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Ïèëà/ Saw
ADAM
Yeah. (Tucking the picture in his right
hand, he shifts slightly by lifting
himself a bit with his right hand, sneakily
putting the photograph down and tossing
the wallet with his left hand. Lawrence
picks up the wallet and starts looking
for it, creasing his brow in concern,
while Adam backs up against his wall,
holding the photograph out of Lawrence's
sight against a pipe he rests his arm
on as he looks at the photograph.)
LAWRENCE
(disbelief, shaking his head) He...he
must've taken it. I...
Alison's voice over is heard as he says this and continues to
look through the wallet, and we hear Alison's voiceover from
the scene in the main hall.
ALISON
(VO) How can you walk through life pretending
that you're happy?
CUT TO the Main Hall of the Gordon Residence, back to the earlier
flashback of Lawrence and Alison. This time, we stay with them.
LAWRENCE
I am happy. (He walks over to a chair,
leaning over it as he puts something
down, gets his briefcase ready to go
to work. Alison stands a few feet behind
him, trying her best to get him to react,
to stop the bullshit and end the masquerade.)
ALISON
(pissed) That is complete bullshit.
I'd rather you break down and tell me
that you hated me. At least there'd
be some passion in it.
LAWRENCE
(tired of this, brushing it off as not
that important, like there really is
nothing wrong) We can talk about this
alter, okay? (He leans in to kiss her,
but she shakes her head. He pauses there.)
ALISON
(firmly) Just leave.
He looks at her for a moment, searching, then slowly turns away
and heads out the door.
VOICE
Goodnight, little girl. (camera pans
up closer into the closet, and we a
widened blue eye and part of a face
(yet unidentifiable) watching her.)
The closet doors burst open and Diana screams. Cut back to the
main hall where Alison stands alone, her head lowered slightly.
As soon as she hears the scream she turns and bolts towards her
daughter's room.
ALISON
Diana!?
Alison gets to just outside the door to her bedroom.
ALISON
Diana! (opens the door and flips on
the light, gasps when she sees a figure
covered by a blanket looming over Diana's
bed. The figure suddenly grabs Diana
and she screams, struggling against
him. Alison goes for them.
Quick cut to NOW, in Alison and Lawrence's bedroom. Waistline
shot of a figure wearing a black coat, black leather gloves and
blue jeans, holding a stethoscope. A gun is tucked into his belt
and Diana's teddy bear tucked under his arm. He saunters over
to the gagged and bound Diana and Alison, on the floor and tied
to a corner end of the bed. Alison, her eyes streaming tears,
struggles and pulls against her bonds to try to get at him but
fails. Diana keeps crying Mommy! over and over again and sobbing.
The figure crouches down beside Diana, dropping the teddy bear
behind her, his face still unseen. He takes the stethoscope and
holds the end to Diana's chest. The sound of a loud, steady heartbeat
is heard. Alison screams at him through her gag.
ALISON
Don't do that! Leave her! Get away from
her!
He pulls away the stethoscope and the heartbeat halts. He reaches
with his right hand and pulls from his belt the gun. Diana's
screams become more desperate, Alison's more frantic, more angry.
He puts the stethoscope back against Diana's chest and moves
the gun up and down in front of her, then bringing it up to her
mother's head. We hear the heartbeat again, doubled in speed.
ALISON
(through her gag) Keep your motherfucking
hands off of my daughter!
He pulls away the gun and the stethoscope, tucking the gun back
into his belt. He reaches down behind Diana and picks up the
teddy bear. As he does, we catch a brief glimpse of the lower
half of his face, but not enough for a clear identification yet.
He holds the teddy bear out in front of Diana for a moment then
tucks it in front of her. He pats her on the head and stands
up, moving over to the window. He parts the curtains slightly
and leans forward a bit, and we see his face more clearly. It
is Zep, the orderly from the hospital.
Cut to static, and then a surveillance video view of the exterior
of the Gordon home, of the window where Zep is standing. The
camera zooms in on him and we hear a raspy, male voice speaking.
VOICE
(VO as we view shot of Zep) Who are
you little man...I see you...(cut to
a television screen with the video of
Zep in the window. Fade back and to
the right as we get a view of someone's
apartment. Plastered on the walls are
various photographs, which we can barely
make out, and a desk in the corner with
some recording equipment. As we move
further right and hit the window we
see Detective Tapp, leaning over the
camera shooting the Gordon's window,
adjusting the view. Something about
him seems just not right. We cut back
to his view from the camera.) Does Dr.
Gordon know you're at home with his
wife? I know you know something. (his
voice goes up a bit louder) What are
you doing in there? Waiting for the
doctor? I'm waiting for the doctor,
too. Hmm.
Cut to a view over Tapp's couch of the television with Zep on
video on the screen. Tapp walks over and sits down in front of
the television, his back to us.
TAPP
I never should have let you go...
Camera pans up to a wall of articles, all about the Jigsaw killings.
It moves quickly and zooms in on each headline we see. Jigsaw
hunt brings D.A. before Judge, Missing Man discovered at Bizarre
Crime Scene screaming is heard then a quick flashback shot of
Paul in his cage, first struggling against the wire then hanging
dead in his cage Killer ‘Preaching' Says Top Cop, Psychopath
Teaches Sick Life Lessons, quick shot of Mark going around looking
for the code on the walls, with the sound of his screaming over
the shot, Escape, Victim Survives Maniac's Game quick flashback
footage of Amanda in the interrogation room, then fighting with
her mask, and a shot of Lawrence watching and listening to her
testimony, Doctor Questioned in Case flash of shots of Lawrence
being questioned by the Tapp and Sing and then his Lawyer. It
ends on the flashback shot of Tapp looking back at Lawrence through
the two-way glass after Amanda tells her story, and the shot
slides into a shot of a car pulling up alongside a building.
TAPP
(VO, fading, hushed against soundtrack)
I never should've let you go...
The car pulls up alongside a building, with Lawrence in the passenger
seat, and Tapp driving. Lawrence's awkwardness, Tapp's distrust,
and general uncomfortable tension can be easily detected between
them.
LAWRENCE
(Pretending like he's trying to be helpful,
really just glad to be out of Tapp's
company) Here we are. That was uh, quite
an amazing story that poor woman told.
(Tapp just nods, says nothing. Lawrence
smiles very uncomfortably, gets out
of the car.)
LAWRENCE
(leaning down and looking back into
the car window.) Look, I'm sorry I can't
be of more help to your investigation.
TAPP
(nods very slightly) You know, we arrested
a dentist last week who like to play
with kids a bit too much. He lived two
blocks from here. The sewer lines run
under this neighborhood too, Doctor.
(hint hint)
Lawrence stands straight up, walks away. Tapp wait's a moment,
then drives off.
BAM into static and then the video from Amanda's cell. We are
not at Tapp's desk in the police station, watching him obsessively
watch the video, staring at the screen, remote control in hand.
As he watches, the camera circles around behind the television
to give us a better view of our obsessed detective.
JIGSAW
(from the video) Hello Amanda. You don't
know me, but I know you. I want to play
a game. Here's what happens if you lose.
There's a timer at the back of the device
you're wearing. When the timer goes
off, your mouth will be permanently
ripped open.
In the background of the station we hear a couple of detectives
talking, then Sing walks in behind Tapp, over to his own desk.
He turns, watching Tapp watch the screen. Tapp stops and rewinds
the tape.
SING
(to the other detectives leaving) I'll
catch you guys down there. (he reaches
over and gets something off of his desk)
JIGSAW
(from video) Think of it like a reverse
bear trap.
Tapp fast forwards a bit, hits play.
JIGSAW
(from video) I'll show you...
Tapp watches closely the demonstration of the timer then the
device going off and exploding. Sing watches too, not paying
as close attention. As soon as it explodes, Sing speaks. The
look on his face and the tone of his voice indicates his growing
concern for his partner's obsession over this case.
SING
Hey Tapp?
Tapp doesn't look up, resembles Lawrence in the earlier scene
when Alison and Diana came to him to check her room while he
was working on his paper.
TAPP
Mmm?
SING
We're gonna go down to the Grill, go
get a beer. You wanna come?
TAPP
I don't think so. Thanks anyway.
SING
(Figured he might answer as such) You
know I always ask. (He puts on his jacket)
JIGSAW
(on video) There is only one key...
SING
I'll leave you to have fun up here.
(He puts his hands on his hips, watching
some more of the video.)
JIGSAW
(on video) It's in the stomach of your
dead cellmate.
SING
(still trying to reach him, break him
from his obsession groove) Hey Tapp?
I don't mean for this to be disrespectful...(pause)
Maybe you should find yourself a girlfriend.
Sing chuckles, hits Tapp playfully on the arm, tapp laughs a
bit too, but doesn't look up. Sing remains grinning a bit. But
then Tapp continues and rewinds the video a bit.
JIGSAW
(on video) It's in the stomach of your
dead cellmate.
Tapp fast forwards.
JIGSAW
(on video) Look around, Amanda. Know
that I'm not lying. (Sing steps off
to the right) You better hurry up. (Tapp
rewinds again, suddenly pauses)
TAPP
Wait wait wait, Sing!
Sing stops, turns.
TAPP
Get back here!
SING
What?
TAPP
Mmm! (he gestures franticly for him
to come over.)
SING
(sighs then comes over) What?
Tapp rewinds one second then pauses, holds pencil to the screen
to a grafittied wall on the video.
TAPP
Remember 118th Street?
SING
(looks at the screen, thinks a minute)
Ah...K2K. That gang's territory was
only about four blocks.
