S A W VI (2009)


Slash’s Macabre Monday




S A W  VI   (2009)


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YUP, the old Slasher here, at my duty station, ready to review the sixth chapter in the SAW SAGA. Sometimes I feel like a motherless child, Nobody knows the trouble I seen; unless, of course, you are a regular visitor to Horribly Hooched, & may have read one, or all five of my SAW reviews. I hope to hell you did, because one needs to be a dyed-in-the-blade SAWhead to fully appreciate the nuances & twists of the plots as this series nears its completion. This franchise has earned the big box office bucks, & consistently has green-lighted another sequel each year, as the opening weekends pile up the multi-million dollar returns–making it the only series I know that consistently opened sequel after sequel, near Halloween, every year consecutively.




“The Return of Amanda”.

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It was directed by Kevin Greutert, who had served as editor on the previous five SAW films. This was his directorial debut; a virtual dynamo it seems, standing tall at 5’4”. As an Editor, he cut 23 films, so SAW has just been part of his career, albeit an important one.

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Beside this film, he has directed 6 films; 2 Shorts, PILGRIM’S PROGRESS (2003), OLD FRIENDS (2006), SAW 3D: THE FINAL CHAPTER (2010) and VESSABELLE (2014). Newcomer film editor, Orin Koules replaced him as editor on SAW VI.


The writers for this film were once again Patrick Melton & Marcus Dunstan, this being their third SAW screenplay, tying the number that Leigh Whannell & James Wan wrote. The series, thus far, is split between the dying Jigsaw trio, & the after-death flashback-king Jigsaw trio.


The music, sounding kind of familiar at this point, was done for the sixth film in a row by the fabulous Charlie Clouser. Besides Clouser’s music, they included music by EVERY TIME I DIE, CHIMIARA, SUICIDE SILENCE, NITZER EBB, MUSHROOM HEAD, & LUCUNA COIL.

James C. Moniger of ALL MUSIC wrote: “This is a fitting marriage, as hard rock & heavy metal are the sonic suitors to Horror & Torture Porn, & Video games.”


The cinematography, for the sixth & final lensing, was done by David A. Armstrong. He considers this film his personal favorite in the series. He told the interviewers at BLOODY DISGUSTING, that in his opinion, “visually”, this was the best SAW yet.


The film, now for the fifth time, was filmed completely in Toronto, Ontario, Canada; must be a hell of a tax break in Canada. Starting with 21 JUMP STREET (the series), & then X-FILES, Fox network film a the majority of their series in Vancouver, B.C.

The body count for SAW VI was lucky #13. It had a budget of 11 million dollars. It did regain some of the momentum lost critically with SAW V, but gee, it only made 6.9 million dollars opening weekend, 28 million bucks in the U.S., with a whopping 68 million dollars being earned worldwide; not bad for a fifth sequel in a torture porn Indie saga.


Mark Burg, a producer for all 6 SAW films, co-founder of TWISTED PICTURES, said: “In all honesty, the original writers of the SAW series felt the concept, the franchise, could only support a trilogy–they were all thinking they would be like Peter Jackson, or some shit, & that a trilogy would be the tops for it. I say, “Trilogy, my ass!” We wisely decided to keep the franchise going because there were still plenty more stories to tell.”




The game comes full circle.

6 chances, 6 lessons, 6 choices.

Trust in Him.

He helped Me. 


C A S T :


Tobin Bell as Jigsaw/John Kramer.

Costas Mandylor as Detective Hoffman.

Mark Rolston as Agent Erickson.

Betsy Russell as Jill Tuck.

Peter Outerbridge as William Easton.

Athena Karkanis as Agent Perez.

Shawnee Smith as Amanda Young.

Samantha Lemole as Pamela Jenkins.

Tanedra Howard as Simone.

Marty Moreau as Marty.

Shawn Ahmed as Allen.

Janelle Hutchinson as Addy.

Gerry Mendicino as the Janitor.

Caroline Cave as Debbie.

George Newbern as Harold.

Melanie Scrofano as Gena.

Karen Cliche as Shelby.

Larissa Gomes as Emily.

Cameos done by Billy Otis, James Van Patten, Joris Jarsky, Angus MacFayden, Bahar Soomeich, & Niamh Wilson.

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The cornerstone of the series remains Tobin Bell as Jigsaw/John Kramer. Being dead as a character seems to agree with him; again getting more scenes & screen time than one might have expected; although his zest seems to have cooled a little; didn’t dig some of his low energy line readings.


As Detective Hoffman, the new Jigsaw, Costas Mandylor gets to exhibit, mostly in flashbacks, a zest for cruelty, & an unhealthy need for control.

Mandylor said: “Hoffman is sort of torn between becoming a mad man, or a more composed control freak, a place of Zen purity–like Jigsaw. So does he just go fucking crazy or does he follow those pussified rules from the boss?”


Mark Rolston returned as Special Agent Erickson, still a bit in the background, still a pain in the ass for Hoffman. His hair seemed longer & curlier than in SAW V, & the poor bastard is either wearing a fake mustache, or he had to piss off his wife & grow back another one.

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Canadian actor Peter Outerbridge plays the lead part in this one as William Easton, CEO of an Medical Insurance Company. He has a 100 film credits racked up since 1990, including COOL RUNNING (1993), REPLIKATOR (1994), ESCAPE FROM MARS (1999), MISSION TO MARS (2000), MEN WITH BROOMS (2002), COLD CREEK MANOR (2003), LAND OF THE DEAD (2005), LUCKY NUMBER SLEVEN (2006), & HAUNTER (2013). 


****An interesting sidebar here, as in all the other SAW features, the cast is top-heavy with gorgeous Babes. On IMDb, I bumped into a category someone put together called THE BEAUTIFUL WOMEN OF SAW, a sparkling list of 24 lovelies; in “no special order”. 


Betsy Russell has a bit more to do in this film, as the wily still beautiful Jill Tuck, although several of the critics felt she clearly shows in this movie that she is not much of an actress; some nudity would have helped a lot to cool their jets.

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As per my custom, I dug out another tit-shot of Betsy from an earlier film.


Athena Karkanis makes a return from the dead as Agent Perez. She has some new scenes, as the SAW mysteries deepen. Not a participant in cheesecake, this fine actress has no tit-shots to share. But I did find this gem.


Shawnee Smith returns as Amanda Young, in several new scenes; not just the use of archival SAW footage; this movie has been billed as THE RETURN OF AMANDA, but in reality, Agent Perez gets more returnee screen time.


Here’s a little cheescake shot from Shawnee; thanks baby.


Samantha Lemole is the writer/journalist Pamela Jenkins, who is writing the book on John Kramer; & she is integral to the plot of this. It says she was in SAW V as well, but I blinked & must have missed her. She has 24 film credits since 1995, including THE CURE (1995), SWINGERS (1996), & LEGALLY BLONDE (2001). 

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Here is a sexy little shot from Sam.


Tanedra Howard was the VH1 reality show SCREAM QUEENS winner in 2008, winning the role of Simone in this film, and something in the next one. She now has 11 film credits since 2009, including LOVE: ANOTHER FOUR LETTER WORD (2011), & ANITA HO (2014). 


Caroline Cave plays the hapless lawyer, Debbie. She has amassed 22 film credits since 2001, including WAR BRIDE (2001), SIX FIGURES (2005), a recurring role on STARGATE, ATLANTIS (2007), & THIS BEAUTIFUL CITY (2007). 


I did track down a snappy nude compilation of her in a previous film.


Melanie Scrofano plays Gena. She has 40 film projects done since 1999, including BABY BLUES (2008), CITIZEN GANGSTER (2011), NURSE 3D (2013), & ROBOCOP (2014).



Here is a couple nice cheesecake shots from Melanie.

