Se7en (1995)
         
Directed by
David Fincher 
         
Written by
Andrew Kevin Walker 


Brad Pitt....................... Detective David Mills 
Gwyneth Paltrow........................... Tracy Mills 
Peter Crombie............................. Dr. O'Neill 
Reg E. Cathey................................. Coroner 
R. Lee Ermey........................... Police Captain
Kevin Spacey................................. John Doe
                           SEVEN

 1   INT.  OLD HOUSE -- DAY                                         1   

     Sunlight comes through the soot on the windows, more brown 
     than bright.  SOMERSET, 45, stands in one corner of this 
     small, second-story room.  He looks over the ceiling, looks 
     down at the worn wooden floors, looks at the peeling 
     wallpaper.

     He walks to the center of the room, continues his study, 
     taking his time.  He halts, turns to one wall where the 
     current wallpaper is torn away to reveal flowery wallpaper 
     underneath.

     Somerset goes to this wall and runs his finger across one of 
     the pale, red roses which decorates the older paper.  He 
     pushes the grime away, brings the rose out more clearly.

     He reaches into his suit pocket and takes out a switchblade.  
     He flips the thin, lethal blade free.  Working deliberately, 
     delicately, Somerset cuts a square around the rose, then 
     peels the square of dry wallpaper away from the wall.  He 
     studies it in his hand.

 2   EXT.  OLD HOUSE -- DAY                                         2   

     Somerset stands in front of the old home.  He looks out at 
     the surrounding farms and forests.  He ponders something.  
     Birds sing.

                           MAN (O.S.)
               Is something wrong?

     Somerset does not respond, just stares off.  The MAN, 34, 
     wears a real-estate broker's jacket and stands beside a FOR 
     SALE sign in the muddy lawn.

                           MAN (CONT'D)
               Is there something the matter?

     Somerset turns to face the man, then looks back at the house.

                           SOMERSET
               No.  No... it's just that everything 
               here seems... so strange.

                           MAN
               Strange?  There's nothing strange 
               about this place.  The house'll need 
               a little fixing up, that's for sure...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 2
     9-29-00                                                     


                           SOMERSET
               No.  I like the house, and this place.

                           MAN
               I was about to say.  Cause this place 
               is about as normal as places get.

     Somerset nods, taking a deep breath.  He smiles.

                           SOMERSET
               That's what I mean.  Strange.

     Somerset looks back to the beautiful landscape.  The man 
     does not understand.

 3   INT.  AMTRACK TRAIN -- LATER DAY                               3   

     Somerset is in the window seat, looking out the window of 
     the speeding train, smoking a cigarette.  He is near the 
     back of the car, away from the few other passengers.

     Outside, farms, fields, small homes and lawns rush by.  The 
     panorama is dappled by the rays of the soon to be setting 
     sun.

 4   INT.  AMTRACK TRAIN -- LATER DAY                               4   

     The train is almost full, moving slower.  Somerset has his 
     suitcase on the aisle seat beside him.  He holds a hardcover 
     book unopened on his lap.  He still stares out the window, 
     but his face is tense.  The train is passing an ugly, swampy 
     field.  The sun has gone under.

     Though it seems impossible it ever could have gotten there, 
     a car's burnt-out skeleton sits rusting in the bracken.

     Ahead, the city waits.  The sky is full of smokestacks and 
     huge industrial cranes.

 5   INT.  AMTRACK TRAIN -- LATER DAY                               5   

     The train is passing urban streets below.  Slums and smashed 
     cars.  People stand in groups in the corners.  Bleak.

     Somerset's suitcase is now on the window seat.  Somerset has 
     moved to the aisle.  He is reading his book.  He looks up 
     from the book and rubs his eyes, then looks back to continue 
     reading, not once looking out the window.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 3
     9-29-00                                                     


 6   EXT.  CITY STREET -- NIGHT                                     6   

     Somerset carries his suitcase outside the train station.  
     The city demands attention: cars screeching, people yelling, 
     sirens blaring.

     Somerset passes a family of bewildered tourists.  A WEIRD 
     MAN has a hand on the tourist-father's suitcase.

     It has become a tugging match with the Weird Man shouting, 
     "I'll take you to a taxi... I'll take you."  Ahead, a group 
     is gathered on the sidewalk near two ambulances.  People 
     clamor to get a look at a BLOODY BODY which lies on the 
     street.

     Policeman try to hold the crowd off.  Ambulance attendants 
     administer aid to the victim, who convulses.  Somerset moves 
     by, ignoring it all.  He motions for a cab.  One pulls up 
     from the street's stream of vehicles.

