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                                          Written by

                                  James Wan & Leigh Whannell


               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 manís 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 someoneís 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.
                         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, Iím 
                         probably dead.
               Suddenly, from out within the darkness comes a manís low, raspy 
               voice. It startles Adam. The voice, we will soon learn, belongs 
               to LAWRENCE.
                         Youíre 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.
                         Whoís that? Whoís that?!

                         (his voice strangely a bit on the calm 
                         side, and almost irritated with Adamís 
                         reaction to the situation. This shall 
                         be his tone for many scenes to come.) 
                         Thereís no point in yelling, I already 
                         tried it.
                         Turn on the lights!

                         Would if I could.

                         What the fuck is going on? Where am 
                         I? (He turns into his corner, touching 
                         the wall.)
                         I donít know yet.

                         (smelling something; in disgust) What 
                         is that smell?
                         Shh! Hang on a second, I think I found 
               With a loud click and an even louder buzzing sound, the very 
               bright fluorescent lights come to life, lighting up in rows, 
               starting from Lawrenceís 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.
               Lawrenceís eyes adjust to the light and he sees across the room. 
               Then, his gaze starts towards the center of the room, as does 
               Adamís, 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 360į 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.

                         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.
                         (screaming) HELP!!! (He falls back onto 
                         his bottom on the floor as he yanks 
                         at the chain as hard as he can.) 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 heís in, is above that kind of uncontrolled 
               reaction. He speaks a bit coldly.
                         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.
                         What the fuck is this?

                         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.

                         I donít know...yeah!

               Lawrence moves over to the pipe in the corner, leaning against 
               it for support.
                         (calmly) Whatís your name?

                         (sarcastic) My name is Very Fucking 
                         Confused! (demanding) Whatís your name? 
                         Whatís going on here?
                         (internal eye roll; heís getting more 
                         and more aggravated with Adamís behaviour) 
                         My name is Lawrence Gordon, Iím 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.
                         (in pain) Ah!

               Lawrence looks at Adam with a look that seems to say Iím stuck 
               in here with THIS guy? He then glances down at the body.
                         Recognize him?

               Adam continues to pull at his chains, does not and will not look 
               at the body, just shakes his head.
                         (sharply) No.

                         (trying to get SOMETHING out of this 
                         kid) Well, do you have any idea how 
                         you got here?

                         Whatís the last thing you remember?
                         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, 
                         (He shrugs slightly, shaking his head.) 
                         Well thereís...thereís 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 donít 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.
                         First dead body Iíve ever seen. Look 
                         different in real life. They donít move.
               Lawrence slowly lowers himself into a sitting position against 
               the wall. He pokes slightly at the iron cuff around his foot.
                         From the looks of these chains, someone 
                         didnít 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.
                         Can you see any scars?

                         (looking at him strangely) What?

                         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, youíre in 
                         a bathtub and your kidneys are on eBay. 
                         (A ridiculous theory to us and to Lawrence, 
                         but Adam states it with conviction.)
                         (a scoffing tone in his voice) No one 
                         has taken your kidneys.
                         (disbelief) How can you tell from way 
                         over there?
                         (matter of fact) Because youíd either 
                         be in terrible agony, or youíd be dead 
                         by now. Trust me.
                         What are you, a surgeon? (He lowers 
                         his shirt and turns and bends down to 
                         prod at the chain around the pipe again.)
                         Yeah. (He sighs. Heís getting tired 
                         of Adam already. He speaks sharply.) 
                         So, you gonna tell me your name, or 
               Adam stands back up, turns to Lawrence, his voice once again 

                         (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 weíre here. Whoever 
                         brought us there couldíve killed us 
                         by now. But they didnít. 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.
                         What about it?

                         Itís brand new. (squints, studying it)
                         (not getting what heís implying) So?
                         (sighs; itís quite simple, why canít 
                         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.
                         What is that? (Adam doesnít answer, 
                         continues looking at the tape. Lawrenceís 
                         voice grows impatient.) Excuse me.
                         (glances up briefly at Lawrence, then 
                         back down at the tape. His voice sounds 
                         slightly surprised.) Itís a tape.
                         Where did you find it?

                         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 Adamís.
                         (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 Adamís. 
               It also says Play Me. Then he holds up a single bullet, studying 
               it, not sure what itís 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 doesnít seem to be working.
                         (frustrated, mumbling to himself and 
                         to the key) Come on, come on, come on....
                         (seeing that it doesnít seem to be working 
                         on Lawrenceís 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 
               hitís the floor in front of the dirty toilet near his corner.
                         Fuck. (He leans over and picks up the 
                         key, then bends down and tries the key 
                         on the lock on his ankle, which doesnít 
                         work. He tries the lock on the chains 
                         around the pipe. It isnít working there 
                         (watching him) No?

               Adam gives up, drops the key onto the floor frustratedly, shaking 
               his head. Thatís 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 handís 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.
                         Use your shirt.

                         (gets back up to his knees) What?

                         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.
                         Come on...

               Adam tries again; it misses. It is just barely reaching. He pulls 
               the shirt back, gets back up on his knees, aggravated.
                         It wonít work.

                         (trying to get him to not give up yet) 
                         Well, look around, there must be something 
                         else you can use.
                         (stands, ready to give up, skeptical) 
                         Thereís nothing.
                         (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.
                         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.
                         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, Adamís expression 
               is fearful, but the thought How does he know? can be detected.
                         (on tape) Rise and shine, Adam. Youíre 
                         probably wondering where you are. Iíll 
                         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? 
               Adam looks frightened but not sure of the entire meaning of the 
                         I donít get it. (He presses the stop 
                         button on the tape.)
                         (eagerly, gestures.) Throw me the player.
                         (pauses, thinks) No, you throw me your 
                         (a heavy sigh. He looks at Adam as a 
                         slow-minded fool who simply doesnít 
                         understand the full capacity of the 
                         situation that theyíre in, and speaks 
                         to him as such.) Look, weíre going to 
                         have to work together if we want to 
                         get out of here. Now just throw it to 
                         (picks up on the tone, speaks defensively) 
                         Iím not going to risk breaking it! You 
                         throw me your tape!
               Lawrence pauses, looking at Adam as though heíd 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. 
               Itís the same chilling voice as on Adamís tape. As the tape plays, 
               Adam stares at Lawrence, and Lawrence at the tape recorder.
                         (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. Thereí sa 
                         man in the room with you. When thereís 
                         that much poison in your blood (another 
                         view of the body from Lawrenceís 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 
                         Iíll leave you in this room to rot. 
                         Let the game begin. (end)
               The looks on each manís face clearly say Oh Shit. The tape ends. 
               Lawrence stands up.
                         (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.)
                         (on tape)...then Alison and Diana will 
                         die, Dr. Gordon. And Iíll leave you 
                         in this room to rot.
                         (thinking, trying to figure this out) 
                         Any idea who that is?
                         (on tape) Let the game begin.

