away from
her!
He pulls away the stethoscope and the heartbeat halts. He reaches
with his right hand and pulls from his belt the gun. Diana�s
screams become more desperate, Alison�s more frantic, more angry.
He puts the stethoscope back against Diana�s chest and moves
the gun up and down in front of her, then bringing it up to her
mother�s head. We hear the heartbeat again, doubled in speed.
ALISON
(through her gag) Keep your motherfucking
hands off of my daughter!
He pulls away the gun and the stethoscope, tucking the gun back
into his belt. He reaches down behind Diana and picks up the
teddy bear. As he does, we catch a brief glimpse of the lower
half of his face, but not enough for a clear identification yet.
He holds the teddy bear out in front of Diana for a moment then
tucks it in front of her. He pats her on the head and stands
up, moving over to the window. He parts the curtains slightly
and leans forward a bit, and we see his face more clearly. It
is Zep, the orderly from the hospital.
Cut to static, and then a surveillance video view of the exterior
of the Gordon home, of the window where Zep is standing. The
camera zooms in on him and we hear a raspy, male voice speaking.
VOICE
(VO as we view shot of Zep) Who are
you little man...I see you...(cut to
a television screen with the video of
Zep in the window. Fade back and to
the right as we get a view of someone�s
apartment. Plastered on the walls are
various photographs, which we can barely
make out, and a desk in the corner with
some recording equipment. As we move
further right and hit the window we
see Detective Tapp, leaning over the
camera shooting the Gordon�s window,
adjusting the view. Something about
him seems just not right. We cut back
to his view from the camera.) Does Dr.
Gordon know you�re at home with his
wife? I know you know something. (his
voice goes up a bit louder) What are
you doing in there? Waiting for the
doctor? I�m waiting for the doctor,
too. Hmm.
Cut to a view over Tapp�s couch of the television with Zep on
video on the screen. Tapp walks over and sits down in front of
the television, his back to us.
TAPP
I never should have let you go...
Camera pans up to a wall of articles, all about the Jigsaw killings.
It moves quickly and zooms in on each headline we see. Jigsaw
hunt brings D.A. before Judge, Missing Man discovered at Bizarre
Crime Scene screaming is heard then a quick flashback shot of
Paul in his cage, first struggling against the wire then hanging
dead in his cage Killer �Preaching� Says Top Cop, Psychopath
Teaches Sick Life Lessons, quick shot of Mark going around looking
for the code on the walls, with the sound of his screaming over
the shot, Escape, Victim Survives Maniac�s Game quick flashback
footage of Amanda in the interrogation room, then fighting with
her mask, and a shot of Lawrence watching and listening to her
testimony, Doctor Questioned in Case flash of shots of Lawrence
being questioned by the Tapp and Sing and then his Lawyer. It
ends on the flashback shot of Tapp looking back at Lawrence through
the two-way glass after Amanda tells her story, and the shot
slides into a shot of a car pulling up alongside a building.
TAPP
(VO, fading, hushed against soundtrack)
I never should�ve let you go...
The car pulls up alongside a building, with Lawrence in the passenger
seat, and Tapp driving. Lawrence�s awkwardness, Tapp�s distrust,
and general uncomfortable tension can be easily detected between
them.
LAWRENCE
(Pretending like he�s trying to be helpful,
really just glad to be out of Tapp�s
company) Here we are. That was uh, quite
an amazing story that poor woman told.
(Tapp just nods, says nothing. Lawrence
smiles very uncomfortably, gets out
of the car.)
LAWRENCE
(leaning down and looking back into
the car window.) Look, I�m sorry I can�t
be of more help to your investigation.
TAPP
(nods very slightly) You know, we arrested
a dentist last week who like to play
with kids a bit too much. He lived two
blocks from here. The sewer lines run
under this neighborhood too, Doctor.
(hint hint)
Lawrence stands straight up, walks away. Tapp wait�s a moment,
then drives off.
BAM into static and then the video from Amanda�s cell. We are
not at Tapp�s desk in the police station, watching him obsessively
watch the video, staring at the screen, remote control in hand.
As he watches, the camera circles around behind the television
to give us a better view of our obsessed detective.
JIGSAW
(from the video) Hello Amanda. You don�t
know me, but I know you. I want to play
a game. Here�s what happens if you lose.
There�s a timer at the back of the device
you�re wearing. When the timer goes
off, your mouth will be permanently
ripped open.
In the background of the station we hear a couple of detectives
talking, then Sing walks in behind Tapp, over to his own desk.
He turns, watching Tapp watch the screen. Tapp stops and rewinds
the tape.
SING
(to the other detectives leaving) I�ll
catch you guys down there. (he reaches
over and gets something off of his desk)
JIGSAW
(from video) Think of it like a reverse
bear trap.
Tapp fast forwards a bit, hits play.
JIGSAW
(from video) I�ll show you...
Tapp watches closely the demonstration of the timer then the
device going off and exploding. Sing watches too, not paying
as close attention. As soon as it explodes, Sing speaks. The
look on his face and the tone of his voice indicates his growing
concern for his partner�s obsession over this case.
SING
Hey Tapp?
Tapp doesn�t look up, resembles Lawrence in the earlier scene
when Alison and Diana came to him to check her room while he
was working on his paper.
TAPP
Mmm?
SING
We�re gonna go down to the Grill, go
get a beer. You wanna come?
TAPP
I don�t think so. Thanks anyway.
SING
(Figured he might answer as such) You
know I always ask. (He puts on his jacket)
JIGSAW
(on video) There is only one key...
SING
I�ll leave you to have fun up here.
(He puts his hands on his hips, watching
some more of the video.)
JIGSAW
(on video) It�s in the stomach of your
dead cellmate.
SING
(still trying to reach him, break him
from his obsession groove) Hey Tapp?
I don�t mean for this to be disrespectful...(pause)
Maybe you should find yourself a girlfriend.
Sing chuckles, hits Tapp playfully on the arm, tapp laughs a
bit too, but doesn�t look up. Sing remains grinning a bit. But
then Tapp continues and rewinds the video a bit.
JIGSAW
(on video) It�s in the stomach of your
dead cellmate.
Tapp fast forwards.
JIGSAW
(on video) Look around, Amanda. Know
that I�m not lying. (Sing steps off
to the right) You better hurry up. (Tapp
rewinds again, suddenly pauses)
TAPP
Wait wait wait, Sing!
Sing stops, turns.
TAPP
Get back here!
SING
What?
TAPP
Mmm! (he gestures franticly for him
to come over.)
SING
(sighs then comes over) What?
Tapp rewinds one second then pauses, holds pencil to the screen
to a grafittied wall on the video.
TAPP
Remember 118th Street?
SING
(looks at the screen, thinks a minute)
Ah...K2K. That gang�s territory was
only about four blocks.
TAPP
Now listen to this.
They listen with the volume up high. Over the static, the sound
of a fire alarm can just barely be heard in the background. They
look at each other. Tapp hits stop.
TAPP
(looking up at Sing) We gotta check
the records from all the fire emergencies
that occurred there in the last two
weeks. Go, right now! Mmm!
Sing turns and quickly walks off.
CUT TO
Close up of a map, with Sing speaking
in a voiceover. As he speaks, there�s
a brief shot of the two of them sitting
over the map, then quick shots of a
few black and white photographs of a
warehouse, including a close up of a
street sign Stygian St.
SING
(VO) On the night of Tuesday, the 17th,
we got a fire alarm going off in the
rear wing of 213 Stygian Street. It�s
an old listing. Used to be a mannequin
factory. (cut back to view of the two
detectives) You think we have enough
for a warrant, though?
TAPP
Who said anything about a warrant? (He
grins, gets up and grabs his jacket.)
SING
(are you serious?) Right now?
TAPP
Why not?
SING
Yeah, why not? (He grabs his gun, snaps
a cartridge into it, grabsup his coat,
and quickly follows Tapp.
Brief shot of K2K graffiti on the video and then loud static,
which snaps into an exterior nighttime view of an old warehouse
building and a car speeding by. Our view is from inside the car
as it pulls up alongside the building. A police radio can be
heard in the background. So can the sound of a gun being loaded
and cocked.
TAPP
(VO) At least we�ll have the cover of
darkness.
SING
(VO) Yeah, well, so will anybody else.
A shot of inside the factory, various clutter and tables piled
up on one another. No signs of life...yet. A bang from the outside
of the door is heard. A couple more bangs and a shot of the giant,
sliding wooden door as it slides open, and Sing steps in, holding
out his shotgun, ready for anything waiting for them. Cut up
to a staircase, lit by eerie green light, the same as from Paul�s
razor wire room, as the detectives make their way up cautiously,
Tapp in front, Sing covering behind them. They come up another
level, one that has been recently used we see as Tapp points
over to a desk with a computer, a radio, and some other miscellaneous
items. Then, right next to the desk, we see the K2K graffiti
from the video.
TAPP
I got you...
They continue on, moving into a room separated with a chain link
fence. There is a slightly raised platform, going along part
of the wall, with a few steps leading up on either side. Tapp
goes up the steps. On the raised area are some tables covered
in heavy red cloth. Tapp points to one, reaches down, and pulls
back the covering. He reveals a small diorama of the bathroom
scene where Adam and Lawrence dolls, complete with the body,
dolls representing each of them.