 7   INT.  CAB -- NIGHT                                             7   

     Somerset throws his suitcase in and shuts the door behind 
     him.

                           CAB DRIVER
                    (about the crowd)
               What's the big fuss?

     Somerset looks out at the crowd, looks at the driver.

                           SOMERSET
               Why do you care?

                           CAB DRIVER
                    (under his breath)
               Well, excuse me all to hell.

     The driver leans forward, checking it out.  The circle of 
     spectators shifts suddenly.  A man has shoved another man 
     and they're really going at it now.  The swing at each other 
     and tear at each other's clothing.  One man's flailing fist 
     connects and the other man's face is instantly bloodied.  
     The fight grows even more spastic.  Policemen try to stop 
     it.

                           CAB DRIVER (CONT'D)
               Crazy fucks.

     The driver pulls away and the cab rages down the street.

     Somerset watches the parade of neon passing on the avenue.  
     He slumps back in the seat and closes his eyes.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 4
     9-29-00                                                     


                           CAB DRIVER (CONT'D)
               Where you headed?

     Somerset opens his eyes.

                           SOMERSET
               Far away from here.

 8   INT.  SOMERSET'S APARTMENT -- NIGHT                            8   

     The curtains are closed.  The SOUNDS of the CITY are here as 
     they will be everywhere in this story.  A CAR ALARM is 
     SOUNDING, shrill and clear.  Somerset's life is packed into 
     moving boxes, except for some clothing in a closet and 
     hundreds and hundreds of books on the shelves of one wall.  
     Somerset is lying on the bed, dressed only in his underwear.

     He reaches to the nightstand, to a wooden, pyramidical 
     metronome.

     He frees the metronome's weighted swingarm so it moves back 
     and forth.  Swings to the left -- TICK, swings to the right -- 
     TICK.

     Tick... tick... tick... measured and steady.

     Somerset situates on the bed, closes his eyes.  Tick... 
     tick...  tick.  The metronome's sound competes with the sound 
     of the car alarm.  Somerset's face tightens as he concentrates 
     on the metronome.  His eyes close tighter.  Tick... tick... 
     tick.  The swingarm moves evenly.  Somerset's breathing 
     deepens.

     Tick... tick... tick.  The car alarm seems quieter.

     Tick... tick... tick.  Somerset continues his concentration.  
     The metronome's sound seems louder.

     Tick... tick... tick.  The sound of the car alarm fades, and 
     is GONE.  The metronome is the only sound.

     Somerset's face relaxes as he begins to fall asleep.  Tick...  
     tick... tick...

     INSERT -- TITLE CARD

     SUNDAY

 9   INT.  SOMERSET'S APARTMENT -- MORNING                          9   

     Somerset picks items off a moving box: his keys, wallet, 
     switchblade, gold homicide badge.  Finally, he opens the 
     hardcover book he had with him on the train.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 5
     9-29-00                                                     


     From the pages, he takes the pale, paper rose.

10   INT.  TENEMENT APARTMENT -- DAY                               10   

     Somerset stands before a wall which is stained by a star-
     burst of blood.  A body lies on the floor under a sheet.  A 
     sawed-off shotgun lies not far from the body.  The apartment 
     is gloomy.

     DETECTIVE TAYLOR, 52, stands on the other side of the room, 
     looks through a notepad.

                           TAYLOR
               Neighbors heard them screaming at 
               each other for like two hours.  It 
               was nothing new.  But, then they 
               heard the gun go off.  Both barrels.

                           SOMERSET
               Did the wife confess?

                           TAYLOR
               When the patrolman came she was trying 
               put his head back together.  She was 
               crying too hard to say anything.

     Somerset beings walking around the apartment.

                           SOMERSET
               Why always like this?  Only after 
               the fact... this sudden realization, 
               that if you shoot someone, or stick 
               a knife in them, that person will 
               cease to exist.

                           TAYLOR
               Crime of passion.

                           SOMERSET
               Yes.  Look at all the passion 
               splattered up on the wall here.

                           TAYLOR
               This is a done deal.  All but the 
               paperwork.

     Taylor shifts his weight, impatient.  Somerset looks at a 
     coloring book open on the coffee table.  There are crayons 
     beside it.  Somerset picks the book up, flips through the 
     pages.

                           SOMERSET
               Did their son see it happen?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 6
     9-29-00                                                     


                           TAYLOR
               I don't know.

     Taylor closes his notebook, perturbed.  Somerset looks at 
     the pictures of cute, crudely colored animals.

                           TAYLOR (CONT'D)
               What kind of fucking question is 
               that anyway?

