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Saw VI

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Saw VI is a 2009 horror film. After framing and murdering Special Agent Peter Strahm, Detective Mark Hoffman emerges as the unchallenged successor to the late Jigsaw Killer's legacy. However, his secret may not be as secured as he believes, while an executive of a health insurance corporation is forced to decide which of his morally bankrupt employees will live or die.

Directed by Kevin Greutert. Written by Patrick Melton and Marcus Dunstan.
6 Chances. 6 Lessons. 6 Choices.(taglines)

John Kramer/Jigsaw

[edit]

Quotes

[edit]
  • [filming an ultrasound] Hello, Gideon.
  • Here's a little happy family. We love you, son. We're waiting for you...Gideon, Gideon, Gideon...
  • Methadone is a masking agent. It doesn't heal. It just simply numbs the senses...I've found a better way. These people, they will continue to hurt you and let you down. Maybe addiction's just part of human nature. But what about these people, Jill, who come here every day and use you? They bide their time. They're avoiding prision sentences. They're getting hooked on masking agents. Do you call that recovery?
  • Addiction is not simple, JILL! WAKE UP‼ These people have no respect for the lives they're destroying. Once you see death up close, then you know what the value of life really is...And that's my way, and I brought proof that it works.
  • [reffering to Amanda] Jill, you once told me she was a lost soul...But here she stands, she's clean and whole. And she has a new appreciation for her life.
  • [to William] So, in a sense, you choose who lives or dies...You're not taking into consideration the most important human element of all; the will to live. Until a person is faced with death, it's impossible to tell whether they have what it takes to survive.
  • [to Hoffman after he dumps Timothy's body on the floor] That's a human being. Do you like how brutality feels, Mark?
  • It's time to get Dr. Denlon from the hospital.
  • Why'd you come?...I promise you, when all this is done, I will provide a way out for you. I have something for you. [giving Jill a key] When the time's right, you'll know what to do with it.
  • [about his physician, Doctor Gordon] The man has his hand on the doorknob half the time that I'm there.
  • By whose mathematical equation is this [possible cancer treatment] not feasible?
  • Did you know that in the Far East, people pay their doctors when they're healthy? When they're sick, they don't have to pay. So basically, they end up paying for what they want, not what they don't want. We've got it all ass-backwards, here.
  • Healthcare decisions should be made by doctors and their patients, not by the government. Well, now I know they're not made by doctors and their patients or the government. They're made by the fucking insurance companies.
  • Piranha.
  • Don't talk to me about money. I have money.
  • [to William, who has told him his tumor is inoperable] That rolled off your tongue real smooth.
  • [William tells him the tumor will always return despite treatment] That was even smoother. As a matter of fact, that was downright slick.
  • You think it's the living who will have ultimate judgement over you because the dead will have no claim over your soul. But you may be mistaken.*
  • Once you see death up close, then you know what the value of life is.