TAPP
What the hell is this?.......(his voice
almost a whisper) Oh shit...
They move onto the next table, and Tapp pulls back the cloth
covering that one, revealing the leering Puppet from Amanda�s
video. Tapp stares at it wide-eyed. Next to the puppet is a strange,
boar-like mask with long dark hair. The camera pans back so we
have the view of another large object covered in red cloth that
Tapp and Sing had passed by. Tapp leans in closer to look at
the puppet, when suddenly the still-covered form starts to move
and muffled moaning sounds are heard. It startles the detectives.
SING
Oh fuck!
They both go over and stand on either side of it, taking one
end of the red cloth whipping it off. Underneath is a man tied
to a chair with duct tape over his mouth, held in place by a
manacle around his neck. A contraption on the chair holds two
power drills about six inches from either side of his head, pointed
directly at his temples. His eyes wide, he moans through his
tape at the detectives.
Suddenly, a door is heard clanging open on the other side of
the building, and the detectives spin to face the sound, guns
ready.
TAPP
(looks to Sing, says softly) Wait Sing!
SING
(trying to keep his voice low but coming
off a bit loudly) What?
TAPP
(eager) Let�s see what he�s gonna do.
SING
Why? We�ve fucking got him.
Tapp however, having studied this guy for so long, wants to get
a good look at him before he�s captured, see him in his element.
TAPP
We don�t know what he looks like. Let�s
see what he�s gonna do.
SING
(rather loudly, again) No fucking way!
As the two argue, the man in the chair continues to protest his
position.
TAPP
Sing, Sing! (he moves in front of the
man a bit, holding up his hand to try
to halt Sing, trying to convince him
to go along with him.)
SING
(isn�t buying into it) Fuck that. I�m
gonna take him.
TAPP
Sing!
SING
What the fuck? Shit!
TAPP
Wait Sing, listen.
Whoever it is is moving closer, so they quickly cover up the
man and the other things they uncovered. The man in the chair
protests loudly through his gag and struggles as much as he can
in his chair. Sing and Tapp go and hide behind a tarp covering
the entryway to another room while a figure in a black robe lined
in red comes up on the elevator. The elevator stops, and the
figure moves forward, slowly and carefully. He goes up the steps
to the man in the chair. The figure�s hood is up; we do not see
his face. As he walks, he seems like he might be having a somewhat
difficult time with it.
He reaches and uncovers the man, who begs in muffled tones through
the gag. When the figure speaks, we instantly know it is Jigsaw;
it is the unmistakable voice from the tapes and the video.
JIGSAW
Awake already, Jeff? I need more powerful
tranquilizers next time. (Jeff continues
his cries, sheds a few tears. Jigsaw
reaches over and touches his shoulder)
Don�t cry. I�ve given your life a purpose.
You�re a test subject for something
greater than yourself.
That�s when Sing cocks the shotgun and the two detectives move
out of their hiding spot, aiming their weapons at Jigsaw.
SING
Freeze! Police!
TAPP
Hold it right there! Don�t move!
SING
Put your fucking hands in the air!
Jigsaw slowly raises his hands, starts to turn to face them but
then quickly steps down hard on a red button on the floor, and
the drill trap on Jeff�s chair comes to life. He remains with
his back mostly to them, hands still raised.
JIGSAW
Now you�ll make a choice. (Sing runs
up the steps to try to where Jigsaw
is, gun aimed at him. Tapp remains where
he stands.) In 20 seconds, the life
of this man will be ended.
TAPP
Shut up and get down here!
SING
(keeping his gun steadily aimed) What
did you do? Turn it off!
Jeff in the meantime is struggling in his seat as the drills
come closer.
TAPP
Sing, stop that thing! I�m taking this
bastard down. (Sing tosses Tapp the
shotgun.) Move!
SING
(to Jigsaw) How do you turn it off?!
TAPP
Tell him how to stop it!
Jigsaw backs up a bit towards the stairs.
JIGSAW
One key will unlock it.
SING
(frantic) Where is it?!
JIGSAW
It�s in the box.
SING
Box! (He sees a box on the side of the
chair and opens it. Inside he pulls
out a ring of at least 30 keys, and
goes over to behind Jeff to try to unlock
the device. He tries a couple of keys,
none working.) Fuck! Which key, which
key?!
TAPP
Tell him which key it is!
JIGSAW
(now facing Tapp, moving closer to him.
His back is to us, we still don�t see
his face.) Time is running out.
TAPP
Shut up and get down here right now,
asshole!
Jigsaw slowly moves down towards him more.
JIGSAW
What�s more important to you Officer,
arresting me or the life of another
human being?
Sing keeps trying various keys. Tapp goes up Jigsaw and grabs
him, pushing him down to his knees. Jigsaw keeps his arms slightly
raised.
TAPP
Get down on your knees!
SING
Jesus! Tapp! Tapp!
TAPP
(gun aimed at the back of Jigsaw�s head)
Hands behind your head! (Jigsaw obliges)
Sick bastard.
JIGSAW
Yes, I am sick, Officer.
SING
(still trying various keys, none working.
He�s in a full-fledged panic. Jeff closes
his eyes, crying, as the drills are
only 2 inches away) Tapp! It�s like,
there�s a hundred keys in here!
JIGSAW
Sick from the disease eating away at
me inside. Sick of people who don�t
appreciate their blessings. Sick of
those who scoff at the suffering of
others.
Sing finally whips out his gun and shoots each drill, breaking
and stopping them. Tapp glances up at him, briefly distracted
by the gunfire.
JIGSAW
(as he pops a blade out of a wristband
hidden up his right sleeve) Sick of
it all! (He lashes upwards, slashing
Tapp�s throat)
SING
(seeing the throat slash) Tapp!!! (runs
down from Jeff towards them. Tapp clutches
his throat, completely surprised, gurgling.)
Jigsaw RUNS, fast as he can, out of the room. Sing takes a couple
of shots at him and misses. He stops when he reaches Tapp, who
is slumped against the fence/wall and bends down next to him.
SING
(desperate, a trace of despair) No,
no! Tapp! Shit!
Tapp gurgles at him, hands him the shotgun.
SING
(standing, touching Tapp on the shoulder
then head) I�ll be back, okay? I�ll
be back.
Tapp just kind of nods, gurgling and holding his throat. Sing
spins around and then starts chasing Jigsaw through the warehouse,
out of the room and down a flight of stairs. He moves down a
long, misty corridor, gun up, moving quickly but still cautiously.
He takes a right, goes down another flight of stairs then takes
another right, stopping and looking down a short flight of stairs.
Quick cut to Tapp starting to try to get up, holding his throat.
He drags himself along the floor.
Back to Sing, who cocks his shotgun, then moves down the stairs
very cautiously. He takes a left around the corner, finds himself
facing down another corridor, where he sees Jigsaw trying to
get away. He takes aim.
SING
(shouting) Freeze or I�ll shoot!
Jigsaw continues moving, so Sing fires. He hits, and Jigsaw goes
down. Sing pauses, waiting to see if he gets back up. Jigsaw
doesn�t move, so Sing cocks the gun again and starts to slowly
move forward towards him. Cut to a shot of Tapp as he struggles
to his feet and starts towards the stairs to follow Sing.
Back to Sing, moving further down the hall. He gets about halfway
down it when we see a shot of his feet just at a trip-wire. Over
it are some cobwebs hanging down. He reaches to part them, and
steps forward into the wire. As he steps we see a shot of a shotgun
with wire slowly pulling down on the trigger. Sing looks up,
and the trigger of that gun and six other shotguns pointing down
directly at him fire. Sing is hit, blood splattering against
him and the wall. We see only from his shoulders down. He spasms
for a moment, then falls forward to his knees. Cut to Tapp, who
is making strange vowel sounds, moving down the flight of stairs
just before the hallway where Sing now is.
On his knees, Sing remains upright for a moment, spasming more.
We go to a shot of Jigsaw on the floor. Jigsaw starts moving
and gets himself up to his feet, and starts hobbling further
down the hall. Sing�s body finally falls forward onto the floor,
spasming still. Tapp continues down the stairs, falling against
the wall a couple of times. We see Jigsaw as he gets to the end
of the hall and starts sliding a large door open.
At that moment, Tapp reaches the bottom of the stairs and turns
into the hallway, collapsing back into a sitting position on
the stairs. Jigsaw hobbles through the door and starts to go
left. Tapp sits up a bit and looks down the hall, where he sees
Sing, who has stopped spasming. His eyes widening, Tapp removes
the hand from his throat and reaches forward towards Sing, his
mouth opening and moving but no sound other than some gasping
coming out. The shot fades to a slow-paced black and white, and
then snaps into a few crime scene photos of Sing�s body, including
a nice gory one of the top of his head, part of which is now
missing.
At the last photoflash, we cut back to a shot of Tapp presently,
sitting on his couch. The shot shows a good view of the scar
across his neck.
TAPP
(weak, desperate) Had you...had you
on your knees. (He sits forward, getting
some things off the coffee table) You�re
running. You�re running...(He gets up
and goes over to the desk in the corner
with the audio recording device and
dozens of photos pinned to the wall,
takes a seat) You�re running scared
because we had you. I�m going to close
this case. Ram close it. (He picks up
a small framed photograph, which we
can�t see, but likely, it�s of Sing.)
