Obsessed with Tom Six’s first film, a lonely, abused parking garage attendant named Martin decides to create a "superior" version of the Centipede using twelve victims, recording it all on a grainy camcorder to send to the director.
The final scene is not the police arriving. It’s not a rescue. It’s Martin sitting alone in the dark, the camcorder’s red light blinking. He has sent the tape to an old P.O. Box address for Tom Six. The centipede behind him has stopped moving. Only the first one, his mother, is still breathing, making a wet, gurgling noise.
He converted the garage’s disused sub-level into his operating theater. He tied his victims to stained mattresses on the floor. There were no anesthetics. Martin believed pain was "the adhesive of the soul."
His first victim was the prostitute who worked the corner near the garage. He offered her £50 for a "private session" in his soundproofed storage unit. Her name was Gina. She never saw the staple gun.
The Sequencer
Martin looks into the lens. He smiles—a shy, awkward smile.
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