Tapes

[edit]
  • Hello. I want to play a game. The devices on your heads are symbolic of the shackles you place upon others. You recklessly loan people money, knowing their financial limitations, counting on repossessing more than they could ever pay back. You are predators. But today you become the prey, and it is your own pound of flesh that I demand. The scale before you is your only path to freedom. However, only one of you may pass, and the toll is the ultimate sacrifice. The sacrifice of flesh. Before you are the instruments to exact this flesh. Move with haste now, for when the 60 second timer hits zero, the one who has given the most flesh will release their bindings, while the gears on your opponent's head will engage, piercing their skull. Who will offer the most flesh in order to save their life? The choice is yours.
  • Hello, William. You've probably been wondering when we would see each other again. Today is that day. For years, your probability formula has decided the fate of others. The healthy have benefited while the potentially sick have been unjustly rejected. However, this formula does not take into account the human will to live. When faced with death, who should live versus who will live are two entirely separate things. Today, your policy will be put to the test. There are four straps around your limbs and you have four tests you must complete. For if you don't, the straps on your arms and legs will detonate. Look closely. You have 60 minutes to complete your tests and avoid this fate. Starting now. You are not alone in this game. Just as you have taken loved ones away from their families, if you don't reach the end before the timer hits zero, you will never see your family again. Here is your first test. Your health and hereditary background puts you in the highest category of success. However, the same cannot be said for your adversary. At only 52 years of age, this man has continued to smoke even though he has a history of high blood pressure and heart disease. This demonstrates very little appreciation of the blessings of his own life. Your game will focus on the simple element of air. Once this game begins, every time you take a breath, the clamps around your chest will close in and crush your body. The only way to escape is in the other's failure. So I ask you, when faced with death, who will survive? Live or die, William. Make your choice.
  • Hello, William. Standing on the platforms behind me are two of your colleagues. One, your file clerk: a young, healthy male with no living relatives. The other, a middle-aged woman with a family history of diabetes. According to your policy, your secretary is older and weaker and, therefore, less worthy to survive. But you know the loss that she will be to her family, while young Allen will disappear without a blip on the world's radar. Only one can exit this room, and the choice of whom falls upon you. You must let go of the one to save the life of the other. As you can see, the choice is not so clear when you're face-to-face with the people whose blood will stain your hands. Let the game begin.
  • Hello, Pamela. You've sensationalized my life, twisting the truth and exploiting my message for your benefit. Well, today, you will experience the meaning of sacrifice and you will see the consequence for those who unjustly hurt others.
  • Hello, William. You have seen the flaws in your policy. But what you have not seen is the extents some people will go to when faced with death. The lawyer from your firm has ninety seconds to cross this room, or the device attached to her chest will discharge and pierce her brain. She will find that the journey across this room is filled with danger. In order for her to make it, you will need to be there for her, as it is you who ultimately holds the key to her survival. When faced with death, will she have the skills to live? Let the game begin.
  • Hello, William. Before you are six of your most valuable associates. The ones who find errors in policies. Their findings result in over two-thirds of all applications denied or prematurely terminated. Now, you must apply your analysis to them. And will you be able to find their errors? Six ride the carousel -- but only two can get off. The decision of which two survive falls upon you, but remember: the mounted gun will continue to fire until all six rounds are spent. And if no decision is made on your part, all six will perish. To offer the two reprieves, you must press both buttons at once in the box before you. However, in doing so, you will give a sacrifice of your own. Two can live. Four will die. Your decisions symbolized by the blood on your hands.
  • Hello, Tara. My apologies for exposing you and your son to this kind of treatment, but I can assure you it is not without reason. The man before you just made the sacrifices to save the life of a loved one. However, when given the opportunity to save your husband's life, he chose not to. Now, you will be given the power to save a life. Will you grant this man the opportunity to continue living, or will you dispense the same death sentence he issued your husband? Live or die. The choice is yours.

Mark Hoffman

[edit]
  • [to a reporter who has told him she knows more about John Kramer than he thinks] Somehow I doubt that.
  • [to Erickson, about Strahm being the Jigsaw accomplice] It was a shock to all of us.
  • You didn't cut your own arm off?
  • The game begins tonight.
  • Somebody knows about the box that shouldn't.
  • From now on, I control all aspects of the game.
  • John's dead, and his work is almost done.
  • You want him to suffer just as much as I do.
  • I don't need one [to be tested].
  • Because I didn't take my life for granted.
  • I'll be right there.
  • [asked about if his watch is timing something (William's game)] I was before I got your call.
  • You can never really tell what someone's thinking on the inside.
  • Who else knows about me?

Jill Tuck

[edit]
  • I didn't expect to see you here so soon.
  • I'm only carrying out John's final request.
  • [Hoffman asks who William is] Unfinished business.
  • Recovery is a process.
  • It's not that simple.
  • Okay, John.
  • Where did you get this?
  • Don't do this.
  • This is John's will.
  • Game over.

William Easton

[edit]
  • [about a client] I'll get back to her this week. [under his breath] Sometime.
  • [to a client] Those are the rules, Harold.
  • I'm sorry, but your own actions have caused this.
  • Everybody thinks we're the bad guys. Nobody mentions the millions of people we help every year without incident. Or the millions of dollars we donate to charity every year. Or all the free clinics we support.
  • Don't fucking move!
  • Hold your breath!
  • My decisions aren't made this way!
  • I won't do it!
  • It's policy.
  • It's a game.
  • I made it! I won!
  • It's not my game.