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Karen Cliche played Shelby, who has racked up 36 film credits since 1999,


including HEIST (2001), WRONG NUMBER (2002), 26 episodes of VAMPIRE HIGH (2001-02), & 21 episodes of the new FLASH GORDON (2007-08). 

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Thanks, Karen, here is a fine tit-shot from another film, & some boffo cheesecake.


Larissa Gomes plays Emily. She has garnered 27 film credits since 1999, including BOLLYWOOD/HOLLYWOOD (2002), RESIDENT EVIL: APOCALYPSE (2004), & SAW 3D (2010). 


During her career, she has been a blonde too; here’s a couple of tasty cheesecake images, one of them a wonderful tit-shot from another film.


So ALRIGHT, you rabid-ass SAW heads, let’s get to the meat of this review, the all-inclusive kick-ass, beyond spoilers, novella, literal transcription of the entire film:




Oh yes, one more time we are treated to the LIONSGATE gears & gates dripping, covered with delicious gore & viscus; even the background clouds are blood-red.

We open with a roving camera tracking through things blocking the view, giving us several glimpses of someone chained in a trap.

We are shown this is a film by Kevin Greutert.

We are introduced to Simone, a black woman in a temple-screw head trap; the screws, already bloody, are big as a man’s thumb.


The camera tracks 360 degreed around Simone, & we see a table with a butcher knife, a meat cleaver, & chain rungs on it. There is a heavy-set man in a adjoining cage, also wearing one of the temple-screw head traps. She knows the guy it seems:

Simone: Eddie, whatever you do, don’t lean forward.

Eddie: leaning forward, activating the trap: What the fuck is going on?

A monitor snaps on, & everybody’s favorite wooden head Billy the Puppet pontificates:

John: Hello. I want to play a game. The devices on your heads are symbolic of the shackles that you placed 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–& it is your pound of flesh that I demand. This scale before you is your only path to freedom. However, only one of you may pass this test. The toll is your ultimate sacrifice of your own flesh. Before you are the instruments to exact this flesh. Move with haste though, for when the 60 second timer hits zero, the one that 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!

The 60 second timer has started clicking off precious moments.

CU of the damn screws already drawing some blood. She hits her chain with the cleaver, but of course, to no avail. The lethal screws begin to penetrate their temples. They both scream in pain, matching pitches perfectly.


Eddie: This is your fucking fault. I’m not dying for you, bitch!

He opens up his shirt, exposing a quite ample belly, & he hurriedly begins to carve a large slice of fat off it with a butcher knife. She looks at her flat stomach, sees no extra flesh, & begins wrapping her upper left arm with a thin rubber hose.

He screams as he begins slicking off a bloody hunk of fat.

Jump Cuts

Eddie screaming, cutting, & screaming.

A crane shot as the camera whirls the 360 around him.

Simone trying to decide what to cut off–fingers, hand, or forearm.

He finishes slicing a large hunk of fat off himself, & drops it into a white chute, now dripping with fresh steaming blood.

She begins using the butcher knife, cutting into her left forearm, just below the elbow.


He drops another quarter pound of gut into his chute.

The timer keeps clicking down.

The impatient screws turn some more at their temples,

She has to struggle with the knife when she comes to arm bones. She screams as she picks up the cleaver, & it takes a dozen more bloody hacks to severe the arm & finish the job.

He keeps cutting thick slices of gut off.

There is a quick shot of her bloody stump in the air, with her severed forearm in a pool of blood on the table–(but spank the prosthetics maker, for the forearm is two shades of black darker than her own skin; quite the fuck up really.)

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Screaming, she struggles to drop the forearm into her own chute.

There are 5 seconds left on the timer.

His several pounds of gut are just not enough.

The pan with the forearm sinks the lowest.

The gears turn, cranking evil, as the demonic screws turn and pierce his temples, driving into his brain. His eyes roll back in his head, & he pitches over backward onto the floor.

Her head trap releases, & she lets it drop to the table as she screams & screams & screams.

Roll the title credit for SAW VI.


Cut to a couple driving a car; POV from the back seat, scene in fuzzy dream mode; never a good idea to establish a scene. He turns around & we recognize Cecil, the addict that injured Jill Tuck & terminated baby Gideon. She turns around slightly. The driver is Amanda Young.

Cut to Agent Strahm slamming the lid on the glass coffin with Hoffman inside; the final scene from SAW V. ( You know, thinks I, using so many long flashback scenes from previous SAWs reduces the amount of new film needed to be shot; I’m just saying.). Strahm climbs up the closing in steel walls.

Hoffman is grinning like a demented hobo who just crapped his britches.

We see, again, the arms & legs snapping, being crushed, hear Strahm screaming, the blood covering the glass lid of the coffin, covering Hoffman’s face.

Cut to a new scene, the glass coffin rising up in a new space as Hoffman opens the blood soaked lid, then walks calmly down a hallway.  (maybe a another Tagline for the SAW SAGA could be Hallways of Horror.)

CU he pushes a large green button on a control box.

The walls crank backward & recedes.

Hoffman looks lovingly at the crushed remains of Strahm’s body that drops to the floor in a mass of shredded innards in a bag of rags.  Hoffman smiles wryly.

Cut to the front of an insurance building, UMBRELLA HEALTH.

Cut to a busy open office space with six employees talking on phones to clients. Dolly shot into a private office, where an attractive blonde, Debbie is sitting in front of the bosses’ desk; William Easton, who is on the phone talking to some woman, while he is pouring bourbon in a glass, telling her that he’s sorry, but that he has to work late at the office again, & he will miss dinner. (we are to believe the woman at the end of the line is his wife, and the blonde at his desk is his secretary/mistress).

He hands Debbie three fingers of booze in a glass, which she accepts. (Oddly in plain view of the other employees, for the walls of the office are all glass.)

William: I know it’s your birthday, honey, but I promise I will make it up to you.

Then it is revealed that blonde Debbie is, in fact, the primary lawyer for the firm, & she is prepping him for a court appearance. We see the name tag on his desk, SR. VICE PRESIDENT OF MEMBERSHIP & CLAIMS; that the claim against the company concerns a Mr. Abbott, whose policy was terminated.

Cut to Abbott discussing his case with William, explaining that he has been with the company for ten years.

William: I know, Harold, but unfortunately when we reviewed your claim we found that you had failed to mention a previous condition.

Abbott: What condition? There is no condition.

William: It says here that you had oral surgery to remove a cyst from your jaw.

Abbott: This is absurd! I now have heart disease, & that has nothing to do with some oral surgery I had over 30 years ago.

William: Any kind of oral surgery is going to leave some scar tissue. Scar tissue in the mouth can lead to gum disease, & as you well now, gum disease can often cause heart disease.

Abbott: You know what? You’re a god damn criminal. I have paid my monthly premiums for over ten years without reporting so much as a cold–& now that I’m actually sick, you are going to deny my coverage? I have a family. 

William: Those are the rules, Harold. I am sorry, but it was your own actions that caused this.

Abbott: You have just given me a death sentence. Who is going to cover me now. You just killed me. 

Cut back to the present; Debbie does the front of the desk.

William: Everybody claims we are the bad guy. Nobody ever notices the millions of claims that we honor every year without incident.

A flat screen TV is on in his office (TV reporting is always a fine plot gimmick).

Pamela Jenkins, author of a new book on John Kramer is discussing it.

Debbie: Who was it found the error in Abbott’s application?

William: The dog pit. If there is ever any discrepancy in an application, the six of them will find it. 

Cut to Hoffman, listening to the Jigsaw tape message given to screw head trap victims, which includes all the screams, conversation, & aftermath. His cell phone rings.

Hoffman: Yeah (pause)–I’m on my way.

Cut to the screw-trap crime scene as Hoffman arrives there.

CU of the jigsaw puzzle piece wound on Eddie, the male victim.

Hoffman: Erickson?

Flash to Agent Erickson checking some evidence.