                         He knows us.

                         Wait a minute. (rewinds more)

                         (false hope) What do you think? Probably 
                         a joke, right?
                         Shh, shh! (presses play)

                         (on tape) Let the game begin.

                         (softly) Listen...

                         (on tape, in a VERY hushed tone after 
                         a brief silence)...Follow your heart.
               Lawrence stops the tape.

                         What the hell does Follow your heart 
               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.
                         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 heís looking for.
                         (impatient, gesturing) Come on, come 
               Adam glances up at Lawrence with a look of Youíve got to be kidding 
               me, but Lawrence watches him expectantly. Adam sighs, then reaches 
               in with his right hand, fishing around in the mess.
                         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.
                         (expectantly) Anything?

                         (disgusted) No solids.

                         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.
                         I really wish I had checked in there 
                         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.
                         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 Lawrenceís 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, Adamís saw snaps in the middle, and his temper flares.
                         (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.
                         (everything is becoming more clear now) 
                         He doesnít 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 whoís done 
                         this to us.
                         What did you say? (he stands up; is 
                         Lawrence hiding something from him?)
                         Itís not someone I know personally. 
                         Itís...just someone I know of.
                         (getting slightly frantic again) Jesus 
                         Christ! Tell me, who is it?!
               The camera closes up on Lawrenceís 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.
                         The last I heard...the police still 
                         hadnít 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.
                         (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.
                         (VO) Iíll start from the beginning.
                         This oneís not fresh anymore. At least 
                         three weeks out. (Detective Tapp squints 
                         as he peers in and studies the body) 
                         Victimís a 46-year old male. (Quick 
                         flash of a crime scene photo, a closeup 
                         of behind the manís 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 itís 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. Itís the same chilling 
                         voice from Adam and Lawrenceís tapes.)
                         (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, 
                         youíll 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, 
                         youíll 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 Jigsawís 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)
                         (stopping the tape) The door was on 
                         a timer. It was unlocked until 3:00. 
                         Then it slammed shut. He was given two 
               Cut back to Detective Tapp, who notices something and shines 
               his light on it. We see a strange wound on Paulís body, a piece 
               of flesh carved out into the shape of a jigsaw piece.
                         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 weíre gonna 
                         be here for a while, Sing. (Sing looks 
                         to him. We get another quick crime scene 
                         shot of Paul.)
                         (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.
                         Actually, technically speaking, heís 
                         not really a murderer. He never killed 
               Sing, wearing gloves, gets in the cage and examines Paulís 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.
                         (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 Jigsawís voice from a tape recorder 
               play over the scene as the detectives look around, and over the 
               flashback shots.
                         (VO, on tape) Hello Mark. If youíre 
                         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.) Letís 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 Jigsawís 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 (Markís bare 
                         foot steps on the broken glass scattered 
                         all across the floor). And by the way, 
                         thatís 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...
                         (huddled over the safe; screams, but 
                         it is still distant sounding) Help!!!!!
                         (VO ctíd)....or all the people youíve 
                         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 Markís charred face.
               The shot moves back to the trio of detectives, with Sing holding 
               the tape recorder.
                         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.)
                         (taking the baggie, studying it) Get 
                         a rush on the prints. (He hands it back 
                         to her.)
                         (taking the baggie, moving out of the 
                         room) Copy that.
                                     CUT TO
                         Hospital room. Lawrence in his white 
                         doctorĎs coat along with three blue-scrub 
                         clad medical students. A nurse in white 
                         stands off to the side. Lawrence is 
                         going over the patientís charts. He 
                         goes over to the x-ray display, pushing 
                         the light on to view two x-rays of someoneís 
                         skull. He points to it with his pen 
                         as he speaks.
                         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. Heís 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.
                         The patient had...

                         (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.) 
                         Heís 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.
                         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.

                         Dr. Gordon, Dr. Lawrence Gordon, please 
                         page the operator.
                         (a smug but annoyed smirk) Obviously 
                         someone doesnít 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 Lawrenceís office at the hospital . Inside, Tapp is leaning 
               against Dr. Gordonís 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.
                         Dr. Gordon, Iím 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.
                         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.)
                         Sorry to interrupt you while youíre 
                         Thatís fine. Now, how can I help you 
               Tappís tone turns a bit more serious, but still amiable enough.
                         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?
                         (his tone just barely masking his concern) 
                         Why is it that youíre interested?
                         Weíd like to ask you a few questions 
                         about it. For your sake, I think itís 
                         best if we do it down at the station. 
                         Would you like to follow us there?
                         (Shaking his head, this is unbelievable) 
                         No, Iím afraid thatís...thatís quite 
                         out of the question. I canít just leave, 
                         I have work to do. Plus, my wife has 
                         the car today, so...
                         (amiable but hinting that he knows something) 
                         Oh, thatís okay, you can ride with us. 
                         (chuckles uncomfortably) Iím sorry, 
                         youíll have to tell me again. What is 
                         this all about?
               Tapp produces the penlight from his pocket, holds it up for Dr. 
                         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.
                         So you have no idea how your penlight 
                         showed up at the murder scene?
                         Of course not!

                         I have to ask. What were you doing last 
                         (a slight hesitation, a bit of guilt 
                         in his voice. As much as he would allow.) 
                         I was seeing someone.
                         (a slight pause) Who? (Lawrence doesnít 
                         answer, just continues his pacing. The 
                         lawyer gets frustrated, noisily puts 
                         down his pen.) Look, if you canít be 
                         honest with me...
                         (His tone quick, almost blurting) I 
                         was visiting someone. It wasnít a patient. 
                         Alright? (He sighs, shakes his head. 
                         Heís fucked, either way.) What am I 
                         gonna do?
                         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.
                         (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.
                         Okay. We checked your alibi. It holds 
                         up. (His voice indicates that he still 
                         believes thereís more to it; he does 
                         not and will not trust Lawrence.)
                         Good! Can I go home now?

