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Пила/ Saw

Darkness.

The soft sound of moving water can be heard in the background. From the top of the screen a tiny, floating light moves its way downwards across the screen. As it passes, we see just under the water part of a young man's face. His eyes are closed. The light disappears, and across the darkness appears the title S A W. The title fades away.

The tiny light appears again, this time floating down at the end of a tub of water, just near someone's bare foot. The camera cuts again to the face of the young man underwater. This is ADAM. Suddenly, his eyes fly open and he comes to life, opening his mouth and gasping for air. As he wakes up and struggles within the bathtub, we see his foot catch on a drain plug, unplugging it. The water starts to drain, and we see go with the water the tiny light, which we can also see has some kind of key attached to it. The room itself is pitch black, but we can still just barely make him out in the dark. Adam lifts himself out of the tub and falls onto the floor, coughing and gasping from the shock. He manages to get to his feet, but as he moves forward he realizes that his ankle is chained to something. He feels his way over to a pipe in the corner, reaching down and pulling at his chain that is attached to it. He cries out, his voice frantic, frightened, and a bit hysterical.

ADAM
Help! Someone help me! (He stops when he hears a loud dragging sound somewhere in the room. He looks out into the darkness and calls out.) Is someone there? Hey! (He turns back to the corner to which he is chained, says in a slightly softer but still panicked voice) Shit, I'm probably dead.

Suddenly, from out within the darkness comes a man's low, raspy voice. It startles Adam. The voice, we will soon learn, belongs to LAWRENCE.

LAWRENCE
You're not dead.

Adam quickly turns in the direction of the voice. Holding his arms out for balance, he tries to look across the room to whoever is speaking, but still cannot see a thing.

ADAM
Who's that? Who's that?!

LAWRENCE
(his voice strangely a bit on the calm side, and almost irritated with Adam's reaction to the situation. This shall be his tone for many scenes to come.) There's no point in yelling, I already tried it.

ADAM
Turn on the lights!

LAWRENCE
Would if I could.

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

LAWRENCE
I don't know yet.

ADAM
(smelling something; in disgust) What
is that smell?

LAWRENCE
Shh! Hang on a second, I think I found
something.

With a loud click and an even louder buzzing sound, the very bright fluorescent lights come to life, lighting up in rows, starting from Lawrence's end and moving towards Adam. As they come on, Adam is nearly blinded by the sudden change from pitch black to bright white and squints in pain, holding up his arms to cover his face. In the light we now see that he is in his mid-twenties, with short brown hair, wearing a dark blue striped shirt over a white tee shirt and jeans, looking like a drowned rat from the tub. It takes him a moment but his eyes finally start to adjust, and he looks around the room. He and we see Lawrence, who also winces from the glare of the lights, standing by the light switch and the door. He is on the opposite end of the room, also chained to a pipe in the corner by his foot. He wears a blue button-down dress shirt, now soaked with sweat stains. He is middle aged, mid to late forties, with pale blonde hair and even paler skin. Dark circles are under his eyes. Both men are barefoot.

Lawrence's eyes adjust to the light and he sees across the room. Then, his gaze starts towards the center of the room, as does Adam's, who steps forward as much as he can, a look of horror on his face. We see lying face down the body of a man who has blown his brains out, lying in a pool of blood, clad in only boxer shorts and a tee shirt. In his left hand is a gun, in his right hand is a micro cassette recorder. A gunshot and a scream are heard as the camera moves up and in a fast 360° angle above and circling the man, ending in a full overhead view of him. The shot cuts to Adam, who reels in shock and disgust.

ADAM
Holy shit!

He turns towards the tub and leans over, gagging and coughing. Lawrence in the meantime hops forward the best he can, studying the body with a look of fear and concern. Adam stops coughing and turns back around, takes another look at the body and around the room. He looks down at his chain then starts to completely freak out, grabbing and pulling at his chain.

ADAM
(screaming) HELP!!! (He falls back onto his bottom on the floor as he yanks at the chain as hard as he can.) HELP!!! Help!

Lawrence just stands and watches him with an almost embarrassed, appalled look at his behaviour. It seems that Lawrence, despite being in the situation he's in, is above that kind of uncontrolled reaction. He speaks a bit coldly.

LAWRENCE
No one can hear you.

Adam stops pulling at the chain, stands up and looks to Lawrence, his breathing fast and heavy. His voice is not yelling anymore but still just as hysterical.

ADAM
What the fuck is this?

LAWRENCE
Calm down, just calm down. (He knows that to remain calm is to remain in control, something he must be no matter what the situation.) Are you hurt? Adam looks down at himself, shrugging slightly.

ADAM
I don't know...yeah!

Lawrence moves over to the pipe in the corner, leaning against it for support.

LAWRENCE
(calmly) What's your name?

ADAM
(sarcastic) My name is Very Fucking Confused! (demanding) What's your name? What's going on here?

LAWRENCE
(internal eye roll; he's getting more and more aggravated with Adam's behaviour) My name is Lawrence Gordon, I'm a doctor. I just woke up here, just like you. (He reaches up, wipes his face with his sleeve)

Adam kneels back down facing the pipe, pulling at his chains once more, but not with his prior panic. He winces at the metal biting into his skin.

ADAM
(in pain) Ah!

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

LAWRENCE
Recognize him?

Adam continues to pull at his chains, does not and will not look at the body, just shakes his head.

ADAM
(sharply) No.

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

ADAM
No.

LAWRENCE
What's the last thing you remember?
ADAM
Nothing. (he sits back onto the floor, stops pulling at his chains for a moment.) I went to bed in my shithole apartment, and woke up in an actual shithole. (He raises his left leg slightly, starts trying to pull his foot out of the iron cuff. He glances to Lawrence, who has moved over to the wall to his left, bent over slightly and resting a hand against a pipe.) So what about you, huh?

LAWRENCE
(He shrugs slightly, shaking his head.) Well there's...there's not much to tell, really. (Across the room, Adam gives up with the chain for the time being but remains sitting on the floor.) I was on my way home from work and uh, I don't remember anything else.
Adam just sits there, glancing over to the body and then focusing on it much more. The initial panic has worn off for now, replaced simply with fear and shock. His voice is a bit softer.

ADAM
First dead body I've ever seen. Look different in real life. They don't move. Lawrence slowly lowers himself into a sitting position against the wall. He pokes slightly at the iron cuff around his foot.
LAWRENCE
From the looks of these chains, someone didn't want us to go very far either. Suddenly, Adam leaps up, lifting up his shirt and exposing his abdomen. His panic is back, but not at full force like before. He studies himself then glances to Lawrence.

ADAM
Can you see any scars?

LAWRENCE
(looking at him strangely) What?