TAPP
Now listen to this.
They listen with the volume up high. Over the static, the sound
of a fire alarm can just barely be heard in the background. They
look at each other. Tapp hits stop.
TAPP
(looking up at Sing) We gotta check
the records from all the fire emergencies
that occurred there in the last two
weeks. Go, right now! Mmm!
Sing turns and quickly walks off.
CUT TO
Close up of a map, with Sing speaking
in a voiceover. As he speaks, there's
a brief shot of the two of them sitting
over the map, then quick shots of a
few black and white photographs of a
warehouse, including a close up of a
street sign Stygian St.
SING
(VO) On the night of Tuesday, the 17th,
we got a fire alarm going off in the
rear wing of 213 Stygian Street. It's
an old listing. Used to be a mannequin
factory. (cut back to view of the two
detectives) You think we have enough
for a warrant, though?
TAPP
Who said anything about a warrant? (He
grins, gets up and grabs his jacket.)
SING
(are you serious?) Right now?
TAPP
Why not?
SING
Yeah, why not? (He grabs his gun, snaps
a cartridge into it, grabsup his coat,
and quickly follows Tapp.
Brief shot of K2K graffiti on the video and then loud static,
which snaps into an exterior nighttime view of an old warehouse
building and a car speeding by. Our view is from inside the car
as it pulls up alongside the building. A police radio can be
heard in the background. So can the sound of a gun being loaded
and cocked.
TAPP
(VO) At least we'll have the cover of
darkness.
SING
(VO) Yeah, well, so will anybody else.
A shot of inside the factory, various clutter and tables piled
up on one another. No signs of life...yet. A bang from the outside
of the door is heard. A couple more bangs and a shot of the giant,
sliding wooden door as it slides open, and Sing steps in, holding
out his shotgun, ready for anything waiting for them. Cut up
to a staircase, lit by eerie green light, the same as from Paul‘s
razor wire room, as the detectives make their way up cautiously,
Tapp in front, Sing covering behind them. They come up another
level, one that has been recently used we see as Tapp points
over to a desk with a computer, a radio, and some other miscellaneous
items. Then, right next to the desk, we see the K2K graffiti
from the video.
TAPP
I got you...
They continue on, moving into a room separated with a chain link
fence. There is a slightly raised platform, going along part
of the wall, with a few steps leading up on either side. Tapp
goes up the steps. On the raised area are some tables covered
in heavy red cloth. Tapp points to one, reaches down, and pulls
back the covering. He reveals a small diorama of the bathroom
scene where Adam and Lawrence dolls, complete with the body,
dolls representing each of them.
TAPP
What the hell is this?.......(his voice
almost a whisper) Oh shit...
They move onto the next table, and Tapp pulls back the cloth
covering that one, revealing the leering Puppet from Amanda's
video. Tapp stares at it wide-eyed. Next to the puppet is a strange,
boar-like mask with long dark hair. The camera pans back so we
have the view of another large object covered in red cloth that
Tapp and Sing had passed by. Tapp leans in closer to look at
the puppet, when suddenly the still-covered form starts to move
and muffled moaning sounds are heard. It startles the detectives.
SING
Oh fuck!
They both go over and stand on either side of it, taking one
end of the red cloth whipping it off. Underneath is a man tied
to a chair with duct tape over his mouth, held in place by a
manacle around his neck. A contraption on the chair holds two
power drills about six inches from either side of his head, pointed
directly at his temples. His eyes wide, he moans through his
tape at the detectives.
Suddenly, a door is heard clanging open on the other side of
the building, and the detectives spin to face the sound, guns
ready.
TAPP
(looks to Sing, says softly) Wait Sing!
SING
(trying to keep his voice low but coming
off a bit loudly) What?
TAPP
(eager) Let's see what he's gonna do.
SING
Why? We've fucking got him.
Tapp however, having studied this guy for so long, wants to get
a good look at him before he's captured, see him in his element.
TAPP
We don't know what he looks like. Let's
see what he's gonna do.
SING
(rather loudly, again) No fucking way!
As the two argue, the man in the chair continues to protest his
position.
TAPP
Sing, Sing! (he moves in front of the
man a bit, holding up his hand to try
to halt Sing, trying to convince him
to go along with him.)
SING
(isn't buying into it) Fuck that. I'm
gonna take him.
TAPP
Sing!
SING
What the fuck? Shit!
TAPP
Wait Sing, listen.
Whoever it is is moving closer, so they quickly cover up the
man and the other things they uncovered. The man in the chair
protests loudly through his gag and struggles as much as he can
in his chair. Sing and Tapp go and hide behind a tarp covering
the entryway to another room while a figure in a black robe lined
in red comes up on the elevator. The elevator stops, and the
figure moves forward, slowly and carefully. He goes up the steps
to the man in the chair. The figure's hood is up; we do not see
his face. As he walks, he seems like he might be having a somewhat
difficult time with it.
He reaches and uncovers the man, who begs in muffled tones through
the gag. When the figure speaks, we instantly know it is Jigsaw;
it is the unmistakable voice from the tapes and the video.
JIGSAW
Awake already, Jeff? I need more powerful
tranquilizers next time. (Jeff continues
his cries, sheds a few tears. Jigsaw
reaches over and touches his shoulder)
Don't cry. I've given your life a purpose.
You're a test subject for something
greater than yourself.
That's when Sing cocks the shotgun and the two detectives move
out of their hiding spot, aiming their weapons at Jigsaw.
SING
Freeze! Police!
TAPP
Hold it right there! Don't move!
SING
Put your fucking hands in the air!
Jigsaw slowly raises his hands, starts to turn to face them but
then quickly steps down hard on a red button on the floor, and
the drill trap on Jeff's chair comes to life. He remains with
his back mostly to them, hands still raised.
JIGSAW
Now you'll make a choice. (Sing runs
up the steps to try to where Jigsaw
is, gun aimed at him. Tapp remains where
he stands.) In 20 seconds, the life
of this man will be ended.
TAPP
Shut up and get down here!
SING
(keeping his gun steadily aimed) What
did you do? Turn it off!
Jeff in the meantime is struggling in his seat as the drills
come closer.
TAPP
Sing, stop that thing! I'm taking this
bastard down. (Sing tosses Tapp the
shotgun.) Move!
SING
(to Jigsaw) How do you turn it off?!
TAPP
Tell him how to stop it!
Jigsaw backs up a bit towards the stairs.
JIGSAW
One key will unlock it.
SING
(frantic) Where is it?!
JIGSAW
It's in the box.
SING
Box! (He sees a box on the side of the
chair and opens it. Inside he pulls
out a ring of at least 30 keys, and
goes over to behind Jeff to try to unlock
the device. He tries a couple of keys,
none working.) Fuck! Which key, which
key?!
TAPP
Tell him which key it is!
JIGSAW
(now facing Tapp, moving closer to him.
His back is to us, we still don't see
his face.) Time is running out.
TAPP
Shut up and get down here right now,
asshole!
Jigsaw slowly moves down towards him more.
JIGSAW
What's more important to you Officer,
arresting me or the life of another
human being?
Sing keeps trying various keys. Tapp goes up Jigsaw and grabs
him, pushing him down to his knees. Jigsaw keeps his arms slightly
raised.
TAPP
Get down on your knees!
SING
Jesus! Tapp! Tapp!
TAPP
(gun aimed at the back of Jigsaw's head)
Hands behind your head! (Jigsaw obliges)
Sick bastard.
JIGSAW
Yes, I am sick, Officer.
SING
(still trying various keys, none working.
He's in a full-fledged panic. Jeff closes
his eyes, crying, as the drills are
only 2 inches away) Tapp! It's like,
there's a hundred keys in here!
JIGSAW
Sick from the disease eating away at
me inside. Sick of people who don't
appreciate their blessings. Sick of
those who scoff at the suffering of
others.
Sing finally whips out his gun and shoots each drill, breaking
and stopping them. Tapp glances up at him, briefly distracted
by the gunfire.
JIGSAW
(as he pops a blade out of a wristband
hidden up his right sleeve) Sick of
it all! (He lashes upwards, slashing
Tapp's throat)
SING
(seeing the throat slash) Tapp!!! (runs
down from Jeff towards them. Tapp clutches
his throat, completely surprised, gurgling.)
Jigsaw RUNS, fast as he can, out of the room. Sing takes a couple
of shots at him and misses. He stops when he reaches Tapp, who
is slumped against the fence/wall and bends down next to him.
SING
(desperate, a trace of despair) No,
no! Tapp! Shit!
Tapp gurgles at him, hands him the shotgun.
SING
(standing, touching Tapp on the shoulder
then head) I'll be back, okay? I'll
be back.
Tapp just kind of nods, gurgling and holding his throat. Sing
spins around and then starts chasing Jigsaw through the warehouse,
out of the room and down a flight of stairs. He moves down a
long, misty corridor, gun up, moving quickly but still cautiously.
He takes a right, goes down another flight of stairs then takes
another right, stopping and looking down a short flight of stairs.
Quick cut to Tapp starting to try to get up, holding his throat.
He drags himself along the floor.
Back to Sing, who cocks his shotgun, then moves down the stairs
very cautiously. He takes a left around the corner, finds himself
facing down another corridor, where he sees Jigsaw trying to
get away. He takes aim.
SING
(shouting) Freeze or I'll shoot!
Jigsaw continues moving, so Sing fires. He hits, and Jigsaw goes
down. Sing pauses, waiting to see if he gets back up. Jigsaw
doesn't move, so Sing cocks the gun again and starts to slowly
move forward towards him. Cut to a shot of Tapp as he struggles
to his feet and starts towards the stairs to follow Sing.