Others

[edit]
  • TV News Anchor: This is not just the macabre conjectures of a psychic, but a forgone conclusion just waiting to rear its ugly head. Even though police would have you believe that John Kramer, a.k.a., Jigsaw, is dead, just this past week a new so-called game was discovered with grisly results. Victims have included anyone associated with the life of John Kramer, however remote. The Jigsaw Killer may be dead, but the murders continue.
  • Amanda Young: It works. It's real. He helped me.
  • Amanda Young: [to Jeff's daughter, who is in the room she was last seen in Saw III] Don't trust the one who saves you.
  • Josh: [after Dave shows William a policy eligible for termination] Terminator strikes again.
  • Amanda Young: [to Hoffman] Maybe you should stick to the heavy lifting.

Dialogue

[edit]
William Easton: Stop worrying about me, Debbie. Some small-time lawyer trying to squeeze us is not going to get me to say anything I don't want to say.
Debbie: I have no doubt about that, but as lead counsel for this company, if you screw up, it comes down on my ass.
Addy: William, I have a Casey Patterson on Line One.
William Easton: Take another message, Addy. I'll get back to her this week. [turns around] Sometime.
[Flashback]
Harold Abbott: I just don't get it. I've been with this insurance company for over ten years.
William Easton: I know, Harold, but unfortunately, when we reviewed your claim, we discovered that you failed to mention a previous condition.
Harold Abbott: What condition? There's no condition.
William Easton: [opens folder] It says here you had oral surgery to remove a cyst from your jaw.
Harold Abbott: This is absurd! I have heart disease. It has nothing to do with some oral surgery that I had 30 years ago!
William Easton: Any type of oral surgery is going to leave scar tissue. Scar tissue can lead to gum disease, and as you well know, gum disease can cause heart disease.
Harold Abbott: You know what? You're-You're a criminal. [stands] You are a goddamn criminal. I've paid my monthly premium for ten years without so much as a cold, and now that I'm actually sick, you're gonna deny my coverage? I have a family!
William Easton: Those are the rules, Harold! I'm sorry, but your own actions have caused this.
Harold Abbott: You've just given me a death sentence. I mean, who's gonna cover me now? You just killed me.
Debbie: Who found the error on his application?
William Easton: [gestures out window] The Dog Pit. They work as a team. If there's a discrepancy to be found on an application, the six of them will find it.
Mark Hoffman: Erickson. I didn't know you ever made it out from behind the desk.
Dan Erickson: I make exceptions when fingerprints are found at a Jigsaw murder scene. Have a look!

(Hoffman discovers glow in the dark fingerprints on Eddie's eyes)