Right, Sing? Right? We�re gonna close
it, Sing.
LAWRENCE
X Marks the spot...(He stands, touching
the pipe and looking up and around a
bit.) X marks the spot...we need to
search this room again. (He turns and
looks over at Adam.) What are you doing
over there?
Cut back into regular view in the bathroom, with a shot of Adam
sitting on the tub, holding the photograph of Alison and Diana
just beneath the edge of the inside of the tub, looking down
at it. He ignores Lawrence, flipping the photo over.
LAWRENCE
(irritated) Excuse me?
ADAM
(glancing up; calm irritation) Just
because I�m stuck in this room with
you doesn�t mean I have to report to
you every ten seconds.
LAWRENCE
(sighs) I really don�t see the point
in us not helping one another.
ADAM
well what do you want me to do? I�m
on a leash.
LAWRENCE
That�s exactly why we need to talk.
We need to think!
ADAM
I am thinking!
LAWRENCE
(snapping at him) Well then don�t keep
me in the dark about what you�re thinking!
There is a pause as something about that statement strikes Adam.
ADAM
Turn off the lights.
LAWRENCE
What?
ADAM
(letting the photo fall into the tub
as he stands) Turn them off now, please!
LAWRENCE
(doesn�t get it) Why?
ADAM
(impatiently) Just turn them off for
a second!
Lawrence stares at him oddly but moves backwards, reaching over
and flipping off the lights. Adam looks around. Lawrence looks
around too, but he sees nothing. He doesn�t seem to think this
is going to help any. Then we see on the wall next to him a glow
in the dark X painted on the tiles. He doesn�t see it and shrugs,
but Adam spots it.
ADAM
Jesus, behind you!
LAWRENCE
(turns and sees it, is surprised) How
come we didn�t see that before?
ADAM
The lights in here hadn�t charged it.
It must be glow in the dark paint or
something.
Lawrence turns and flips the lights back on, both of them wincing
slightly at the sudden transition from dark to bright white,
though not as much as before. Lawrence leans over and picks up
his hacksaw, going over to the tiles where the X is and starts
hitting the tiles with the handle of the hacksaw. He breaks through,
reaching into a small cavity in the wall and pulling out a small
brown box with a hinged lid. He can�t believe it. He looks to
Adam, a small grin on his face. He places it on the floor and
sits down behind it.
ADAM
(excitedly) Open it!
LAWRENCE
(turns it around so we and Adam can
see the small lock on it.) It�s locked.
(He pauses, thinking, then realizes
something) The key, the one from my
envelope. Where is it?
Adam looks around him, then leans down, looking on the floor
for the key.
ADAM
(soft, hushed tone as he looks) Where
the fuck...Here. (He finds it, picks
it up and tosses it over.)
Lawrence picks up the key, tries it on the lock. It works. He
takes the lock off, opens the box. He holds up a cell phone,
smiling in relief.
ADAM
(big smile) Cell phone. The most beautiful
invention on this planet!
Lawrence takes out and holds up one of two cigarettes. Adam lets
out a joyful laugh.
ADAM
Make that second most beautiful invention!
(He reaches out his hand for Lawrence
to toss it.) Give me that.
LAWRENCE
Are you joking? You�re gonna put something
we found in this room in your mouth?
ADAM
(pause, then) Yes, I�m willing to risk
it! Give me that sweet cancer. (Lawrence
ignores his request, tosses out the
other cigarette and a lighter. He finds
lastly a small folded up note with the
words Shh, Doctor, written on it.) I
don�t care, I really don�t. Give me
one of those.
Jigsaw�s voiceover reads what�s written on the note as Lawrence
opens the paper and reads it, keeping it low in the box where
Adam can�t see it.
JIGSAW
(VO) The cigarettes are harmless, I
promise. Smoking is only poisonous when
it ends in bloodshed. Think about this
- you don�t need a gun to kill Adam.
ADAM
(growing impatient) May I please have
a cigarette?
LAWRENCE
(ignoring his plea) I�m trying the police.
(He flips open and dials on the cell
phone, but a weird beeping noise indicating
the call can�t go through comes from
the phone. He dials again, same result.)
Shit. (Pause, thinks.) This was meant
to receive calls, not make them. (A
moment; he realizes something.) Wait
a minute...this has happened before.
Cut back to an overhead descending view inside a parking garage.
LAWRENCE
(VO) Last night, after I finished at
the hospital. (fade into another closer
shot of the cars, and Lawrence walking
down the corridor, carrying his briefcase.)
I was walking back to my car. (He stops
a moment) I thought I was alone, but
I�m sure someone else was there. (He
squints, bringing his hand up over his
eyes. There is a flash from the side.
He looks up, startled, looking in the
direction in which he thinks it came
from, but sees nothing. He looks around
him for another moment, then continues
forward to his car.)
Cut to a shot within a circular overhead mirror of Lawrence�s
car pulling up to an abandoned security gate station. He gets
out of the car, shutting the door and going over to a phone on
the wall to dial security to let him out. When he dials, though,
it gives him a busy signal. As it beeps, we cut to another shot
of his car in the mirror. The back door on the passenger side
starts to slowly open. Back to Lawrence, who hangs up the phone,
aggravated, and reaches into his pocket for his cell phone. He
opens it and dials. Back in the mirror, we see something get
out of the car on its hands and knees. It is in a red robe and
has a strangely shaped head with long, tangly dark hair. Lawrence
finishes dialing, holds the phone to his ear but receives the
same beeping tone as the phone in the bathroom, indicating that
he cannot make outgoing calls. Perplexed, he holds up the phone,
trying to get a better signal. Alongside the car, the thing moves
even closer now. It gets up slowly. We see that it is wearing
the strange boar mask previously seen in the flashback of Jigsaw�s
workshop. It suddenly rushes upon him as he�s distracted with
his phone and grabs him.
Cut back to Lawrence sitting on the floor in the bathroom, still
holding the phone.
LAWRENCE
(His eyes distant, off in his memory)
That...thing. It was waiting for me.
(He exhales sharply, then looks back
up at Adam. Adam is just standing there,
staring at him. Something seems a bit...off.
With a suspicious tone, Lawrence addresses
him.) How did you know to turn off the
lights?
ADAM
Who cares? It worked.
LAWRENCE
Yeah, but how did you know?
ADAM
(a slight pause) Instinct. (His tone
is far from believable.)
LAWRENCE
(doesn�t believe a word of it) Instinct?
ADAM
Yeah.
LAWRENCE
You know what? (he looks down, then
back up at Adam.) You�re a terrible
liar.
ADAM
(quiet offense) You say that like you
know me.
LAWRENCE
(speaks calmly, but anger lies underneath
the surface) What else aren�t you telling
me?
ADAM
(cocky and sarcastic) Well, um, let�s
see. On my sixth birthday, my best friend
at that time, Scott Tibbs, stabbed me
with a rusty nail. I didn�t tell you
about that. I didn�t� tell you that
my last girlfriend, (Lawrence lowers
his head into his hands. Un-FUCKING-believable)
who was a feminist vegan punk, broke
up with me because she thought I was
too angry. Uh, I haven�t told you that
one of my toenails is slightly...
LAWRENCE
(snaps at him, fed up) Just stop it.
You knew to turn off these lights.
ADAM
(turning away from Lawrence) What-ever.
LAWRENCE
(stands up, frustrated.) I�m dealing
with a juvenile.
ADAM
(has had it, looks right at him) You
wanna know?
LAWRENCE
(exasperated) Yeah!
Adam leans down and reaches into the bathtub, pulls out and holds
up the picture of Alison and Diana.
ADAM
(with a somewhat aggressive attitude)
Here it is. (He throws it towards Lawrence,
who looks down at it, then back up at
Adam before getting down on the floor
and pulling it towards him with the
hinged box. He picks it up, sitting
up as he looks upon it with shock. )
LAWRENCE
(very softly, shakily) Oh God...(he
turns it over, then back. Adam casts
his eyes downwards, still standing but
cooling off, feeling bad for Lawrence)
W...where did you get this?
ADAM
(softly) It was in your wallet, behind
the photo of your daughter.
LAWRENCE
W...why didn�t you show me this before?
ADAM
I couldn�t. (Lawrence begins to shakily
sob, touching the photo.) I�m sorry.
(Adam goes over and sits against a pipe
in his corner, lowering his head and
upper body forward, holding his head
in his hands.)
Lawrence sniffles, shaking, then looks right to the surveillance
camera behind the glass and screams.
LAWRENCE
What are you doing to them you bastard?!
(He goes back to huddling over the photograph,
sniffling and crying for a moment. Then,
he sits up, trying to pull himself together)
Okay...okay..(he looks around a bit)
Okay, I�ve got to think now...(He looks
down, sees the note again in the box.)
JIGSAW
(VO) Think about this...you don�t need
a gun to kill Adam. When there�s that
much poison in your blood (a slow shot
moving to the pool of blood from the
body in front of Lawrence), the only
thing left to do is shoot yourself.
Lawrence looks at the body, then down. He�s getting an idea.
He takes a cigarette, glances over at Adam, who still has his
head down in his hands. He dips the end of the cigarette in the
blood, then puts it back in the box. He starts to get up. Adam
looks up, sees him standing.
ADAM
What are you doing?