Hoffman: I didn’t know that you ever made it out from behind your desk.

Erickson: Oh, I make exceptions when special fingerprints are found at a Jigsaw murder scene. We found prints on the eyelids of the victim, & some on this piece of machinery. 

Hoffman: Any ID of the prints yet?

Erickson: Yes, the prints belong to Agent Strahm. You know, when I became aware that he & Agent Perez were targeted by Jigsaw, I should have been more aware–but I didn’t see this coming. 

Hoffman: It was a shock to all of us.

Erickson: But we have an ace in the hole, something he didn’t know about. Want to come with me?

Cut to another room; Agent Perez is working with another cop on an evidence bulletin board. (WTF, cops don’t bring in some rolling bulletin board to a crime scene; that’s usually back at the station/office; bizarre choice here.)

Hoffman looks quite shocked to see her, of course.

Cut to flashback, Agent Perez being shot in the face with deadly Billy Puppet darts, being taken to the hospital, & Agent Strahm sitting in her room staring at the bloody pillow on an empty bed.

Cut back to Erickson: It was my call, detective. I knew that Jigsaw wasn’t working alone, but until I knew for certain who it was helping him, I could not guarantee her well being.

Hoffman: So you let me believe that she was dead?

Erickson: I didn’t know who I could trust.

Hoffman: What else have you been keeping from me?

Perez: We found out that Strahm knew all 5 victims from that last trap.

Hoffman: How do you know that?


Perez: We investigated all of them after that building fire; but then our lone witness went missing, & all the charges were dropped ( remember folks, when Mallick’s rich father paid everyone off?)

Erickson: It seems that Strahm just couldn’t let them get away, so he put them in a trap where slaughtering each other was their only escape.

Hoffman: What the hell are you telling me? He is a vigilante?

Erickson: Call him whatever you like, but he has to be found. Now we are offering you full disclosure–everything we have gathered, you will have access to. We want you to work with us on this case. Is that fair?

They shake hands on it.

Cut to a flashback, Pamela Jenkins is interviewing Hoffman RE her upcoming book on John Kramer.

Hoffman: You do know that twisting the facts to make a better story is completely irresponsible?

Pamela: Hey, I know more about John Kramer than you might think.

Hoffman: Somehow I doubt that.

Pamela: Kramer left a special box to his wife in his will. Did you know that?

Hoffman: Maybe I did, maybe I didn’t–how do you know it?

Pamela: Probate court–public records.

Hoffman: What do you really want?

Pamela: I want more information on Jill Tuck. Help me to get to her, & I promise to dial down the sensationalism.

Hoffman: I’ll see what I can do.

We now see that she was interviewing him in a hospital. Hoffman enters a hospital room, where Simone, the trap victim without a forearm is in a bed, answering questions.

Simone: No, I have no idea how I got there. I just opened my eyes & I was in the trap. He did this to me, Jigsaw.

Hoffman: Wait a minute, didn’t you cut your own arm off?

Simone: I did, yes, I did–but he made me do it.

Hoffman: Why would he do that?

Simone: Because the scam that Eddie & I were doing was wrong; we were hurting people’s lives. (weeping). He wanted us to learn a lesson.

Hoffman: coldly, without empathy, And did you?

Simone holds up her amputated arm: Look at me! Look at my god damn arm! What the fuck am I supposed to learn from this? Look at me!!!\

Hoffman walks away.

Cut to a flashback, an ultra-sound of baby Gideon, image on a VHS tape.

Jill: Gideon, good name, honey.

(Interesting, made me flash on the name of the GIDEON MEAT PACKING plant where several traps were set up later.)

Camera pulls back revealing Jill Tuck staring out an apartment window at night, now only listening to the video tape.

Cut back to the video: John & Jill in the foreground, the ultra-sound behind them. John: Let’s see if I can get all three of us in the shot; one big happy family. We love you son, we’re waiting for you.

Cut to flashback, Cecil, the addict, slamming that clinic door into Jill’s pregnant stomach.

Cut to the tombstone of the dead infant.

Cut to Jill weeping after Cecil fled.

Cut to Jill in the lawyer’s office watching John’s death message: If you are watching this, Jill–I’m long gone.

Flash to Jill opening the box; this time we see the contents; six file folders & packaged video tape & some other stuff.

Cut to Jill in her apartment, previous scene, sipping wine, looking repeatedly at File folder #6, which we don’t see the contents of.

The phone rings, she lets it go to the message mode.

It’s Pamela Jenkins: I would like to meet with you & clear some things up about your husband. Let’s do lunch.

Cut to flashback of the John Kramer autopsy scene, his stomach & brain tossed into coroner pans. Hoffman is there listening to the cassette tape found in John’s stomach.

(Christ on a crutch; once again we are treated to, inundated with, flashbacks from previous SAW films, this movie more than ever before; explication piled upon explication. Now, I have to say, even I can no longer identify which SAW film the flashbacks are coming from–those poor fucking critics will be like rodents in a maze, crazed, confused, & bitter.)

Cut to flashback, Erickson: The tape from this trap scene is missing, so we now are analyzing the Seth Baxter tape.

Hoffman: Why is that?

Perez: If it was a different person who cut out the latest pieces, then it follows that it was a different person who made the tape too.

Hoffman: Strahm, right?

Erickson: If Strahm’s voice is on that tape, then we will have our smoking gun. If we get that, we can go public with his involvement.

The Coroner who did John’s autopsy, is there too, looking at photos of several of the Jigsaw victims.

Dr. Heffner: Look here. These are the Jigsaw pieces cut from previous victims, &  this is the piece taken from the latest victim.

Hoffman: It looks like all  the rest.

Perez: Yeah, that’s what we said at first too.

(Note: her facial scars are minimal, hardly noticeable.)

Dr. Heffner: The skin abrasions are indicative of a knife with a partially serrated edge.

Hoffman: So?

Dr. Heffner: All the older cuts were made with a near perfect blade of surgical quality, like a scalpel. 

Hoffman: Well, obviously Strahm used a different kind of knife than John Kramer.

Perez: Right, but it made us curious, so we pulled all the files to compare. The serrated blade was used for only one victim.

Erickson: That victim was Seth Baxter, the man who killed your sister.

Hoffman: You’re telling me that you can tell that a different knife was used just from a photo?

Dr. Heffner: No, but I can. I was the one who examined the bodies, every victim of the Jigsaw killings. 

Hoffman: Excellent work.

Cut to flashback, the waiting room at Jill’s Drug Rehab Clinic. She enters smiling, greeting some of the addicts–then she sees Hoffman among them. They go into her private office. Jill: I didn’t expect you so soon. 

Hoffman: Change of plans–the game begins tonight.

Jill: Why?

Hoffman: Because someone else know about the “Box” that shouldn’t.

Jill: Who?

Hoffman: That’s not your concern. All you need to know is that from now on I am controlling all aspects of the game.


Jill: That certainly is not what John wanted.

Hoffman:  Give me the envelopes–that’s not a request!

Jill hands over 5 envelopes.

Hoffman: From now on, I will work alone.

Jill: I am only carrying out John’s final request. 

Hoffman: John is dead–& his work is almost done.

He looks at a photo of William Easton: Who the fuck is this?

Jill: Unfinished business for John

Hoffman: Understand this, when I’m done with this, we will no longer speak.


Cut to a flashback:

John to Jill: Methodone is a masking agent, it doesn’t heal–it simply dulls the senses. I found a better way for Rehab. These people will continue to hurt you & let you down.

(John has the shaved head look).

Jill: They are addicts, John. Recovery is a long process. 

John: Maybe addiction is just part of human nature, but what about those people who come here every day & take advantage of you, use you? They bide their time. They’re just avoiding prison sentences. They become hooked on masking agents.You call that recovery?

Jill: it’s not that simple.