Dan Erickson: We also got a right index on the scale.
Mark Hoffman: Can you ID it?
Dan Erickson: Yeah! They're Agent Strahm's. When I learned he and Perez were being targeted by Jigsaw, I should have been more aware, but I didn't see this coming. Not from Peter Strahm.
Mark Hoffman: It was a shock to all of us.
Pamela Jenkins: Detective Hoffman. How about a quick word?
Mark Hoffman: Pamela Jenkins, the resident Jigsaw sensationalist.
Pamela Jenkins: Just reporting the facts, detective.
Mark Hoffman: Is that what you're doing? John Kramer: Conundrum of Carnage.
Pamela Jenkins: If you'd like to make a statement on the record, I'd be more than happy to take it.
Mark Hoffman: You're twisting the facts to make a better story. [mocking concern] It's irresponsible.
Simone: He did this to me.
Mark Hoffman: Who did this?
Simone: Jigsaw.
Mark Hoffman: You didn't cut your own arm off?
Simone: I did. I did. But he made me do it.
Mark Hoffman: And why is that?
Simone: Because what Eddie and I were doing was wrong. We were ruining people's lives. He wanted us to learn.
Mark Hoffman: And did you?
Simone: Look at me. Look at my goddamn arm! [shows him what's left of her left arm] What the fuck am I supposed to learn from this?! Huh? Look at my arm! [Hoffman leaves] What?! What am I supposed to learn from this?! Look at me!
Dr. Heffner: These are the Jigsaw pieces carved from previous victims. This is the piece taken from the latest victim.
Mark Hoffman: It looks like all the rest.
Lindsey Perez: Yeah, that's what we said, too.
Dr. Heffner: The skin abrasions, they're indicative of a knife of a partially serrated edge.
Mark Hoffman: So?
Dr. Heffner: So all the other cuts were made with a near-perfect blade of surgical quality.
Mark Hoffman: You're telling me that you can tell a different knife was used from a photo?
Dr. Heffner: No, but I can. I was the one who examined that body. I've examined every victim of the Jigsaw Killer.
Mark Hoffman: ... Good work.
Jill Tuck: I didn't expect to see you here so soon.
Mark Hoffman: Change in plans. The game begins tonight.
Jill Tuck: Why?
Mark Hoffman: Because somebody knows about the box that shouldn't.
Jill Tuck: Who?
Mark Hoffman: That's not your concern. All you need to know is that, from now on, I control all aspects of the game.
Jill Tuck: That's not what John wanted.
Mark Hoffman: Get me the envelopes. And that's not a request.
Jill Tuck: [hands him five envelopes] Here.
Mark Hoffman: That all there is?
Jill Tuck: Yes.
Mark Hoffman: From now on, I work alone.
Jill Tuck: I know. I'm only carrying out John's final request.
Mark Hoffman: Well, John's dead. And his work is almost done. [takes a photo of William from envelope 1] Who's this?
Jill Tuck: Unfinished business.
Mark Hoffman: When I'm done, we no longer speak.
[Flashback]
William Easton: Sounds like we're in a similar business, John.
John Kramer: Oh, yeah? How's that?
William Easton: Well, you try to predict people's behavior. So do I. People count on us for coverage, and we have to analyze each person for the probability of success.
John Kramer: How do you do that?
William Easton: Well, it's a formula. It's pretty complicated, actually, but in essence, it breaks down to monthly payments multiplied by lifespan, minus the probability of illness, and if its sum is positive, we consider coverage.
John Kramer: Who devised that formula?
William Easton: Me.
John Kramer: So, in a sense... you choose who lives or dies?
William Easton: [pause] No, I, uh... No, I'd say I decide which people have the potential to live long, healthy lives.
John Kramer: But you're not taking into consideration the most important human element of all.
William Easton: Which is what?
John Kramer: The will to live. Until a person is faced with death, it's impossible to tell whether they have what it takes to survive.
[Flashback]
[Hoffman is setting up the Rack trap from Saw III]
Amanda Young: [wheels John into the room] Last-minute tweaks? [to John] Told you he'd fuck with it.
John Kramer: If you switch the gear ratio, you have to change the gear grease to match the increased friction.
Amanda Young: [to Hoffman] Maybe you should stick to the heavy lifting. [tosses him a grease gun] You need five-weight. It's in the gun.
John Kramer: Check with me next time.
Mark Hoffman: How many next times are there gonna be?
John Kramer: However many there needs to be.
[Hoffman holds up the wheelbarrow with Timothy Young in it and flips him out of it]
John Kramer: That's a human being. Do you like how brutality feels, Mark?
Mark Hoffman: Let's be honest. You want him to suffer just as much as I do.
[Amanda walks behind Hoffman and picks up the grease gun]
Amanda Young: So when's your test, detective?
Mark Hoffman: I don't need one.
Amanda Young: Oh, yeah?
Mark Hoffman: Yeah. [grabs Amanda's arm and exposes a cut on her wrist] Because I didn't take my life for granted.
Amanda Young: You're still dragging your knuckles on the ground. What do you know about life? Get used to me, 'cause I'm not going anywhere.
Mark Hoffman: You sure about that?
John Kramer: Why'd you come?
Jill Tuck: John, please stop. Don't do this.
John Kramer: I promise you, when all this is done, I will provide a way out for you.
Jill Tuck: I wish that time was now.
John Kramer: Then I have something for you.
[John stands and gives her a key]
Jill Tuck: What's this for?
John Kramer: When the time's right, you'll know what to do with it.
[Flashback]
John Kramer: I came to talk to you, Will, because I've found a treatment for my cancer that I think holds a lot of promise, but my requests for coverage have all been turned down. So I was hoping that maybe if I came and explained it to you, that you might be able to get that overturned for me.
William Easton: Well, the buck stops here, John. Fire away.