Back to Sing, moving further down the hall. He gets about halfway
down it when we see a shot of his feet just at a trip-wire. Over
it are some cobwebs hanging down. He reaches to part them, and
steps forward into the wire. As he steps we see a shot of a shotgun
with wire slowly pulling down on the trigger. Sing looks up,
and the trigger of that gun and six other shotguns pointing down
directly at him fire. Sing is hit, blood splattering against
him and the wall. We see only from his shoulders down. He spasms
for a moment, then falls forward to his knees. Cut to Tapp, who
is making strange vowel sounds, moving down the flight of stairs
just before the hallway where Sing now is.
On his knees, Sing remains upright for a moment, spasming more.
We go to a shot of Jigsaw on the floor. Jigsaw starts moving
and gets himself up to his feet, and starts hobbling further
down the hall. Sing's body finally falls forward onto the floor,
spasming still. Tapp continues down the stairs, falling against
the wall a couple of times. We see Jigsaw as he gets to the end
of the hall and starts sliding a large door open.
At that moment, Tapp reaches the bottom of the stairs and turns
into the hallway, collapsing back into a sitting position on
the stairs. Jigsaw hobbles through the door and starts to go
left. Tapp sits up a bit and looks down the hall, where he sees
Sing, who has stopped spasming. His eyes widening, Tapp removes
the hand from his throat and reaches forward towards Sing, his
mouth opening and moving but no sound other than some gasping
coming out. The shot fades to a slow-paced black and white, and
then snaps into a few crime scene photos of Sing's body, including
a nice gory one of the top of his head, part of which is now
missing.
At the last photoflash, we cut back to a shot of Tapp presently,
sitting on his couch. The shot shows a good view of the scar
across his neck.
TAPP
(weak, desperate) Had you...had you
on your knees. (He sits forward, getting
some things off the coffee table) You're
running. You're running...(He gets up
and goes over to the desk in the corner
with the audio recording device and
dozens of photos pinned to the wall,
takes a seat) You're running scared
because we had you. I'm going to close
this case. Ram close it. (He picks up
a small framed photograph, which we
can't see, but likely, it's of Sing.)
Right, Sing? Right? We're gonna close
it, Sing.
LAWRENCE
X Marks the spot...(He stands, touching
the pipe and looking up and around a
bit.) X marks the spot...we need to
search this room again. (He turns and
looks over at Adam.) What are you doing
over there?
Cut back into regular view in the bathroom, with a shot of Adam
sitting on the tub, holding the photograph of Alison and Diana
just beneath the edge of the inside of the tub, looking down
at it. He ignores Lawrence, flipping the photo over.
LAWRENCE
(irritated) Excuse me?
ADAM
(glancing up; calm irritation) Just
because I'm stuck in this room with
you doesn't mean I have to report to
you every ten seconds.
LAWRENCE
(sighs) I really don't see the point
in us not helping one another.
ADAM
well what do you want me to do? I'm
on a leash.
LAWRENCE
That's exactly why we need to talk.
We need to think!
ADAM
I am thinking!
LAWRENCE
(snapping at him) Well then don't keep
me in the dark about what you're thinking!
There is a pause as something about that statement strikes Adam.
ADAM
Turn off the lights.
LAWRENCE
What?
ADAM
(letting the photo fall into the tub
as he stands) Turn them off now, please!
LAWRENCE
(doesn't get it) Why?
ADAM
(impatiently) Just turn them off for
a second!
Lawrence stares at him oddly but moves backwards, reaching over
and flipping off the lights. Adam looks around. Lawrence looks
around too, but he sees nothing. He doesn't seem to think this
is going to help any. Then we see on the wall next to him a glow
in the dark X painted on the tiles. He doesn't see it and shrugs,
but Adam spots it.
ADAM
Jesus, behind you!
LAWRENCE
(turns and sees it, is surprised) How
come we didn't see that before?
ADAM
The lights in here hadn't charged it.
It must be glow in the dark paint or
something.
Lawrence turns and flips the lights back on, both of them wincing
slightly at the sudden transition from dark to bright white,
though not as much as before. Lawrence leans over and picks up
his hacksaw, going over to the tiles where the X is and starts
hitting the tiles with the handle of the hacksaw. He breaks through,
reaching into a small cavity in the wall and pulling out a small
brown box with a hinged lid. He can't believe it. He looks to
Adam, a small grin on his face. He places it on the floor and
sits down behind it.
ADAM
(excitedly) Open it!
LAWRENCE
(turns it around so we and Adam can
see the small lock on it.) It's locked.
(He pauses, thinking, then realizes
something) The key, the one from my
envelope. Where is it?
Adam looks around him, then leans down, looking on the floor
for the key.
ADAM
(soft, hushed tone as he looks) Where
the fuck...Here. (He finds it, picks
it up and tosses it over.)
Lawrence picks up the key, tries it on the lock. It works. He
takes the lock off, opens the box. He holds up a cell phone,
smiling in relief.
ADAM
(big smile) Cell phone. The most beautiful
invention on this planet!
Lawrence takes out and holds up one of two cigarettes. Adam lets
out a joyful laugh.
ADAM
Make that second most beautiful invention!
(He reaches out his hand for Lawrence
to toss it.) Give me that.
LAWRENCE
Are you joking? You're gonna put something
we found in this room in your mouth?
ADAM
(pause, then) Yes, I'm willing to risk
it! Give me that sweet cancer. (Lawrence
ignores his request, tosses out the
other cigarette and a lighter. He finds
lastly a small folded up note with the
words Shh, Doctor, written on it.) I
don't care, I really don't. Give me
one of those.
Jigsaw's voiceover reads what's written on the note as Lawrence
opens the paper and reads it, keeping it low in the box where
Adam can't see it.
JIGSAW
(VO) The cigarettes are harmless, I
promise. Smoking is only poisonous when
it ends in bloodshed. Think about this
- you don't need a gun to kill Adam.
ADAM
(growing impatient) May I please have
a cigarette?
LAWRENCE
(ignoring his plea) I'm trying the police.
(He flips open and dials on the cell
phone, but a weird beeping noise indicating
the call can't go through comes from
the phone. He dials again, same result.)
Shit. (Pause, thinks.) This was meant
to receive calls, not make them. (A
moment; he realizes something.) Wait
a minute...this has happened before.
Cut back to an overhead descending view inside a parking garage.
LAWRENCE
(VO) Last night, after I finished at
the hospital. (fade into another closer
shot of the cars, and Lawrence walking
down the corridor, carrying his briefcase.)
I was walking back to my car. (He stops
a moment) I thought I was alone, but
I'm sure someone else was there. (He
squints, bringing his hand up over his
eyes. There is a flash from the side.
He looks up, startled, looking in the
direction in which he thinks it came
from, but sees nothing. He looks around
him for another moment, then continues
forward to his car.)
Cut to a shot within a circular overhead mirror of Lawrence's
car pulling up to an abandoned security gate station. He gets
out of the car, shutting the door and going over to a phone on
the wall to dial security to let him out. When he dials, though,
it gives him a busy signal. As it beeps, we cut to another shot
of his car in the mirror. The back door on the passenger side
starts to slowly open. Back to Lawrence, who hangs up the phone,
aggravated, and reaches into his pocket for his cell phone. He
opens it and dials. Back in the mirror, we see something get
out of the car on its hands and knees. It is in a red robe and
has a strangely shaped head with long, tangly dark hair. Lawrence
finishes dialing, holds the phone to his ear but receives the
same beeping tone as the phone in the bathroom, indicating that
he cannot make outgoing calls. Perplexed, he holds up the phone,
trying to get a better signal. Alongside the car, the thing moves
even closer now. It gets up slowly. We see that it is wearing
the strange boar mask previously seen in the flashback of Jigsaw's
workshop. It suddenly rushes upon him as he's distracted with
his phone and grabs him.
Cut back to Lawrence sitting on the floor in the bathroom, still
holding the phone.
LAWRENCE
(His eyes distant, off in his memory)
That...thing. It was waiting for me.
(He exhales sharply, then looks back
up at Adam. Adam is just standing there,
staring at him. Something seems a bit...off.
With a suspicious tone, Lawrence addresses
him.) How did you know to turn off the
lights?
ADAM
Who cares? It worked.
LAWRENCE
Yeah, but how did you know?
ADAM
(a slight pause) Instinct. (His tone
is far from believable.)
LAWRENCE
(doesn't believe a word of it) Instinct?
ADAM
Yeah.
LAWRENCE
You know what? (he looks down, then
back up at Adam.) You're a terrible
liar.
ADAM
(quiet offense) You say that like you
know me.
LAWRENCE
(speaks calmly, but anger lies underneath
the surface) What else aren't you telling
me?
ADAM
(cocky and sarcastic) Well, um, let's
see. On my sixth birthday, my best friend
at that time, Scott Tibbs, stabbed me
with a rusty nail. I didn't tell you
about that. I didn't' tell you that
my last girlfriend, (Lawrence lowers
his head into his hands. Un-FUCKING-believable)
who was a feminist vegan punk, broke
up with me because she thought I was
too angry. Uh, I haven't told you that
one of my toenails is slightly...
LAWRENCE
(snaps at him, fed up) Just stop it.
You knew to turn off these lights.
ADAM
(turning away from Lawrence) What-ever.
LAWRENCE
(stands up, frustrated.) I'm dealing
with a juvenile.
ADAM
(has had it, looks right at him) You
wanna know?