                         (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 wouldnít mind sticking 
                         around and listening to her testimony? 
                         Maybe itíll 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.)
                         (doesnít really care) Iíd like to help, 
                         really, but...
                         (cutting him off quickly, wonít let 
                         him out of this that easily) Well, weíd 
                         really appreciate it. Sheís the only 
                         one who made it.
                         (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.
                         (speaking slowly, gently) 
                         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 Paulís 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.
                         (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.
                         (from the TV) Hello Amanda. You donít 
                         know me, but I know you. I want to play 
                         a game. Hereís what happens if you lose. 
                         (The video moves next to the doll, to 
                         a device like the one sheís 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 
                         youíre 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, Iíll show you.
               The video pans back to a view of the doll and the device. The 
               dollís 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.
                         (from the TV) There is only one key 
                         to open the device. Itís in the stomach 
                         of your dead cellmate. Look around, 
                         Amanda. Know that Iím not lying. You 
                         better hurry up. Live or die. Make your 
               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. Thatís 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.
                         And then I saw the body.

               We switch back into Amandaís 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.
                         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 manís 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 sheís 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 Lawrenceís interrogation room. Sing throws down an evidence 
               baggie with a used syringe in it.
                         (VO as camera pans up to Lawrence) Heíd 
                         been injected with an opiate overdose. 
                         He couldnít move or feel much of anything.
                         You mean....he was alive?

                         (staring, nods slightly) Was.

               Back to Amandaís Interrogation room, her head still hung, still 
               sniffling. A view of Tapp as he asks
                         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.
               Amandaí s hand pulls a small key from inside the organ sheís 
               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.
                         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.
                         You are, in fact, a drug addict. Isnít 
                         that right, Mandy? (she nods, but doesnít 
                         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 
                         (softly) He...helped me.

               As she starts sniffling and breathing more heavily, Tapp looks 
               over his shoulder into Lawrenceís room, right in his direction. 
               He may not see him, but he knows heís 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 Lawrenceís story. He looks up across to Lawrence.
                         (softly) Are you sure itís him?

                         (nods slightly) Yeah, Iím sure.

                         (becoming a little hysterical again. 
                         He speaks accusingly) How do I know 
                         youíre telling the truth? You can be 
                         the one who put me in this room! (he 
                         gesticulates as he speaks, pointing 
                         to Lawrence and himself.)
                         (internal eye roll, speaks slowly, as 
                         to a simpleton) Iím in exactly the same 
                         situation youíre in.
                         Wrong. (he stands up, kicking his chained 
                         foot out. Shouts.) Wrong! Youíve got 
                         one thing I donít: 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 Iíll 
                         cut you with this, you hear me? Iíll 
                         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 Adamís ranting has ended, glances over 
               at him.

                         (looks over at Lawrence, then back at 
                         the mirror.) Itís 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 manís 
               voice speaks, though it doesnít 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.
                         (OS, Taunting) I can see you...

                         (from on video) So thatís what this 
                         is. Reality TV.
                         (OS. Still taunting, sounds as though 
                         on a power trip) Donít look at me. I 
                         canít 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 
                         Can you hear me in there? Huh? Iím having 
                         a blast. (he bends down and picks up 
                         another piece of debris from the floor) 
                         This is the most fun Iíve had without 
                         lubricant. (Hums the piece of debris 
                         at the window. It makes a thwacking 
                         sound, but doesnít break. Not even a 
                         crack.) Make sure youíre getting everything. 
                         (Bends down, throws picks up and throws 
                         another piece of debris. It hits, but 
                         no breakage. Leans down for another 
                         (Scoffing tone as he watches Adam trying 
                         to break the glass) Thatís not going 
                         to do anything.
                         (pauses, looks to Lawrence) You just 
                         want to leave it running on us? (the 
                         shot switches to surveillance view)
                         (very matter-of-fact) Well, you wonít 
                         stop it. (shot switches to regular view) 
                         Thatís why we canít cut through these 
                         chains. Itís why you wonít 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 itís 
                         a brilliant design.)
                         You sound like you admire this prick.
                         (explaining) To overcome something, 
                         you have to understand what a perfect 
                         engine it is. Thatís 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 Lawrenceís 
               calm demeanor in this situation anymore. It seems that he is 
               almost becoming as sick of Lawrenceís attitude as Lawrence is 
               of his. He speaks a with a bit of a hyper tone again, accusingly.
                         How can you be the calm Doctor Guy when 
                         your wife and kid are out there. (Shot 
                         of Lawrence looking around the room) 
                         Heís got them, too. (Shot of the clock; 
                         itís now 12:05.) He could be doing anything 
                         to them right now. Are you thinking 
                         about that?
                         (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.) 
                         Iíve been the last thing I said to my 
               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 girlís bed in a darkened bedroom. The little girl 
               is Diana. Sheís 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. Alisonís 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.
                         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 
                         daughterís arms.) Diana, Honey, can 
                         you hear me?
                         (very softly, but showing almost no 
                         fear) Mommy?
               Alison reaches up and touches Dianaís hair, bringing her hand 
               down in a soft caress on Dianaís cheek.
                         Oh, what is it, sweet pea?

                         (very calmly) Thereís a man in my room.
                         (sighing, but not rudely. This is not 
                         the first time this has happened) Oh 
                         Honey, are you sure heís not just hiding 
                         in your imagination?
                         He talked to me.

                         (sighs) Okay, Iíll come and check your 
                         room. (She smiles a small, assuring 
                         I want Daddy. Heíll get the scary man.
                         (her smile fading a bit) Alright, if 
                         you want. Come on.
               She stands and leads Diana out of the room. Cut to Lawrenceís 
               office. Lawrence sits hunched slightly over his laptop computer, 
               focused on some paper heís writing. Diana and Alison appear in 
               the doorway to his left. He doesnít even look up, just keeps 
               typing. Alisonís tone when she speaks indicates that she knows 
               heíll probably say no, or put it off on her.
                         Larry, sorry to bother you, but your 
                         daughter had a bad dream again.
                         (his eyes never leaving the screen; 
                         raises his finger to pause them) Just 
                         a minute.
                         She wants you to check her room.

                         (keeps typing, never looks up) Mmm hmm, 
                         mmm hmm, just gotta finish this paragraph.
               Alison waits a moment, then turns to Diana.

                         (softly) You know what sweetie? Iíll 
                         go check with you.
               They turn, slowly start to walk away as Lawrence quickly finishes 
               typing, then closes the laptop.
                         Nope! Iím done. (he smiles, turning 
                         to look at them.)
               Cut to Dianaís room. Lawrence reaches over and turns on the lamp 
               on Dianaís side table. Diana lies in bed, slightly propped up 
               against her pillows and stuffed animals. Lawrence sits on the 
               side of her bed.
                         (very reassuringly) See? (he pulls the 
                         covers up over her, up to her chest.) 
                         Thereís no one in your room. Thereís 
                         no such thing as the bad man. Now can 
                         you go to sleep?
                         Iím still scared.

                         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 ĎWeeee!í (he tickles 
                         up her leg to her tummy and she giggles) 
                         all the way home!
               Just then, Lawrenceís beeper goes off. He leans back, takes it 
               out and looks at it.
                         I hate that thing.