John Kramer: [hands him a magazine] This is a doctor in Norway. He's got a thirty to forty percent success rate with gene therapy. He injects what he calls suicide genes into cancerous tumor cells, then an inactive form of a toxic drug is administered and it...
William Easton: Yes, I'm familiar with the therapy you're talking about.
John Kramer: Right. And a new trial's starting. He's looking for new patients, and he seems to think that I'm the perfect candidate.
William Easton: John, if your primary physician, Dr. Gordon, thought you were a suitable candidate, he would have pursued it.
John Kramer: Dr. Gordon is a specialist, you know. He's making money on his specialty. He's not a thinker. I mean, the man has his hand on the doorknob half the time that I'm there.
William Easton: I'm going to be straight with you. At your age, and with the development of your cancer, it's simply not feasible for Umbrella Health--
John Kramer: Wait, wait, wait. What's unfeasible? By whose mathematical equation is this not feasible?
William Easton: It's policy, John. It's policy. And if you go outside the system to seek out this treatment, which has been deemed ineffective, you will be in breach of policy and dropped from coverage completely. I'm sorry.
John Kramer: [stands, then looks out at the "Dog Pit"] Did you know that in the Far East, people pay their doctors when they're healthy. When they're sick, they don't have to pay 'em. So basically, they end up paying for what they want, not what they don't want. We've got it all ass-backwards, here. [points to TV] These politicians, they say the same thing, over and over and over again. "Healthcare decisions should be made by doctors and their patients, not by the government." Well, now I know they're not made by doctors and their patients or the government. They're made by the fuckin' insurance companies. [looks at William's fish tank] Piranha.
William Easton: John... please. If you do this, then you'll be on your own and the subsequent cost to you will be staggering.
John Kramer: Don't talk to me about money. I have money. This is about principle. You see, Will... this is my life we're talkin' about. You remember?
William Easton: What about Jill's life? How's she going to be taken care of when you're gone?
John Kramer: You let me worry about Jill.
William Easton: The type of cancer you have is malignant and inoperable.
John Kramer: That rolled off your tongue real smooth.
William Easton: Even if the treatment works, the cancer will return eventually. It's an unwinnable battle.
John Kramer: That was even smoother. As a matter of fact, that was downright slick. You think it's the living who will have ultimate judgement over you, because the dead will have no claim over your soul. But you may be mistaken.
William Easton: Okay, look for a key. There's got to be a key! Look for a key!
[Debbie turns to a nearby shelf and sees an x-ray with a key near the ribcage]
William Easton: What are you waiting for?!
Debbie: It's in you!
William Easton: What?
Debbie: It's fucking inside you! [points to a large stitched cut on William's side]
William Easton: Oh! Oh, god! Okay, I know we can do this--! [Debbie exits the cage with a power saw] Wait! What the fuck are you doing?!
Debbie: I need that fucking key!
William Easton: Wait, no!
[Debbie attacks him with the power saw. After exchanging a few punches, she prepares to kill him with the power saw.]
William Easton: I can get it! I can get it! I CAN GET IT!
Brent: Someone's there. They're watching us.
Tara: Why? Why would someone do this?
Brent: See how we respond. They want to know what decision we'll make. [grabs the LIVE/DIE lever] Let's pull it.
Tara: No. We don't know what it does yet. It's too risky.
[The carousel spins again]
Shelby: Mr. Easton, listen to me, okay? My parents are sick! Okay? They need me! I'm all they have, please!
Dave: You're fucking lying! Your parents hate you; they cut you off!
Shelby: What?! Shut up! That's not true!
Dave: Fuck you, it is true! I sit next to you!
Gena: I-I'm pregnant! I'm-I am pregnant!
Josh: No she's not! She's lying! She's fucking lying! Mr. Easton, she's lying!
Shelby: Mr. Easton, she's lying!
Gena: Fuck you!
Josh: Mr. Easton, she is lying!
Gena: I'm pregnant!
Josh: She's lying!
[The carousel stops on Gena]
Gena: No! No, fuck! I'm pregnant!
Josh: No, she's lying! She's fucking lying!
Shelby: Mr. Easton! It's not true!
Gena: Please! Please!
[The shotgun begins to arm]
Gena: Fuck! Push the thing! Push the thing!
Josh: She's lying!
Gena: No! Mr. Easton, push it! Push the thing!
William Easton: Oh, God! No!
Gena: Push it!
Josh: Okay, listen to me, Mr. Easton! I'm on your side, and I can help you. And you cannot trust this bitch!
Shelby: What?! Fuck you!
Josh: She just fucking lied!
Shelby: What?!
Josh: You cannot believe her! She has already tried to lie, and she's just gonna continue to do it!
Shelby: No!
Josh: You know it! It's me, Josh!
Shelby: What about you? He trusted me! Okay, You know that! But he'll stab your throat at the first opportunity!
[The Carousel stops on Shelby, and the shotgun begins to arm]
Shelby: Please don't let me die! Please don't!
[William looks up at Shelby, helplessly]
Shelby: No, please! Please don't!
[William presses the button, causing another rod to fire into his hand. The shotgun proceeds to rotate at a ninety-degree angle.]
Shelby: Oh God, Thank you.
Josh: Fuck!
[The shotgun fires into the ceiling. The carousel begins its final rotation.]
Shelby: Thank you! Thank you, thank you, thank you, thank you!
Josh: Oh, well that's it, isn't it?! It's over! You motherfucker!
Shelby: Stop it...
Josh: You spineless, pussy-whipped MOTHERFUCKER! That's all it takes, ain't it?! Bitch says one thing and it's all over! You know what, William?! Your policy, it's BULLSHIT! Fucking bullshit! Well, you listen to me, you son of a bitch! I did everything for you...
[The Carousel finally stops on Josh; the shotgun begins to arm]
Josh: Look at me! When you're killing me, you look at me!