ADAM
Huh? This is what they do man, (he gestures to his stomach, where there are in fact no scars.) They kidnap you and drug you and before you know it, you're in a bathtub and your kidneys are on eBay. (A ridiculous theory to us and to Lawrence, but Adam states it with conviction.)
LAWRENCE
(a scoffing tone in his voice) No one has taken your kidneys.

ADAM
(disbelief) How can you tell from way over there?

LAWRENCE
(matter of fact) Because you'd either be in terrible agony, or you'd be dead by now. Trust me.

ADAM
What are you, a surgeon? (He lowers his shirt and turns and bends down to prod at the chain around the pipe again.)
LAWRENCE
Yeah. (He sighs. He's getting tired of Adam already. He speaks sharply.) So, you gonna tell me your name, or what?

Adam stands back up, turns to Lawrence, his voice once again calm.

ADAM
Adam.

LAWRENCE
(getting to his feet, his voice a bit calmer) Well Adam, what we need to do (he leans with one hand outstretched against the pipe to his right. Adam watches him, scared but calm) is start thinking about why we're here. Whoever brought us there could've killed us by now. But they didn't. They must want something from us. (He looks up and around the room) Question is what. (He sees something up on the wall, moves forwards a bit towards it. We see that it is a brand new clock on the wall, ticking away. It reads currently at 10:22.) That clock.

ADAM
What about it?

LAWRENCE
It's brand new. (squints, studying it)
ADAM
(not getting what he's implying) So?
LAWRENCE
(sighs; it's quite simple, why can't Adam see it?) So, someone obviously wanted us to know the time. (Adam looks a bit confused still, mulls over that information. Lawrence thinks for a moment.) Wait, I think I may be able to reach that door.

Lawrence moves over as far as the chain will allow him to the giant, wooden sliding door, pushing against it as hard as he can. In the meantime, we see Adam thinking. He pauses, then reaches down and starts going through his pockets. There is nothing in the front two, but in his back left pocket he pulls out a plastic baggie with a white envelope in it. He unfolds the baggie; the envelope says ADAM. He stares at it in his hands, wondering what it is.

Lawrence continues struggling with the door, quickly glances over his shoulder to see what Adam is doing. He sees Adam holding the baggie. Adam reaches into the envelope, pulls out a micro cassette tape. A close up shows the words Play Me written on the tape label. Adam holds it in his hand, studying it. Lawrence turns away from the door, looking over and trying to see what Adam has in his hand.

LAWRENCE
What is that? (Adam doesn't answer, continues looking at the tape. Lawrence's voice grows impatient.) Excuse me.
ADAM
(glances up briefly at Lawrence, then back down at the tape. His voice sounds slightly surprised.) It's a tape.
LAWRENCE
Where did you find it?

ADAM
It was in my pocket.

Lawrence thinks about that briefly then starts digging through his own pockets, finds within them a white envelope with LAWRENCE written across it in the same black lettering as Adam's.

ADAM
(regarding his tape) It says Play me. Lawrence tears into his envelope, empties the contents into the palm of his hand. First, he holds up a similar tape to Adam's. It also says Play Me. Then he holds up a single bullet, studying it, not sure what it's there for yet. Then, he holds up a tiny key. He bends over, gets down on the floor and starts to try to unlock his chains with the key. It doesn't seem to be working.
LAWRENCE
(frustrated, mumbling to himself and to the key) Come on, come on, come on....
ADAM
(seeing that it doesn't seem to be working on Lawrence's lock) Throw it over here. Lawrence gives him a slightly mistrustful look, but then holds up the key and throws it. Adam misses the key at first as it hit's the floor in front of the dirty toilet near his corner.
ADAM
Fuck. (He leans over and picks up the key, then bends down and tries the key on the lock on his ankle, which doesn't work. He tries the lock on the chains around the pipe. It isn't working there either.)

LAWRENCE
(watching him) No?

Adam gives up, drops the key onto the floor frustratedly, shaking his head. That's when he looks over to the body again, and the shot closes up on the hand holding the tape recorder. A small loop handle juts out of the hand's grip. Adam stands up, then bends down and picks up the tape on the floor, looking at it. He puts it back down then stretches himself flat out on the floor, trying to reach. Unfortunately, there is still a good three to four feet between him and the body.

LAWRENCE
Use your shirt.

ADAM
(gets back up to his knees) What?

LAWRENCE
Your shirt.

Adam looks down at himself, then takes off the long sleeved blue shirt. He lays back down, holding the shirt by the ends of each sleeve, and throws it, trying to catch it on the tape recorder. It misses. He tries a second time; same result.

LAWRENCE
Come on...

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

ADAM
It won't work.

LAWRENCE
(trying to get him to not give up yet) Well, look around, there must be something else you can use.

ADAM
(stands, ready to give up, skeptical)
There's nothing.

LAWRENCE
(insistent) Well there must be something! Adam looks around his area, then into the bathtub. He sees something, bends over, takes out the tub plug, which is attached to a long cord. He ties the cord around the sleeve of his shirt. He kneels down, holding out the shirt, aiming.

LAWRENCE
Come on, you can do it.

Adam throws it, attempting to get the plug through the loop at
the end of the tape recorder. He misses.

LAWRENCE
Come on, come on, again.

He tries again and misses. On the third try, however, he gets the plug right through the loop. Lawrence smiles in relief. Adam very slowly pulls it back, dragging the tape recorder along the floor towards him. He picks it up, getting rid of the plug and dropping it and the shirt on the floor. He picks up the tape, pops it in and presses play, holding the tape recorder out a bit so that they can both hear, but keeping his head tilted so he can hear better. A chilling deep, raspy, sinister male voice The Jigsaw Killer comes from the tape. As it speaks, Adam's expression is fearful, but the thought How does he know? can be detected.
JIGSAW
(on tape) Rise and shine, Adam. You're probably wondering where you are. I'll tell you where you might be. You might be in the room that you die in. Up until now, you simply sat in the shadows, watching others live out their lives. But what do voyeurs see when they look into the mirror? Now, I see you as a strange mix of someone angry and yet apathetic. But mostly just pathetic. So are you going to watch yourself die today, Adam? Or do something about it? (end)

Adam looks frightened but not sure of the entire meaning of the
message.

ADAM
I don't get it. (He presses the stop
button on the tape.)

LAWRENCE
(eagerly, gestures.) Throw me the player.
ADAM
(pauses, thinks) No, you throw me your
tape.

LAWRENCE
(a heavy sigh. He looks at Adam as a
slow-minded fool who simply doesn't
understand the full capacity of the
situation that they're in, and speaks
to him as such.) Look, we're going to
have to work together if we want to
get out of here. Now just throw it to
me.