LAWRENCE
(exasperated) Yeah!
Adam leans down and reaches into the bathtub, pulls out and holds
up the picture of Alison and Diana.
ADAM
(with a somewhat aggressive attitude)
Here it is. (He throws it towards Lawrence,
who looks down at it, then back up at
Adam before getting down on the floor
and pulling it towards him with the
hinged box. He picks it up, sitting
up as he looks upon it with shock. )
LAWRENCE
(very softly, shakily) Oh God...(he
turns it over, then back. Adam casts
his eyes downwards, still standing but
cooling off, feeling bad for Lawrence)
W...where did you get this?
ADAM
(softly) It was in your wallet, behind
the photo of your daughter.
LAWRENCE
W...why didn't you show me this before?
ADAM
I couldn't. (Lawrence begins to shakily
sob, touching the photo.) I'm sorry.
(Adam goes over and sits against a pipe
in his corner, lowering his head and
upper body forward, holding his head
in his hands.)
Lawrence sniffles, shaking, then looks right to the surveillance
camera behind the glass and screams.
LAWRENCE
What are you doing to them you bastard?!
(He goes back to huddling over the photograph,
sniffling and crying for a moment. Then,
he sits up, trying to pull himself together)
Okay...okay..(he looks around a bit)
Okay, I've got to think now...(He looks
down, sees the note again in the box.)
JIGSAW
(VO) Think about this...you don't need
a gun to kill Adam. When there's that
much poison in your blood (a slow shot
moving to the pool of blood from the
body in front of Lawrence), the only
thing left to do is shoot yourself.
Lawrence looks at the body, then down. He's getting an idea.
He takes a cigarette, glances over at Adam, who still has his
head down in his hands. He dips the end of the cigarette in the
blood, then puts it back in the box. He starts to get up. Adam
looks up, sees him standing.
ADAM
What are you doing?
Lawrence goes to the light, looks at the camera, suddenly flips
off the lights. We see a shot of Zep startling when the lights
go out on the monitor, then we go back to the darkened bathroom.
ADAM
Hey! What the hell are you doing?
LAWRENCE
(whispering so the surveillance camera
will not pick him up) Adam, listen to
me. I want you to play along with me
on this.
Zep leans in, trying to hear what's being said, but the static
of the video is too loud. He tries to adjust the sound, but to
no avail. Shot goes back into the bathroom, where Lawrence is
finishing saying something to Adam.
LAWRENCE
You got that? (he turns the lights back
on, both of them again wincing at the
bright light. Lawrence glances at the
surveillance camera, then looks to Adam.
LAWRENCE
(trying to be nonchalant) So you uh,
still want that cigarette?
ADAM
Um...yeah, sure.
Lawrence makes a show of reaching into the box where the poisoned
cigarette is, but takes the other un-dipped one instead. He throws
it to Adam, who reaches down and picks it up from where it lands.
Lawrence throws the lighter as well. Adam puts the cigarette
between his lips and reaches down, picking up the lighter. He
glances over at Lawrence, who watches him intently. Adam just
shrugs then lights up. He takes a long drag, then exhales in
a sigh of relief and with a smile. He takes another drag then
suddenly freezes, his head jerking and a strange gurgling sound
coming from his throat. His head jerks more then the rest of
his body, his eyes widening. His hand drops the cigarette and
goes to his throat as he turns, still jerky and making a strange,
almost squeaky choking sound in his throat. The sound grows louder
as he falls to his knees, then back a bit, his left arm held
out in front of him dramatically. He falls backwards onto the
floor, twitching some more, still choking. He lets out a long
cough, suddenly stops jerking, and closes his eyes. The death
in its entirety is very, very fake.
LAWRENCE
(watches Adam, then turns to the surveillance
camera, speaks with angry finality)
There! I've done it! I've killed him
with the poison, just like you wanted.
(shouting) Now where's my family?! Where
are they?!
Suddenly, we go to a shot of Adam lying there and a loud, electrical
buzzing sound is heard as his body jerks to life and he cries
out. He spasms and jerks around as he is electrocuted, and Lawrence
looks upon him in shock. Finally, the electrocution stops, and
Adam sits up slightly, gasping, eyes wide.
ADAM
(he shrieks in pain and shock) Jesus
Christ!!
Lawrence's reaction is not one of concern; he simply can't believe
that Adam just screwed up the plan.
LAWRENCE
(disbelief) What?
ADAM
(wide eyed) I just got electrocuted!
LAWRENCE
What? (he rolls his eyes. Unbelievable.
He speaks in a hushed tone.) That was
our way out!
Adam looks at him in shock, cannot believe Lawrence would think
he'd make something like that up.
ADAM
(yelling at him) Did you hear what I
said? (he desperately grabs at the manacle
around his ankle, pulling at it and
shrieking) Get this thing off me! Get
it off!
LAWRENCE
(pissed off) Stop acting!
ADAM
(stops pulling at the manacle and chains;
now he's pissed at Lawrence for his
disbelief) You think I would make that
up just to mess up your stupid fucking
charade?
LAWRENCE
(gives up on Adam, frustrated once more)
All right, that's it! (He leans over
and picks up his saw, sits down and
starts trying to saw through his chains
again, grunting. Adam, in the meantime,
just sits back against the wall, breathing
heavily, looking dazed. Lawrence continues
to franticly saw, but it doesn't work.
He gets pissed off and throws the blade
down.) Ah, Damn it!!
Back to Adam, still looking dazed. Suddenly, a look of realization
dawns upon his face. The electrocution has jogged his memory.
ADAM
(wide-eyed) I remember everything now.
(Lawrence glances over at him.) I remember
how I got here.
Flashback to Adam walking up the stairs in his apartment building,
a camera around his neck, smoking a cigarette and listening to
music on his headphones. He walks with an uncaring, slow swagger.
He gets to the top of the stairs and walks down a red-lit hallway
to his apartment. He goes inside, closing the door behind him
then moving into the kitchen area, throwing his keys onto the
table and opening the fridge. The entire apartment is very rundown,
decrepit, dingy and old; truly a shithole apartment as Adam described
it earlier. There is graffiti on the door and walls, the wallpaper
is fading and peeling, the refrigerator is dirty.
Adam opens the fridge and looks inside for a moment. He sighs,
then closes the door. He heads over to his darkroom, closing
the door behind him. The lighting is dark red. He puts the camera
down on the table, taking the strap off from around his neck,
takes off his headphones and cd player, presses stop and puts
them down off to the side. He sighs tiredly and goes over to
a tray where a photo is developing and picks it up with his fingers,
ganging it with a closepin on a hanging line with other photos.
It is a picture of a man wearing sunglasses. The man is in fact
Lawrence. To the left of that one is a shot of Lawrence in the
parking garage with his hand over his eyes.
The camera cuts to a shot of the newest photo through a peephole
in the darkroom door as the camera fades out and back, viewing
the grafittied door of the darkroom before the shot fades to
black, industrial music playing over the shot.
Cut to Adam sleeping in the now pitch-black darkroom, his head
down on the table. He wakes up abruptly, as though he hadn't
meant to fall asleep. He looks around, confused, wondering why
all the lights out. He gives a Great, another problem type of
sigh. He stands and yawns, reaching over for the lightswitch.
He moves it up and down a few times, but nothing happens. Another
aggravated sigh. He reaches down and finds a flashlight on the
counter, presses the on button but it doesn't work. Pissed, he
shakes it hard, trying to get it to come on, but that doesn't
work. He looks at it, scoffs.
ADAM
Great.
Suddenly, he hears something move outside the door, somewhere
in his apartment. On alert, he listens. He looks down and picks
up his camera, slinging it around his neck and holding it out
in front of him. He opens the creaky door into his also pitch-black
apartment. He takes a few steps forward, speaks nervously, but
trying to be brave.
ADAM
Is someone there? (he takes a picture,
the flash lighting up the area in front
of him.) I can hear you. (He takes another
picture, the flash lighting up a living
room area. Nothing yet. He moves forward
more, into the kitchen entryway, snapping
away for light.)
Suddenly, from behind him, an EVIL DOLL LAUGH is heard. He startles,
spinning around.
ADAM
(his voice alarmed but confused at the
same time) What the...? (He snaps a
picture in its direction and sees the
Puppet from Jigsaw's workshop and video
sitting in an armchair, continuing its
evil laugh.) Christ! (He reaches down
and finds a baseball bat on the floor,
and starts hitting the doll as hard
as he can until the laugh starts to
fade and then just dies out. ) What
the...
He hears the sound of movement again, coming from just behind
him in a closet. He goes on alert again, holding up the baseball
bat and the camera.
ADAM
Who is that?! Who's in there?! (he moves
towards the door, shaking but trying
to be a tough guy) Come on out! I'll
kill you, you motherfucker! (He opens
the door, holds the camera and takes
a picture. As soon as the flash goes
off we see the red-robed pig thing that
originally grabbed Lawrence quickly
move forward and grab Adam.)
Suddenly, the cell phone rings. Lawrence looks down at it in
slight surprise. Adam snaps out of his daze to look at it as
well. Lawrence glances over at Adam and then carefully reaches
down, picks it up and answers it. The scene will cut back and
forth to Diana and Alison in the room and Lawrence on the phone
for the duration of the conversation.
LAWRENCE
(not sure what to expect) Who is this?
DIANA
(on the phone, sobbing) Daddy?
LAWRENCE
Diana? (he stands)
DIANA
Daddy, is that you? (cut to a shot of
her being held by Zep, the phone to
her ear.)