                         Well I have to go to work, sweetheart. 
                         You know what Daddyís job is like. Now, 
                         come on. (he re-tucks her in, she smiles 
                         at him.) Letís see. Try and get some 
                         sleep now, okay? (He gives her a kiss, 
                         smiles, stands up and goes to the door.)
                         Youíre not going to leave us, are you, 
                         (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 heíd 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?
                         No one.

                         Well itís not true, okay?

                         (very softly) Okay.

                         How much do I love you?

               He moves his face closer to her and together they say

                                     LAWRENCE & DIANA
                         Love you very much

                         Thatís right, thatís right! (He gives 
                         her a kiss, pulls back.) Good night, 
                         Good night, Daddy.

               Lawrence gets up and goes to the door, flipping the lights off. 
               He pauses before he steps out.
                         Tomorrow, Iíll read you your favourite 
                         (with a small smile) Okay.

                         Okay. (he goes out.)

               Quick cut to the Entrance Hall of the Gordon Residence. Lawrence 
               walks towards the door, Alison behind him. Alisonís voice starts 
               to cut over the scene. Her tone is very pissed off.
                         I donít know how much longer I can do 
                         this, Larry.
                         (sounds as though he has no idea what 
                         she means) What, what are you talking 
                         (pissed, in disbelief) How can you walk 
                         through life pretending that youíre 
                         I am happy.

                         (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 Alisonís 
                         line, her voice now off a bit in the 
                         distance but still very audible) Iíd 
                         rather you break down and tell me that 
                         you hated me. At least thereíd be some 
                         passion in it.
                         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.
                         Sheís beautiful.

                         Thank you.

                         (sighs, then looks up at Lawrence) You 
                         gonna have any more kids?
                         (a bit wearily, but not snobby) Weíve 
                         talked about it, but uh, with our schedules, 
                         itís difficult enough to concentrate 
                         on one. (The tone of his voice indicates 
                         that maybe heís starting to realize 
                         that he shouldíve spent more time and 
                         attention to his daughter.)
                         (referring to the wallet) So whereís 
                         the lucky wife? (a small smile)
                         Thereís another picture behind the one 
                         youíre looking at. (Adam reaches behind 
                         the photo on the right and pulls another 
                         photograph out. Lawrence smiles slightly 
                         as he speaks) Itís my favourite one 
                         because weíre all in it together. Someone, 
                         usually me, has to hold the camera, 
                         which means Iím 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.
                         (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.
                         Itís uh, itís not here.

                         (a slight disturbance from his momentary 
                         nostalgic bliss) What?
                         Uh, this photo youíre talking about...itís 
                         not here.
                         (slightly surprised, reaching out his 
                         hand for Adam to toss the wallet.) Really? 
                         Are you sure?
                         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 Lawrenceís 
                         sight against a pipe he rests his arm 
                         on as he looks at the photograph.)
                         (disbelief, shaking his head) He...he 
                         mustíve taken it. I...
               Alisonís voice over is heard as he says this and continues to 
               look through the wallet, and we hear Alisonís voiceover from 
               the scene in the main hall.
                         (VO) How can you walk through life pretending 
                         that youíre 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.
                         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.)
                         (pissed) That is complete bullshit. 
                         Iíd rather you break down and tell me 
                         that you hated me. At least thereíd 
                         be some passion in it.
                         (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.)
                         (firmly) Just leave.

               He looks at her for a moment, searching, then slowly turns away 
               and heads out the door.
                         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 
               daughterís room.

               Alison gets to just outside the door to her bedroom.

                         Diana! (opens the door and flips on 
                         the light, gasps when she sees a figure 
                         covered by a blanket looming over Dianaís 
                         bed. The figure suddenly grabs Diana 
                         and she screams, struggling against 
                         him. Alison goes for them.
               Quick cut to NOW, in Alison and Lawrenceís 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 Dianaís 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 Dianaís chest. The sound of a loud, steady heartbeat 
               is heard. Alison screams at him through her gag.
                         Donít do that! Leave her! Get away from 
               He pulls away the stethoscope and the heartbeat halts. He reaches 
               with his right hand and pulls from his belt the gun. Dianaís 
               screams become more desperate, Alisonís more frantic, more angry. 
               He puts the stethoscope back against Dianaís chest and moves 
               the gun up and down in front of her, then bringing it up to her 
               motherís head. We hear the heartbeat again, doubled in speed.
                         (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.
                         (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 someoneís 
                         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 Gordonís window, 
                         adjusting the view. Something about 
                         him seems just not right. We cut back 
                         to his view from the camera.) Does Dr. 
                         Gordon know youíre 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? Iím waiting for the doctor, 
                         too. Hmm.
               Cut to a view over Tappís 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.
                         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 ĎPreachingí 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 Maniacís 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.
                         (VO, fading, hushed against soundtrack) 
                         I never shouldíve let you go...
               The car pulls up alongside a building, with Lawrence in the passenger 
               seat, and Tapp driving. Lawrenceís awkwardness, Tappís distrust, 
               and general uncomfortable tension can be easily detected between 
                         (Pretending like heís trying to be helpful, 
                         really just glad to be out of Tappís 
                         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.)
                         (leaning down and looking back into 
                         the car window.) Look, Iím sorry I canít 
                         be of more help to your investigation.
                         (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 waitís a moment, 
               then drives off.
               BAM into static and then the video from Amandaís cell. We are 
               not at Tappís 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.
                         (from the video) Hello Amanda. You donít 
                         know me, but I know you. I want to play 
                         a game. Hereís what happens if you lose. 
                         Thereís a timer at the back of the device 
                         youíre 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.
                         (to the other detectives leaving) Iíll 
                         catch you guys down there. (he reaches 
                         over and gets something off of his desk)
                         (from video) Think of it like a reverse 
                         bear trap.
               Tapp fast forwards a bit, hits play.

                         (from video) Iíll 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 partnerís obsession over this case.
                         Hey Tapp?

               Tapp doesnít 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.

                         Weíre gonna go down to the Grill, go 
                         get a beer. You wanna come?
                         I donít think so. Thanks anyway.

                         (Figured he might answer as such) You 
                         know I always ask. (He puts on his jacket)
                         (on video) There is only one key...
                         Iíll leave you to have fun up here. 
                         (He puts his hands on his hips, watching 
                         some more of the video.)
                         (on video) Itís in the stomach of your 
                         dead cellmate.
                         (still trying to reach him, break him 
                         from his obsession groove) Hey Tapp? 
                         I donít 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 doesnít look up. Sing remains grinning a bit. But 
               then Tapp continues and rewinds the video a bit.
                         (on video) Itís in the stomach of your 
                         dead cellmate.
               Tapp fast forwards.