ADAM
(picks up on the tone, speaks defensively)
I'm not going to risk breaking it! You
throw me your tape!

Lawrence pauses, looking at Adam as though he'd like to smack
him, then holds up and tosses the tape. It hits the floor behind
Adam, who kneels down and picks it up, pops it in, presses play.
It's the same chilling voice as on Adam's tape. As the tape plays,
Adam stares at Lawrence, and Lawrence at the tape recorder.
JIGSAW
(on tape) Dr. Gordon, this is your wake
up call. Every day of your working life,
you have given people the news that
they are going to die soon. Now you
will be the cause of death. Your aim
in this game is to kill Adam. (Adam
glances down at the tape recorder wide-eyed,
then back up at Lawrence) You have until
six on the clock to do it. There' sa
man in the room with you. When there's
that much poison in your blood (another
view of the body from Lawrence's POV),
the only thing left to do is shoot yourself.
(Jigsaw coughs) There are ways to win
this hidden all around you. Just remember:
X marks the spot for the treasure. If
you do not kill Adam by 6:00, then Alison
and Diana will die, Dr. Gordon. And
I'll leave you in this room to rot.
Let the game begin. (end)

The looks on each man's face clearly say Oh Shit. The tape ends.
Lawrence stands up.

LAWRENCE
(firmly) Give me that. Now. (Adam tosses
him the tape. He catches it, rewinds,
plays back. Adam stands up from his
spot on the floor.)

JIGSAW
(on tape)...then Alison and Diana will
die, Dr. Gordon. And I'll leave you
in this room to rot.

ADAM
(thinking, trying to figure this out)
Any idea who that is?

JIGSAW
(on tape) Let the game begin.

ADAM
He knows us.

LAWRENCE
Wait a minute. (rewinds more)

ADAM
(false hope) What do you think? Probably
a joke, right?

LAWRENCE
Shh, shh! (presses play)

JIGSAW
(on tape) Let the game begin.

LAWRENCE
(softly) Listen...

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

ADAM
What the hell does Follow your heart
mean?

Lawrence is looking around, on the walls and everywhere else
in the bathroom for a heart. He spots a small one drawn in brown
on the toilet next to Adam and points.

LAWRENCE
There! Right next to you, on the toilet.
Adam looks, sees the toilet. Slowly, he bends down, resting his
hands on the seat, looking down into the bowl of liquid shit,
not really sure what he's looking for.

LAWRENCE
(impatient, gesturing) Come on, come
on.

Adam glances up at Lawrence with a look of You've got to be kidding
me, but Lawrence watches him expectantly. Adam sighs, then reaches
in with his right hand, fishing around in the mess.

ADAM
Oh man...(he gasps, making gagging sounds,
his face turned away from the bowl.
He coughs, fishes around for another
brief moment, then quickly pulls back,
trying to shake some of the shit off
of his hand, spitting.

LAWRENCE
(expectantly) Anything?

ADAM
(disgusted) No solids.

LAWRENCE
Take off the lid. (He points to the
lid. Adam looks to it, slowly stands
up, reaches for it. Lawrence has no
patience.) Come on!

Adam takes off the lid, places it down on the toilet seat. The
water is clearer inside, and he reaches in and pulls out something
wrapped up in a black garbage bag. He holds it up for Lawrence
to see, turns to him.

ADAM
I really wish I had checked in there
first.

LAWRENCE
Huh. (he smiles slightly) What is it?
Adam tears into the bag, reaches in and pulls out two hacksaws.
He drops the bag on the floor, bends down and takes up his chain,
holding one of the hacksaws and beginning to saw at the chain
with it. Lawrence watches him for a moment.

LAWRENCE
Hey! (Adam turns and looks. Lawrence
speaks in an irritated voice) Mind passing
me the other one?

Adam reaches over and picks up the other hacksaw, then carefully
throws it across the room. It hits the pipe to Lawrence's left.
Lawrence reaches down and picks it up, then sits down on the
floor. Quick shot back to Adam, who, while Lawrence is preoccupied
with picking up the hacksaw, quickly picks up the garbage bag
and tosses it into the bathtub. Both men start to saw away at
their chains furiously, but neither are making any progress.
Suddenly, Adam's saw snaps in the middle, and his temper flares.
ADAM
(enraged) Fuck! Fuck! (He reacts violently,
hitting the broken saw twice against
the iron pipe then turns and hums it
across the room, right into a mirror.
A small piece of the mirror breaks off
and flies to the floor.)

Lawrence glances over at what Adam has done, then goes back to
sawing for another moment. Adam sits back down, breathing heavily,
leaning against the pipe in his corner. Finally, Lawrence gives
up, turning and sitting with his back against the pipe, also
breathing heavily for a moment. He sits there, when a look of
realization comes across his face. He holds up the saw, looking
at it, understanding. He lowers it to the floor, shaking his
head slightly.

LAWRENCE
(everything is becoming more clear now)
He doesn't want us to cut through our
chains. He wants us to cut through our
feet. (Adam looks up at him, eyebrows
raised.) I think I may know who's done
this to us.

ADAM
What did you say? (he stands up; is
Lawrence hiding something from him?)
LAWRENCE
It's not someone I know personally.
It's...just someone I know of.

ADAM
(getting slightly frantic again) Jesus
Christ! Tell me, who is it?!

The camera closes up on Lawrence's face. To the right of it,
the screen is fading into a flashback of a crime scene. As Lawrence
speaks, his face fades and the flashback scene grows clearer,
until it is only the crime scene, with three detectives walking
down a flight of stairs.

LAWRENCE
The last I heard...the police still
hadn't caught him.
We now see the three figures descending through a trap door down
a flight of stairs. The lighting is a bright lime green that
is strangely dark at the same time. The trio enters a small,
cell like room with a low ceiling. They are TAPP, SING, and KERRY.
Tapp is a tall black man in his late forties-early fifties. Sing
is an Asian man in his mid to late thirties, and Kerry is a Caucasian
woman in her mid to late thirties with long, curly brown hair
that is tied back in a ponytail. All are well dressed, Sing and
Tapp in suits, the woman in a jacket and dress slacks. They are
the detectives working on this case.

As they move into the room, Sing sees something that brings a
look of shock to his face, shining a flashlight on it. We cannot
see it yet.

LAWRENCE
(VO) And the only reason I know that
is because I was a suspect.

Tapp comes into the room last, ducking slightly from his height,
and comes up alongside Sing, looking at the same thing.