     Taylor walks over and grabs the coloring book to get his 
     attention.

                           TAYLOR (CONT'D)
               You know, we're all real glad we're 
               getting rid of you, Somerset.  You 
               know that?  I mean, it's always these 
               questions with you... "Did the kid 
               see it?"  Well, who gives a fuck?  
               Huh?
                    (points)
               He's dead.  His wife killed him.

     Taylor throws the coloring book back to Somerset and walks.

                           TAYLOR (CONT'D)
               Anything else has nothing to do with 
               us.

     Taylor leaves, pushing past DETECTIVE DAVID MILLS, 31, who 
     is just entering.  Mills is muscular and handsome.  He looks 
     back at Taylor, then around the apartment, a bit disoriented.

     Somerset puts down the coloring book.  He stares at the floor, 
     showing no reaction to Taylor's tantrum.

                           MILLS
               Uh, Lieutenant Somerset?

     Somerset turns to see Mills.

11   EXT.  CITY STREET -- DAY                                      11   

     A body bag is carried through a crowd of people outside the 
     tenement building.

     Somerset follows the body bag out and Mills follows Somerset.

     They walk towards the end of the filthy block, past a man 
     urinating on a car.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 7
     9-29-00                                                     


                           MILLS
               I'm a little thrown.  I just got in 
               town like twenty minutes ago and 
               they dumped me here.

                           SOMERSET
               Since we're just starting out, I 
               thought we could go to a bar... sit 
               and talk for awhile.  After that, 
               we'll...

                           MILLS
                    (interrupting)
               Actually, if it's all the same, I'd 
               like to get to the precinct house 
               a.s.a.p.  Seeing how we don't have 
               much time for this whole transition 
               thing.

     Somerset keeps walking, says nothing.

                           MILLS (CONT'D)
               I need to start getting the feel of 
               it all, right?  Meet the people.

                           SOMERSET
               I meant to ask you something, Mills, 
               when we spoke on the phone.  I can't 
               help wondering... why here?

                           MILLS
               I... I don't follow.

                           SOMERSET
               All this effort you've made to get 
               transferred, it's the first question 
               that pops into my head.

                           MILLS
               I'm here for the same reasons as 
               you, I guess.  Or, at least, the 
               same reasons you used to have for 
               being here before...  before you 
               decided to... quit.

     Somerset stops and faces Mills.

                           SOMERSET
               You just met me.

                           MILLS
               Maybe I'm not understanding the 
               question.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 8
     9-29-00                                                     


                           SOMERSET
               It's very simple.  You worked a nice, 
               quiet town, but you fought to get 
               here as if your life depended on it.  
               I've just never seen it done that 
               way before, Detective.

                           MILLS
               Maybe I thought I could do more good 
               here than there.  I don't know.  
               Look, it'd be great by me if we didn't 
               start right off kicking each other 
               in the balls.  But, you're calling 
               the shots, Lieutenant, so...  however 
               you want it to go.

                           SOMERSET
               Let me tell you how I want this to 
               go.  I want you to look, and I want 
               you to listen.

                           MILLS
               I wasn't standing around guarding 
               the local Taco Bell.  I've worked 
               homicide for five and a half years.

                           SOMERSET
               Not here.

                           MILLS
               I realize that.

                           SOMERSET
               Well, over the next seven days, do 
               me the favor of remembering it.

     Somerset turns and walks away.  Mills stands a moment, pissed.

     He follows after Somerset.

     INSERT -- TITLE CARD

     MONDAY

12   INT.  SOMERSET'S APARTMENT -- EARLY MORNING                   12   

     Somerset lies asleep in bed.  It is still dark outside.  The 
     PHONE beside the inactive metronome RINGS.  Somerset awakens 
     suddenly, startled.  He looks towards the phone.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                   p. 9
     9-29-00                                                     


13   INT.  MILLS' APARTMENT, BEDROOM -- EARLY MORNING              13   

     It is just barely becoming light outside.  Mills is wide 
     awake in bed beside the sleeping form of his wife, TRACY, 
     30.  Mills looks tired.  He listens to passing traffic.  He 
     covers his eyes with his forearm.

     He takes his arm away and sits up, frustrated, sits on the 
     edge of the bed.  The room is a shambles, filled with moving 
     boxes.

     Light coming through the window glows upon a football trophy 
     sticking from one box.

     Large and noble, a golden player stands in frozen motion at 
     the trophy's pinnacle.

     Mills looks at the trophy and a fond smile forms on his face.

     The PHONE RINGS.  Mills looks towards it.  Tracy awakens.  
     She looks up with half-opened eyes, a beautiful woman.