                         (on video) Look around, Amanda. Know 
                         that Iím not lying. (Sing steps off 
                         to the right) You better hurry up. (Tapp 
                         rewinds again, suddenly pauses)
                         Wait wait wait, Sing!

               Sing stops, turns.

                         Get back here!


                         Mmm! (he gestures franticly for him 
                         to come over.)
                         (sighs then comes over) What?

               Tapp rewinds one second then pauses, holds pencil to the screen 
               to a grafittied wall on the video.
                         Remember 118th Street?

                         (looks at the screen, thinks a minute) 
                         Ah...K2K. That gangís territory was 
                         only about four blocks.
                         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.
                         (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, thereís 
                         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.
                         (VO) On the night of Tuesday, the 17th, 
                         we got a fire alarm going off in the 
                         rear wing of 213 Stygian Street. Itís 
                         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?
                         Who said anything about a warrant? (He 
                         grins, gets up and grabs his jacket.)
                         (are you serious?) Right now?

                         Why not?

                         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.
                         (VO) At least weíll have the cover of 
                         (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 PaulĎs 
               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.
                         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.
                         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 Amandaís 
               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.
                         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 
                         (looks to Sing, says softly) Wait Sing!
                         (trying to keep his voice low but coming 
                         off a bit loudly) What?
                         (eager) Letís see what heís gonna do.
                         Why? Weíve fucking got him.

               Tapp however, having studied this guy for so long, wants to get 
               a good look at him before heís captured, see him in his element.
                         We donít know what he looks like. Letís 
                         see what heís gonna do.
                         (rather loudly, again) No fucking way!
               As the two argue, the man in the chair continues to protest his 
                         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.)
                         (isnít buying into it) Fuck that. Iím 
                         gonna take him.

                         What the fuck? Shit!

                         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 figureís 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.
                         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) 
                         Donít cry. Iíve given your life a purpose. 
                         Youíre a test subject for something 
                         greater than yourself.
               Thatís when Sing cocks the shotgun and the two detectives move 
               out of their hiding spot, aiming their weapons at Jigsaw.
                         Freeze! Police!

                         Hold it right there! Donít move!

                         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 Jeffís chair comes to life. He remains with 
               his back mostly to them, hands still raised.
                         Now youíll 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.
                         Shut up and get down here!

                         (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.
                         Sing, stop that thing! Iím taking this 
                         bastard down. (Sing tosses Tapp the 
                         shotgun.) Move!
                         (to Jigsaw) How do you turn it off?!
                         Tell him how to stop it!

               Jigsaw backs up a bit towards the stairs.

                         One key will unlock it.

                         (frantic) Where is it?!

                         Itís in the box.

                         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 
                         Tell him which key it is!

                         (now facing Tapp, moving closer to him. 
                         His back is to us, we still donít see 
                         his face.) Time is running out.
                         Shut up and get down here right now, 
               Jigsaw slowly moves down towards him more.

                         Whatís 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 
                         Get down on your knees!

                         Jesus! Tapp! Tapp!

                         (gun aimed at the back of Jigsawís head) 
                         Hands behind your head! (Jigsaw obliges) 
                         Sick bastard.
                         Yes, I am sick, Officer.

                         (still trying various keys, none working. 
                         Heís in a full-fledged panic. Jeff closes 
                         his eyes, crying, as the drills are 
                         only 2 inches away) Tapp! Itís like, 
                         thereís a hundred keys in here!
                         Sick from the disease eating away at 
                         me inside. Sick of people who donít 
                         appreciate their blessings. Sick of 
                         those who scoff at the suffering of 
               Sing finally whips out his gun and shoots each drill, breaking 
               and stopping them. Tapp glances up at him, briefly distracted 
               by the gunfire.
                         (as he pops a blade out of a wristband 
                         hidden up his right sleeve) Sick of 
                         it all! (He lashes upwards, slashing 
                         Tappís throat)
                         (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.
                         (desperate, a trace of despair) No, 
                         no! Tapp! Shit!
               Tapp gurgles at him, hands him the shotgun.

                         (standing, touching Tapp on the shoulder 
                         then head) Iíll be back, okay? Iíll 
                         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.
                         (shouting) Freeze or Iíll shoot!

               Jigsaw continues moving, so Sing fires. He hits, and Jigsaw goes 
               down. Sing pauses, waiting to see if he gets back up. Jigsaw 
               doesnít 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. Singís 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 Singís body, including 
               a nice gory one of the top of his head, part of which is now 
               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.
                         (weak, desperate) Had you...had you 
                         on your knees. (He sits forward, getting 
                         some things off the coffee table) Youíre 
                         running. Youíre 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) Youíre running scared 
                         because we had you. Iím going to close 
                         this case. Ram close it. (He picks up 
                         a small framed photograph, which we 
                         canít see, but likely, itís of Sing.) 
                         Right, Sing? Right? Weíre gonna close 
                         it, Sing.
                         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.
                         (irritated) Excuse me?

                         (glancing up; calm irritation) Just 
                         because Iím stuck in this room with 
                         you doesnít mean I have to report to 
                         you every ten seconds.
                         (sighs) I really donít see the point 
                         in us not helping one another.
                         well what do you want me to do? Iím 
                         on a leash.
                         Thatís exactly why we need to talk. 
                         We need to think!
                         I am thinking!

                         (snapping at him) Well then donít keep 
                         me in the dark about what youíre thinking!
               There is a pause as something about that statement strikes Adam.
                         Turn off the lights.


                         (letting the photo fall into the tub 
                         as he stands) Turn them off now, please!
                         (doesnít get it) Why?

                         (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 doesnít 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 doesnít see it and shrugs, 
               but Adam spots it.
                         Jesus, behind you!

                         (turns and sees it, is surprised) How 
                         come we didnít see that before?
                         The lights in here hadnít charged it. 
                         It must be glow in the dark paint or 
               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 canít believe it. He looks to 
               Adam, a small grin on his face. He places it on the floor and 
               sits down behind it.
                         (excitedly) Open it!