LAWRENCE
(VO) I'll start from the beginning.
KERRY
This one's not fresh anymore. At least
three weeks out. (Detective Tapp squints
as he peers in and studies the body)
Victim's a 46-year old male. (Quick
flash of a crime scene photo, a closeup
of behind the man's head and upper back.
There are deep cuts all over. The camera
cuts upwards to the detectives.) Died
of massive blood loss. Mostly through
the femoral artery. (The camera pans
around to Detective Tapp, who moves
around the side fo the cage to get a
better look inside, shining his flashlight
in.) He started at the back of the cage
and tunneled his way through the razor
wire so fast it's amazing he got as
far as he did. Cut himself so deep,
we found traces of stomach acid on the
floor. (Another more gruesome crime
scene photo shot of the body from the
side; we can see the razor wire digging
in under his arm. Also, a close-up shot
of some of his wounds; long, deep cuts.)
We also found this. (She holds up an
evidence baggie with a micro cassette
tape recorder, just like the one Adam
and Lawrence found in their cell. She
presses the play button, and Tapp and
Sing listen. It's the same chilling
voice from Adam and Lawrence's tapes.)
JIGSAW
(on tape) Hello Paul. You are a perfectly
healthy, sane, middle-class male. Yet
last month, you ran a straight razor
across your wrists. Did you cut yourself
because you truly wanted to die, or
did you just want some attention? Tonight,
you'll show me. The irony is that if
you want to die, you just have to stay
where you are. But if you want to live,
you'll have to cut yourself again. (Flashback
shot of Paul waking up in the cage,
looking around, scared and confused.
The shots go back and forth between
the detectives and the Paul flashback,
with him grabbing and shaking the razor
wire, screaming. His screams sound distant
under Jigsaw's voice.) Find the path
through the razor wire to the door.
But hurry. At 3:00 that door will lock
and then this room becomes your tomb.
How much blood will you shed to stay
alive, Paul? (end)

KERRY
(stopping the tape) The door was on
a timer. It was unlocked until 3:00.
Then it slammed shut. He was given two
hours.

Cut back to Detective Tapp, who notices something and shines
his light on it. We see a strange wound on Paul's body, a piece
of flesh carved out into the shape of a jigsaw piece.

TAPP
Jigsaw piece. (Sing looks in as well,
see it. There is a quick flash of crime
scene photos showing a close up of the
wound. Tapp sighs.) I think we're gonna
be here for a while, Sing. (Sing looks
to him. We get another quick crime scene
shot of Paul.)

LAWRENCE
(VO) The newspapers started calling
him the Jigsaw Killer.

Cut back to Lawrence in the bathroom. For his next two spoken
lines, the shot switches back and forth between him and the detectives
in the razor wire room.

LAWRENCE
Actually, technically speaking, he's
not really a murderer. He never killed
anyone.

Sing, wearing gloves, gets in the cage and examines Paul's body
a bit. A flash of another crime scene photo of the wound with
a ruler held up to it is shown. More gruesome crime scene photos
of that and other wounds are flashed across the screen.

LAWRENCE
(VO) He finds ways for his victims to
kill themselves.

Cut to Sing kneeled down over a charred corpse, completely blackened,
at another crime scene. We hear Jigsaw's voice from a tape recorder
play over the scene as the detectives look around, and over the
flashback shots.

JIGSAW
(VO, on tape) Hello Mark. If you're
so sick, then why do I have so many
photos of you up and about? (there is
a quick montage of a camera snapping
several black and white shots of Mark
up and about, looking around and getting
into a car.) Let's put your so-called
illness to the test. (Flashback image
of Mark waking up. He is a younger man
in his mid to late twenties, with dark
brown hair. He is completely nude, smeared
in some kind of Vaseline-like ointment.
In front of him is a small, square glass
plate held up by some chains. On the
plate is a micro cassette player, a
lit votive candle, and a box of matches.
He gets up, looking around confusedly
and scared.) Right now, there is a slow-acting
poison in your veins. The antidote is
in the safe. (Black and white crime
scene shot of the safe, then a shot
of Mark standing over it, screaming,
his screams distant under Jigsaw's voice,
as with Paul.) The combination to the
safe (quick montage of several black
and white crime-scene photos of numbers
written all over the walls) is written
on the wall. Hurry up and program it
in. But watch your step (Mark's bare
foot steps on the broken glass scattered
all across the floor). And by the way,
that's a flammable substance smeared
on your body (shot of Mark looking at
the ointment on his hand, up his arm,
everywhere), so I would be careful with
that candle, if I were you...

MARK
(huddled over the safe; screams, but
it is still distant sounding) Help!!!!!
JIGSAW
(VO ct'd)....or all the people you've
burned with your act (Mark starts to
turn the lock on the safe) just might
have their revenge.

We see Mark desperately going around the room, holding the candle,
looking at the walls, trying to find a combination. The camera
goes back and forth a few times in a sped-up shot to him doing
this and turning a the lock on the safe, trying to program the
combination into the safe. He moves in a circle, clockwise to
us. When he gets to facing right in front of us, the flame from
the candle flares up and engulfs the shot, flaring into a close-up
crime scene photo of Mark's charred face.

The shot moves back to the trio of detectives, with Sing holding
the tape recorder.

KERRY
I found something else. Well, two things,
actually. (She moves past them and we
go with her over to a wall where there
is a small hole cut, about an inch or
two in diameter. The light from the
outside shines in.) There was someone
standing outside here watching through
this peephole. Looks like our friend
Jigsaw likes to book himself front row
seats to his own sick little games.
He was there at the last one as well.
(She walks over to Sing and Tapp) Only
this time, he left us his penlight.
(She holds up the penlight in an evidence
baggie, clicking it twice then handing
it to Tapp.)

TAPP
(taking the baggie, studying it) Get
a rush on the prints. (He hands it back
to her.)

KERRY
(taking the baggie, moving out of the
room) Copy that.

CUT TO
Hospital room. Lawrence in his white
doctor‘s coat along with three blue-scrub
clad medical students. A nurse in white
stands off to the side. Lawrence is
going over the patient's charts. He
goes over to the x-ray display, pushing
the light on to view two x-rays of someone's
skull. He points to it with his pen
as he speaks.

LAWRENCE
Okay. This patient has an inoperable
frontal lobe tumor extending across
the midline. Started as colon cancer.
(He turns back to the three young medical
students. One of them, a pretty Asian
girl named CARLA, smiles at Lawrence
as he speaks, seems particularly infatuated
with him.) The patient has come in for
a standard checkup by which we are able
to monitor the rate at which his condition
is declining.

In the doorway, an orderly pushing a cart of cleaning supplies
is passing by and stops when he sees Lawrence and the medical
students in the room, listening to what Lawrence is saying. This
is Zep. He's a man in his early to late forties dressed in orderly
whites with short brown hair and large blue eyes that show a
kindness that the others in the room seem to be lacking. Kindness,
and something else below the surface. He glances down at John
sleeping, then up at Lawrence.