                           TRACY
               What is it?

     Phone rings.  Mills reaches to touch Tracy's shoulder.

                           MILLS
               It's okay.

     Mills leans to get the phone.  Tracy seems frightened.

                           TRACY
               Honey... where are we?

14   EXT.  APARTMENT BUILDING, ALLEYWAY -- EARLY MORNING           14   

     Somerset and Mills, both wearing badges, walk with OFFICER 
     DAVIS, a beefy, uniformed cop.  They pass police cars and 
     head into a trash strewn alleyway.  Davis hands Somerset two 
     flashlights.

                           DAVIS
               Everything's like I found it.  I 
               didn't touch anything.

                           SOMERSET
               What time did you confirm the death?

                           DAVIS
               Like I said, I didn't touch him, but 
               he's had his face in a plate of
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 10
     9-29-00                                                     


                           DAVIS (CONT'D)
               spaghetti for about forty-five minutes 
               now.

     They reach a rusty, side door, which Davis pulls open.

15   INT.  APARTMENT BUILDING, STAIRWELL -- EARLY MORNING          15   

     They enter a dark, ugly stairwell.

                           MILLS
                    (to Davis)
               Hold on... you mean you didn't check 
               for vital signs?

                           DAVIS
               Did I stutter?  Believe me, he ain't 
               breathing, unless he's started 
               breathing spaghetti sauce.

                           MILLS
               The point is, whenever you find...

                           DAVIS
               Begging your pardon, but the guy's 
               sitting in pile of his own shit and 
               piss.  If he ain't dead, he would've 
               stood up by now.

     Mills is angry, about to speak, but Somerset heads him off.

                           SOMERSET
                    (to Davis)
               Thank you, officer.  We'll need to 
               talk to you again, after we've looked 
               around.

                           DAVIS
               Yes, sir.

     Davis walks out, eyeing Mills.  Mills watches him go.  The 
     rusty door slams shut behind Davis.  It's very dark.  Somerset 
     turns on his flashlight, hands the other to Mills and starts 
     upstairs.

                           SOMERSET
               I wonder what exactly was the point 
               of the conversation you were about 
               to get into?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 11
     9-29-00                                                     


                           MILLS
               And I wonder how many times Officer 
               Davis there has found a dead man who 
               wasn't really dead until Davis was 
               in the car calling it in and eating 
               a donut.

                           SOMERSET
               Drop it.

                           MILLS
               For now.

16   INT.  APARTMENT BUILDING, HALLWAY -- EARLY MORNING            16   

     Somerset comes from the stairwell, looking down the dark 
     hall.

     At the end of the hall, a door is open.  The light of a CAMERA 
     FLASH spills out from that room every few seconds.

     Mills and Somerset move on.  Somerset takes out rubber gloves 
     and slips them on, looking at something on the floor ahead.  
     A yellow RECYCLING BIN sits just outside the door.  It 
     contains many neat, string-bound stacks of issues of READER'S 
     DIGEST.

17   INT.  APARTMENT, LIVING ROOM -- EARLY MORNING                 17   

     There are lights on in this room.  Lamps with dusty shades.  
     A few porn mags on a table.  Somerset and Mills cross.  A 
     couch against one wall is piled with yellowed, once white 
     pillows.  It faces two small televisions, both on with no 
     sound.

18   INT.  APARTMENT, KITCHEN -- EARLY MORNING                     18   

     Somerset and Mills enter, using their flashlights in the 
     dark.

     Mills takes out a handkerchief, covering his nose.  ERIC is 
     crouched on the floor, putting camera equipment away.

     He's wearing a medical mask over his face.  He hoists his 
     bag and moves past the detectives.

                           ERIC
               Enjoy.

     Eric leaves.  Somerset sweeps the room with his flashlight...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 12
     9-29-00                                                     


     At the stove, each burner has a used pot or pan on it.  Food 
     has been slopped there and on the adjoining counter-top and 
     sink.

     Used utensils are everywhere, along with empty tin cans and 
     jars.

     Cockroaches swarm.

     The flashlight beam follows a trail of dripped sauces, soups 
     and crumbs of food across the floor from the stove to a 
     kitchen table.  The kitchen table is covered in soiled paper 
     plates which hold bits of half-eaten sandwiches, potatoes, 
     beef stew, donuts and many other junk foods.

     The kitchen is tiny; barely enough room for three people.  
     The kitchen table is at the center of the room.  An OBESE 
     MAN is slumped forward in a kitchen chair.  He is face down 
     dead in a plate of spaghetti.