Lawrence goes to the light, looks at the camera, suddenly flips
off the lights. We see a shot of Zep startling when the lights
go out on the monitor, then we go back to the darkened bathroom.
ADAM
Hey! What the hell are you doing?
LAWRENCE
(whispering so the surveillance camera
will not pick him up) Adam, listen to
me. I want you to play along with me
on this.
Zep leans in, trying to hear what�s being said, but the static
of the video is too loud. He tries to adjust the sound, but to
no avail. Shot goes back into the bathroom, where Lawrence is
finishing saying something to Adam.
LAWRENCE
You got that? (he turns the lights back
on, both of them again wincing at the
bright light. Lawrence glances at the
surveillance camera, then looks to Adam.
LAWRENCE
(trying to be nonchalant) So you uh,
still want that cigarette?
ADAM
Um...yeah, sure.
Lawrence makes a show of reaching into the box where the poisoned
cigarette is, but takes the other un-dipped one instead. He throws
it to Adam, who reaches down and picks it up from where it lands.
Lawrence throws the lighter as well. Adam puts the cigarette
between his lips and reaches down, picking up the lighter. He
glances over at Lawrence, who watches him intently. Adam just
shrugs then lights up. He takes a long drag, then exhales in
a sigh of relief and with a smile. He takes another drag then
suddenly freezes, his head jerking and a strange gurgling sound
coming from his throat. His head jerks more then the rest of
his body, his eyes widening. His hand drops the cigarette and
goes to his throat as he turns, still jerky and making a strange,
almost squeaky choking sound in his throat. The sound grows louder
as he falls to his knees, then back a bit, his left arm held
out in front of him dramatically. He falls backwards onto the
floor, twitching some more, still choking. He lets out a long
cough, suddenly stops jerking, and closes his eyes. The death
in its entirety is very, very fake.
LAWRENCE
(watches Adam, then turns to the surveillance
camera, speaks with angry finality)
There! I�ve done it! I�ve killed him
with the poison, just like you wanted.
(shouting) Now where�s my family?! Where
are they?!
Suddenly, we go to a shot of Adam lying there and a loud, electrical
buzzing sound is heard as his body jerks to life and he cries
out. He spasms and jerks around as he is electrocuted, and Lawrence
looks upon him in shock. Finally, the electrocution stops, and
Adam sits up slightly, gasping, eyes wide.
ADAM
(he shrieks in pain and shock) Jesus
Christ!!
Lawrence�s reaction is not one of concern; he simply can�t believe
that Adam just screwed up the plan.
LAWRENCE
(disbelief) What?
ADAM
(wide eyed) I just got electrocuted!
LAWRENCE
What? (he rolls his eyes. Unbelievable.
He speaks in a hushed tone.) That was
our way out!
Adam looks at him in shock, cannot believe Lawrence would think
he�d make something like that up.
ADAM
(yelling at him) Did you hear what I
said? (he desperately grabs at the manacle
around his ankle, pulling at it and
shrieking) Get this thing off me! Get
it off!
LAWRENCE
(pissed off) Stop acting!
ADAM
(stops pulling at the manacle and chains;
now he�s pissed at Lawrence for his
disbelief) You think I would make that
up just to mess up your stupid fucking
charade?
LAWRENCE
(gives up on Adam, frustrated once more)
All right, that�s it! (He leans over
and picks up his saw, sits down and
starts trying to saw through his chains
again, grunting. Adam, in the meantime,
just sits back against the wall, breathing
heavily, looking dazed. Lawrence continues
to franticly saw, but it doesn�t work.
He gets pissed off and throws the blade
down.) Ah, Damn it!!
Back to Adam, still looking dazed. Suddenly, a look of realization
dawns upon his face. The electrocution has jogged his memory.
ADAM
(wide-eyed) I remember everything now.
(Lawrence glances over at him.) I remember
how I got here.
Flashback to Adam walking up the stairs in his apartment building,
a camera around his neck, smoking a cigarette and listening to
music on his headphones. He walks with an uncaring, slow swagger.
He gets to the top of the stairs and walks down a red-lit hallway
to his apartment. He goes inside, closing the door behind him
then moving into the kitchen area, throwing his keys onto the
table and opening the fridge. The entire apartment is very rundown,
decrepit, dingy and old; truly a shithole apartment as Adam described
it earlier. There is graffiti on the door and walls, the wallpaper
is fading and peeling, the refrigerator is dirty.
Adam opens the fridge and looks inside for a moment. He sighs,
then closes the door. He heads over to his darkroom, closing
the door behind him. The lighting is dark red. He puts the camera
down on the table, taking the strap off from around his neck,
takes off his headphones and cd player, presses stop and puts
them down off to the side. He sighs tiredly and goes over to
a tray where a photo is developing and picks it up with his fingers,
ganging it with a closepin on a hanging line with other photos.
It is a picture of a man wearing sunglasses. The man is in fact
Lawrence. To the left of that one is a shot of Lawrence in the
parking garage with his hand over his eyes.
The camera cuts to a shot of the newest photo through a peephole
in the darkroom door as the camera fades out and back, viewing
the grafittied door of the darkroom before the shot fades to
black, industrial music playing over the shot.
Cut to Adam sleeping in the now pitch-black darkroom, his head
down on the table. He wakes up abruptly, as though he hadn�t
meant to fall asleep. He looks around, confused, wondering why
all the lights out. He gives a Great, another problem type of
sigh. He stands and yawns, reaching over for the lightswitch.
He moves it up and down a few times, but nothing happens. Another
aggravated sigh. He reaches down and finds a flashlight on the
counter, presses the on button but it doesn�t work. Pissed, he
shakes it hard, trying to get it to come on, but that doesn�t
work. He looks at it, scoffs.
ADAM
Great.
Suddenly, he hears something move outside the door, somewhere
in his apartment. On alert, he listens. He looks down and picks
up his camera, slinging it around his neck and holding it out
in front of him. He opens the creaky door into his also pitch-black
apartment. He takes a few steps forward, speaks nervously, but
trying to be brave.
ADAM
Is someone there? (he takes a picture,
the flash lighting up the area in front
of him.) I can hear you. (He takes another
picture, the flash lighting up a living
room area. Nothing yet. He moves forward
more, into the kitchen entryway, snapping
away for light.)
Suddenly, from behind him, an EVIL DOLL LAUGH is heard. He startles,
spinning around.
ADAM
(his voice alarmed but confused at the
same time) What the...? (He snaps a
picture in its direction and sees the
Puppet from Jigsaw�s workshop and video
sitting in an armchair, continuing its
evil laugh.) Christ! (He reaches down
and finds a baseball bat on the floor,
and starts hitting the doll as hard
as he can until the laugh starts to
fade and then just dies out. ) What
the...
He hears the sound of movement again, coming from just behind
him in a closet. He goes on alert again, holding up the baseball
bat and the camera.
ADAM
Who is that?! Who�s in there?! (he moves
towards the door, shaking but trying
to be a tough guy) Come on out! I�ll
kill you, you motherfucker! (He opens
the door, holds the camera and takes
a picture. As soon as the flash goes
off we see the red-robed pig thing that
originally grabbed Lawrence quickly
move forward and grab Adam.)
Suddenly, the cell phone rings. Lawrence looks down at it in
slight surprise. Adam snaps out of his daze to look at it as
well. Lawrence glances over at Adam and then carefully reaches
down, picks it up and answers it. The scene will cut back and
forth to Diana and Alison in the room and Lawrence on the phone
for the duration of the conversation.
LAWRENCE
(not sure what to expect) Who is this?
DIANA
(on the phone, sobbing) Daddy?
LAWRENCE
Diana? (he stands)
DIANA
Daddy, is that you? (cut to a shot of
her being held by Zep, the phone to
her ear.)
LAWRENCE
(getting sniffly) Yeah baby, it�s me.
I�m here. (Adam watches him intently)
DIANA
(sobbing) I�m scared, Daddy.
LAWRENCE
(trying his best to reassure her) Don�t
worry honey, everything�s going to be
okay. Where�s Mommy?
DIANA
She�s here with me.
LAWRENCE
(Staying as calm and collected as he
can for his daughter) Let me talk to
her sweetie, okay? Put Mommy on.
DIANA
The bad man from my room is here. He
has us tied up and he has a gun.
LAWRENCE
W...what man?
DIANA
Please come home Daddy! (Zep kisses
her on the top of her head and takes
the phone away to give to Alison.)
LAWRENCE
Hello? Hello? Diana?
Zep pushes some of Alison�s hair behind her ear with the barrel
of the gun.
LAWRENCE
(desperate) Diana! Diana!
Zep puts the phone up to Alison�s ear.
ALISON
Larry?
LAWRENCE
Ally? Is that you? (We see a shot of
Alison giving a threatening look through
her tears to Zep.)
ALISON
Is Adam there?
LAWRENCE
(surprised, looks to Adam, who continues
to watch him worriedly) How do you know?
Ally, what is going on?
ALISON
(through her sobs, trying to calm them
and get this message to him) Don�t believe
Adam�s lies. He knows you. He knew all
about you before today. (Zep quickly
takes the phone away, hangs up. Cut
back to the bathroom, Lawrence on the
phone.)