LAWRENCE
The patient had...

ZEP
(cutting him off) His name is John,
Dr. Gordon. (He looks down at the patient,
who we see is a man in his late forties-early
fifties, hairless except for a small
white goatee. His head is to the side
and he is sleeping. On the tray table
in front of him is a notebook and some
colored pencils. As Zep looks at him
and speaks of him, there is caring in
his voice, something Dr. Gordon has
yet to display regarding this patient.)
He's a very interesting person.

Lawrence looks almost slightly embarrassed, not for himself but
maybe for Zep. A condescending, smug smile plays across his face
and he nods. His tone matches his look.

LAWRENCE
Thank you for that information, Zep.
(he looks to the students, who all share
his smug smile) As you can see, our
orderlies form very special bonds with
the patients. (Zep just stares at Lawrence,
his expression mostly blank but with
pure loathing just underneath the surface.
The look seems to say Fuck you, Dr.
Gordon. He stares at him for a moment,
then turns away, and continues down
the hall with his cart.) Continuing
on, the patient....

But he is cut off by a voice on the intercom.

INTERCOM
Dr. Gordon, Dr. Lawrence Gordon, please
page the operator.

LAWRENCE
(a smug but annoyed smirk) Obviously
someone doesn't want me to tell you
what the patient has. Excuse me. (He
steps around the students, leaves the
room. The three students watch after
him with great admiration.)

Cut to Lawrence's office at the hospital . Inside, Tapp is leaning
against Dr. Gordon's chair, studying the various framed degrees
on the wall. Sing is sitting in one of the two chairs across
from the desk, twisted around in his seat to look at a couple
of small picture frames on the bookshelf behind him. Lawrence
opens the door and enters, and the two detectives turn to look
at him. He removes his white coat and hangs it on a rack by the
door. Tapp speaks first, his tone is friendly, but searching.
TAPP
Dr. Gordon, I'm Detective Tapp, this
is Detective Sing, City Homicide. (he
gestures to the degrees on the wall.)
Very impressive.

Lawrence smiles, pretending to care about what they think, truly
just wanting to get this over with so as to not waste any more
of his time. As he speaks, he walks over to the chair behind
his desk.

LAWRENCE
Oh. Thank you, I do my best. (He sits
in his chair. Tapp takes the seat next
to Sing across from him. Sing studies
him silently, chewing gum.)

TAPP
Sorry to interrupt you while you're
working.

LAWRENCE
That's fine. Now, how can I help you
gentlemen?

Tapp's tone turns a bit more serious, but still amiable enough.
TAPP
Are you able to tell us where you were
between the hours of 11:00 p.m. and
1:00 a.m. last night, Doctor?

LAWRENCE
(his tone just barely masking his concern)
Why is it that you're interested?
TAPP
We'd like to ask you a few questions
about it. For your sake, I think it's
best if we do it down at the station.
Would you like to follow us there?
LAWRENCE
(Shaking his head, this is unbelievable)
No, I'm afraid that's...that's quite
out of the question. I can't just leave,
I have work to do. Plus, my wife has
the car today, so...

SING
(amiable but hinting that he knows something)
Oh, that's okay, you can ride with us.
Doc.

LAWRENCE
(chuckles uncomfortably) I'm sorry,
you'll have to tell me again. What is
this all about?

Tapp produces the penlight from his pocket, holds it up for Dr.
Gordon.

TAPP
Is this yours, Doctor?

He puts the penlight down on the desk. Lawrence picks it up,
a brief oh shit look flashing across his face only to be quickly
covered up. He looks at the pen strangely. The two detectives
carefully study his reaction. Lawrence looks back up at them.
Cut to the Police Station. In an interrogation room, Lawrence
paces back and forth nervously, now wearing his suit jacket.
His lawyer sits at the table, taking notes.

LAWYER
So you have no idea how your penlight
showed up at the murder scene?

LAWRENCE
Of course not!

LAWYER
I have to ask. What were you doing last
night.

LAWRENCE
(a slight hesitation, a bit of guilt
in his voice. As much as he would allow.)
I was seeing someone.

LAWYER
(a slight pause) Who? (Lawrence doesn't
answer, just continues his pacing. The
lawyer gets frustrated, noisily puts
down his pen.) Look, if you can't be
honest with me...

LAWRENCE
(His tone quick, almost blurting) I
was visiting someone. It wasn't a patient.
Alright? (He sighs, shakes his head.
He's fucked, either way.) What am I
gonna do?

LAWYER
Well, as your lawyer and your friend,
my advice to you is to bite the bullet
and give them your alibi now. Because
no one is going to believe you later.
Cut back to the Bathroom. Lawrence, still sitting against the
wall, throws down his hacksaw next to him, resting his hand against
his knee.

LAWRENCE
(sighs) That was five months ago. He
tried to set me up for murder.

Cut back to the Interrogation room, some time Later. Lawrence
is sitting alone at the table. Sing comes through the door, shuts
it behind him.

SING
Okay. We checked your alibi. It holds
up. (His voice indicates that he still
believes there's more to it; he does
not and will not trust Lawrence.)
LAWRENCE
Good! Can I go home now?

SING
(continuing) We have one of the victims
who managed to escape. (As he speaks,
we see a young woman with brown hair
in a ponytail wearing a visitors pass
being led carefully into the room next
to them and sat at a table. This is
AMANDA. Lawrence and Sing can see her
clearly; she cannot see them.) Want
to know if you wouldn't mind sticking
around and listening to her testimony?
Maybe it'll trigger something. (Tapp
and an unidentified bald black man in
a suit enter the room. The man guides
Amanda into her chair, stands behind
her against the wall. Tapp sits in a
chair to her left.)

LAWRENCE
(doesn't really care) I'd like to help,
really, but...

SING
(cutting him off quickly, won't let
him out of this that easily) Well, we'd
really appreciate it. She's the only
one who made it.

LAWRENCE
(quietly, giving in.) Okay.

Camera moves into the Interrogation room with Amanda, Tapp, and
the unidentified man. As Tapp speaks, the camera slowly moves
closer over his shoulder and towards Amanda. As we get closer
to her, we see long, strange, scar-like markings along each side
of her mouth. She is shaken, her eyes distant, never looking
anyone, including Tapp, in the eye. It is clear that her mind
is still lost somewhere within her nightmare.

TAPP
(speaking slowly, gently) Amanda...in
your own time, tell me the first thing
you remember.