                           MILLS
               Christ... somebody phone Guinness.  
               I think we've got a World's Record 
               here.

     Mills walks to the dead man, leaning to study, without 
     touching.

                           MILLS (CONT'D)
               Who said this was murder?

                           SOMERSET
               No one yet.

                           MILLS
               Then, why are we wasting our time?  
               This guy's heart's got to be roughly 
               the size of a canned ham.  If this 
               isn't a coronary, I don't know what 
               is.

     Somerset moves his flashlight beam down the obese corpse, 
     stops at the man's feet.  Somerset kneels.

     At the obese man's pants cuff, there's a tiny bit of rope 
     sticking out.  Somerset uses a pen to lift the pants leg.  
     Rope is tied around the swollen, purple ankle.

                           MILLS (CONT'D)
               Or not.

     Somerset stands and steps back.  Mills bends to take his 
     place, looking under the table and shining his flashlight

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 13
     9-29-00                                                     


     into the corpse's lap.  The obese man's bloated hands are 
     folded there, bound tightly with rope.

                           MILLS (CONT'D)
               Still... he could have tied himself 
               up, to make it look like murder.  I 
               saw a guy once... committed suicide, 
               but wanted to make sure his family 
               could collect the life insurance, 
               right?

     Somerset does not listen.  He is focused on the corpse, 
     studies the back of the man's head and neck.  He runs his 
     pen against the back of the corpse's neck, combing the hair 
     upwards.

     There are small circular and semi-circular BRUISES on the 
     back of the obese man's head and neck, some hidden under the 
     hair.

                           MILLS (CONT'D)
               When we found him, he was lying there 
               with a knife in his back, so what 
               else could it be but homicide?  
               Except, I finally figured out... he 
               held the knife behind him... put the 
               tip of it in his own back and got 
               real close to the wall... then he 
               shoved his body backwards...

                           SOMERSET
                    (irritated)
               Please be quiet for a while, would 
               you?

     Mills looks up at Somerset from below.  Somerset remains 
     focused on the bruises.

                           MILLS
                    (sarcastic)
               Oh, yes, sir.  Forgive me.

     Mills stands and walks around to the other side of the table, 
     where he gets down again.

                           MILLS (CONT'D)
               There's a bucket here.

                           SOMERSET
               What?

                           MILLS
               There's a bucket.  Under the table.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 14
     9-29-00                                                     


     Somerset crouches, pulls up the cheap tablecloth on his side 
     of the table.  A METAL BUCKET sits under the table.

                           SOMERSET
               What is it?

     Mills slides under with his flashlight, angling in the 
     confined space to look.  He is repulsed and pulls back.

                           MILLS
               It's vomit.

     Mills stands and backs away, near the refrigerator, not 
     wanting to be anywhere near that bucket.

                           MILLS (CONT'D)
               It's a bucket of vomit.

                           SOMERSET
               Is there any blood in it?

                           MILLS
               I don't know.  Feel free to look for 
               yourself, okay?

     Somerset stands, stares at the obese man.  He shakes his 
     head, perplexed.  There is a KNOCK at the door.  The 
     detectives look to see DOCTOR THOMAS O'NEILL, 52, the medical 
     examiner, in the doorway.  O'Neill is looking at the ceiling.  
     He flicks the lights switch.  No light, so he flicks the 
     switch up and down.

                           O'NEILL
               Wonderful.

     O'Neill seems a bit gone.  He drops his black bag onto the 
     floor beside the corpse.  he begins to sort through the bag, 
     surgical tools clinking together.

     Mills turns to open the refrigerator.  It's nearly empty.

                           MILLS
                    (to Somerset)
               You think it was poison?

                           SOMERSET
               Guessing at this point is useless.

     The trash can beside the refrigerator is filled to the brim 
     with empty food containers.  Mills begins to poke around 
     with a pen.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 15
     9-29-00                                                     


                           O'NEILL
               You girls have got forensics waiting 
               outside.  I don't know if we'll all 
               fit though.

                           MILLS
               There's room.  Light's the problem.

     Somerset looks at Mills, then at the space limitations.

                           SOMERSET
               Still... two is company here.  And, 
               three is certainly a crowd.
                    (pause)
               Detective Mills, go help the officers 
               question the neighbors.

     Mills looks up, not pleased.

                           MILLS
               I'd rather stay on this.

     Somerset is looking at the corpse.

                           SOMERSET
               Send one of the forensics in on your 
               way out.

     Mills does not move.  He lifts his flashlight to shine the 
     light on the side of Somerset's face.  A moment.  Somerset 
     looks at Mills, the light shining directly in Somerset's 
     eyes.  A longer moment.  Mills switches off the light and 
     leaves.