(In the basement of the police department, the technician is going to work on John's voice)

'John Kramer: Right now, you're feeling helpless.

(The technician began to change the voice once again)

John Kramer: Right now, you're feeling helpless.

(Flashback)

John Kramer: Right now, you're feeling helpless.

(Perez, Erickson and Hoffman came by downstairs)

'Lindsey Perez: How's it going?"
Sachi: Good!
'Erickson: (Shows Hoffman inside the crime lab) This is it!
Sachi: Whoever made this tape has access to this impressive audio infiltration equipment.
John: Right now, you're feeling helpless.
Sachi: Unfortunately, we have some tricks of our own here. We turn the algorithm upside down and see who he really sounds like.

(Sachi began to change the voice from a low voice to high pitch voice)

Erickson: Let's see what you got.

(Hoffman began to feel concerned about the tape when Perez began to stare at him)

Lindsey Perez: [to Hoffman] You okay?
Mark Hoffman: Huh?
Lindsey Perez: You seem a little... preoccupied.
Mark Hoffman: I'm just anxious about the tape.
Lindsey Perez: You know, there are still a couple of things I can't quite wrap my head around. Like, I don't understand Strahm's motivation. He was my partner for five years. I mean, we all knew he was a bit of a hothead, but I never saw any indication of psychotic behavior.
Mark Hoffman: You can never really tell what someone's thinking on the inside.

(Sachi heard a familiar voice at the end of the sentence)

Sachi: Do you hear that? We're getting there.
Erickson: Come on, I thought you have something to show us.
Lindsey Perez: Yeah! It's just I never really thought of him being vengeful. You know. I mean, all the facts are there. [looks at Hoffman] Something doesn't sit right.
Sachi: Listen, It's getting closer.
Dan Erickson: [to Hoffman] You know, there is an alternative. Let's say that, Strahm killed Seth Baxter specifically to set you up as an accomplice to Jigsaw.
Mark Hoffman: Okay. (Puts cup of coffee on the table)
Dan Erickson: Well, there's a problem with that, though. On further analysis of Strahm's fingerprints, it was found that the uric acid levels and the Eccrine gland residue were inconsistent for an individual with an active epidural metabolism.
Mark Hoffman: In other words?
Dan Erickson: In other words, when he left his fingerprints on the latest victims, Strahm was already dead!
Sachi: There it is!
Hoffman: Right now, you're feeling helpless.