John: Addiction is not simple, Jill–wake up! These people have no respect for the other lives they’re destroying. Once you see death, up close, then only then do you understand what the value of life is; and that’s my way–and I brought you proof that it works.

He brings in Amanda Young.

Jill: Amanda.

Amanda: Hello, Jill. 

John: Jill, you once told me she was a lost soul–but here she stands, all clean & whole, with a new appreciation for life.

Amanda: It works, it’s real–he helped me. 

Cut to William, in his office alone, a storm raging outside. ( a familiar scenario). He is watching a newscast on his flat screen.

Even though the police would have you believe that John Kramer is dead, just this last week, a deadly new game was discovered with grizzly results ( running along the bottom of the screen: Murder from the grave–the puzzle unfolds).

The Jigsaw killer may be dead, but the murders continue.

A quick flash of a Pig Mask.

Then the lights go off in his office; the electricity is off. He checks the outer office, the dog pit space. He sees the shadow of a man holding a pistol. He rushes back to his desk, & picks up his own pistol, then hides in the shadows. We see a flash of a hooded man entering the room, focusing then on just his feet. William leaps to his feet, pointing his pistol: Don’t fucking move!

The intruder raises his gun, so William blasts away at him, & he goes down. OMG, what a surprise, the intruder is wearing a building security jacket. While William is attempting to help the wounded man, someone in a pig mask grabs him from behind, injecting him with a sedative.

Cut to a new Jigsaw trap.

William is lashed, standing up, wearing an oxygen mask, his arms outstretched, in some kind of Vise contraption.


A monitor snaps on, & Jigsaw John speaks, & not Billy the Puppet; kind of odd that.


John: Hello, William. You have 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 the formula does not take into account the human will to live. When faced with death, who should live vs. who actually lives are two separate things. Today your policy formula will be put to the test. There are 4 straps around your limbs, & you have four tests you must complete, for if you don’t, those straps on your arms & legs will detonate. Look closely, you will have 60 minutes to complete your tests & avoid death, starting now. You are not alone in this game.  Just as you have taken loved ones away from their families, if you do not reach the end before the timer hits zero, you will never see your family again.

Here is your first test. Your health & hereditary condition put you in the highest category of success–however the same can not be said for your adversary. While he is only 52 years of age, this man has continued to smoke, even though he has a history of high blood pressure & heart disease. (This man might be, looks a bit like the office janitor briefly seen in a former scene.) This demonstrates the very lack of appreciation for the blessings of his own life. Your game will focus on the simple element of air. Once this game begins, every time either one of you takes a breath, the clamps around your chest will close in & crush your body. The only escape lies in the other’s failure. I ask you, when faced with death, who will survive? Live or die, William. Make your choice. 

Cut to Brent waking up in a large cage, with his mother, Tara, lying on the floor beside him.

Brent: Mom, wake up, wake up.

Tara: Where is this?

Brent: I don’t know.

Tara: OMG.

There is a monitor they can see, and now William & the other man appear in the O2 trap.

Cut to them in their trap.

William through his oxygen mask: Fuck you!

The other man in the trap with him asks: Who the hell is that?

The monitor switches off, and the timer registers 59.15 minutes.

Flash to Tara & Brent staring at all this on their monitor.

As the men breathe, the clamps begin closing in on their chests.

William: Hold your breath!

Jump Cuts

Another carousel 360 crane camera shot around both men as they hold their breath.

Tara & Brent watching.

The other man has to take a breath first; gears turn, & the clamps tighten on his chest.

William is forced to take a breathe too.

CU of gears turning, clamps tightening, blood staining their shirts.

The older man takes a huge gasp of air,  & his clamps double-tighten; screaming, he pisses his pants, as we hear, & see the demonic clamps crushing his ribs, killing him.

William’s clamps suddenly reverse & he is free to move out of the trap. He climbs out of the apparatus, but falls to the floor in pain, with his ribs cracked & bleeding.

As he stands up painfully, he sees a large red arrow on the wall, pointing up a pillar.

Flash to the timer, 56:05 minutes.


Flash to the other man hanging dead in clamps, hanging like a limp bag of shit, his chest covered in his own blood.

William finds a Jigsaw key, & unlocks his right leather bracelet. He tosses it to the floor, and begins to climb up a ladder to the next chamber.

Cut to CU a dirty yellow plastic vat labeled Corrosive Liquid, & a large electric breaker box, with words painted in Red,

LIVE on the top.

DIE on the bottom.

Tara:  Please, someone, help us!

Brent, staring at the breaker box: What the fuck?

They read that the the five gallon vat contains Hydrofluoric Acid. 

Brent: This shit will eat through human flesh in seconds.

Tara: What are we supposed to do?

Brent: Pull the fucking top lever! You want to live, don’t you?

Tara: What about that digital timer? (53:03) That has to mean something.

Brent: I don’t know. I don’t even know why we are here!

Tara: We are here because of your father.

(At this point they have not been identified yet, so the assumption is that perhaps this might be William’s wife & son.)

Cut to William moving along in a Jigsaw hallway.

Cut to Hoffman looking at photos of Tara & Brent. He is above them, watching them in a two-way mirror. Then he looks at a photo of Pamela Jenkins.

Cut to Pamela reading a note from Hoffman:

Here’s what you asked me about–followed by an address. She exits an elevator, walks up to Room 413, & knocks on the door.

Jill Tuck opens the door: Miss Jenkins?

Pamela: Please, this will only take a second. We can help each other.

Jill: What the fuck makes you think you can just come to my door like this?

Pamela: Because I found something that you will want to see.

She hands Jill the note, & Jill reads it.

Jill: Where did you get this?

Pamela: That is the location where John died, does that mean anything to you?

Jill: No. Good-bye Miss Jenkins.

(Shit, even midst the popurri of palpitating plots, anybody would remember that Jill had to have been notified of the place of death for her husband by the cops. What the Tuck; obviously Ms. Jilly has some nefarious shit up her shapely sleeve.)

Cut to Hoffman, exiting the booth observatory, with Tara & Brent on the monitor. He strolls over to where he sees Pamela lying unconscious on the floor of another wire cage; then he ambles over to yet another bulletin board, & tacks up the photos of Tara, Brent, & Pamela–William & the janitor’s photos are already there.

Cut to William limping along in another Jigsaw hallway. He finds a key, & unlocks the explosive bracelet on his left wrist. The words THE PARTY are written on his arm.

Cut to flashback, a party at Jill & John’s Drug Rehab Clinic.

John: I want to thank you for sponsoring this party.

William: You are Jill’s husband, John?

John: Yes, I am.

William: You know it sounds to me like we are both in the same kind of business.

John: How’s that?

William: You folks try to correct people’s behavior, & so do I. When people come to us for coverage, we have to carefully analyze each person for the probability of success.

John: Really–tell him how do you do that?

William: It’s a complicated formula.

John: Who devised it?

William: Me. 

John: So in a sense, you choose who lives or who dies?

William: No, not actually–I would say that I determine who may live for a long & healthy life.

John: But you are not taking into consideration the most important human element of all.

William: Which is what?

John: The will to live. Unless a person is faced with death, it is impossible to tell if they have what it takes to survive. 

Cut back to William, stumbling into another room in what looks like an abandoned series of empty aquariums; in front of one of the large fish tanks, there is the message TAKE ONE.

William: Fuck that. 

Suddenly one of his leg straps starts to blink/flash, so he rushes back & pulls both handles at the same time.

Gears turn, & a life-sized Billy the Puppet drops down from the ceiling on wires; John: Hello, William. Standing on the platform behind me are two of your colleagues–one of your file clerks, a healthy young man who has no family at all, & your secretary, a middle-aged woman with a family history of diabetes. According to your formula, the secretary is older & weaker–therefore less likely to survive. But you know the loss she will be to her large family.

(FLASH several photos of her with family members.)