                         (turns it around so we and Adam can 
                         see the small lock on it.) Itís 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.
                         (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.
                         (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.
                         Make that second most beautiful invention! 
                         (He reaches out his hand for Lawrence 
                         to toss it.) Give me that.
                         Are you joking? Youíre gonna put something 
                         we found in this room in your mouth?
                         (pause, then) Yes, Iím 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 
                         donít care, I really donít. Give me 
                         one of those.
               Jigsawís voiceover reads whatís written on the note as Lawrence 
               opens the paper and reads it, keeping it low in the box where 
               Adam canít see it.
                         (VO) The cigarettes are harmless, I 
                         promise. Smoking is only poisonous when 
                         it ends in bloodshed. Think about this 
                         - you donít need a gun to kill Adam.
                         (growing impatient) May I please have 
                         a cigarette?
                         (ignoring his plea) Iím trying the police. 
                         (He flips open and dials on the cell 
                         phone, but a weird beeping noise indicating 
                         the call canít 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.
                         (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 
                         Iím 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 Lawrenceís 
               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 Jigsawís 
               workshop. It suddenly rushes upon him as heís distracted with 
               his phone and grabs him.
               Cut back to Lawrence sitting on the floor in the bathroom, still 
               holding the phone.
                         (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 
                         With a suspicious tone, Lawrence addresses 
                         him.) How did you know to turn off the 
                         Who cares? It worked.

                         Yeah, but how did you know?

                         (a slight pause) Instinct. (His tone 
                         is far from believable.)
                         (doesnít believe a word of it) Instinct?

                         You know what? (he looks down, then 
                         back up at Adam.) Youíre a terrible 
                         (quiet offense) You say that like you 
                         know me.
                         (speaks calmly, but anger lies underneath 
                         the surface) What else arenít you telling 
                         (cocky and sarcastic) Well, um, letís 
                         see. On my sixth birthday, my best friend 
                         at that time, Scott Tibbs, stabbed me 
                         with a rusty nail. I didnít tell you 
                         about that. I didnítí 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 havenít told you that 
                         one of my toenails is slightly...
                         (snaps at him, fed up) Just stop it. 
                         You knew to turn off these lights.
                         (turning away from Lawrence) What-ever.
                         (stands up, frustrated.) Iím dealing 
                         with a juvenile.
                         (has had it, looks right at him) You 
                         wanna know?
                         (exasperated) Yeah!

               Adam leans down and reaches into the bathtub, pulls out and holds 
               up the picture of Alison and Diana.
                         (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. )
                         (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?
                         (softly) It was in your wallet, behind 
                         the photo of your daughter.
                         W...why didnít you show me this before?
                         I couldnít. (Lawrence begins to shakily 
                         sob, touching the photo.) Iím 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.
                         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, Iíve got to think now...(He looks 
                         down, sees the note again in the box.)
                         (VO) Think about donít need 
                         a gun to kill Adam. When thereís 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. Heís 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.
                         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.
                         Hey! What the hell are you doing?

                         (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 whatís 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.
                         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.
                         (trying to be nonchalant) So you uh, 
                         still want that cigarette?
                         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.
                         (watches Adam, then turns to the surveillance 
                         camera, speaks with angry finality) 
                         There! Iíve done it! Iíve killed him 
                         with the poison, just like you wanted. 
                         (shouting) Now whereís 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.
                         (he shrieks in pain and shock) Jesus 
               Lawrenceís reaction is not one of concern; he simply canít believe 
               that Adam just screwed up the plan.
                         (disbelief) What?

                         (wide eyed) I just got electrocuted!
                         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 
               heíd make something like that up.
                         (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!
                         (pissed off) Stop acting!

                         (stops pulling at the manacle and chains; 
                         now heís pissed at Lawrence for his 
                         disbelief) You think I would make that 
                         up just to mess up your stupid fucking 
                         (gives up on Adam, frustrated once more) 
                         All right, thatís 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 doesnít 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.
                         (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 hadnít 
               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 doesnít work. Pissed, he 
               shakes it hard, trying to get it to come on, but that doesnít 
               work. He looks at it, scoffs.

               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.
                         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.
                         (his voice alarmed but confused at the 
                         same time) What the...? (He snaps a 
                         picture in its direction and sees the 
                         Puppet from Jigsawís 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 
               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.
                         Who is that?! Whoís in there?! (he moves 
                         towards the door, shaking but trying 
                         to be a tough guy) Come on out! Iíll 
                         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.
                         (not sure what to expect) Who is this?
                         (on the phone, sobbing) Daddy?

                         Diana? (he stands)

                         Daddy, is that you? (cut to a shot of 
                         her being held by Zep, the phone to 
                         her ear.)
                         (getting sniffly) Yeah baby, itís me. 
                         Iím here. (Adam watches him intently)
                         (sobbing) Iím scared, Daddy.

                         (trying his best to reassure her) Donít 
                         worry honey, everythingís going to be 
                         okay. Whereís Mommy?
                         Sheís here with me.

                         (Staying as calm and collected as he 
                         can for his daughter) Let me talk to 
                         her sweetie, okay? Put Mommy on.
                         The bad man from my room is here. He 
                         has us tied up and he has a gun.
                         W...what man?

                         Please come home Daddy! (Zep kisses 
                         her on the top of her head and takes 
                         the phone away to give to Alison.)
                         Hello? Hello? Diana?

               Zep pushes some of Alisonís hair behind her ear with the barrel 
               of the gun.
                         (desperate) Diana! Diana!

               Zep puts the phone up to Alisonís ear.


                         Ally? Is that you? (We see a shot of 
                         Alison giving a threatening look through 
                         her tears to Zep.)
                         Is Adam there?