(Hoffman realized that his cover was blown. Pulls out a weapon from his pocket and slit Erickson's throat. Then, he pours a cup of coffee at Perez's face blindsiding her while Sachi screamed in terror as Hoffman uses a screwdriver to shut down the computer. Then, Perez pulled her gun out and tries to shoot Hoffman but instead uses Sachi as a shield and accidentally shot her. He pushes Sachi aside and stabs Perez)

Mark Hoffman: [after stabbing Perez repeatedly] Who else knows about me? [stabs her again] Who else fucking knows about me?!
Lindsey Perez: Everyone!
Mark Hoffman: You lie. You're fucking lying...! [kills her]
[Flashback]
Amanda Young: Get used to me, 'cause I'm not going anywhere.
Mark Hoffman: You sure about that? [to John] Amanda will fail you.
John Kramer: We'll see.
[Hoffman writes a letter, which Amanda reads]
Note: [Hoffman narrating] Amanda, you were with Cecil the night Jill lost Gideon.
[Cecil and Amanda hide out at Jill's clinic]
Amanda Young: Go. Go. [he stops] What the fuck are you doing?
Cecil Adams: I don't know about this.
Amanda Young: What do you mean you don't know?! Go on, fucking pussy! Go! Go! Go!
[she pushes Cecil; he slams against the clinic door]
Jill Tuck: Cecil!
Cecil Adams: Listen to me!
[Cecil rushes back out of the clinic and accidentally kills Jill's unborn child. Amanda, horrified, collapses in the back of the room while Cecil makes a run for it]
Note: [Hoffman narrating] You killed their child. You know it, and I know it. So do exactly as I say: kill Lynn Denlon, or I will tell John what you did.
Amanda Young: She doesn't deserve to go free!
John Kramer: Amanda, Lynn is more important than you know.
[Amanda shoots Lynn, and is in turn shot by Jeff]
[Present]
[Jill enters and triggers a device under Hoffman's chair that shocks him unconscious. She then begins strapping his arms to it]
[Flashback]
Tape: I'm leaving you a box, today, and its contents are of grave importance.
Feldman: Ms. Tuck, what's in the box?
[Present]
[Jill places a Reverse-Beartrap similar to Amanda's on Hoffman. He starts to regain consciousness after this.]
Jill Tuck: John left you five envelopes. The sixth one was for me. [shows Hoffman a photo of himself in envelope 6] This is John's will.
[William makes it through a doorway with one second to spare]
William Easton: I did it. I made it. [shouts] I made it!
[Flashback]
Tape: If you fail, you will never see your family again.
[Present]
[the walls open, revealing Tara and Brent on one side and Jenkins in the other]
William Easton: [sees Tara and Brent] What are you doing here?
Pamela Jenkins: Will!
William Easton: Pamela.
[Flashback]
William Easton: I know it's your birthday, and I'm going to make it up to you. I promise.
Pamela Jenkins: Are you really standing up to your sister for work? I'm your only family.
[Present]
William Easton: Are you okay? [shouts] Let her go! I made it! I won! I followed your fucking rules! Now you let her go!
Tara: You son of a bitch.
[Flashback]
Harold Abbott: You've just given me a death sentence. I mean, who's gonna cover me now? You just killed me.
[he heads into another room, with Tara and Brent waiting]
[Present]
Brent: You're the man who killed my dad.
[John suddenly appears on a TV]
Tape: Hello, Tara. My apologies for exposing you and your son to this kind of treatment, but I can assure you it is not without reason. The man before you just made the sacrifices to save the life of a loved one. However, when given the opportunity to save your husband's life, he chose not to. Now, you will be given the power to save a life. Will you grant this man the opportunity to continue living, or will you dispense the same death sentence he issued your husband? Live or die. The choice is yours.
William Easton: It's not my game?
[William approaches Tara and Brent's cell and unknowingly stands on a pressure plate, activating a light near the LIVE/DIE lever]