     O'Neill places both hands on the dead man's head and lifts 
     the swollen visage from the spaghetti.

                           O'NEILL
               He is dead.

                           SOMERSET
               Thank you, Doctor.

19   INT.  SOMERSET'S CAR -- DAY                                   19   

     Somerset drives with Mills as the passenger.  Heavy city 
     traffic.

     Both stare ahead in silence.  Mills is a bundle of nerves.

                           MILLS
               You've seen my files, right?  Seen 
               the things I've done?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 16
     9-29-00                                                     


                           SOMERSET
               No.

                           MILLS
                    (looking out window)
               Anyway... I did my time on door-to-
               doors, and walking a beat.  I did 
               all that shit for a long time.

                           SOMERSET
               Good.

                           MILLS
               The badge in my pocket says 
               "detective," same as yours.

                           SOMERSET
               I made a decision, because I have to 
               consider the integrity of the scene.  
               I can't worry whether you think you're 
               getting enough time on the playing 
               field.

                           MILLS
               Yeah, well, all I want is...
                    (pause)
               Just, just don't be jerking me off.  
               That's all I ask.  Don't jerk me 
               off.

     Mills looks at Somerset.  Somerset keeps his eyes on the 
     road, but nods slightly.  That said, Mills slumps low into 
     his seat.

                           SOMERSET
               We'll be spending every waking hour 
               together till I leave.  I'll show 
               you who your friends are, and your 
               enemies.  I'll help you cut through 
               the red tape and I will help you 
               "integrate," as the captain puts it.  
               However...
                    (pauses, clears throat)
               No matter how much you beg or plead...  
               jerking off is something you'll have 
               to do for yourself.

     This throws Mills.  Somerset has a sense of humour?

                           SOMERSET (CONT'D)
               Is that clear?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 17
     9-29-00                                                     


                           MILLS
               Okay... sure...  It's just that, 
               with my old partner, you know...

                           SOMERSET
               I just don't think we should have 
               that sort of relationship.  We'd 
               start quarreling over insignificant 
               things.

     Mills lets out a nervous laugh, feels a bit of weight off 
     his shoulders.

                           MILLS
               Whatever you say, Detective.  
               Beautiful.

20   INT.  AUTOPSY ROOM -- DAY                                     20   

     The room is large, cold and clean.  Stainless steel and white 
     tile.  Many pathologists work at slabs.  A bone saw screams.

     Mills and Somerset are with DOCTOR SANTIAGO, who stands over 
     the obese corpse which is pretty well dissected already.

                           SANTIAGO
               He's been dead for a long time, and 
               I can tell you it was not a poison.

     Santiago moves to make room for Mills to stand beside him.  
     Mills moves up a little, but not much, looking on in disgust.  
     Santiago reaches into the man's belly.  We do not see.

                           MILLS
               Ah, man... how does somebody let 
               himself go like that?  Look at the 
               blubber.

     Santiago moves something and there is a squashy sound.

                           SANTIAGO
               It took four orderlies and me all 
               together just to put this body on 
               the table.

                           MILLS
               How did the fat fuck ever fit out 
               the door of his apartment?

                           SOMERSET
               Yes, it's obvious he was a shut-in.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 18
     9-29-00                                                     


                           SOMERSET (CONT'D)
               Not an enviable life, but, maybe he 
               still deserves a modicum of respect 
               in spite of that.

                           SANTIAGO
               Are you looking here?  First... see 
               how big this stomach is.  And, see 
               the strange thing.  Stretches.  And, 
               here it is distended.  Look at the 
               size of that, because of all the 
               foods.

                           MILLS
               I can see what you're pointing at, 
               but...

                           SANTIAGO
               Lines of distention across the 
               stomach, and parts have ripped open.

                           SOMERSET
                    (disbelief)
               Doctor, are you saying... this man 
               ate till he burst?

                           SANTIAGO
               Well, he didn't really burst.  Not 
               all the way.  But, he was bleeding 
               inside himself, and there is a 
               hematoma on the outside, on the belly.  
               Very large.

                           MILLS
               He died by eating?

                           SANTIAGO
               Yes.  And, there's something else 
               here you have to look at and see.

     Santiago goes to root through many jars on a table.  Somerset 
     walks around the slab, looking down at the obese man's propped 
     up, partially shaved head.

                           SOMERSET
               These bruises on the victim's head...

     More round and semi-circular bruises have been revealed, all 
     about the same diameter as a dime.