But the file clerk could disappear & no one would grieve. Only one of them will exit from this trap, & the choice falls upon you. You must let go of one of them in order to save the life of the other. As you can see, the choice is not so clear when you are face to face with two people whose blood will  stain your hands.

Billy, wearing rock star long black locks is hoisted back up into the air, out of sight. We hear his demonic mechanical laughter.

William: Wait, fuck, wait. I won’t, I can’t do this. 

The victims are both standing on a small spindly platform with a thin metal cable secured around their neck.

Flash to the terrified woman’s face.

Flash to the young man’s face.

Both of them have their arms secured behind them, both are gagged.

Gears turn, the cables start to tighten up.

William: Fuck no, I tell you I’m not going to do it!

Jump Cuts:

The woman pleading for her life.

The young man pleading for his life.

Flashes of several more photos, her with family, him always alone.

William is sweating a lot, struggling to hold the two chain handles.


Gears turning faster.

Both victims almost lifted off their feet,

William really straining against the pressure pulling on each arm.

Flash to her face.

William; I am so sorry.

He suddenly lets go of the file clerk’s chain handle. The cable garrote jerks him off the platform, & snaps his neck, & a lot of blood spurts against the glass.

Picture 60

Her bonds loosen, & she begins struggling out of the trap.

William: Addie, try & find a way out of here, I have to be going. Be careful.

She nods yes, yes, yes.

He leaves & quickly finds another dangling key, unlocking another of his explosive devices. There is another large red arrow painted on the wall. He heads off that direction.

Cut back to Tara & Brent.

Tara: What if we put some acid on the metal bars–it would eat through them?

Brent: Yeah, maybe, but how would we get the acid onto the metal bars? Are we supposed to use our hands?

He stares above them at a large mirror.

Tara: What are you looking at, son?

Brent: I think that is two-way glass. I wonder who is watching us?

Tara: screaming at the glass, What the fuck do you want? Why are you  doing this to us?

Cut to Pamela Jenkins, in an identical cage, acid vat & all:  Please, help me, somebody help me! Then, of course, she finds a mini-cassette recorder.

John: Hello, Pamela. You sensationalized my life, twisting the truth, & exploiting my message for you own benefit.

Flash to Hoffman looking at another photo, one of the dog pit employees. He tacks it on the bulletin board. His cell phone rings; it’s Agent Erickson. We found the Seth Baxter tape, There is something else we would like to discuss with you.

Hoffman: What would that be?

Erickson: It’s better to talk to you in person. It’s time sensitive.

Hoffman: Fine, I’ll be right there.

(WTF is this development? He is right in the middle of monitoring a complex Jigsaw game. How can he just leave?)

Cut to Jill Tuck entering a hospital, carrying a paper wrapped satchel. She stops in front of on door, clutching the packet.


Cut to Hoffman, pushing a wheel barrow with the semi-conscious hit-&-run driver from SAW III.

Flash to the black man being strapped onto the huge limb twisting crucifix trap.

Saw 6 Movie

Surprise, Amanda Young pushes John Kramer in a wheel chair into the room.

Amanda: Last minute tweaks–See, I told you he’d fuck with it. 

John: Try not to touch the gear ratios.

Amanda: Maybe you should just stick to the heavy lifting, asshole.

John: Check with me next time.

Hoffman: And how many next times will there be?

John: However many there needs to be.

Hoffman dumps the black man roughly out onto the floor.

John: Hey, never forget that’s a human being. Do you really like how brutality feels, Mark?

Hoffman: Let’s be honest. You want him to suffer as much as I do!

Amanda, sneering: So, when’s your test, detective?

Hoffman: I don’t need one, because I didn’t take my life for granted, bitch. ( Christ, do I have to remind you of John kidnapping him in the elevator & putting him in the shotgun trap in SAW V?)

Amanda: Sure–you are still dragging your knuckles on the ground. What do you really know about life? So get used to me. I’m not going anywhere.

Picture 47

Hoffman: Are you sure about that?

John, sipping on an oxygen hose: Come on, time is short. 

Amanda: Are you OK?

John nods yes slowly: It’s time to go get Dr. Denlon in the hospital.

Amanda: Alright, I’ll take you back now.

While pushing John down a hallway, they encounter Jill Tuck, who is looking for John.

John: Please go, Amanda, and be quick. 

She exits, then he speaks to Jill:

Why did you come here?

Jill: John, please stop now, don’t do this. 

John: I promise you when all this is done, I will provide a way out for you.

Jill: I wish that time were right now.

John: I have something for you.

He stands up & gives her one of his special keys.

Jill: What’s this for?

John: You will know when the time comes to use it. 

Cut to her in the lawyer’s office, taking this key off her neck chain.

Flash to her pulling out the files, & the blank parcel out of the box.

Cut back to her standing in front of that hospital door. She drops the blank parcel into a large mail slot.

Cut to William stumbling along in a Jigsaw trap hallway, looking at the  message written on his left forearm; FINAL DECISION.

Flashback John in William’s office:

John: I came to talk to you, William, because I found a treatment for my cancer that I think holds a lot of promise–but my requests for coverage have all been turned down.

William: Yeah.

John: So I was hoping that if I came & explained it to you, that you might be able to get that overturned for me.

William: Smiling, Well the bucks stops here, John, so fire away.

John, handing him a brochure: OK, this is a doctor in Norway. He’s got a 30-40% success rate with gene therapy. He injects what he calls suicide genes into cancerous tumor cells, than an inactive form of toxic drug is introduced. 

William: Yes, I’m familiar with this therapy.

John: Right–and now a new trial is starting, & he’s looking for new patients, & he seems to think that I am a perfect candidate. 

William: John, if your primary physician, Dr. Gordon, thought that you were a suitable candidate, he would have pursued it.

John: No, 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: I’m going to be straight with you. At your age, & with the advance development of your cancer, it’s simply not feasible for Umbrella Health….

John: Wait, wait. What specifically is not feasible? By whose math equation is my proposal not feasible.

William: It’s policy, John, it’s just policy. (pause) And I must tell you that if you go outside the system & seek out this treatment, which we have deemed to be ineffective, you will be in breach of policy–and you will be dropped from coverage completely. (pause) I am sorry. 

John: rising & pacing, Did you know that in the Far East, people only pay their doctor when they are healthy; but when they are sick, they don’t have to pay them. So they end up paying only for what they want, not what they don’t want. (pause) We’ve got it all ass-backwards here–the politicians that repeat the same bullshit over & over again, “Health care decisions should be made by doctors & their patients, not by the government.” Well, now I understand those decisions are not made by doctors & their patients, or by the government. They are all made by the fucking insurance companies. (pause–getting in William’s face)

You think it is the living who have the ultimate judgement over you, because the dead will have no claim over your soul. But you may be mistaken.

William: John, please, if you do this, you will be on your own, & the cost to you will be staggering.

John: Don’t talk to me about money. I have money This is about principles. You see, asshole, this is my life we are talking about here, remember?

William: Well, what about Jill’s life? How will she be taken care of when you are gone?

John: You let me worry about Jill.

William: Your cancer is malignant & inoperable. Even if this Norwegian treatment did work, the cancer will return. It is an un-winable battle.

John: Very slick, this bullshit just rolls off your tongue. You think it is only the living that will have the ultimate judgement over you–but the dead will have their say. 

Cut back to William in the trap. He opens a doorway marked for him, & he walks into some kind of boiler room inferno; a cassette recorder is hanging in front of him;

John: Hello, William–now you have seen the flaws in your “policy”, but what you have not seen is the extent some people will go to when faced with death. The lawyer from your firm (Debbie) will have 90 seconds to cross the room, or the device attached to her chest will detonate & pierce her brain.  She will find that the journey across the room is filled with danger. In order for her to make it, you will need to be there for her–it is you who holds the key to her survival. When faced with death, will she have the skills to live? Let the game begin!