We move closer and closer to Amanda, then suddenly the camera
spins round quickly and snaps into an alternate view of her,
her flashback. The room she is in has the same lime-green lighting
as Paul's cell. Amanda sits in a chair wearing a strange iron
contraption around her head, a bear-trap like device covering
her mouth. We can see her eyes, surrounded with black eyeliner,
as they slowly open, groggy, just waking up.

AMANDA
(VO) I woke up. All I could taste was
blood. (The camera moves back quickly,
and we see her tied to the chair, her
wrists bound to the arms of the chair.
She pulls against her bonds, moaning
loudly, trying to speak or cry out but
cannot.) And metal.

She continues to struggle against her bonds some more. The camera
circles around her, and we get a better view of the strange device
on her head, and the padlock and timer on the back of it. A long
wire hangs down from the timer and below the screen.

The view switches to the side of her and we see next to her an
old television set, which suddenly switches on, startling her.
After a brief moment of static, the frightening image of a demented
clown-like doll its face white with red spirals on its cheeks,
its red eyes leering at Amanda from the screen. She stares at
it, her moans a bit softer to match her fear and utter confusion.
The doll speaks, the jaw moving; it is the voice of Jigsaw.
JIGSAW
(from the TV) Hello Amanda. You don't
know me, but I know you. I want to play
a game. Here's what happens if you lose.
(The video moves next to the doll, to
a device like the one she's wearing
attached to a mannequin head. As he
continues, explaining what it is, her
breathing grows faster and heavier,
and her moans pick up more.) The device
you're wearing is hooked into your upper
and lower jaws. When the timer at the
back goes off, your mouth will be permanently
ripped open. Think of it like a reverse
bear trap. Here, I'll show you.

The video pans back to a view of the doll and the device. The
doll's head moves and looks down at the device, and the camera
zooms in on it. A timer ticks away. A few seconds later, SNAP!
The device springs and the fake head is crushed and explodes.
Amanda shrieks, her eyes widening. The video switches back to
a close up of the doll.

JIGSAW
(from the TV) There is only one key
to open the device. It's in the stomach
of your dead cellmate. Look around,
Amanda. Know that I'm not lying. You
better hurry up. Live or die. Make your
choice.

The video goes to white and gray static, then switches off. Amanda
begins to struggle like a madwoman against her bonds and the
chair. The camera swings around her, circling, making her movements
fast and jerky. Amanda manages to pull one arm free, then the
other and stands up quickly. That's when the cord in the back
of the device is pulled out, and the timer starts. She freezes,
her eyes widening. We see a close-up of the timer, and it begins
its sixty second countdown. She reaches behind her head, pulling
at the lock and the timer, trying to pull it off, but it is stuck
there. She starts freaking out, pulling at it as much as she
can, the camera movements once again fast and jerky around her.
The camera spins back to Amanda sitting still in her chair in
the interrogation room, sniffling. We see a brief shot of Lawrence,
who watches and listens to her with grim amazement. Back to Amanda.
AMANDA
And then I saw the body.

We switch back into Amanda's cell. Over her shoulder, we see
near the corner the body of a man lying on the floor on his back.
Amanda cautiously approaches it, the timer still ticking away,
her hands still at the device. She kneels down cautiously next
to him. She reaches down and with a shaking hand lifts up his
shirt, revealing a large, black question mark drawn on his abdomen.
She sobs harder, hunched over him.

Quick cut to the interrogation room, Amanda in the center of
the shot.

AMANDA
There was a knife.

Back to the cell. Amanda, still leaning over, picks up a small
knife next to the body. She slowly brings it up in both of her
shaking hands, clutching it. She looks closer at it. A quick
shot of the timer shows it to be at 25 seconds now, almost halfway.
The camera moves to a shot of the man's face, when...

HE OPENS HIS EYES AND STARTS TO WAKE UP. He moans, unable to
speak or move. His eyes slowly, groggily look around a bit. He
cannot even open his mouth; someone has very heavily drugged
him. He sees Amanda over him with a knife and his eyes widen;
he tries to moan at her to stop, to not do what she's about to
do, but she turns the knife upside down in both hands and quickly
stabs down. He moans in agony in the background as she stabs
down again, and again, and again. Blood splashes on her hands.
A quick shot back of Lawrence as he listens, his mouth open slightly,
eyes wide, staring at her. Cut back to Amanda in the cell as
she stabs down a few more times. Then back again to the table
in Lawrence's interrogation room. Sing throws down an evidence
baggie with a used syringe in it.

SING
(VO as camera pans up to Lawrence) He'd
been injected with an opiate overdose.
He couldn't move or feel much of anything.
LAWRENCE
You mean....he was alive?

SING
(staring, nods slightly) Was.

Back to Amanda's Interrogation room, her head still hung, still
sniffling. A view of Tapp as he asks

TAPP
What happened after you took it off?
Cut back to the cell, her bloody hands sifting through intestines
for a key. Cut back to interrogation room Amanda, then cut back
again to her holding up a liver or some other organ. Back to
interrogation room Amanda, the horror on her face growing, then
back to the cell.

Amanda' s hand pulls a small key from inside the organ she's
holding. She reaches around the back of her head, quickly trying
to unlock the padlock. The timer ticks away, faster and faster.
She gets it, pulls off the padlock and opens the device in the
back, ripping it away from her head and throwing it down as it
snaps open. She lets out the most terrible, agonized, heart-wrenching
scream, sobbing loudly, her hands held out in front of her, rocking
back and forth.

Suddenly from another corner of the room, a light comes on, revealing
the puppet from the video in the corner. Amanda sees it, staring
at it wide eyed, her sobs softening for a moment as she stares
at it. Slowly, it wheels towards her on a tricycle. She can only
stare and cry, not sure what to do or expect. It stops, leering
at her, then speaks.

JIGSAW
Congratulations. You are still alive.
Most people are so ungrateful to be
alive. But not you. Not anymore.

Cut back into a close up of Amanda in the interrogation room,
her head still shaking a bit, almost like a series of slight
spasms. She continues to sniffle, her eyes far off. Cut to Tapp.
TAPP
You are, in fact, a drug addict. Isn't
that right, Mandy? (she nods, but doesn't
look up.) Do you think that is why he
picked you? (She lets out a sob, briefly
nodding once.) Are you grateful, Mandy?
She finally raises her head, looking into his eyes for the first
time.

AMANDA
(softly) He...helped me.

As she starts sniffling and breathing more heavily, Tapp looks
over his shoulder into Lawrence's room, right in his direction.
He may not see him, but he knows he's there. The camera then
cuts back to Amanda, who starts sobbing more heavily again. Slowly,
the camera moves down into and under the table, fading back into
an overhead view of the bathroom where Lawrence and Adam are.
Adam sits in his corner, staring down at the floor as he has
been listening to Lawrence's story. He looks up across to Lawrence.
ADAM
(softly) Are you sure it's him?