                           SANTIAGO
               I don't know what they are yet.  
               They...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 19
     9-29-00                                                     


                           SOMERSET
               They could have been caused by a 
               gun.  The barrel of a gun... pressed 
               against the back of his head.

     Santiago picks up the jar he was looking for, comes to lean 
     and look at the obese man's head, nodding again.

                           SANTIAGO
               If it was jammed against him hard 
               enough, sure.  It's possible.  Here...

     Santiago gives the jar to Somerset.

                           SANTIAGO (CONT'D)
               Most of the stomach's food contents 
               are in the lab now.... but, these... 
               I found these in his stomach too.

     Somerset holds the jar up.  Inside are many little pieces of 
     blue plastic.  They are curled slightly, as if they are 
     scrapings.

     Somerset hands the jar to Mills.  Mills shakes it, studying.

                           MILLS
               Plastic?

                           SANTIAGO
               Why these are in a fat man's stomach, 
               I don't know.

21   INT.  APARTMENT, KITCHEN -- DAY                               21   

     The room where the obese corpse was found is now lit by 
     fluorescent light.  Two forensics, a MALE and FEMALE, are 
     dusting for prints.  Somerset and Mills are on their hands 
     and knees.

     Somerset holds the jar and touches the linoleum floor.

                           SOMERSET
               Same color and texture.

                           MILLS
                    (to forensics)
               Have you found any plastic scrapings 
               near the stove or sink?  Near the 
               food?

                           MALE FORENSIC
               What do you mean?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 20
     9-29-00                                                     


     Mills and Somerset continue looking around the floor.

                           MILLS
                    (to Somerset)
               This doesn't make any sense.

                           SOMERSET
               You always have to find one singular 
               thing to focus on.  There's always 
               one thing, and it may be as small as 
               a speck of dust, but you find it and 
               focus... till it's an exhausted 
               possibility.

     The forensics watch, curious.  Somerset is near the 
     refrigerator.

                           MILLS
               It could be nothing.

                           SOMERSET
               But, why would there be so many pieces 
               in his stomach if it were nothing?  
               It must have been intentional.

     Somerset stops.  There are deep scratches here in the 
     linoleum.

     He fingers the grooves, then takes a piece of the plastic 
     from the jar.  He holds the piece to the floor, fiddles... 
     fits it into one of the scratches.

     Somerset gets off the floor and looks down.  These scratches 
     are in front of the refrigerator.  it looks like they were 
     caused by the refrigerator having been pulled away from the 
     wall and pushed back into place at some time.

                           SOMERSET (CONT'D)
                    (to Mills)
               Come here.

22   INT.  APARTMENT, KITCHEN -- LATER DAY                         22   

     Mills and Somerset pull the refrigerator, rocking it back 
     and forth away from the wall to get a clear view behind it.  
     They strain, pull it a few more feet, and release.

     Mills leans to look at the wall behind.  Shock.

                           MILLS
               Holy shit.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 21
     9-29-00                                                     


     Somerset comes to look.  Behind the refrigerator, there is a 
     space on the wall where the dust has been wiped away.  In 
     that space, the words: ONE IS GLUTTONY.  The letters have 
     been smeared on in grease.  A NOTE is pinned beside them.

23   INT.  PRECINCT HOUSE, CAPTAIN'S OFFICE -- EARLY EVENING       23   

     The captain's office is filled with pictures, books and 
     mugsheets.  Piles of paperwork abound, yet the office is 
     meticulously well kept.  The CAPTAIN, 50, sits at his tidy 
     desk.

     He wears a white shirt and conservative tie.

     He's a calm man, but whenever he is not speaking, without 
     fail, he clenches his jaw over and over, causing the muscles 
     in his neck and jaw to pulse.  Somerset and Mills sit before 
     him.

                           SOMERSET
               The bruises were caused by the muzzle 
               of a forty-five.  So, there was a 
               gun against his head and he was given 
               a choice.  Eat, or get your brains 
               blown out.

     Somerset gets up to pace.

                           SOMERSET (CONT'D)
               He ate his fill, and was forced to 
               continue eating... till his body 
               rejected the food.  the killer held 
               a bucket under him, and then kept 
               serving.  He took his time.  The 
               coroner says this might have gone on 
               for more than twelve hours.  The 
               victim's throat was swollen from the 
               effort, and there was probably a 
               point where he passed out.  That's 
               when killer kicked him in the stomach.  
               Popped him.

                           MILLS
               This was one sadistic motherfucker.

                           CAPTAIN
               That seems obvious.