Debbie had been tethered against the wall, as her straps fall off, she simply goes apeshit, bouncing & jumping around: What the fuck is happening?

She is below him, on another cage level.

William: Calm down, you have to calm down. You have to get through that space as fast as you can. Go now!

She starts to run, but stumbles, & is burned by heated wires.


He reads a sign on a handle, TO RELIEVE HER, so he pushes it. Steam jets (hot or cold?) spray her, but she is burning herself repeatedly.

William: Jesus, just keep going!

Debbie: I can’t move–I’m fucking trapped!

CU fire jets burning her, steam jets clouding things up.

William; Keep coming, there’s an escape ladder at this end.

She is burned badly over & over, but does reach the ladder screaming, & starts to climb up it. When she reaches the top, she sees several photos of him in front of her.

William: Look for a key, quick.

Debbie: All these photos of you must mean the fucking key is inside you!

He lifts his shirt, and finds that the key is stitched up near his right kidney.

20 seconds is left on the timer.


She picks up a buzz saw on her side, kicks open the gate between them, & immediately attacks him with the saw, screaming I need that fucking key!

William: No, God, no–let me get it, I can get it!

He punches her in the face, begging her to stop, but she attacks repeatedly, & he evades the saw, just as she runs out of time, the body trap detonates, blowing her head half-off. She spins around, falls over backward, and drops back down to the fire cage below.

The big digital timer registers 27:00 minutes

William exits the room.

Cut back to Pamela in her cage, reading a sign SEE IT NOW above a switch. She flips the switch and can see Tara & Brent in their identical acid vat cage.

Transition from the monitor image to Tara & Brent in person.

Brent, pointing to a CCTV camera: Someone is there watching us.

Tara: But why, why?

Brent: To see how we respond. They want to record what decision we’re going to make; live or die.

He finally approaches the LIVE button: Let’s see what will happen!

Tara: No, don’t, we don’t know what it does yet; it’s too risky.

Brent: raising his hand to hit the button: FUCK IT!!!


Cut back to Erickson’s office, as Hoffman enters: Thanks for coming.

Hoffman: So what did you find?

Erickson: An abnormality in Strahm’s fingerprints. Take a look.

Perez: The human fingerprint leaves an oily residue. Depending on how long it has been exposed to the elements, it’s highly susceptible to contamination.

Hoffman: So what’s the problem?

Perez: We found traces of Halomethane R-12.

Erickson: She means Freon.

Perez: Production of R-12 discontinued in 1994, so the question is, was the contaminant we found at the site already, or did Strahm bring it with him?

Erickson: So we are looking at the history of the building’s residents before it was abandoned.

Hoffman: OK, did anything come from examining the Seth Baxter tape?

Perez: Yeah, we may be on to something there. The tape was in pretty rough shape, but we authenticated it. The vice was altered, intentionally distorted, but checking it carefully, it doesn’t match John Kramer’s. So it’s currently being analyzed, so that we descramble the tape so that we can ID the original voice. Erickson is talking to the Tech right now.  Are you timing something? You’re wearing a stop watch.

Hoffman: Oh, yes, I was before you called me.

Erickson walks up: We got it, our smoking gun! The lab has figured it out. Let’s check it out. You’re coming with us, right?

Hoffman: Of course.

Cut to Jill Tuck opening the “box”, then putting envelope #6 & the video tape  wrapped in a plain brown wrapper in her carry bag.

Cut to William approaching a door marked with a Jigsaw concentric circle.  He hears several voices behind the door.

William: Hey Shelby, who’s in there with you?

Shelby: Everyone, we’re all in here, all six of us. What the fuck is going on? We can’t see anything; it’s pitch dark. We are all chained to something.

Another voice: Will, get us the fuck out of here!

He pushes open the door. Behind another cage wall, all six of his employees from the “Dog Pit” are chained to a playground carousel.

Several of them ask in unison: What is this-what’s going on-what the fuck!


William: It’s a game.

A monitor snaps on, and Billy the Puppet shows up, not John in person:

John: Hello, William. Before you are six of your most valuable associates. The very ones that find those errors in policies. Their findings result in over two-thirds of all the applications that are denied or prematurely terminated.Today you must apply your formula to them. Will you be able to find those errors? Six ride the carousel, but only two can get off safely. The decision as to which of them will survive falls upon you. But remember the mounted gun will continue to fire until its chamber is empty. If no decision is made on your part, all six of them will die. 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 will will be stained by the blood on your hands; which will be your own. 

The carousel rotates & when it stops, a man is in front of the mounted gun. Gears turn, the gun fires. The man takes several high powered rifle blass in the face & chest. Everyone begins to scream.

William is staring, in shock, at the 6 buttons before him.

(It occurs to me that as people die, how will he know which buttons are still for the living; he might waste effort pushing a dead person’s button.)

More screaming, six kinds of yelling FUCK, FUCK!

The carousel begins moving again.

William pounds his fists on the machine, in anguish.

Woman: I have two kids.

Another woman: Fuck her, save me!

Man: Fuck both bitches, save me!

Black Man: Jesus, I am your Star dog–save me for shit’s sake!

Another Man: Don’t let me fucking die!

William tries to depress one button, but needles pierce his hand; he screams.

The carousel turns, everyone is begging for their lives.

Shelby: My parents are sick, OK? They need me, I’m all they have!

Dave: You’re fucking lying. Your parents hate you; they cut your ass off!

Gena: I’m pregnant, I’m pregnant!

Josh: She’s not pregnant! She’s fucking lying to you!

Gena: No, I’m not!

The carousel stops with Gena in front of the gun.

Gena: Fuck, I am pregnant! Push the thing, push the thing, for God’s sake Mr. Easton, push the fucking thing!

Flash to every face, terror, anger, shock, dismay, panic, chaos.

Fuck all you liars! She is lying, fuck her! He is insane! Fuck you! We’re all fucked! 

William is in anguish, weeping, screaming hoarsely.

The Gun cocks itself. Gena takes a blast in the chest, blowing her tits off. More screaming as the carousel begins turning again.

Four victims are left.

It stops with the black man in front of the smoking barrels. The Gun barks, & his chest is caved in with lead as his tie flaps Three victims left, two women & one man.

Man: You can’t trust these bitches. I’m on your side. I will do anything you ever want!

The Carousel turns.

Shelby stops in front of the Gun.

William, panicked shoves her button down, piercing his hand. The Gun whirrs, does not fire, clicks the barrel into the air.

Josh: Aw, that’s it, isn’t it? It’s over! You spineless pussy-whipped mother fucker! That’s all it takes, right? A dumb fucking bitch says one thing, & it’s all over.You know what, William? Your policy is bullshit, fucking bullshit! Well, now you listen to me you son of a bitch. I did everything for you!

The Gun cocks itself, & pumps three hollow points in Josh’s face & neck; blood spurting & shooting into the air. William has pushed down the other woman’s button now, & both of the women are saved. William limps away, both hands bloody. He leaves the room. He pushes open another door; sign on it read ZOO PERSONNEL ONLY.

(So that’s where the Game was set up; makes sense, since they would have had an administrative overhead booth & monitors to survey things.)

Cut to a foxy technician working on clearing up the Seth Baxter audio tape.

Erickson: Alright, show us what you’ve got.

Hoffman does look worried.

Erickson: Are you OK? You look a bit pre-occupied.

Hoffman: I’m just excited about the tape.

Technician: Whoever made this tape had access to some impressive audio filtration equipment. But fortunately, we have some tricks of our own here. We can turn the speaker’s algorithm upside down, & that will allow us to hear what he really sounds like.

Perez: You know, there are still a couple of things I can’t wrap my head around. I don’t understand Strahm’s motivation. He was my partner for 5 years. We all knew he was a bit of a hot head, but I never saw any indication of actual psychotic behavior.

Hoffman: You can never tell what someone’s thinking on the inside.