                         (surprised, looks to Adam, who continues 
                         to watch him worriedly) How do you know? 
                         Ally, what is going on?
                         (through her sobs, trying to calm them 
                         and get this message to him) Donít believe 
                         Adamís 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 
                         (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, Iíll kill you! 
                         You hear me? You son of a bitch! Iíll 
                         kill you! (He sits down, leaning forward 
                         over the floor, crying a bit. He slams 
                         his fist fiercely against the floor.)
                         (quietly, as though cautiously approaching 
                         a dangerous animal) Are they okay?
                         (sits up. His voice is calmer, but rage 
                         is clearly underneath the surface) My 
                         wife, she uh, she mentioned your name.
                         (a brief Oh shit look appears in his 
                         eyes, but he acts surprised) What did 
                         she say?
                         (not looking at him yet. Speaks very 
                         firmly, trying to suppress his rage.) 
                         She told me...not to believe you.
                         (cannot even look at Lawrence.) Believe 
                         me about what? (There is no doubt heís 
                         hiding something)
                         (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 
                         (still trying to cover up and losing, 
                         still not making eye contact) You know 
                         who I am.
                         (snaps, shouting at him) Stop the lies! 
                         Youíre a liar! I need to know the truth!
                         (His tone changes, heís had it with 
                         hiding, had it with Lawrence) Iím 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.
                         (defensively) Thatís because itís the 
                         (almost deadly) No itís not. Your wife 
                         is right, Larry. (Lawrence is now the 
                         one wearing the Oh shit look.) You donít 
                         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 Lawrenceís two-faced bullshit.
                         I can prove that you didnít 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 heíd kept hidden inside the 
                         garbage bag, holds them up and throws 
                         them down, scattering them.) Itís not 
                         the first time Iíve 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) 
                         Iíve been taking pictures of you for 
                         a few days now. (Shots of some of Adamís 
                         pictures. Lawrence going into a building, 
                         Lawrence at an outdoor cafť eating lunch.)
                         (still holding the photograph) But...why?
                         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.)
                         (calm with rage just beneath the surface) 
                         Youíve uh, had these with you the whole 
                         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 isnít looking.) 
                         I donít know how they got there.
                         (angry) Yeah, right. Youíre so full 
                         of it! (He angrily crumples up and throws 
                         the photo he was holding at Adam)
                         (scoffing tone) Aww, face it, Larry, 
                         weíre both bulls hitters. But my camera 
                         isnít. It doesnít know how to lie. It 
                         only shows you whatís 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. Lawrenceís tone 
               when he speaks is unhappy. Not enraged, just somewhat disapproving.
                         Why did you um, deem it necessary to 
                         page me when you knew I was at home?
                         I didnít know if you were going to make 
                         it. (turns, goes and sits on the bed.)
                         (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 
                         canít do that.
                         Itís 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.) Whatís wrong, Dr. Gordon?
                         (a sigh in his voice) Look, it was wrong 
                         for me to makes you come here.
                         (confused, hurt) But I thought we-
                         -Please. (very softly) Iím sorry. (He 
                         stands and heads over to the door. Carla 
                         remains sitting on the bed. She sniffles 
                         slightly but doesnít cry.)
               Suddenly, the hotel room phone rings. Carla and Lawrence both 
               look at it, unsure, startled. Carla looks to Lawrence.
                         You tell anyone you were here?

                         No. (She stands, goes over to the phone 
                         and answers it.) Hello? (She listens, 
                         turns to Lawrence) Itís for you. (She 
                         holds out the phone.)
                         For me? (He walks over, takes the phone.) 
               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.
                         I know what youíre doing...Doctor.
                         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.
                         (nervous) I have to go.

                         What happened?

                         Iíve 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 Lawrenceís 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.
                         Who was it?

                         Who was what?

                         The person who paid you to follow me, 
                         who was it?
                         (internal shrug) He calls himself Bob 
                         and he gives me the money up front. 
                         Two hundred bucks a night. If Iíd have 
                         known I was gonna end up here, I wouldíve 
                         asked for a hell of a lot more.
                         (pissy) What does that mean? Does that 
                         mean you saw what happened to me?
                         (internal eye roll; speaks as though 
                         heís been over this 100 times before) 
                         What I saw was you get into your car. 
                         Thatís it. I didnít ask your name. I 
                         didnít know who you were. I donít know 
                         how I got here, I donít 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 Iím chained to a pipe in some 
                         prehistoric bathroom, staring at the 
                         guy Iíve been taking shots of all night.
                         (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.
                         (they donít know that for sure) Maybe.
                         Maybe? What do you mean maybe? Of course 
                         it is! What did he look like?
                         (internal shrug) I donít know, he was 
                         just a guy. (Shot of inside Adamís apartment 
                         and an unidentifiable figure towards 
                         the back of the room, the image darkened 
                         so we canít make him out. The figure 
                         slowly takes a step towards us/Adam)
                         Was he tall, was he skinny, obese, what?
                         I donít take notes about his appearance. 
                         (Shot inside apartment, the figure moves 
                         (aggravated, how can he not remember 
                         anything?) You must remember something 
                         about him.
                         I canít. (Shot of inside the apartment, 
                         the figure moves closer)
                         Youíre telling me you donít remember 
                         a thing about the guy?
                         I told you, I- (inside apartment, the 
                         figure moves closer, just about close 
                         enough for identification)
                         (enraged, throwing his hands up) Oh 
                         for fuckís sake! I give up!
                         (gives up his playing dumb tone, gives 
                         in due to irritation with Lawrence) 
                         Heís a tall black guy, heís 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 Adamís description, he slowly moves back, turns around 
               to face Adam.
                         Tapp! (shot of inside Adamís apartment, 
                         Tapp handing us/Adam money. Adamís/our 
                         hand reaches out and takes it quickly. 
                         Then, back to Lawrence) Detective Tapp!
                         Whoa, the guy who paid me to take these 
                         photos was not a cop.
                         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 Lawrenceís office), but 
                         that didnít 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.) Heís convinced himself that 
                         I must have somehow been involved with 
                         the murders. Heís...heís 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?
                         (bite me tone) Call it my need to eat.
                         (sarcastic) Right, right. You know what 
                         Adam? Youíre not a victim of this game, 
                         youíre a part of it. (Points accusingly 
                         at him as he says this.)
                         Oh really? Obviously this cop thinks 
                         youíre the one behind it all.
                         (Facing into the corner of his cell, 
                         turning around slightly, internal eye 
                         roll.) I told you, heís not a cop. Heís 
                         a bottom feeder, just like you. (A slight 
                         sneer from Lawrence at Adam. Lawrence 
                         turns back into his corner)
                         (getting REALLY pissed at Lawrenceís 
                         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.

                         I did not cheat on her!!!

                         What do you care what I think anyway? 
                         I donít 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. Heís lost the 
               last of any strength, level headedness or control he had before.
                         (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 Gordonsí Bedroom. Zep puts Alisonís 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.
                         Sweetheart, are you okay? (Diana shakes 
                         her head no) Mommy just needs you to 
                         be really, really, really strong right 
                         now. Iím not gonna let anybody hurt 
                         you. You got that? (Diana nods) Okay, 
                         thatís 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. Adamís next line is a voice over 
               over this shot.
                         Hey, was there someone else at your 
                         house last night besides your wife and 
                         (on camera) No.

                         (still on camera) Well, thereís 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.)
                         (realization) I know him. (We see the 
                         photo as well. It is a shot looking 
                         up into Lawrenceís 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. 
                         Heís an orderly at my hospital. (his 
                         voice becomes a growl, furious) Zep. 
                         You perverted little psychopath. Iím 
                         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.
                         Look. (Lawrence momentarily breaks from 
                         his Zep rage, looks up. The clock reads 
                         at 6:00.) Weíre out of time.
                         (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 Dianaís 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.
                         Dr. Gordonís time is up. Now Iíve gotta 
                         do what Iíve gotta do, and...Iím 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.
                         (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!

                         (his eyes widen, his fierce tone replaced 
                         with worry) Ally?
               Cut into the bedroom.