LAWRENCE
(a dial tone is heard from the other
end hanging up. Lawrence is desperate)
Hello? Ally? Ally? (No answer, just
the dial tone. He stands up.) Hello?
(He looks to the surveillance camera,
screaming) God damn you! If you so much
as lay a finger on them, I�ll kill you!
You hear me? You son of a bitch! I�ll
kill you! (He sits down, leaning forward
over the floor, crying a bit. He slams
his fist fiercely against the floor.)
ADAM
(quietly, as though cautiously approaching
a dangerous animal) Are they okay?
LAWRENCE
(sits up. His voice is calmer, but rage
is clearly underneath the surface) My
wife, she uh, she mentioned your name.
ADAM
(a brief Oh shit look appears in his
eyes, but he acts surprised) What did
she say?
LAWRENCE
(not looking at him yet. Speaks very
firmly, trying to suppress his rage.)
She told me...not to believe you.
ADAM
(cannot even look at Lawrence.) Believe
me about what? (There is no doubt he�s
hiding something)
LAWRENCE
(Finally turns to look at him, the look
of 1000 deaths) She told me you knew
me. (He stands, looming menacingly,
the look stronger on his face) Who are
you?
ADAM
(still trying to cover up and losing,
still not making eye contact) You know
who I am.
LAWRENCE
(snaps, shouting at him) Stop the lies!
You�re a liar! I need to know the truth!
ADAM
(His tone changes, he�s had it with
hiding, had it with Lawrence) I�m a
liar? (Finally, he looks up, right at
Lawrence. His voice is firm and accusing.)
What did you do last night, Lawrence?
Work at a hospital? Saving sick children?
You told me that after you left your
house last night, you went to work at
a hospital.
LAWRENCE
(defensively) That�s because it�s the
truth.
ADAM
(almost deadly) No it�s not. Your wife
is right, Larry. (Lawrence is now the
one wearing the Oh shit look.) You don�t
recall getting your picture taken in
that parking lot?
Brief flashback shot of Lawrence in the parking garage, pausing
and covering his eyes for a moment when the camera flashed. We
see a shot of Adam holding the camera and taking the shot from
around a corner, ducking back behind the column. Lawrence looks
up at the flash, startled.
Cut back to the bathroom. Adam stands up, his stance and body
language accusing of Lawrence. He speaks fiercely, disgusted
with Lawrence�s two-faced bullshit.
ADAM
I can prove that you didn�t go anywhere
near a hospital last night. (He leans
over and pulls out the garbage bag from
the tub. Lawrence stands, staring at
him in near disbelief. He has been caught.
Adam takes a handful of photos from
the baggie he�d kept hidden inside the
garbage bag, holds them up and throws
them down, scattering them.) It�s not
the first time I�ve done it either,
Larry. (Lawrence leans over to look
at the photos on the floor in front
of him with complete and utter disbelief,
picking one up and looking down at it)
I�ve been taking pictures of you for
a few days now. (Shots of some of Adam�s
pictures. Lawrence going into a building,
Lawrence at an outdoor caf� eating lunch.)
LAWRENCE
(still holding the photograph) But...why?
ADAM
You wanna know what I do? I get paid
to take pictures of rich guys like you
who go to seedy, out-of-the-way motels
to fuck their secretaries. (we start
seeing more shots Adam took while following
Lawrence) Last night I went to your
house. (Flashback of Adam holding his
camera, then cut to several photographs
of Lawrence leaving his house, glancing
over his shoulder and moving down the
sidewalk) I watched you leave. I followed
you (Lawrence in the parking garage,
photographs of the exterior of the Hotel
Barfly. Lawrence inside the hotel, knocking
on the door to one of the rooms while
Adam hides around the corner with his
camera) all the way to that shitbag
hotel. (Photographs of Lawrence standing
outside then going into the room.)
LAWRENCE
(calm with rage just beneath the surface)
You�ve uh, had these with you the whole
time?
ADAM
I found them, in there (points to the
toilet; quick flashback of Adam pulling
the bag out of the top of the toilet,
then Adam opening the bag and seeing
the hacksaws and a glimpse of something
else in the bag.) with the hacksaws.
(Flashback of Adam tossing the bag into
the bathtub while Lawrence isn�t looking.)
I don�t know how they got there.
LAWRENCE
(angry) Yeah, right. You�re so full
of it! (He angrily crumples up and throws
the photo he was holding at Adam)
ADAM
(scoffing tone) Aww, face it, Larry,
we�re both bulls hitters. But my camera
isn�t. It doesn�t know how to lie. It
only shows you what�s put right in front
of it. Just out of curiosity, what did
you do in that motel room? You got out
of there pretty fast.
Cut to a flashback, the hotel room. Carla, the pretty Asian girl
from the hospital, is inside the room, now in a black lacy top
and a gray/blue skirt, waiting for him. She opens the door, taking
a step back as he enters. He looks unsure of the whole situation,
a changed attitude this evening from all the others. He shuts
the door behind him, and Carla smiles at him. Lawrence�s tone
when he speaks is unhappy. Not enraged, just somewhat disapproving.
LAWRENCE
Why did you um, deem it necessary to
page me when you knew I was at home?
CARLA
I didn�t know if you were going to make
it. (turns, goes and sits on the bed.)
LAWRENCE
(sounding very business-like) But I
gave you a precise time at which to
page me. (He puts the briefcase on a
chair by the door then goes over and
sits down next to her on the bed.) You
can�t do that.
CARLA
It�s not like I know the rules for this
sort of stuff. (She starts unbuttoning
her shirt. Lawrence holds out his hand
and stops her. She looks up at him,
concerned.) What�s wrong, Dr. Gordon?
LAWRENCE
(a sigh in his voice) Look, it was wrong
for me to makes you come here.
CARLA
(confused, hurt) But I thought we-
LAWRENCE
-Please. (very softly) I�m sorry. (He
stands and heads over to the door. Carla
remains sitting on the bed. She sniffles
slightly but doesn�t cry.)
Suddenly, the hotel room phone rings. Carla and Lawrence both
look at it, unsure, startled. Carla looks to Lawrence.
LAWRENCE
You tell anyone you were here?
CARLA
No. (She stands, goes over to the phone
and answers it.) Hello? (She listens,
turns to Lawrence) It�s for you. (She
holds out the phone.)
LAWRENCE
For me? (He walks over, takes the phone.)
Hello?
The voice on the other end is male, slightly raspy. It is unidentifiable;
it could be either Tapp or Zep, or someone else. It is very accusing.
VOICE
I know what you�re doing...Doctor.
LAWRENCE
I- (but the other person hangs up, and
a dial tone is heard)
Lawrence hangs up the phone, turns and moves to the door. Carla
moves with him, watching, waiting for him to say who it was.
LAWRENCE
(nervous) I have to go.
CARLA
What happened?
LAWRENCE
I�ve got to go. (He picks up his briefcase
from the chair, and heads out the door.
Cut to the underground parking lot, the same shot as where Adam
took Lawrence�s picture. He walks along, pauses to wince and
cover his eyes, then the flash. He looks up startled.
The shot cuts back to Lawrence leaning forward against the wall
in his corner, hand against a pipe. He slowly looks up at Adam,
thinking of something.
LAWRENCE
Who was it?
ADAM
Who was what?
LAWRENCE
The person who paid you to follow me,
who was it?
ADAM
(internal shrug) He calls himself Bob
and he gives me the money up front.
Two hundred bucks a night. If I�d have
known I was gonna end up here, I would�ve
asked for a hell of a lot more.
LAWRENCE
(pissy) What does that mean? Does that
mean you saw what happened to me?
ADAM
(internal eye roll; speaks as though
he�s been over this 100 times before)
What I saw was you get into your car.
That�s it. I didn�t ask your name. I
didn�t know who you were. I don�t know
how I got here, I don�t know how you
got here. I just took the shots (As
he speaks, a quick flashback of Adam
taking a picture, going up apartment
stairs, then in the darkroom) and went
straight home to develop the. Next thing
I know I�m chained to a pipe in some
prehistoric bathroom, staring at the
guy I�ve been taking shots of all night.
LAWRENCE
(seeing a major break in this mystery)
Clearly, whoever paid you to take the
pictures of me is the one who put is
in here.
ADAM
(they don�t know that for sure) Maybe.
LAWRENCE
Maybe? What do you mean maybe? Of course
it is! What did he look like?
ADAM
(internal shrug) I don�t know, he was
just a guy. (Shot of inside Adam�s apartment
and an unidentifiable figure towards
the back of the room, the image darkened
so we can�t make him out. The figure
slowly takes a step towards us/Adam)
LAWRENCE
Was he tall, was he skinny, obese, what?
ADAM
I don�t take notes about his appearance.
(Shot inside apartment, the figure moves
closer)
LAWRENCE
(aggravated, how can he not remember
anything?) You must remember something
about him.
ADAM
I can�t. (Shot of inside the apartment,
the figure moves closer)
LAWRENCE
You�re telling me you don�t remember
a thing about the guy?
ADAM
I told you, I- (inside apartment, the
figure moves closer, just about close
enough for identification)
LAWRENCE
(enraged, throwing his hands up) Oh
for fuck�s sake! I give up!
ADAM
(gives up his playing dumb tone, gives
in due to irritation with Lawrence)
He�s a tall black guy, he�s got a scar
around his neck, okay? (Shot of inside
the apartment, the figure moves into
a viewable light; It is Tapp.)