Perez: I never thought of him as vengeful, or mean. All the facts are there, but something doesn’t feel right.

Technician: Listen, we’re getting closer.

(WTF: Erickson said they had results, now we have this extended scene playing out while the Tech keeps screwing around with the equipment.)

Erickson: You know, there is an alternative theory. Let’s say that Strahm did kill Seth Baxter to specifically set You up as Jigsaw’s accomplice.

Hoffman: OK

Erickson: But the problem is after further analysis of Strahm’s fingerprints it was found that the uric acid levels were inconsistent for any individual with an active epidural metabolism.

Hoffman, setting his hot coffee down next to him: In other words…

Erickson: In other words when you left his fingerprints on the latest victim, Strahm was already dead!

Suddenly Hoffman’s voice booms clearly off the Baxter tape.

With sudden lethal precision, Hoffman slashes Erickson’s throat with his right hand, and tosses the hot coffee in Perez’s face. He then swings around, cutting off the lights as he shoots the technician, & leaps onto Perez, pushing her hard against the wall; moves that James Bond hisself would have envied. Perez was not ready for him, so she is overpowered easily & never reaches for her own weapon (which seems pretty lame to me). Hoffman stabs her in the stomach & chest several times, while holding her against the wall.

Hoffman, while stabbing her; Who else know about me?

Perez, grabbing his face: EVERYONE!

Hoffman: Fucking liar!

Then he stabs her hard & deep, one final thrust before she goes down.

Fucking lying bitch!

(WTF, he tosses the bloody knife on the floor, & leave the room, leaving his DNA on several items).

He walks to his car, & he gets Strahm’s amputated hand out of an ice cooler;

Flashback to Hoffman retrieving Strahms hand from the Wall Closing Trap.

Flash to Hoffman planting Strahm’s fingerprints on both eyelids & the machinery at the screw head trap.

Cut back to the recent triple murder scene. He plants dozens of Strahm’s fingerprints everywhere, then he pours raw gasoline all over the bodies & office equipment & computers. Then while standing on the stairs, he ignites a book of matches & tosses it into the room, igniting the gas.

Cut to Jill Tuck showing up with her special bag at the observatory booth in the latest trap, with the tests still unfolding. She watches several of the monitors, smiling.

Cut to Hoffman driving back up to the building; no sign of Jill’s vehicle. He enters a door labeled ZOOLOGY EMPLOYEES ONLY.

Flash back to Jill putting her bag in a locker in that booth. She places the note given by Hoffman to Pamela who gave it to her near a computer.

Cut to Tara & Brent still getting ready to push the LIVE button.

Cut to Hoffman in a hallway.

Cut to William in a hallway, entering another room.

Cut to Tara & Brent:

Tara: OK, son, you can pull it. I love you.

Cut to Pamela in her cage: No, kid, you don’t know what it does.

Cut to William back wandering, limping in another hallway.

Cut to Hoffman entering the control booth, then watching Brent & Tara on a monitor.

Cut to Brent: Stand back, Mom!

Cut to Pamela Jenkins: No, fuck no!

Cut to Brent pulling the lever down hard.

But nothing happens at all.

Brent: What the fuck! It doesn’t work, it doesn’t fucking work!

Cut to the timer: :49 seconds.

Flash to Pamela’s note lying next to the monitor.

Jump Cuts:

Hoffman writing the Amanda Young letter, putting it in John Kramer’s

desk drawer. Amanda Young reading the note, & weeping:

Hoffman VO: Amanda, you were with Cecil the night Jill lost Gideon. You killed their child–you know it & I know it, so do exactly as I say. You must kill Lynn Denlon, or I will tell John what you did.

Cut to Amanda & Cecil on that fateful night.

Amanda:  Get on in there, Cecil!

Cecil: I don’t know about all this.

Amanda: What do you mean you don’t know?

Cecil: She has been very good to us.

Amanda: Well, haven’t I been good to you?

Cecil: I know, I know.

Amanda: Then go, please go.

Cecil: pulling her close to him: Damn, you drive me crazy!

Amanda: Go, you fucking pussy, go, go!



Flash to Amanda weeping, reading the letter.

Flash to Amanda holding the pistol on Lynn, rebelling against John.

Flash to Lynn screaming,

Amanda shooting her,

Jeff shooting Amanda.


Cut back to the control booth, as Jill tazors Hoffman, taking him down.

Cut to him tethered to a chair, taking some electric shocks.

Cut to William in a hallway.

Curtains pull back, & he sees Tara & Brent in one cage, & Pamela in an adjacent cage, with him in between them.

Flash to William talking on the phone previously with Pamela, doing the “Hey, I know it’s your birthday, but I have to work late” speech.

Cut back to William yelling: Let her go! I beg you!

Flash Tara’s eyes filled with hate.


Cut back to Hoffman strapped in his chair, with Lynn hovering over him.

Cut to Abbott saying You have just handed me a death sentence!

In the waiting room we see that Tara & Brent are Abbott’s family. (which is the first time they are identified, & no longer confusing to us as possibly William’s family.)

Cut to present, Tara: You miserable son of a bitch!

Cut to Jill further strapping Hoffman into his chair.

Cut back to the trap cages–a monitor snaps on:

John: Hello, Tara. My sincere apologies for exposing you & your son to this kind of treatment, but I can assure you it was not without a reason. The man before you just made the sacrifices necessary to save 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 to your husband? Live or die; make your choice. 

Cut to Jill pulling a reverse bear trap helmet out of her bag.

Flash to her finding it in her inherited “Box”.

Flash to Amanda wearing one like it in SAW (2004).

Cut back to the cages.

Pamela: Have Mercy on him, please.

Tara: Did he show any mercy while my husband was suffering?

Cut Hoffman wearing the reverse bear trap helmet.

Picture 33

Jill: John left you five envelopes, but the sixth one was for me only. She shows him his own photo from the #6 envelope.This is John’s will.

Cut back to Tara, still hovering over the DIE switch.

The reason I’m doing this is to prevent you from hurting anyone else.  You will never kill again!

But then she breaks down, weeping.

Flash seven times to William begging for his life.

Tara: I can’t, I can’t kill him!

Brent moves toward the switch.


Cut to Hoffman struggling in the trap mask, with Jill watching patiently.

Cut Brent: Well, I can!

Tara: Don’t do it, Brent!

Brent: You killed my father, you mother fucker, now Burn in Hell!!

He shoves the DIE handle down.

A rack with a dozen spearheads swings down, & stabs William twelve times at once.

Flash to Pamela screaming.

Flash to William spitting up blood.

Flash to Tara screaming.

Flash to Hoffman’s trap timer at 59 seconds.

Flash to the acid vats pumping acid into the spear heads.

Flash to William being fried while still alive.


Cut to Hoffman struggling, his eyes bugging out.

Flash to Jill: Game over, as she closes the door.

Hoffman is now screaming.

Flash to Will (a lot stronger than he looked) screaming, somehow still alive.

25 Jump Cuts

to William being an asshole, & being warned by John about his “fate”.

Flash to Hoffman tearing at his tethered hands.

Flash to Pamela on her knees, her cleavage blossoming as she screams & screams.

Flash to William still screaming.

Flash to Hoffman pulling/tearing his hands free,

25 seconds before the bear trap explodes.

He leaps up looking for a non-existent key (which was left out by Jill, who did not explicating; quite the sloppy stewardship actually)

15 more Jump Cuts of Hoffman with John, Amanda, Jill, Perez, Rigg, Kerry, Strahm, Erickson & others.

John asking:Do you like how brutality feels?

Hoffman suddenly, brilliantly, sticks his face partially out of a broken window, between horizontal bars; the trap activates, but the jaws stick between the bars, & he is able to pull the trap off his head, but it has damaged his now bloody jaw.

Flash to Jigsaw closing a final door.