LAWRENCE
(nods slightly) Yeah, I'm sure.

ADAM
(becoming a little hysterical again.
He speaks accusingly) How do I know
you're telling the truth? You can be
the one who put me in this room! (he
gesticulates as he speaks, pointing
to Lawrence and himself.)

LAWRENCE
(internal eye roll, speaks slowly, as
to a simpleton) I'm in exactly the same
situation you're in.

ADAM
Wrong. (he stands up, kicking his chained
foot out. Shouts.) Wrong! You've got
one thing I don't: Information! (He
hovers as close as he can in a threatening
pose, pointing) You know who did this!
(He picks up a glass shard that fell
when he broke the mirror, holds it up
threateningly to Lawrence) Now you either
tell me what is really going on (Lawrence
rolls his eyes, turns his head over
to his left, away from Adam) or I'll
cut you with this, you hear me? I'll
cut- (But he stops short as he sees
something in the glass. He flips it
over, studying it, flips it back. He
looks over to the mirror on the wall,
studying it, thinking.)

Lawrence notices that Adam's ranting has ended, glances over
at him.

LAWRENCE
What?

ADAM
(looks over at Lawrence, then back at
the mirror.) It's a two-way mirror.
Adam drops the shard down on the floor carefully, then reaches
over to the corner behind him, leaning down and picking up a
loose padlock. He lifts it up and throws it as hard as he can
against the mirror, shattering most of the glass. Lawrence briefly
startles at the sound and force of the glass shattering. Adam
reaches back down, finds another piece of debris and throws that
at the mirror with just as much force. The rest of the glass
breaks away, and a camera with a red light can bee seen behind
a clear glass. Lawrence stands up to get a better look at it.
We movie in closer to the camera, getting a better look at it
as well.

Suddenly there is a flash of static and we find ourselves looking
at a fuzzy, black and white surveillance video of Lawrence and
Adam in the bathroom, staring right at us into the camera. The
shot pulls back a bit and we see that the video is on a silver
surveillance monitor. A partial view of other recording-type
equipment can be seen on either side of the monitor. A man's
voice speaks, though it doesn't sound quite the same as on the
Jigsaw tapes. As he speaks, a hand wearing a black leather glove
raises up slightly and waves its fingers at the screen.

MAN
(OS, Taunting) I can see you...

ADAM
(from on video) So that's what this
is. Reality TV.

MAN
(OS. Still taunting, sounds as though
on a power trip) Don't look at me. I
can't help you.

The shot transitions from the video view of Adam back into regular
view in the bathroom. Adam stands in a threatening pose to the
camera, speaks angrily, loudly to it, his voice dripping with
sarcasm.

ADAM
Can you hear me in there? Huh? I'm having
a blast. (he bends down and picks up
another piece of debris from the floor)
This is the most fun I've had without
lubricant. (Hums the piece of debris
at the window. It makes a thwacking
sound, but doesn't break. Not even a
crack.) Make sure you're getting everything.
(Bends down, throws picks up and throws
another piece of debris. It hits, but
no breakage. Leans down for another
piece.)

LAWRENCE
(Scoffing tone as he watches Adam trying
to break the glass) That's not going
to do anything.

ADAM
(pauses, looks to Lawrence) You just
want to leave it running on us? (the
shot switches to surveillance view)
LAWRENCE
(very matter-of-fact) Well, you won't
stop it. (shot switches to regular view)
That's why we can't cut through these
chains. It's why you won't break that
glass. (he gestures to the pipe then
the glass) Every possible angle has
been pre-thought out by him. (He appears
deep in thought, starting to understand
the set-up more so, figuring out the
way this guy thinks. Almost admiring
him. The situation may be bad, but it's
a brilliant design.)

ADAM
You sound like you admire this prick.
LAWRENCE
(explaining) To overcome something,
you have to understand what a perfect
engine it is. That's how you fight disease.
(He looks up at the ceiling, at the
walls, around the room) Now the tape
told us to find an X. That X has to
be somewhere in this room. (determined)
Help me find it.

Adam does not help him look. He simply cannot believe Lawrence's
calm demeanor in this situation anymore. It seems that he is
almost becoming as sick of Lawrence's attitude as Lawrence is
of his. He speaks a with a bit of a hyper tone again, accusingly.
ADAM
How can you be the calm Doctor Guy when
your wife and kid are out there. (Shot
of Lawrence looking around the room)
He's got them, too. (Shot of the clock;
it's now 12:05.) He could be doing anything
to them right now. Are you thinking
about that?

LAWRENCE
(Suddenly looks right at him, snaps
angrily) I AM thinking about that. (Adam
backs off a bit. Lawrence pauses a moment,
his voice changes to calm but sad.)
I've been the last thing I said to my
daughter.

Lawrence turns away from Adam, placing his hand on the pipe behind
him, and the shot moves up into blackness, then up at the foot
of a little girl's bed in a darkened bedroom. The little girl
is Diana. She's about 5 or 6 years old, with long, wavy light
brown hair. She lays tucked in with her eyes closed, her favourite
teddy bear wrapped in her left arm. The camera moves up and over
her a bit, moving in closer to her. Chimes can be heard tinkling
very faintly against a soft breeze. As the shot pauses just above
her, her eyes suddenly open, blinking away sleepiness. She sits
up, pulling away the covers, still holding her teddy bear. She
remains sitting in her bed, staring over into the dark corner
to her right. The chimes jingle away. We move in closer to her
face; something has her spooked. A clock ticking is suddenly
heard as the image fades from Diana getting out of bed into a
strange, mechanical-looking clock on the living room wall of
the Gordon Household.

The shot lowers and we see the nicely furnished living room of
the Gordon home. The walls are a dark, crimson red, the furniture
in tones of red and brown. It definitely is the living room of
a well-off family. Not too cold, but not as warm and homey as
it could be. Diana slowly makes her way across the living room
towards her parents bedroom, moving almost dream-like, her teddy
bear hanging limply from her right hand. She moves to the frosted
glass double doors of her parents room, opening them both into
the bedroom, where we see her mother, Alison, laying on her side,
fast asleep. Alison is in her early to mid thirties with long
blond hair going just past her shoulders and very pretty despite
her sleepiness and messy hair in this scene. Diana moves into
the room, standing next to the bed, saying nothing, just watching
her mother sleeping. Alison's eyes slowly open; the feeling of
being watched plus the instincts of a mother have awoken her.
She reaches over and turns on the light, looking upon her daughter
with concern.

ALISON
Diana, Honey, are you okay? (she pushes
back the covers and gets up, crouching
down in front of her daughter. Looking
up at her, she places her hands on her
daughter's arms.) Diana, Honey, can
you hear me?