Lawrence is leaning against the wall facing away from Adam. At
hearing Adam�s description, he slowly moves back, turns around
to face Adam.
LAWRENCE
Tapp! (shot of inside Adam�s apartment,
Tapp handing us/Adam money. Adam�s/our
hand reaches out and takes it quickly.
Then, back to Lawrence) Detective Tapp!
ADAM
Whoa, the guy who paid me to take these
photos was not a cop.
LAWRENCE
No, no, he was discharged from the police
force. (Shot of Tapp at his desk with
the Amanda video, looking at notes.)
He broke down after his partner was
killed (Tapp and Sing sitting next to
each other in Lawrence�s office), but
that didn�t stop him from harassing
me. (Lawrence sitting in the car next
to Tapp) The guy became obsessed. (Tapp
in his current apartment adjusting the
camera in the window, then a shot of
him leaning over a notebook, going over
notes.) He�s convinced himself that
I must have somehow been involved with
the murders. He�s...he�s crazy. (Tapp
at the corner desk in his apartment,
giving a crazy-sounding Heh heh heh
laugh. The shot cuts back to Lawrence,
who points accusingly at Adam.) And
you helped him. (disgusted) You took
money from him to invade my privacy.
How could you do that?
ADAM
(bite me tone) Call it my need to eat.
LAWRENCE
(sarcastic) Right, right. You know what
Adam? You�re not a victim of this game,
you�re a part of it. (Points accusingly
at him as he says this.)
ADAM
Oh really? Obviously this cop thinks
you�re the one behind it all.
LAWRENCE
(Facing into the corner of his cell,
turning around slightly, internal eye
roll.) I told you, he�s not a cop. He�s
a bottom feeder, just like you. (A slight
sneer from Lawrence at Adam. Lawrence
turns back into his corner)
ADAM
(getting REALLY pissed at Lawrence�s
attitude towards him) What are you more
pissed off about? The fact that I took
some shots of you or the fact that I
took some shots of you while you were
cheating on your wife?
Lawrence spins out of his corner, screaming in rage.
LAWRENCE
I did not cheat on her!!!
ADAM
What do you care what I think anyway?
I don�t give a crap if you covered yourself
in peanut butter and had a 15-hooker
gang bang!
A pause, then Lawrence collapses onto the floor. He�s lost the
last of any strength, level headedness or control he had before.
LAWRENCE
(weakly) How did I get here? (Adam sits
down on the pipe in his corner, leaning
forward a bit.) I had...I had everything
in order. (he lays down on his side,
facing Adam, who watches him with sympathy)
My whole life was in perfect order.
(He holds up and looks at the picture
of Alison and Diana gagged.)
Cut to the Gordons� Bedroom. Zep puts Alison�s gag back on her,
then leaves the room. Alison moves her head around to loosen
the gag then spits it out. She tries to fight her sobs as she
speaks softly to Diana.
ALISON
Sweetheart, are you okay? (Diana shakes
her head no) Mommy just needs you to
be really, really, really strong right
now. I�m not gonna let anybody hurt
you. You got that? (Diana nods) Okay,
that�s my good girl. (She starts crying
as her hands work behind her to loosen
the rope around them.)
Cut back to Adam in the bathroom, looking up slightly from his
position. He glances back down at the photographs on the floor,
notices something odd about one of them. He furrows his brow
and gets down on his hands and knees, reaching over and picking
it up, leaning back and looking at it, studying it. Camera cuts
to a shot of Lawrence through the black and white surveillance
camera, sitting on the floor. Adam�s next line is a voice over
over this shot.
ADAM
Hey, was there someone else at your
house last night besides your wife and
daughter?
LAWRENCE
(on camera) No.
ADAM
(still on camera) Well, there�s someone
here. (He tosses the photo to Lawrence,
whosits up, picks it up and looks at
it. After a moment, the shot cuts back
to a regular view of them, in the room.)
LAWRENCE
(realization) I know him. (We see the
photo as well. It is a shot looking
up into Lawrence�s window, with Zep
standing there, looking out, completely
unaware of his picture being taken.)
Zep! (Cut to a shot of Zep listening.
The shot goes back and forth between
him as his eyes widen while Lawrence
makes his threats.) His name is Zep.
He�s an orderly at my hospital. (his
voice becomes a growl, furious) Zep.
You perverted little psychopath. I�m
gonna take great pleasure in seeing
you pay for this! You bastard fuck!
Suddenly the shot cuts to Adam, who looks up at the clock with
a very worried look. He points up to it.
ADAM
Look. (Lawrence momentarily breaks from
his Zep rage, looks up. The clock reads
at 6:00.) We�re out of time.
DIANA
(crying) Mommy help me!
Alison continues to untie her. Cut to Zep, getting up from his
chair, turning to go into the bedroom. Alison hears him moving
near, sees his form through the frosted glass doors. She quickly
replaces Diana�s gag and then her own, and resumes her position
with her hands behind her back just as the doors open and Zep
steps into the room. He looks down at them, raises his eyebrows
slightly. He seems to have gotten himself together, ready to
just do what has to be done. He takes the gun from his belt and
leans down next to Alison. He looks at her with wide eyes, shakes
his head sadly. He speaks calmly.
ZEP
Dr. Gordon�s time is up. Now I�ve gotta
do what I�ve gotta do, and...I�m afraid
it has to be you that tells him he failed.
(He undoes her gag, holds the phone
to her head and his gun in front of
her chest.)
Quick cut to the bathroom, where Lawrence is still looking at
the slightly crumpled picture of Zep in the window. The phone
rings, startling them both. Lawrence quickly answers it.
LAWRENCE
(speaking quickly, the growling voice)
Is that you Zep, you bastard!? (Adam
gets up from his corner, moves forward
slightly) I know its you, you son of
a bitch!
ALISON
Larry?
LAWRENCE
(his eyes widen, his fierce tone replaced
with worry) Ally?
Cut into the bedroom.
ALISON
(looking right at Zep, firmly) You failed.
Quickly, she grabs Zep�s gun and pushes him hard over to her
left. He is taken by surprise and goes down easily.
LAWRENCE
(who can only hear the sound of a struggle)
Hello? Hello?
Alison rips the gun right from his hand, quickly backs up an
stands. She keeps the gun aimed right at Zep. He sits up slightly,
trying to slowly get up, but she keeps the gun fiercely aimed
at him, keeping him there. His eyes are wide, likely his one
thought right now is Fuck.
ALISON
Don�t move, stay on the ground. Give
me the phone. Give it to me! (He sits
up a bit, carefully slides it to her.
He is watching her, looking for an opportunity
to overcome her once again. She picks
the phone up, still keeping her eyes
and her gun at him.) Larry?
LAWRENCE
Ally! Honey, are you all right?
ALISON
No! No we�re not...(Zep starts to move
up a bit more, his right hand out, leaning
against the edge of the bed. Ally threatens
him more fiercely with the gun.) Get
down! Larry, where are you?
LAWRENCE
(unsure himself) I don�t know. I�m being
held captive in a room somewhere.
ALISON
(disbelief; she sniffles a bit) What?
What are you talking about?
LAWRENCE
(starting to cry) I�m so sorry, Ally.
ALISON
(desperate) Honey, we need you here.
(Zep slowly readies himself to move
forward, wide eyes still staring at
Alison.)
LAWRENCE
(crying, apologizing) I�m sorry for
everything. It�s my fault. Please forgive
me. I�ve always been happy with you.
DIANA
(cries out) Mommy!
Alison turns to look at Diana when she calls her, and Zep seizes
the moment. He leaps up and grabs the gun from her hand, and
they start struggling with it. Diana starts screaming. Lawrence,
on his end, hears the screaming and sounds of a struggle. In
wrestling for the gun a shot is let off, and Diana continues
to scream.
LAWRENCE
(panicked) Ally!
Cut to a shot of static on Tapp�s TV set, then Tapp waking up
to the sound of gunfire. He quickly looks over to the window.
Back to Zep and Alison, who are still fighting for the gun. Zep
manages to spin her around and into a leaning forward position,
but she still holds on tight. Another shot goes off. Cut to a
shot of Tapp, who hears it, then looks at the TV. He sees the
flash from the window on the television. He picks up his handgun
and loads it quickly, gets up and heads out. Back in the apartment,
we see Diana cowering, still tied, holding her teddy bear. Zep
gets behind Diana, tries to grab her but she keeps her arms and
the gun upwards. Another shot is fired off.
LAWRENCE
(screams) Ally! (Adam watches him with
wide eyes.)
The shot cuts back into the bedroom.
DIANA
Mommy, help me!
The struggle moves over and into the dresser. Zep gets the gun
in his right hand and wraps his left arm around Alison, who quickly
pulls open and takes out of the top drawer a pair of scissors.
She spins around and with a scream stabs Zep in his left leg.
He screams in pain and goes down, falling onto his side, clutching
his leg by a wooden column, moaning in pain. Alison quickly goes
over and finishes untying Diana. Cut to the Main Hall of the
residence, where we see Tapp enter and move down the hall with
his gun ready. He moves cautiously but quickly. He sees Zep on
the floor squirming around and aims at him, screaming.
TAPP
Freeze!