                         (looking right at Zep, firmly) You failed.
               Quickly, she grabs Zepís gun and pushes him hard over to her 
               left. He is taken by surprise and goes down easily.
                         (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.
                         Donít 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?
                         Ally! Honey, are you all right?

                         No! No weíre 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?
                         (unsure himself) I donít know. Iím being 
                         held captive in a room somewhere.
                         (disbelief; she sniffles a bit) What? 
                         What are you talking about?
                         (starting to cry) Iím so sorry, Ally.
                         (desperate) Honey, we need you here. 
                         (Zep slowly readies himself to move 
                         forward, wide eyes still staring at 
                         (crying, apologizing) Iím sorry for 
                         everything. Itís my fault. Please forgive 
                         me. Iíve always been happy with you.
                         (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.
                         (panicked) Ally!

               Cut to a shot of static on Tappís 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.
                         (screams) Ally! (Adam watches him with 
                         wide eyes.)
               The shot cuts back into the bedroom.

                         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.

               Zep turns and sees him, fires a shot in his direction but doesnít 
               hit. Tapp fires back and skims the top of Zepís 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 heís 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.
                         (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 Tappís 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.
                         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.) Iím 
                         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. Heís 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. Adamís eyes widen and he 
               starts to panic.
                         Lawrence! (A bit of foamy spittle comes 
                         out of Lawrenceís 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 canít be dead, he canít be alone in 
               here. He canít handle this alone. He needs his calm, collected 
               Doctor, no matter how badly Lawrence has treated him.
                         (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 doesnít 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!
                         (sits up, dazed and confused) He...he 
                         electrocuted me...
                         I told you! The same thing happened 
                         to me, see? I wasnít lying, see?
               Lawrence leans over and grabs his chain, the source of the electrocution. 
               Suddenly, he snaps.
                         (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 isnít 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.
                         No!!!! (He lowers his head and cries 
                         (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.)
                         (screaming) I canít be calm! My family 
                         needs me! No, God! (He cries and screams, 
                         still canít get the phone. He quickly 
                         turns and sits up, grabbing the chain 
                         and pulling it as he lets out a terrible 
                         scream of rage. Adamís hands are up 
                         clutching his head, trying to keep his 
                         cool but having a very hard time.)
                         (Loudly trying to speak over Lawrenceís 
                         continued loud, primal screams.) Lawrence, 
                         I have a family too! I donít see them, 
                         thatís my mistake. Itís a mistake Iíd 
                         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.
                         Iím 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.
                         (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.
                         (sobs in his voice) Lawrence, please 
                         calm down! Thereís a way out of here, 
                         thereís 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.
                         Lawrence! No! Oh my God! What are you 
               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 Lawrenceís 
               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 Tappís 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 
               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.
                         (screaming/crying) What are you doing?! 
                         (Lawrence crawls on farther, towards 
                         the body.)
               Cut back to a close up of the bloody hole in Tappís 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. Tappís 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.
                         What are you...(He suddenly realizes 
                         Lawrenceís intentions. His eyes go wide, 
                         and he starts to cry out and beg.)
                         Oh my God! Oh my God! Lawrence donít! 
                         (Lawrence puts the bullet in, then closes 
                         the chamber) No! Lawrence, please, Iím 
                         begging you! (Lawrence aims the gun 
                         at Adam) Lawrence, itís not me who did 
                         this to you!
                         (looking like Death, his voice hoarse) 
                         You have to die.
                         (His hands up in front of him defensively, 
                         moving side to side to try to throw 
                         off Lawrenceís aim) No, I want to live!
                         (moving the gun along with Adamís movements) 
                         Iím sorry...
                         I want to live!

                         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.
                         Iíve 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 Gordonís neighborsí 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.
                         (OS, on phone) Thank you very much, 
                         (on cell phone) Larry?

                         (hanging up the phone and going over 
                         to Alison) Did you get through to him?
                         Thereís still no answer.

                         (reassuringly) Itís all right. Iíve 
                         called the police. Everythingís 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. Zepís 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.
                         You bastard! Iíll fucking kill you! 
                         (Lawrence grabs Zepís 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) Iíll 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.) Iíll fucking kill you! 
                         You fucking bastard! Iíll fucking kill 
                         you! Iíll 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.
                         Youíre too late.

                         (weakly) Why?

                         Itís the rules.

               Zep is about to pull the trigger when suddenly Adam comes to 
               and grabs his ankle, pulling him down. The back of Zepís head 
               hits the floor hard. Adam pulls him towards him, struggles to 
               get the gun from Zepís hand, screaming. The gun goes off once 
               off to the side. Adam moves Zepís arm back and forth, and it 
               goes off again. Finally, Adam slams Zepís 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 Zepís 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 Adamís 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 Adamís.
                         (his voice very weak and shaky) Youíre 
                         going to be all right. (Adam stops sobbing 
                         for a moment) Youíre just wounded in 
                         the shoulder. I have to go and get help.
                         (grasping Lawrenceís shirt, begging.) 
                         Donít 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.
                         No!! (he keeps crying) No! No! (Lawrence 
                         crawls towards the door.) Lawrence! 
                         (he pauses, turns to look back at Adam) 
                         Donít...Donít worry, Iíll 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 Zepís body. He 
               pulls himself on top of him, wincing at his shoulder pain.
                         (thinking) Key...key...

               He starts going through Zepís pockets, patting him down. He finds 
               Zepís wallet, opens it and feels through it; thereí s nothing 
               of value to him right now. He tosses it down. He continues feeling 
               for something, suddenly feels something in Zerpís 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 Jigsawís voice.
                         (VO) Hello Mr. Hindle. Or as they called 
                         you around the hospital: (shot of Zep 
                         in the hospital with his cleaning cart, 
                         stopping at Johnís room) Zep. I want 
                         you to make a choice. (Shot of the closet 
                         doors in Dianaís 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.) Thereís 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. Gordonís 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 Itís the rules.)
                         The key to that chain is in the bathtub.
                                     FLASHBACK MONTAGE
               Zepís voiceover of Heís 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 Johnís head. Sick 
               from the disease eating away at me inside. Shot of the detectives 
               at Paulís cage, shot of the jigsaw puzzle piece wound on Paul, 
               Kerry saying Sounds like our friend Jigsaw.
                                     JOHNíS VOICE
                         Sick of people who donít 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 Markís 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 Lawrenceís car.
                         (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 Zepís 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.
                         (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
                         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! Donít!!! over 
               and over and crying. The screams fade out, and is replaced by 
               the ending titles and instrumental music.
               THE END



Writers :   James Wan  Leigh Whannell
Genres :   Crime  Horror  Mystery  Thriller

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