William Easton: Please. Forgive me.
Pamela Jenkins: Have mercy, please!
Tara: Did he show mercy when my husband was suffering?!
Pamela Jenkins: He had no choice!
Tara: He always had a choice! [to William] The only reason I'm doing this isn't because I can't forgive you for what you did to me. The reason I'm doing this is because I couldn't forgive myself for what you might do to someone else.
Pamela Jenkins: Please, no. Please...
Tara: You will never kill again. [grabs the lever]
William Easton: Please. Please. Please...
Tara: I can't. [releases the lever and backs away] I can't kill him. I can't.
Brent: I can. [grabs the lever]
Tara: No, Brent!
Brent: You killed my father, you motherfucker! [pulls the lever] Now you burn in hell!
[A large platform of needles suddenly swings from the ceiling and slams William against the cell wall. The tank of hydrofluoric acid in Tara and Brent's cell begins pumping into him, and starts disintegrating him.]
[Flashback]
John Kramer: John Kramer.
William Easton: William Easton.
John Kramer: Nice to meet you.
William Easton: Those are the rules, Harold!
Harold Abbott: You've just given me a death sentence.
John Kramer: So, in a sense... you choose who lives or dies?
[Present]
Pamela Jenkins: No!
[Flashback]
William Easton: It's policy, John. It's policy.
John Kramer: You think it's the living who will have ultimate judgement over you, because the dead will have no claim over your soul.
[Present]
[William dies]
[Flasback]
John Kramer: But you may be mistaken.
[Present]
[William's melted lower half collapses to the floor, spilling his organs]
Jill Tuck: Game over.
Mark Hoffman: No! No, you fucking bitch!
[Jill leaves, closing the door and pulling a trigger tab on the Reverse Beartrap that starts its 45 second timer. Struggling for a few seconds, Hoffman repeatedly slams it onto his left wrist, breaking it.]
[Flashback]
Amanda Young: So when's your test, detective?
Mark Hoffman: I don't need one.
Amanda Young: Oh, yeah?
[Present]
[Hoffman undoes his right arm restraint and, with 18 seconds left, begins trying to pry the Reverse Beartrap off with a screwdriver]
John Kramer: [Narrating] You know why you're here, don't you?
[Flashback]
John Kramer: I want to know if you have what it takes to survive.
Autopsy Tape: You feel you now have control, don't you? You think you will walk away untested?
[Present]
[With almost no time left, Hoffman jams the Reverse Beartrap in the bars of the door window just as it releases, preventing it from springing completely open, and begins trying to pull himself out]
[Flashback]
Jill Tuck: I'm only carrying out John's final request.
John Kramer: Do you like how brutality feels, Mark?
Mark Hoffman: From now on, I control all aspects of the game.
Jill Tuck: That's not what John wanted.
John Kramer: You want a chance? I'll give you a chance.
[Present]
[Hoffman slides out of the Reverse Beartrap and stumbles away from the door]
Mark Hoffman: Fuck!
[The Reverse Beartrap bursts out of the window and falls to the floor. Hoffman collapses and screams, revealing it has torn his right cheek open.]

Taglines

[edit]
  • If it's Halloween, it must be Saw...
  • The Game Comes Full Circle.
  • Trust in Him.
  • His Disease is Spreading
  • He Helped Me.
  • 6 Chances. 6 Lessons. 6 Choices.
  • Shock, anxiety, wickedness...Saw.

Cast

[edit]

See also

[edit]
Saw
  Films     Shorts     "Saw" (2003)  
  Features     Saw  (2004) · Saw II  (2005) · Saw III  (2006) · Saw IV  (2007) · Saw V  (2008) · Saw VI  (2009) · Saw 3D  (2010)   · Jigsaw  (2017)   · Spiral: From the Book of Saw  (2021)   · Saw X  (2023)  
  Comic     Saw: Rebirth  (2005)  
  Video games     Saw  (2009) · Saw II: Flesh & Blood  (2010)  
  Miscellaneous     Last words in Saw media · Scream Queens  (2008–2010)  
[edit]
Wikipedia
Wikipedia
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