Zep turns and sees him, fires a shot in his direction but doesn�t
hit. Tapp fires back and skims the top of Zep�s head. Zep clutches
the surface wound, fires back. Cut back to Lawrence on the phone,
hearing only his daughter screaming and gunshots. He sobs, collapsing
forward onto the floor, crying out Oh no. Adam watches him, can
only imagine what he�s hearing.
Back to the bedroom, Tapp stands next to another wooden column
and fires at Zep again, missing. Alison finishes untying Diana
and the book from the room. Zep fires at Tapp again and misses.
Tapp fires back, but his gun jams. Zep sees Alison and Diana
run from the room, and his attention goes to them once more.
TAPP
(trying to fix his gun) What the fuck?
Zep gets up off the floor more, but just then Tapp gives up on
his gun and charges at Zep, screaming. He tackles Zep, knocking
him flat on his back. Zep pushes his way up but Tapp grabs him
from behind, pulling him towards him. Cut back to Lawrence, still
on the floor, sobbing with the phone clutched in his hand.
Back to Tapp and Zep, who get up to their feet. Zep grabs a vase
on the floor and turns, smashing it over Tapp�s head. The blow
stuns Tapp and sends him down. Zep kneels down and picks up his
gun, then gets back up and starts hobbling after Alison and Diana.
He reaches the living room, but they are no where to be seen.
ZEP
Mrs. Gordon? (drops old cartridge out
of his gun, pops in a new one) Diana?!
(His breathing is fast, desperate. He
clutches the wound on his leg.) I�m
gonna kill your husband now, Mrs. Gordon.
(He stands up a bit straighter and hobbles
over to the computer station, taking
keys from the desk and then hobbling
down the hall and out the door. We see
Tapp groaning, starting to get up. Zep
glances over and sees Tapp get to his
feet, but quickly hobbles to the doorway
and out the door. Tapp starts to follow,
just a we bit dazed from the hit. He
empties his gun cartridge and replaces
it, then runs towards the door, screaming.
Back to Lawrence crying on the floor of the bathroom. He�s just
a complete wreck, making low moaning sounds. Suddenly, there
is a loud buzzing sound his body is jerked up and he is flung
onto his back as he is electrocuted. Adam�s eyes widen and he
starts to panic.
ADAM
Lawrence! (A bit of foamy spittle comes
out of Lawrence�s mouth as the electrocution
continues, and then a moment later stops.
Adam watches, frightened, unsure. Lawrence
is out.) Lawrence, get up!
CUT TO
Car Chase! Zep is in the lead, with
Tapp in hot pursuit behind him. They
race through the streets as fast as
they can.
Cut back to the bathroom. Adam looks around him, not sure what
to do, panicking. Lawrence can�t be dead, he can�t be alone in
here. He can�t handle this alone. He needs his calm, collected
Doctor, no matter how badly Lawrence has treated him.
ADAM
(crying out, close to tears) Lawrence!
Get up! I need you! (He leans down and
finds a piece of debris on the floor,
throws it at Lawrence. It doesn�t hit
him. He leans down, picks up another,
throws it. This one bounces onto the
floor but ricochets and hits Lawrence,
who begins to stir. A moment, and Lawrence
starts to move more, reaching for his
head and sitting up. Adam cries out
in relief.) Oh, thank God! I thought
you were dead!
LAWRENCE
(sits up, dazed and confused) He...he
electrocuted me...
ADAM
I told you! The same thing happened
to me, see? I wasn�t lying, see?
Lawrence leans over and grabs his chain, the source of the electrocution.
Suddenly, he snaps.
LAWRENCE
(screaming) FUCK THIS SHIT!!
Back in the bathroom, Lawrence continues to grunt and struggle
with his chain. Suddenly the phone rings and he turns. He quickly
moves to get it, but it is out of reach. He lays flat on the
floor, just a foot away from it, trying desperately to grab it.
In the hallway, Tapp enters, keeping his gun aimed out in front
of him. He looks down the hallway, sees nothing. Cut to Zep climbing
down a ladder into another level, grunting in pain. Tapp hears
him and follows the sound down the hall.
In the bathroom, the phone keeps ringing. Lawrence grabs the
hinged box, turns it upside down and tries to catch the phone
with it. He cannot reach, and starts to cry loudly again. He
tosses the box away, crying/screaming as he tries to reach the
box with his arms. Adam watches with a terrified look, not knowing
what to do.
Zep reaches the bottom of the ladder, leaning against it, moaning
from the pain of his leg. He hears Tapp above him, hobbles off
further down the hallway. Tapp climbs down the ladder, moving
in the same direction as Zep. As Tapp can move faster than Zep,
he rounds the corner and catches Zep hobbling down the hallway.
Zep turns and sees him, firing a few shots but missing. Tapp
ducks behind a large stone column jutting out of the wall. He
leans out and fires at Zep. Zep falls back slightly but remains
standing. If he got hit, it isn�t clear where. Zep then turns
and quickly hobbles further down the hall.
Cut back to Lawrence still crying and trying to get the phone
as it keeps ringing.
LAWRENCE
No!!!! (He lowers his head and cries
loudly.)
ADAM
(Frightened but trying to stay calm
for Lawrence.) Lawrence, calm down.
There must be a way out of this! (It
seems to be a complete role reversal
for the two of them from the beginning,
where Adam was the one freaking out
and Lawrence was calm. Here, Adam is
terrified but still calmer than Lawrence,
who has just lost it.)
LAWRENCE
(screaming) I can�t be calm! My family
needs me! No, God! (He cries and screams,
still can�t get the phone. He quickly
turns and sits up, grabbing the chain
and pulling it as he lets out a terrible
scream of rage. Adam�s hands are up
clutching his head, trying to keep his
cool but having a very hard time.)
ADAM
(Loudly trying to speak over Lawrence�s
continued loud, primal screams.) Lawrence,
I have a family too! I don�t see them,
that�s my mistake. It�s a mistake I�d
like to fix!
Cut to Zep hobbling down the hall. Tapp is there running after
him. Zep turns a corner, and Tapp runs to try to keep up.
TAPP
I�m gonna kill you you sick asshole!
Back in the bathroom, Lawrence continues to freak out as he mentally
breaks down, clutching the chain and screaming more.
ADAM
(desperate, losing his attempted calm
stance) Lawrence, stop it!
Lawrence sits up, stops pulling at his chain but continues screaming.
He starts to unbutton his blue button-down shirt. That is too
slow, however, so he starts to rip it open.
ADAM
(sobs in his voice) Lawrence, please
calm down! There�s a way out of here,
there�s a way out!
Lawrence gets his shirt off, down to a plain white tee shirt
underneath. He starts to wrap one end around his manacled foot
and ties it off. Adam realizes what he is preparing to do, completely
loses it and freaks out, screaming.
ADAM
Lawrence! No! Oh my God! What are you
doing?!
Lawrence holds the other end of the shirt in his mouth, biting
it for a brace. The look in his eyes is one of complete madness
and desperation. He takes up the hacksaw in his right hand, puts
it against his ankle and starts to saw into his foot while Adam
begins to scream in complete horror. Lawrence screams through
the cloth between his teeth. The blood squirts up onto Lawrence�s
shirt and neck. Adam collapses to the floor in his corner, screaming
and wincing.
Back to Zep rounding another corner in the hallway. He moves
into an old break room and Tapp runs in after him, finally catching
up. Tapp tackles him, tripping him backwards and causing Zep
to hit his head against and old mini-refrigerator. Tapp grabs
him and brings him up, throwing him hard against the stone wall.
Zep falls down to his side. Tapp grabs him up and throws him
forward against a cage wall.
Back to Lawrence, still sawing away, blood on his face, neck
and shirt.
Back to Tapp pummeling Zep from behind in the back. A look of
twisted glee is upon Tapp�s face as he hits Zep. Zep falls to
the floor, gun beside him. He looks like he just wants to curl
up and die. Tapp goes down for the gun but Zep reacts, grabbing
it. Tapp grabs his hand, and Zep pushes himself up into a standing
position, the wall in front of him, Tapp pushing up behind him,
trying to take the gun.
Back in the bathroom, Adam is on his hands and knees, screaming
and crying as he begs Lawrence to stop. Lawrence does stop, sits
up and tosses the saw of to the side. Adam collapses forward
a bit.
Back to Zep and Tapp, who continue struggling from the gun. Zep
squeezes his way down, groaning as he suddenly drops down between
Tapp and the wall, his gun aimed up at Tapp. He pulls the trigger
and the shot hits Tapp in the chest, a loud surprise to the former
detective.
Back in the bathroom, Lawrence crawls along the floor, moaning.
He finds and picks up the single bullet from his envelope, looks
at it. Adam watches him in terror.
ADAM
(screaming/crying) What are you doing?!
(Lawrence crawls on farther, towards
the body.)
Cut back to a close up of the bloody hole in Tapp�s chest. Tapp
remains standing a moment, in shock, gasping, then falls down
backwards onto the floor. Zep is still on his knees, holding
the gun up at a diagonal. Tapp�s eyes flutter, then finally close.
Zep turns and gets up, limping in pain out of the room and down
another hall.
Back in the bathroom, Lawrence reaches the body. He takes the
gun, opens the chamber.
ADAM
What are you...(He suddenly realizes
Lawrence�s intentions. His eyes go wide,
and he starts to cry out and beg.)