LAWRENCE
(getting sniffly) Yeah baby, it's me.
I'm here. (Adam watches him intently)
DIANA
(sobbing) I'm scared, Daddy.
LAWRENCE
(trying his best to reassure her) Don't
worry honey, everything's going to be
okay. Where's Mommy?
DIANA
She's here with me.
LAWRENCE
(Staying as calm and collected as he
can for his daughter) Let me talk to
her sweetie, okay? Put Mommy on.
DIANA
The bad man from my room is here. He
has us tied up and he has a gun.
LAWRENCE
W...what man?
DIANA
Please come home Daddy! (Zep kisses
her on the top of her head and takes
the phone away to give to Alison.)
LAWRENCE
Hello? Hello? Diana?
Zep pushes some of Alison's hair behind her ear with the barrel
of the gun.
LAWRENCE
(desperate) Diana! Diana!
Zep puts the phone up to Alison's ear.
ALISON
Larry?
LAWRENCE
Ally? Is that you? (We see a shot of
Alison giving a threatening look through
her tears to Zep.)
ALISON
Is Adam there?
LAWRENCE
(surprised, looks to Adam, who continues
to watch him worriedly) How do you know?
Ally, what is going on?
ALISON
(through her sobs, trying to calm them
and get this message to him) Don't believe
Adam's lies. He knows you. He knew all
about you before today. (Zep quickly
takes the phone away, hangs up. Cut
back to the bathroom, Lawrence on the
phone.)
LAWRENCE
(a dial tone is heard from the other
end hanging up. Lawrence is desperate)
Hello? Ally? Ally? (No answer, just
the dial tone. He stands up.) Hello?
(He looks to the surveillance camera,
screaming) God damn you! If you so much
as lay a finger on them, I'll kill you!
You hear me? You son of a bitch! I'll
kill you! (He sits down, leaning forward
over the floor, crying a bit. He slams
his fist fiercely against the floor.)
ADAM
(quietly, as though cautiously approaching
a dangerous animal) Are they okay?
LAWRENCE
(sits up. His voice is calmer, but rage
is clearly underneath the surface) My
wife, she uh, she mentioned your name.
ADAM
(a brief Oh shit look appears in his
eyes, but he acts surprised) What did
she say?
LAWRENCE
(not looking at him yet. Speaks very
firmly, trying to suppress his rage.)
She told me...not to believe you.
ADAM
(cannot even look at Lawrence.) Believe
me about what? (There is no doubt he's
hiding something)
LAWRENCE
(Finally turns to look at him, the look
of 1000 deaths) She told me you knew
me. (He stands, looming menacingly,
the look stronger on his face) Who are
you?
ADAM
(still trying to cover up and losing,
still not making eye contact) You know
who I am.
LAWRENCE
(snaps, shouting at him) Stop the lies!
You're a liar! I need to know the truth!
ADAM
(His tone changes, he's had it with
hiding, had it with Lawrence) I'm a
liar? (Finally, he looks up, right at
Lawrence. His voice is firm and accusing.)
What did you do last night, Lawrence?
Work at a hospital? Saving sick children?
You told me that after you left your
house last night, you went to work at
a hospital.
LAWRENCE
(defensively) That's because it's the
truth.
ADAM
(almost deadly) No it's not. Your wife
is right, Larry. (Lawrence is now the
one wearing the Oh shit look.) You don't
recall getting your picture taken in
that parking lot?
Brief flashback shot of Lawrence in the parking garage, pausing
and covering his eyes for a moment when the camera flashed. We
see a shot of Adam holding the camera and taking the shot from
around a corner, ducking back behind the column. Lawrence looks
up at the flash, startled.
Cut back to the bathroom. Adam stands up, his stance and body
language accusing of Lawrence. He speaks fiercely, disgusted
with Lawrence's two-faced bullshit.
ADAM
I can prove that you didn't go anywhere
near a hospital last night. (He leans
over and pulls out the garbage bag from
the tub. Lawrence stands, staring at
him in near disbelief. He has been caught.
Adam takes a handful of photos from
the baggie he'd kept hidden inside the
garbage bag, holds them up and throws
them down, scattering them.) It's not
the first time I've done it either,
Larry. (Lawrence leans over to look
at the photos on the floor in front
of him with complete and utter disbelief,
picking one up and looking down at it)
I've been taking pictures of you for
a few days now. (Shots of some of Adam's
pictures. Lawrence going into a building,
Lawrence at an outdoor cafe eating lunch.)
LAWRENCE
(still holding the photograph) But...why?
ADAM
You wanna know what I do? I get paid
to take pictures of rich guys like you
who go to seedy, out-of-the-way motels
to fuck their secretaries. (we start
seeing more shots Adam took while following
Lawrence) Last night I went to your
house. (Flashback of Adam holding his
camera, then cut to several photographs
of Lawrence leaving his house, glancing
over his shoulder and moving down the
sidewalk) I watched you leave. I followed
you (Lawrence in the parking garage,
photographs of the exterior of the Hotel
Barfly. Lawrence inside the hotel, knocking
on the door to one of the rooms while
Adam hides around the corner with his
camera) all the way to that shitbag
hotel. (Photographs of Lawrence standing
outside then going into the room.)
LAWRENCE
(calm with rage just beneath the surface)
You've uh, had these with you the whole
time?
ADAM
I found them, in there (points to the
toilet; quick flashback of Adam pulling
the bag out of the top of the toilet,
then Adam opening the bag and seeing
the hacksaws and a glimpse of something
else in the bag.) with the hacksaws.
(Flashback of Adam tossing the bag into
the bathtub while Lawrence isn't looking.)
I don't know how they got there.
LAWRENCE
(angry) Yeah, right. You're so full
of it! (He angrily crumples up and throws
the photo he was holding at Adam)
ADAM
(scoffing tone) Aww, face it, Larry,
we're both bulls hitters. But my camera
isn't. It doesn't know how to lie. It
only shows you what's put right in front
of it. Just out of curiosity, what did
you do in that motel room? You got out
of there pretty fast.
Cut to a flashback, the hotel room. Carla, the pretty Asian girl
from the hospital, is inside the room, now in a black lacy top
and a gray/blue skirt, waiting for him. She opens the door, taking
a step back as he enters. He looks unsure of the whole situation,
a changed attitude this evening from all the others. He shuts
the door behind him, and Carla smiles at him. Lawrence's tone
when he speaks is unhappy. Not enraged, just somewhat disapproving.
LAWRENCE
Why did you um, deem it necessary to
page me when you knew I was at home?
CARLA
I didn't know if you were going to make
it. (turns, goes and sits on the bed.)
LAWRENCE
(sounding very business-like) But I
gave you a precise time at which to
page me. (He puts the briefcase on a
chair by the door then goes over and
sits down next to her on the bed.) You
can't do that.
CARLA
It's not like I know the rules for this
sort of stuff. (She starts unbuttoning
her shirt. Lawrence holds out his hand
and stops her. She looks up at him,
concerned.) What's wrong, Dr. Gordon?
LAWRENCE
(a sigh in his voice) Look, it was wrong
for me to makes you come here.
CARLA
(confused, hurt) But I thought we-
LAWRENCE
-Please. (very softly) I'm sorry. (He
stands and heads over to the door. Carla
remains sitting on the bed. She sniffles
slightly but doesn't cry.)
Suddenly, the hotel room phone rings. Carla and Lawrence both
look at it, unsure, startled. Carla looks to Lawrence.
LAWRENCE
You tell anyone you were here?
CARLA
No. (She stands, goes over to the phone
and answers it.) Hello? (She listens,
turns to Lawrence) It's for you. (She
holds out the phone.)
LAWRENCE
For me? (He walks over, takes the phone.)
Hello?
The voice on the other end is male, slightly raspy. It is unidentifiable;
it could be either Tapp or Zep, or someone else. It is very accusing.
VOICE
I know what you're doing...Doctor.
LAWRENCE
I- (but the other person hangs up, and
a dial tone is heard)
Lawrence hangs up the phone, turns and moves to the door. Carla
moves with him, watching, waiting for him to say who it was.
LAWRENCE
(nervous) I have to go.
CARLA
What happened?
LAWRENCE
I've got to go. (He picks up his briefcase
from the chair, and heads out the door.
Cut to the underground parking lot, the same shot as where Adam
took Lawrence's picture. He walks along, pauses to wince and
cover his eyes, then the flash. He looks up startled.
The shot cuts back to Lawrence leaning forward against the wall
in his corner, hand against a pipe. He slowly looks up at Adam,
thinking of something.
LAWRENCE
Who was it?
ADAM
Who was what?
LAWRENCE
The person who paid you to follow me,
who was it?
ADAM
(internal shrug) He calls himself Bob
and he gives me the money up front.
Two hundred bucks a night. If I'd have
known I was gonna end up here, I would've
asked for a hell of a lot more.
LAWRENCE
(pissy) What does that mean? Does that
mean you saw what happened to me?
ADAM
(internal eye roll; speaks as though
he's been over this 100 times before)
What I saw was you get into your car.
That's it. I didn't ask your name. I
didn't know who you were. I don't know
how I got here, I don't know how you
got here. I just took the shots (As
he speaks, a quick flashback of Adam
taking a picture, going up apartment
stairs, then in the darkroom) and went
straight home to develop the. Next thing
I know I'm chained to a pipe in some
prehistoric bathroom, staring at the
guy I've been taking shots of all night.
LAWRENCE
(seeing a major break in this mystery)
Clearly, whoever paid you to take the
pictures of me is the one who put is
in here.