Flash to Amanda closing a final door.

Flash to Hoffman closing a final door.

Flash to Jill closing a final door;

Game over, game over, game over, game over.

The FINAL SHOT has Hoffman on his knees, his jaw torn up bad, screaming with anger & pain, his hands torn up too–but still alive.

Picture 22

(Beware Jill Tuck because you fucked up, & left too soon, & now you have pissed off Detective Hoffman big time!!)

Roll the FINAL credits.

As I ask myself, why the hell did they kill the poor fucking janitor? What’s in store for Jill Tuck in SAW 3D: the final chapter, SAW VII? Will Hoffman get his just desserts? Why was there no mention of Brett, the only survivor of the big game in SAW V?

Hey, the Visual Consultant was former Director David Hackl.

Prosthetics were done by Francois Dagenau (totally responsible for the crappy Simone cut-off forearm),

Of course, filmed entirely in Toronto, Ontario, Canada.

Wait, wait, after the final credits there is one more scene:

Amanda Young in her blood red death dress walking in a dark Jigsaw hallway; stopping at a doorway, peeking into a broken slit in it so that we can see this closet was where Corbett Denlon was held captive.  Amanda puts her lips to the crack; Remember, child, don’t trust the one who saves you.




T R I V I A:


This film was considered to be so violent in Spain that it was given an X rating, & had to be shown in Porno theaters. The fish tank in William’s office was filled with real Piranhas. The Carousel Trap originally had 10 victims, but this idea was scrapped later, when they decided that 6 fit in more symbolically with the film’s title.


This was the lowest earning of the SAW films, missing the mark the rest made at over 100 million dollars worldwide. The script first given to new cast members was called EVOLUTION III, to keep a clamp on leaks for SAW VI. Evolution Pictures owns Twisted Pictures. In an earlier version of this script, there was an idea that Detective Hoffman could take on the mafia.


They planned on getting Dr. Gordon to return for this installment, but actor Carey Elwes was unavailable; although he will show up in SAW 3D (2010). This movie was soundly beaten at the box office it’s opening weekend by PARANORMAL ACTIVITY. The final scene took over a week to perfectly edit. Prior to the film’s opening, Costas Mandylor did not know whether his character lived or died due to the multiple endings that were filmed. One of these included Hoffman dying in a trap set up by the dead Agent Strahm. This was the first SAW feature to use digital timers on body traps. As I noted previously, this is the first time that John, himself, shows up on the monitors to deliver the rules for some of the games. Billy the Puppet is the usual Master of Mayhem, with John doing the narration.

Picture 22

A week before filming began, new director Kevin Greutert was informed that the film would be post-converted to 3D. Greutert was upset by this decision as he had not planned or story-boarded for such a move. The idea was finally dropped dueto time constraints, but then resurrected for the next film in the series.

The Hollywood premiere of the film was done at Mann’s Chinese Theater. This was cinematographer David A. Armstrong’s last SAW feature, having done six of them. This was the first time that Billy the Puppet appeared in person to deliver the rules of the game, rather than just sharing a warning as in the other films. The utilization of the Reverse Bear Trap makes the first time that any SAW trap was reused. The driving scene with Cecil & Amanda, included in the Director’s Cut, was supposed to include music by SMITH & PYLE, Shawnee Smith’s Country-Rock band.


Oddly, this film was not screened for the critics; never a good sign, never a positive start for the release of any film. In the party scene, in the background we can barely see Amanda Young & Jill Tuck both greeting guests; a story line never included in the final cut. The scene in the car, where Amanda has to convince Cecil to go into the Drug Clinic, is longer in some edits; including a seduction sex scene that might have helped our concentration a bit.


Rotten Tomatoes at 37% Critic’s approval & 56% for Audience approval.

Picture 23

Joshua Rothkopf of TIME OUT NEW YORK wrote: “Finally–a horror movie that takes on health insurance.”

Roger Moore of the ORLANDO CENTENNIAL wrote: “The excellent script by Melton & Dunstan has a more lyric bent & more satiric bent then all the otherSAW sequels.”


Rob Nelson of VARIETY wrote: “Hey, this is a film that is frighteningly familiar; it could have been titled SAW IT ALREADY.”

Nick Pinkerton of the VILLAGE VOICE wrote: “If you haven’t followed the SAW series closely up to now, there is not much point in trying to catch up,”


Ali Gray of the SHIZ.NUT.CO.UK wrote: “This story is so ugly & bent out of shape, it is literally impossible to follow–& one would be a fool to try.”

Perry Nemiroff of CINEMABLEND.COM wrote: “If you have a real desire to see victims ripped limb from limb, cut in half, & love watching entrails spill out on the floor–well kids, this gore is for you.

Robert Cargill of HOLLYWOOD.COM wrote: “SAW VI proves to be the movie that pulls the series out of its tail spin. It is not only good–it’s very good.”

Paul Chambers of CNN RADIO wrote: “They keep reviving dead characters to keep the poor excuse for a story alive. God, when will it end? Jigsaw has been dead for 3 sequels now–everyone is dead. They are beating a dead horse. Please, make it stop.”

Paul Grimm of the TUCSON WEEKLY wrote: “For the next installment, I suggest that Jigsaw should time travel into the past & slice up the ancestors of his enemies. That would be way cool.”




OK, & as my in-laws in Texas say, “Let’s get down to the nut-cutting.”  Well, it was nice to see Shawnee Smith back in some fresh new scenes, but the “Return of Amanda” had about as much impact really as a popcorn fart in a gymnasium. I was much more impressed with the return of Agent Perez, a new twist I never saw coming. I was sad that she was dispatched so easily by the super soldier moves of Detective Hoffman, feeling that more of a tussle was due to her character; a tough attractive smart cop.

There is some truth to the critic’s allegations that too much stock SAW footage is being used for constant reinforcement & further explication. The writing was clever, considering the cinematic miles on this celluloid bitch; hooking Amanda up with Cecil was a master stroke, finding out why she went off the edge, reading the letter written for her by Hoffman, making some sense out of her out-of-control hormonal rampage several movies ago (although Jigsaw John made a big deal about her reading the letter if he were to die, it does not fit well that Hoffman actually wrote it, & John had no fucking idea what was in it–for he kept insisting that Lynn & Jeff Denlon were part of some bigger agenda that heretofore has not been revealed)–& yes, I too wonder what the hell happened to the resilient Britt, lone survivor from SAW V. Erickson came across as an up tight buttoned-down prick, so I was glad to see him get his jugular sliced open. I guess the poor fucking janitor, & the sound technician were just collateral damage.

The extra pop music added to the score was effective, & Clouser found some more weird metallic sounds to mix into his part of the music. I felt that there might have been a few too many out-of-hand over-the-top 360 degree whirling shots in this one, & the twitchy jump cuts/flashbacks numbered in the hundreds it seemed. The complete lack of nudity with all these SAW babes still irritates me, but what the hell, the film was done for the gore hounds, not the whore hounds, right? It is always cool to return to the traps of the past & get more set up/fill in information–that does deepen the SAW legacy.

I do feel that the Jill Tuck as Jigsaw scenario came up lame, underwritten, not fleshed out, and Betsy Russell had none of the vitriolic angst & anger of Shawnee Smith. Before  Amanda went bat shit, she was showing real potential as Jigsaw’s successor. Peter Outerbridge had a lot of dialogue & focus for this installment, & his blandness as an actor prevented very much empathy on my part; one of the strengths of hiring an actor as good as Carey Elwes.

All things considered, & I mean everything obviously, I would rate this film at 6/10 stars. If Elwes had been included, as planned, that would have been 3 revived characters, & that would have been enjoyable. Can’t wait to tackle SAW 3D for next time.





















2 replies »

  1. One more SAW film to go; have started the research already; a bevy of new SAW babes, a staggerng 11 more traps, & in fucking 3D.


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