DIANA
(very softly, but showing almost no
fear) Mommy?

Alison reaches up and touches Diana's hair, bringing her hand
down in a soft caress on Diana's cheek.

ALISON
Oh, what is it, sweet pea?

DIANA
(very calmly) There's a man in my room.
ALISON
(sighing, but not rudely. This is not
the first time this has happened) Oh
Honey, are you sure he's not just hiding
in your imagination?

DIANA
He talked to me.

ALISON
(sighs) Okay, I'll come and check your
room. (She smiles a small, assuring
smile)

DIANA
I want Daddy. He'll get the scary man.
ALISON
(her smile fading a bit) Alright, if
you want. Come on.

She stands and leads Diana out of the room. Cut to Lawrence's
office. Lawrence sits hunched slightly over his laptop computer,
focused on some paper he's writing. Diana and Alison appear in
the doorway to his left. He doesn't even look up, just keeps
typing. Alison's tone when she speaks indicates that she knows
he'll probably say no, or put it off on her.

ALISON
Larry, sorry to bother you, but your
daughter had a bad dream again.

LAWRENCE
(his eyes never leaving the screen;
raises his finger to pause them) Just
a minute.

ALISON
She wants you to check her room.

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

ALISON
(softly) You know what sweetie? I'll
go check with you.

They turn, slowly start to walk away as Lawrence quickly finishes
typing, then closes the laptop.

LAWRENCE
Nope! I'm done. (he smiles, turning
to look at them.)

Cut to Diana's room. Lawrence reaches over and turns on the lamp
on Diana's side table. Diana lies in bed, slightly propped up
against her pillows and stuffed animals. Lawrence sits on the
side of her bed.

LAWRENCE
(very reassuringly) See? (he pulls the
covers up over her, up to her chest.)
There's no one in your room. There's
no such thing as the bad man. Now can
you go to sleep?

DIANA
I'm still scared.

LAWRENCE
You are? Give me your tootsie. (He pulls
back the covers and she pulls out her
foot. He takes it in his hand.) Oh,
what a big tootsie. (He turns to her,
raising his eyebrows up) Remember this
one? (He counts on her toes as he says
the following) This little piggy went
to market, this little piggy stayed
home, this little piggy had roast beef,
this little piggy had none, and this
little piggy went ‘Weeee!' (he tickles
up her leg to her tummy and she giggles)
all the way home!

Just then, Lawrence's beeper goes off. He leans back, takes it
out and looks at it.

DIANA
I hate that thing.

LAWRENCE
Well I have to go to work, sweetheart.
You know what Daddy's job is like. Now,
come on. (he re-tucks her in, she smiles
at him.) Let's see. Try and get some
sleep now, okay? (He gives her a kiss,
smiles, stands up and goes to the door.)
DIANA
You're not going to leave us, are you,
Daddy?

LAWRENCE
(suddenly concerned) What? (He stops
at the door, turns, goes back over to
her bed, sits down next to her and leans
over. This was the last thing he'd expected
her to say) What are you talking about?
You mean, leave you and Mommy? (She
nods; he reaches up and gently brushes
her hair away from her face.) No, no
sweetheart, I would never do that. Who
gave you that idea?

DIANA
No one.

LAWRENCE
Well it's not true, okay?

DIANA
(very softly) Okay.

LAWRENCE
How much do I love you?

He moves his face closer to her and together they say

LAWRENCE & DIANA
Love you very much

LAWRENCE
That's right, that's right! (He gives
her a kiss, pulls back.) Good night,
sweetie.

DIANA
Good night, Daddy.

Lawrence gets up and goes to the door, flipping the lights off.
He pauses before he steps out.

LAWRENCE
Tomorrow, I'll read you your favourite
story.

DIANA
(with a small smile) Okay.

LAWRENCE
Okay. (he goes out.)

Quick cut to the Entrance Hall of the Gordon Residence. Lawrence
walks towards the door, Alison behind him. Alison's voice starts
to cut over the scene. Her tone is very pissed off.

ALISON
I don't know how much longer I can do
this, Larry.

LAWRENCE
(sounds as though he has no idea what
she means) What, what are you talking
about?

ALISON
(pissed, in disbelief) How can you walk
through life pretending that you're
happy?

LAWRENCE
I am happy.

ALISON
(confrontational) That is complete bullshit.
(cut to a shot of Diana, laying on her
side in her darkened room, clutching
her teddy bear to her chest. Her eyes
are open, she can hear everything. We
stay with her for the rest of Alison's
line, her voice now off a bit in the
distance but still very audible) I'd
rather you break down and tell me that
you hated me. At least there'd be some
passion in it.

LAWRENCE
Would you like to see her? (He reaches
into his pocket and takes out his wallet,
throws it across the room to Adam, who
is sitting with his back against the
wall, facing Lawrence. Adam picks up
the wallet and opens it. He sees two
pictures of Diana, side by side. The
one on the left is Diana hugging a dog.
The one on the right is a smiling portrait
outside somewhere.

ADAM
She's beautiful.

LAWRENCE
Thank you.

ADAM
(sighs, then looks up at Lawrence) You
gonna have any more kids?

LAWRENCE
(a bit wearily, but not snobby) We've
talked about it, but uh, with our schedules,
it's difficult enough to concentrate
on one. (The tone of his voice indicates
that maybe he's starting to realize
that he should've spent more time and
attention to his daughter.)

ADAM
(referring to the wallet) So where's
the lucky wife? (a small smile)

LAWRENCE
There's another picture behind the one
you're looking at. (Adam reaches behind
the photo on the right and pulls another
photograph out. Lawrence smiles slightly
as he speaks) It's my favourite one
because we're all in it together. Someone,
usually me, has to hold the camera,
which means I'm always missing from
the photos.

Cut to Adam, looking at the picture he pulled out. His face is
blank, but you can sense great disturbance behind it. Cut to
a shot of the photo he is holding. It is not the one Lawrence
described, but a Polaroid of Alison and Diana bound and gagged,
and the message Regards with a jigsaw piece drawn next to it.
He turns the photo over, and there is a message. As he reads
it, Jigsaw reads it aloud in a voiceover.

JIGSAW
(VO) X Marks the spot. Sometimes you
see more with your eyes shut.

Adam does his best to hide what he has seen, looks up to Lawrence.
ADAM
It's uh, it's not here.

LAWRENCE
(a slight disturbance from his momentary
nostalgic bliss) What?

ADAM
Uh, this photo you're talking about...it's
not here.

LAWRENCE
(slightly surprised, reaching out his
hand for Adam to toss the wallet.) Really?
Are you sure?

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