ADAM
(they don't know that for sure) Maybe.
LAWRENCE
Maybe? What do you mean maybe? Of course
it is! What did he look like?
ADAM
(internal shrug) I don't know, he was
just a guy. (Shot of inside Adam's apartment
and an unidentifiable figure towards
the back of the room, the image darkened
so we can't make him out. The figure
slowly takes a step towards us/Adam)
LAWRENCE
Was he tall, was he skinny, obese, what?
ADAM
I don't take notes about his appearance.
(Shot inside apartment, the figure moves
closer)
LAWRENCE
(aggravated, how can he not remember
anything?) You must remember something
about him.
ADAM
I can't. (Shot of inside the apartment,
the figure moves closer)
LAWRENCE
You're telling me you don't remember
a thing about the guy?
ADAM
I told you, I- (inside apartment, the
figure moves closer, just about close
enough for identification)
LAWRENCE
(enraged, throwing his hands up) Oh
for fuck's sake! I give up!
ADAM
(gives up his playing dumb tone, gives
in due to irritation with Lawrence)
He's a tall black guy, he's got a scar
around his neck, okay? (Shot of inside
the apartment, the figure moves into
a viewable light; It is Tapp.)
Lawrence is leaning against the wall facing away from Adam. At
hearing Adam's description, he slowly moves back, turns around
to face Adam.
LAWRENCE
Tapp! (shot of inside Adam's apartment,
Tapp handing us/Adam money. Adam's/our
hand reaches out and takes it quickly.
Then, back to Lawrence) Detective Tapp!
ADAM
Whoa, the guy who paid me to take these
photos was not a cop.
LAWRENCE
No, no, he was discharged from the police
force. (Shot of Tapp at his desk with
the Amanda video, looking at notes.)
He broke down after his partner was
killed (Tapp and Sing sitting next to
each other in Lawrence's office), but
that didn't stop him from harassing
me. (Lawrence sitting in the car next
to Tapp) The guy became obsessed. (Tapp
in his current apartment adjusting the
camera in the window, then a shot of
him leaning over a notebook, going over
notes.) He's convinced himself that
I must have somehow been involved with
the murders. He's...he's crazy. (Tapp
at the corner desk in his apartment,
giving a crazy-sounding Heh heh heh
laugh. The shot cuts back to Lawrence,
who points accusingly at Adam.) And
you helped him. (disgusted) You took
money from him to invade my privacy.
How could you do that?
ADAM
(bite me tone) Call it my need to eat.
LAWRENCE
(sarcastic) Right, right. You know what
Adam? You're not a victim of this game,
you're a part of it. (Points accusingly
at him as he says this.)
ADAM
Oh really? Obviously this cop thinks
you're the one behind it all.
LAWRENCE
(Facing into the corner of his cell,
turning around slightly, internal eye
roll.) I told you, he's not a cop. He's
a bottom feeder, just like you. (A slight
sneer from Lawrence at Adam. Lawrence
turns back into his corner)
ADAM
(getting REALLY pissed at Lawrence's
attitude towards him) What are you more
pissed off about? The fact that I took
some shots of you or the fact that I
took some shots of you while you were
cheating on your wife?
Lawrence spins out of his corner, screaming in rage.
LAWRENCE
I did not cheat on her!!!
ADAM
What do you care what I think anyway?
I don't give a crap if you covered yourself
in peanut butter and had a 15-hooker
gang bang!
A pause, then Lawrence collapses onto the floor. He's lost the
last of any strength, level headedness or control he had before.
LAWRENCE
(weakly) How did I get here? (Adam sits
down on the pipe in his corner, leaning
forward a bit.) I had...I had everything
in order. (he lays down on his side,
facing Adam, who watches him with sympathy)
My whole life was in perfect order.
(He holds up and looks at the picture
of Alison and Diana gagged.)
Cut to the Gordons' Bedroom. Zep puts Alison's gag back on her,
then leaves the room. Alison moves her head around to loosen
the gag then spits it out. She tries to fight her sobs as she
speaks softly to Diana.
ALISON
Sweetheart, are you okay? (Diana shakes
her head no) Mommy just needs you to
be really, really, really strong right
now. I'm not gonna let anybody hurt
you. You got that? (Diana nods) Okay,
that's my good girl. (She starts crying
as her hands work behind her to loosen
the rope around them.)
Cut back to Adam in the bathroom, looking up slightly from his
position. He glances back down at the photographs on the floor,
notices something odd about one of them. He furrows his brow
and gets down on his hands and knees, reaching over and picking
it up, leaning back and looking at it, studying it. Camera cuts
to a shot of Lawrence through the black and white surveillance
camera, sitting on the floor. Adam's next line is a voice over
over this shot.
ADAM
Hey, was there someone else at your
house last night besides your wife and
daughter?
LAWRENCE
(on camera) No.
ADAM
(still on camera) Well, there's someone
here. (He tosses the photo to Lawrence,
whosits up, picks it up and looks at
it. After a moment, the shot cuts back
to a regular view of them, in the room.)
LAWRENCE
(realization) I know him. (We see the
photo as well. It is a shot looking
up into Lawrence's window, with Zep
standing there, looking out, completely
unaware of his picture being taken.)
Zep! (Cut to a shot of Zep listening.
The shot goes back and forth between
him as his eyes widen while Lawrence
makes his threats.) His name is Zep.
He's an orderly at my hospital. (his
voice becomes a growl, furious) Zep.
You perverted little psychopath. I'm
gonna take great pleasure in seeing
you pay for this! You bastard fuck!
Suddenly the shot cuts to Adam, who looks up at the clock with
a very worried look. He points up to it.
ADAM
Look. (Lawrence momentarily breaks from
his Zep rage, looks up. The clock reads
at 6:00.) We're out of time.
DIANA
(crying) Mommy help me!
Alison continues to untie her. Cut to Zep, getting up from his
chair, turning to go into the bedroom. Alison hears him moving
near, sees his form through the frosted glass doors. She quickly
replaces Diana's gag and then her own, and resumes her position
with her hands behind her back just as the doors open and Zep
steps into the room. He looks down at them, raises his eyebrows
slightly. He seems to have gotten himself together, ready to
just do what has to be done. He takes the gun from his belt and
leans down next to Alison. He looks at her with wide eyes, shakes
his head sadly. He speaks calmly.
ZEP
Dr. Gordon's time is up. Now I've gotta
do what I've gotta do, and...I'm afraid
it has to be you that tells him he failed.
(He undoes her gag, holds the phone
to her head and his gun in front of
her chest.)
Quick cut to the bathroom, where Lawrence is still looking at
the slightly crumpled picture of Zep in the window. The phone
rings, startling them both. Lawrence quickly answers it.
LAWRENCE
(speaking quickly, the growling voice)
Is that you Zep, you bastard!? (Adam
gets up from his corner, moves forward
slightly) I know its you, you son of
a bitch!
ALISON
Larry?
LAWRENCE
(his eyes widen, his fierce tone replaced
with worry) Ally?
Cut into the bedroom.
ALISON
(looking right at Zep, firmly) You failed.
Quickly, she grabs Zep's gun and pushes him hard over to her
left. He is taken by surprise and goes down easily.
LAWRENCE
(who can only hear the sound of a struggle)
Hello? Hello?
Alison rips the gun right from his hand, quickly backs up an
stands. She keeps the gun aimed right at Zep. He sits up slightly,
trying to slowly get up, but she keeps the gun fiercely aimed
at him, keeping him there. His eyes are wide, likely his one
thought right now is Fuck.
ALISON
Don't move, stay on the ground. Give
me the phone. Give it to me! (He sits
up a bit, carefully slides it to her.
He is watching her, looking for an opportunity
to overcome her once again. She picks
the phone up, still keeping her eyes
and her gun at him.) Larry?
LAWRENCE
Ally! Honey, are you all right?
ALISON
No! No we're not...(Zep starts to move
up a bit more, his right hand out, leaning
against the edge of the bed. Ally threatens
him more fiercely with the gun.) Get
down! Larry, where are you?
LAWRENCE
(unsure himself) I don't know. I'm being
held captive in a room somewhere.
ALISON
(disbelief; she sniffles a bit) What?
What are you talking about?
LAWRENCE
(starting to cry) I'm so sorry, Ally.
ALISON
(desperate) Honey, we need you here.
(Zep slowly readies himself to move
forward, wide eyes still staring at
Alison.)
LAWRENCE
(crying, apologizing) I'm sorry for
everything. It's my fault. Please forgive
me. I've always been happy with you.
DIANA
(cries out) Mommy!
Alison turns to look at Diana when she calls her, and Zep seizes
the moment. He leaps up and grabs the gun from her hand, and
they start struggling with it. Diana starts screaming. Lawrence,
on his end, hears the screaming and sounds of a struggle. In
wrestling for the gun a shot is let off, and Diana continues
to scream.
LAWRENCE
(panicked) Ally!
Cut to a shot of static on Tapp's TV set, then Tapp waking up
to the sound of gunfire. He quickly looks over to the window.
Back to Zep and Alison, who are still fighting for the gun. Zep
manages to spin her around and into a leaning forward position,
but she still holds on tight. Another shot goes off. Cut to a
shot of Tapp, who hears it, then looks at the TV. He sees the
flash from the window on the television. He picks up his handgun
and loads it quickly, gets up and heads out. Back in the apartment,
we see Diana cowering, still tied, holding her teddy bear. Zep
gets behind Diana, tries to grab her but she keeps her arms and
the gun upwards. Another shot is fired off.