ADAM
Oh my God! Oh my God! Lawrence don�t!
(Lawrence puts the bullet in, then closes
the chamber) No! Lawrence, please, I�m
begging you! (Lawrence aims the gun
at Adam) Lawrence, it�s not me who did
this to you!
LAWRENCE
(looking like Death, his voice hoarse)
You have to die.
ADAM
(His hands up in front of him defensively,
moving side to side to try to throw
off Lawrence�s aim) No, I want to live!
LAWRENCE
(moving the gun along with Adam�s movements)
I�m sorry...
ADAM
I want to live!
LAWRENCE
My family...(he aims and pulls the trigger,
hitting Adam in the upper chest area.
Adam falls down forward onto the floor,
his screams stop.)
Lawrence collapses, sobbing. Then he sits up a bit, turning to
the surveillance camera and screaming.
LAWRENCE
I�ve done it! Now show them to me! (he
continues to cry, dropping the gun next
to him, collapsing back down with his
forehead to the floor.)
Cut to the Gordon�s neighbors� living room. Alison paces back
and forth, holding a cell phone to her ear. Two neighbors sit
off to the side on a couch with Diana.
NEIGHBOR
(OS, on phone) Thank you very much,
Officer.
ALISON
(on cell phone) Larry?
NEIGHBOR
(hanging up the phone and going over
to Alison) Did you get through to him?
ALISON
There�s still no answer.
NEIGHBOR
(reassuringly) It�s all right. I�ve
called the police. Everything�s okay.
Alison goes and sits on the couch. Diana comes up to her, and
Alison embraces her daughter.
Cut back to the bathroom, with a shot of the sliding door. The
sound of a lock being undone and a bang is heard. Lawrence pushes
himself up into a kneeling position, a look of shock on his face.
The door slides open and there stands Zep, green mist behind
him in the hallway. Lawrence turns and sees him. Zep�s eyes dart
around the room, seeming to say What the fuck happened in here?
He sees Lawrence on the floor, and an eager look comes into his
eyes. He walks in, and Lawrence starts to yell at him.
LAWRENCE
You bastard! I�ll fucking kill you!
(Lawrence grabs Zep�s leg as he passes
but is too weak and Zep pulls away,
looking down at him, moving over to
the other side of the body) I�ll fucking
kill you! You fucking bastard! (Lawrence
quickly cralws forwarrd and takes up
the gun, pulling the trigger several
times, but there are no more bullets.
It just clicks.) I�ll fucking kill you!
You fucking bastard! I�ll fucking kill
you! I�ll fucking kill you!
Zep goes over to Adam, pushing his side with his foot a couple
of times, but to no reaction. He then looks to Lawrence and aims
his gun at him, shaking his head.
ZEP
You�re too late.
LAWRENCE
(weakly) Why?
ZEP
It�s the rules.
Zep is about to pull the trigger when suddenly Adam comes to
and grabs his ankle, pulling him down. The back of Zep�s head
hits the floor hard. Adam pulls him towards him, struggles to
get the gun from Zep�s hand, screaming. The gun goes off once
off to the side. Adam moves Zep�s arm back and forth, and it
goes off again. Finally, Adam slams Zep�s arm down and gets the
gun away from him, tossing it away. He slugs Zep hard across
the face, stunning him. Lawrence starts crawling towards them.
Screaming like a madman, Adam sits up and grabs the toilet seat
lid from the toilet, and slams it down onto Zep�s head as hard
as he can. He repeats this seven times before the lid snaps in
half. Lawrence reaches the two and reaches up for Adam�s arm
as Adam brings the broken lid down again. Lawrence grabs his
arm and Adam drops the lid, falling forward a bit and clutching
his shoulder wound with his free hand, crying hard. Lawrence
moves in, touching his head to Adam�s.
LAWRENCE
(his voice very weak and shaky) You�re
going to be all right. (Adam stops sobbing
for a moment) You�re just wounded in
the shoulder. I have to go and get help.
ADAM
(grasping Lawrence�s shirt, begging.)
Don�t leave me! No!
Lawrence nods, pulling away from him and starts to crawl off.
Adam reaches for him as he turns himself around and away.
ADAM
No!! (he keeps crying) No! No! (Lawrence
crawls towards the door.) Lawrence!
Lawrence!
LAWRENCE
(he pauses, turns to look back at Adam)
Don�t...Don�t worry, I�ll bring someone
back, I promise. (He continues crawling
on, out the door while Adam watches
him pathetically, still crying and reaching
out for him.)
Lawrence makes it out the door, and starts dragging himself down
the hall. Adam is now alone in the room with two corpses. Adam
looks to the door one more time then turns to Zep�s body. He
pulls himself on top of him, wincing at his shoulder pain.
ADAM
(thinking) Key...key...
He starts going through Zep�s pockets, patting him down. He finds
Zep�s wallet, opens it and feels through it; there� s nothing
of value to him right now. He tosses it down. He continues feeling
for something, suddenly feels something in Zerp�s coat pocket.
His eyes widen as he reaches in, wincing from the pain in his
shoulder. He pulls out a tape recorder. He stares at it, his
eyes and mouth starting to widen. He glances down at Zep, then
at the tape recorder. Sitting up a bit more, he presses play.
It is Jigsaw�s voice.
JIGSAW
(VO) Hello Mr. Hindle. Or as they called
you around the hospital: (shot of Zep
in the hospital with his cleaning cart,
stopping at John�s room) Zep. I want
you to make a choice. (Shot of the closet
doors in Diana�s room flying open, Diana
screaming, Alison coming in and seeing
him looming over her. Shot of him tying
and gagging Alison and Diana. Shot of
the photo of Diana and Alison tied and
gagged.) There�s a slow-acting poison
coursing through your system (shot of
Zep watching the monitor, holding his
hand to his mouth. He actually looks
rather ill) which only I have the antidote
for. Will you murder and mother and
her child (Zep rocking aback and forth,
getting ready to kill Alison and Diana)
to save yourself? (Shot of Zep next
to Alison, saying Dr. Gordon�s time
is up; holds the phone to her ear. Shot
of Zep in the living room, screaming
Mrs. Gordon! Shot of Zep on the floor
firing up at Tapp.) Listen carefully,
if you will. There are rules. (Lawrence
on the floor looking up at Zep, asks
Why? to which Zep says It�s the rules.)
JOHN
The key to that chain is in the bathtub.
FLASHBACK MONTAGE
Zep�s voiceover of He�s a very interesting person, with a shot
of John in his hospital bed with Dr. Gordon and the med students.
His name is John. Shot of Lawrence pointing at the chart, He
has an inoperable frontal lobe tumor. Close up shot of John in
his bed, eyes flickering open slightly.
Shot of Tapp in the workshop, holding a gun to John�s head. Sick
from the disease eating away at me inside. Shot of the detectives
at Paul�s cage, shot of the jigsaw puzzle piece wound on Paul,
Kerry saying Sounds like our friend Jigsaw.
JOHN�S VOICE
Sick of people who don�t appreciate
their blessings. Shot of Lawrence with
Diana, checking his beeper, on his computer
ignoring Diana and Alison, trying to
kiss Alison as she pulls away.
Frontal shot of John in his robe in the workshop with the detectives,
his arms raised, his face clearly visible. Cut to Kerry at the
peephole in Mark�s room, saying Looks like he likes to book himself
a front row seat to his own sick little games, with overlapping
footage of John on the floor in the bathroom, eyes open slightly,
then a shot of the pig creature crawling out of Lawrence�s car.
JOHN
(VO) Hello Mark, Paul, Amanda, Zep,
Adam, Dr. Gordon. (As he says each name,
the following image of them appears:
A shot of Mark screaming with the safe,
Paul in his cage while still alive,
Amanda in her mask in the chair, Zep
watching on the monitor, Adam holding
the tape recorder to his ear, Lawrence
holding the tape recorder to his ear.
Then, a shot of the Puppet on the video
as he says) I want to play a game.
Back to the shot of Adam staring at him, shocked. Suddenly, Adam
looks down, grabs Zep�s gun and aims for John. But before he
can pull the trigger John holds out the remote for the electricity
and starts to electrocute Adam, who starts jerking around and
drops the gun. As he spasms, a very, very fast montage of images
from the entire film from beginning to the end, starting with
a shot of Adam being electrocuted after his fake death, then
Lawrence, then going back to the beginning, all the way up and
ending with Adam stretched out on top of Zep, spasming still
from the electrocution. Suddenly the electricity stops and he
gasps, raspy loud breathing. John turns away, starts towards
the door. Adam can only watch after him.
JOHN
(VO) Most people are so ungrateful to
be alive. (John turns off the lights
at the door, only the green lighting
from the hallway illuminating him and
then Adam just barely. John moves out
the door, slowly.) But not you. (Adam
reaches out for him and screams. John
turns around and takes the door handle,
starting to slide it shut.) Not anymore.
Adam SCREAMS as loud as he can in terror and despair as John
pauses for a moment with the door halfway shut, and says
JOHN
GAME OVER.
John slams the door shut the rest of the way, and we are left
in darkness with the sound of Adam screaming No! Don�t!!! over
and over and crying. The screams fade out, and is replaced by
the ending titles and instrumental music.
THE END