LAWRENCE
(screams) Ally! (Adam watches him with
wide eyes.)
The shot cuts back into the bedroom.
DIANA
Mommy, help me!
The struggle moves over and into the dresser. Zep gets the gun
in his right hand and wraps his left arm around Alison, who quickly
pulls open and takes out of the top drawer a pair of scissors.
She spins around and with a scream stabs Zep in his left leg.
He screams in pain and goes down, falling onto his side, clutching
his leg by a wooden column, moaning in pain. Alison quickly goes
over and finishes untying Diana. Cut to the Main Hall of the
residence, where we see Tapp enter and move down the hall with
his gun ready. He moves cautiously but quickly. He sees Zep on
the floor squirming around and aims at him, screaming.
TAPP
Freeze!
Zep turns and sees him, fires a shot in his direction but doesn't
hit. Tapp fires back and skims the top of Zep's head. Zep clutches
the surface wound, fires back. Cut back to Lawrence on the phone,
hearing only his daughter screaming and gunshots. He sobs, collapsing
forward onto the floor, crying out Oh no. Adam watches him, can
only imagine what he's hearing.
Back to the bedroom, Tapp stands next to another wooden column
and fires at Zep again, missing. Alison finishes untying Diana
and the book from the room. Zep fires at Tapp again and misses.
Tapp fires back, but his gun jams. Zep sees Alison and Diana
run from the room, and his attention goes to them once more.
TAPP
(trying to fix his gun) What the fuck?
Zep gets up off the floor more, but just then Tapp gives up on
his gun and charges at Zep, screaming. He tackles Zep, knocking
him flat on his back. Zep pushes his way up but Tapp grabs him
from behind, pulling him towards him. Cut back to Lawrence, still
on the floor, sobbing with the phone clutched in his hand.
Back to Tapp and Zep, who get up to their feet. Zep grabs a vase
on the floor and turns, smashing it over Tapp's head. The blow
stuns Tapp and sends him down. Zep kneels down and picks up his
gun, then gets back up and starts hobbling after Alison and Diana.
He reaches the living room, but they are no where to be seen.
ZEP
Mrs. Gordon? (drops old cartridge out
of his gun, pops in a new one) Diana?!
(His breathing is fast, desperate. He
clutches the wound on his leg.) I'm
gonna kill your husband now, Mrs. Gordon.
(He stands up a bit straighter and hobbles
over to the computer station, taking
keys from the desk and then hobbling
down the hall and out the door. We see
Tapp groaning, starting to get up. Zep
glances over and sees Tapp get to his
feet, but quickly hobbles to the doorway
and out the door. Tapp starts to follow,
just a we bit dazed from the hit. He
empties his gun cartridge and replaces
it, then runs towards the door, screaming.
Back to Lawrence crying on the floor of the bathroom. He's just
a complete wreck, making low moaning sounds. Suddenly, there
is a loud buzzing sound his body is jerked up and he is flung
onto his back as he is electrocuted. Adam's eyes widen and he
starts to panic.
ADAM
Lawrence! (A bit of foamy spittle comes
out of Lawrence's mouth as the electrocution
continues, and then a moment later stops.
Adam watches, frightened, unsure. Lawrence
is out.) Lawrence, get up!
CUT TO
Car Chase! Zep is in the lead, with
Tapp in hot pursuit behind him. They
race through the streets as fast as
they can.
Cut back to the bathroom. Adam looks around him, not sure what
to do, panicking. Lawrence can't be dead, he can't be alone in
here. He can't handle this alone. He needs his calm, collected
Doctor, no matter how badly Lawrence has treated him.
ADAM
(crying out, close to tears) Lawrence!
Get up! I need you! (He leans down and
finds a piece of debris on the floor,
throws it at Lawrence. It doesn't hit
him. He leans down, picks up another,
throws it. This one bounces onto the
floor but ricochets and hits Lawrence,
who begins to stir. A moment, and Lawrence
starts to move more, reaching for his
head and sitting up. Adam cries out
in relief.) Oh, thank God! I thought
you were dead!
LAWRENCE
(sits up, dazed and confused) He...he
electrocuted me...
ADAM
I told you! The same thing happened
to me, see? I wasn't lying, see?
Lawrence leans over and grabs his chain, the source of the electrocution.
Suddenly, he snaps.
LAWRENCE
(screaming) FUCK THIS SHIT!!
Back in the bathroom, Lawrence continues to grunt and struggle
with his chain. Suddenly the phone rings and he turns. He quickly
moves to get it, but it is out of reach. He lays flat on the
floor, just a foot away from it, trying desperately to grab it.
In the hallway, Tapp enters, keeping his gun aimed out in front
of him. He looks down the hallway, sees nothing. Cut to Zep climbing
down a ladder into another level, grunting in pain. Tapp hears
him and follows the sound down the hall.
In the bathroom, the phone keeps ringing. Lawrence grabs the
hinged box, turns it upside down and tries to catch the phone
with it. He cannot reach, and starts to cry loudly again. He
tosses the box away, crying/screaming as he tries to reach the
box with his arms. Adam watches with a terrified look, not knowing
what to do.
Zep reaches the bottom of the ladder, leaning against it, moaning
from the pain of his leg. He hears Tapp above him, hobbles off
further down the hallway. Tapp climbs down the ladder, moving
in the same direction as Zep. As Tapp can move faster than Zep,
he rounds the corner and catches Zep hobbling down the hallway.
Zep turns and sees him, firing a few shots but missing. Tapp
ducks behind a large stone column jutting out of the wall. He
leans out and fires at Zep. Zep falls back slightly but remains
standing. If he got hit, it isn't clear where. Zep then turns
and quickly hobbles further down the hall.
Cut back to Lawrence still crying and trying to get the phone
as it keeps ringing.
LAWRENCE
No!!!! (He lowers his head and cries
loudly.)
ADAM
(Frightened but trying to stay calm
for Lawrence.) Lawrence, calm down.
There must be a way out of this! (It
seems to be a complete role reversal
for the two of them from the beginning,
where Adam was the one freaking out
and Lawrence was calm. Here, Adam is
terrified but still calmer than Lawrence,
who has just lost it.)
LAWRENCE
(screaming) I can't be calm! My family
needs me! No, God! (He cries and screams,
still can't get the phone. He quickly
turns and sits up, grabbing the chain
and pulling it as he lets out a terrible
scream of rage. Adam's hands are up
clutching his head, trying to keep his
cool but having a very hard time.)
ADAM
(Loudly trying to speak over Lawrence's
continued loud, primal screams.) Lawrence,
I have a family too! I don't see them,
that's my mistake. It's a mistake I'd
like to fix!
Cut to Zep hobbling down the hall. Tapp is there running after
him. Zep turns a corner, and Tapp runs to try to keep up.
TAPP
I'm gonna kill you you sick asshole!
Back in the bathroom, Lawrence continues to freak out as he mentally
breaks down, clutching the chain and screaming more.
ADAM
(desperate, losing his attempted calm
stance) Lawrence, stop it!
Lawrence sits up, stops pulling at his chain but continues screaming.
He starts to unbutton his blue button-down shirt. That is too
slow, however, so he starts to rip it open.
ADAM
(sobs in his voice) Lawrence, please
calm down! There's a way out of here,
there's a way out!
Lawrence gets his shirt off, down to a plain white tee shirt
underneath. He starts to wrap one end around his manacled foot
and ties it off. Adam realizes what he is preparing to do, completely
loses it and freaks out, screaming.
ADAM
Lawrence! No! Oh my God! What are you
doing?!
Lawrence holds the other end of the shirt in his mouth, biting
it for a brace. The look in his eyes is one of complete madness
and desperation. He takes up the hacksaw in his right hand, puts
it against his ankle and starts to saw into his foot while Adam
begins to scream in complete horror. Lawrence screams through
the cloth between his teeth. The blood squirts up onto Lawrence's
shirt and neck. Adam collapses to the floor in his corner, screaming
and wincing.
Back to Zep rounding another corner in the hallway. He moves
into an old break room and Tapp runs in after him, finally catching
up. Tapp tackles him, tripping him backwards and causing Zep
to hit his head against and old mini-refrigerator. Tapp grabs
him and brings him up, throwing him hard against the stone wall.
Zep falls down to his side. Tapp grabs him up and throws him
forward against a cage wall.
Back to Lawrence, still sawing away, blood on his face, neck
and shirt.
Back to Tapp pummeling Zep from behind in the back. A look of
twisted glee is upon Tapp's face as he hits Zep. Zep falls to
the floor, gun beside him. He looks like he just wants to curl
up and die. Tapp goes down for the gun but Zep reacts, grabbing
it. Tapp grabs his hand, and Zep pushes himself up into a standing
position, the wall in front of him, Tapp pushing up behind him,
trying to take the gun.
Back in the bathroom, Adam is on his hands and knees, screaming
and crying as he begs Lawrence to stop. Lawrence does stop, sits
up and tosses the saw of to the side. Adam collapses forward
a bit.
Back to Zep and Tapp, who continue struggling from the gun. Zep
squeezes his way down, groaning as he suddenly drops down between
Tapp and the wall, his gun aimed up at Tapp. He pulls the trigger
and the shot hits Tapp in the chest, a loud surprise to the former
detective.
Back in the bathroom, Lawrence crawls along the floor, moaning.
He finds and picks up the single bullet from his envelope, looks
at it. Adam watches him in terror.
ADAM
(screaming/crying) What are you doing?!
(Lawrence crawls on farther, towards
the body.)
Cut back to a close up of the bloody hole in Tapp's chest. Tapp
remains standing a moment, in shock, gasping, then falls down
backwards onto the floor. Zep is still on his knees, holding
the gun up at a diagonal. Tapp's eyes flutter, then finally close.
Zep turns and gets up, limping in pain out of the room and down
another hall.
Back in the bathroom, Lawrence reaches the body. He takes the
gun, opens the chamber.
ADAM
What are you...(He suddenly realizes
Lawrence's intentions. His eyes go wide,
and he starts to cry out and beg.)
ADAM
Oh my God! Oh my God! Lawrence don't!
(Lawrence puts the bullet in, then closes
the chamber) No! Lawrence, please, I'm
begging you! (Lawrence aims the gun
at Adam) Lawrence, it's not me who did
this to you!
LAWRENCE
(looking like Death, his voice hoarse)
You have to die.
ADAM
(His hands up in front of him defensively,
moving side to side to try to throw
off Lawrence's aim) No, I want to live!
LAWRENCE
(moving the gun along with Adam's movements)
I'm sorry...
ADAM
I want to live!
LAWRENCE
My family...(he aims and pulls the trigger,
hitting Adam in the upper chest area.
Adam falls down forward onto the floor,
his screams stop.)
Lawrence collapses, sobbing. Then he sits up a bit, turning to
the surveillance camera and screaming.
LAWRENCE
I've done it! Now show them to me! (he
continues to cry, dropping the gun next
to him, collapsing back down with his
forehead to the floor.)
Cut to the Gordon's neighbors' living room. Alison paces back
and forth, holding a cell phone to her ear. Two neighbors sit
off to the side on a couch with Diana.
NEIGHBOR
(OS, on phone) Thank you very much,
Officer.
ALISON
(on cell phone) Larry?
NEIGHBOR
(hanging up the phone and going over
to Alison) Did you get through to him?
ALISON
There's still no answer.
NEIGHBOR
(reassuringly) It's all right. I've
called the police. Everything's okay.
Alison goes and sits on the couch. Diana comes up to her, and
Alison embraces her daughter.
Cut back to the bathroom, with a shot of the sliding door. The
sound of a lock being undone and a bang is heard. Lawrence pushes
himself up into a kneeling position, a look of shock on his face.
The door slides open and there stands Zep, green mist behind
him in the hallway. Lawrence turns and sees him. Zep's eyes dart
around the room, seeming to say What the fuck happened in here?
He sees Lawrence on the floor, and an eager look comes into his
eyes. He walks in, and Lawrence starts to yell at him.
LAWRENCE
You bastard! I'll fucking kill you!
(Lawrence grabs Zep's leg as he passes
but is too weak and Zep pulls away,
looking down at him, moving over to
the other side of the body) I'll fucking
kill you! You fucking bastard! (Lawrence
quickly cralws forwarrd and takes up
the gun, pulling the trigger several
times, but there are no more bullets.
It just clicks.) I'll fucking kill you!
You fucking bastard! I'll fucking kill
you! I'll fucking kill you!
Zep goes over to Adam, pushing his side with his foot a couple
of times, but to no reaction. He then looks to Lawrence and aims
his gun at him, shaking his head.
ZEP
You're too late.
LAWRENCE
(weakly) Why?
ZEP
It's the rules.
Zep is about to pull the trigger when suddenly Adam comes to
and grabs his ankle, pulling him down. The back of Zep's head
hits the floor hard. Adam pulls him towards him, struggles to
get the gun from Zep's hand, screaming. The gun goes off once
off to the side. Adam moves Zep's arm back and forth, and it
goes off again. Finally, Adam slams Zep's arm down and gets the
gun away from him, tossing it away. He slugs Zep hard across
the face, stunning him. Lawrence starts crawling towards them.
Screaming like a madman, Adam sits up and grabs the toilet seat
lid from the toilet, and slams it down onto Zep's head as hard
as he can. He repeats this seven times before the lid snaps in
half. Lawrence reaches the two and reaches up for Adam's arm
as Adam brings the broken lid down again. Lawrence grabs his
arm and Adam drops the lid, falling forward a bit and clutching
his shoulder wound with his free hand, crying hard. Lawrence
moves in, touching his head to Adam's.
LAWRENCE
(his voice very weak and shaky) You're
going to be all right. (Adam stops sobbing
for a moment) You're just wounded in
the shoulder. I have to go and get help.
ADAM
(grasping Lawrence's shirt, begging.)
Don't leave me! No!
Lawrence nods, pulling away from him and starts to crawl off.
Adam reaches for him as he turns himself around and away.
ADAM
No!! (he keeps crying) No! No! (Lawrence
crawls towards the door.) Lawrence!
Lawrence!
LAWRENCE
(he pauses, turns to look back at Adam)
Don't...Don't worry, I'll bring someone
back, I promise. (He continues crawling
on, out the door while Adam watches
him pathetically, still crying and reaching
out for him.)
Lawrence makes it out the door, and starts dragging himself down
the hall. Adam is now alone in the room with two corpses. Adam
looks to the door one more time then turns to Zep's body. He
pulls himself on top of him, wincing at his shoulder pain.
ADAM
(thinking) Key...key...
He starts going through Zep's pockets, patting him down. He finds
Zep's wallet, opens it and feels through it; there' s nothing
of value to him right now. He tosses it down. He continues feeling
for something, suddenly feels something in Zerp's coat pocket.
His eyes widen as he reaches in, wincing from the pain in his
shoulder. He pulls out a tape recorder. He stares at it, his
eyes and mouth starting to widen. He glances down at Zep, then
at the tape recorder. Sitting up a bit more, he presses play.
It is Jigsaw's voice.
JIGSAW
(VO) Hello Mr. Hindle. Or as they called
you around the hospital: (shot of Zep
in the hospital with his cleaning cart,
stopping at John's room) Zep. I want
you to make a choice. (Shot of the closet
doors in Diana's room flying open, Diana
screaming, Alison coming in and seeing
him looming over her. Shot of him tying
and gagging Alison and Diana. Shot of
the photo of Diana and Alison tied and
gagged.) There's a slow-acting poison
coursing through your system (shot of
Zep watching the monitor, holding his
hand to his mouth. He actually looks
rather ill) which only I have the antidote
for. Will you murder and mother and
her child (Zep rocking aback and forth,
getting ready to kill Alison and Diana)
to save yourself? (Shot of Zep next
to Alison, saying Dr. Gordon's time
is up; holds the phone to her ear. Shot
of Zep in the living room, screaming
Mrs. Gordon! Shot of Zep on the floor
firing up at Tapp.) Listen carefully,
if you will. There are rules. (Lawrence
on the floor looking up at Zep, asks
Why? to which Zep says It's the rules.)
JOHN
The key to that chain is in the bathtub.
FLASHBACK MONTAGE
Zep's voiceover of He's a very interesting person, with a shot
of John in his hospital bed with Dr. Gordon and the med students.
His name is John. Shot of Lawrence pointing at the chart, He
has an inoperable frontal lobe tumor. Close up shot of John in
his bed, eyes flickering open slightly.
Shot of Tapp in the workshop, holding a gun to John's head. Sick
from the disease eating away at me inside. Shot of the detectives
at Paul's cage, shot of the jigsaw puzzle piece wound on Paul,
Kerry saying Sounds like our friend Jigsaw.
JOHN'S VOICE
Sick of people who don't appreciate
their blessings. Shot of Lawrence with
Diana, checking his beeper, on his computer
ignoring Diana and Alison, trying to
kiss Alison as she pulls away.
Frontal shot of John in his robe in the workshop with the detectives,
his arms raised, his face clearly visible. Cut to Kerry at the
peephole in Mark's room, saying Looks like he likes to book himself
a front row seat to his own sick little games, with overlapping
footage of John on the floor in the bathroom, eyes open slightly,
then a shot of the pig creature crawling out of Lawrence's car.
JOHN
(VO) Hello Mark, Paul, Amanda, Zep,
Adam, Dr. Gordon. (As he says each name,
the following image of them appears:
A shot of Mark screaming with the safe,
Paul in his cage while still alive,
Amanda in her mask in the chair, Zep
watching on the monitor, Adam holding
the tape recorder to his ear, Lawrence
holding the tape recorder to his ear.
Then, a shot of the Puppet on the video
as he says) I want to play a game.
Back to the shot of Adam staring at him, shocked. Suddenly, Adam
looks down, grabs Zep's gun and aims for John. But before he
can pull the trigger John holds out the remote for the electricity
and starts to electrocute Adam, who starts jerking around and
drops the gun. As he spasms, a very, very fast montage of images
from the entire film from beginning to the end, starting with
a shot of Adam being electrocuted after his fake death, then
Lawrence, then going back to the beginning, all the way up and
ending with Adam stretched out on top of Zep, spasming still
from the electrocution. Suddenly the electricity stops and he
gasps, raspy loud breathing. John turns away, starts towards
the door. Adam can only watch after him.
JOHN
(VO) Most people are so ungrateful to
be alive. (John turns off the lights
at the door, only the green lighting
from the hallway illuminating him and
then Adam just barely. John moves out
the door, slowly.) But not you. (Adam
reaches out for him and screams. John
turns around and takes the door handle,
starting to slide it shut.) Not anymore.
Adam SCREAMS as loud as he can in terror and despair as John
pauses for a moment with the door halfway shut, and says
JOHN
GAME OVER.
John slams the door shut the rest of the way, and we are left
in darkness with the sound of Adam screaming No! Don't!!! over
and over and crying. The screams fade out, and is replaced by
the ending titles and instrumental music.
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