     Somerset picks up a photocopy of the NOTE from behind the 
     fridge.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 22
     9-29-00                                                     


                           SOMERSET
                    (reads)
               "Dear Detectives, Long is the way, 
               and hard, that out of hell leads up 
               to light."  It's the murderer's way 
               of announcing himself.

                           CAPTAIN
               Announcing what?

                           SOMERSET
               There are seven deadly sins.  
               Gluttony, wrath, greed...

                           CAPTAIN
               So what?  This victim...

                           SOMERSET
               ... envy, sloth, pride and lust.  
               Seven.

                           CAPTAIN
               Hey, so gluttony is one of the seven 
               deadly sins.  But, this was a fat 
               guy.  The killer may have felt this 
               was the just best way to torture 
               him.  And, writing on the walls 
               happens all the time.  It's like the 
               fashionable thing to do.

                           SOMERSET
               One is gluttony.

     The captain is disgruntled, clenching his jaw, looks at Mills.

                           MILLS
               This is his stuff.  I've been out in 
               the cold all day.

                           SOMERSET
               This is a premeditated puzzle, and 
               it's only the beginning.

                           CAPTAIN
               Always working up there, huh, 
               Somerset?  Big brain's always cooking.

     Somerset sits.

                           SOMERSET
               I'm declining this case.  I want us 
               reassigned.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 23
     9-29-00                                                     


                           MILLS
               Whoa, whoa... what?!

                           CAPTAIN
               What's this: "I'm declining this 
               case?"  It don't work that way.

                           SOMERSET
               This can't be my last duty here.  It 
               will go on and on.

                           CAPTAIN
               I know what you're thinking, okay?  
               You don't want to get in bed with 
               this every night, but it's different 
               now.  You're retiring.  In six days 
               you're all the way gone.

     Somerset shakes his head.

                           CAPTAIN (CONT'D)
               You've left unfinished business 
               before.

                           SOMERSET
               Everything else was taken as close 
               to conclusion as humanly possible.  
               Also...  this shouldn't be his first 
               assignment.

                           MILLS
               This isn't my first assignment, 
               dickhead.  What the hell?

     Mills stands, furious.

                           CAPTAIN
               I don't have anyone else to give 
               this to, Somerset, you know that.  
               And nobody's going to swap with you.

                           MILLS
               Give it to me.

                           CAPTAIN
               How's that?

                           MILLS
               There's nothing that says I have to 
               work with him.  If Somerset wants 
               out, "goodbye."  Give it to me.

     The captain considers this.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 24
     9-29-00                                                     


                           SOMERSET
               It's too soon for him.

                           MILLS
                    (to the captain)
               Can we talk about this in private?

     The captain looks at Somerset, then at Mills.

                           CAPTAIN
               That's not necessary.  You're in.

                           MILLS
               Thank you.

                           CAPTAIN
               Go start picking up the pieces.  
               We'll shuffle some paper and try to 
               get you a new partner.

     Mills looks at Somerset, then leaves, closing the door.  
     Somerset seems deflated, staring at the floor.  He looks at 
     the captain.

                           CAPTAIN (CONT'D)
               You win, Somerset.  You're out.

     INSERT -- TITLE CARD

     TUESDAY

24   EXT.  CITY STREET -- DAY                                      24   

     A newspaper vendor lays out a pile of tabloid newspapers at 
     the front of his busy newsstand.

     The papers' headline is: BIZARRE MURDER!, in huge, black 
     print.

     The vendor lays out another tabloid pile.  Headline: "EAT OR 
     DIE"

     SAYS GLUTTONY KILLER!!, in big, red letters.

     The vendor throws down a third tabloid stack.  SICKENING 
     MURDER -- EXCLUSIVE DETAILS INSIDE!, it reads.

25   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY                25   

     The office is old, with a single window which faces a 
     billboard.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 25
     9-29-00                                                     


     TRAFFIC is HEARD from outside.  There are moving boxes on 
     the floor.  Somerset is at his desk with paperwork in two 
     sloppy piles.  He uses a manual typewriter, filling in a 
     yellow form.

     He types hunt-and-peck, slowly.  He finishes the form and 
     pulls it out.  There is a knock at the door.

                           SOMERSET
               Come in.

     The captain pushes the door and stands in the doorway with a 
     PAINTER/WORKMAN at his side.

                           CAPTAIN
               Excuse us.  We have some business to 
               take care of.

     As always, the neatly groomed captain clenches his jaw.

     Somerset lines a new form in the typewriter, starts typing.

     The captain strolls in.  Two boxes sit on the floor with 
     DETECTIVE MILLS written across them.  He picks up one of the 
     boxes and sets it on top of the other.

     At the open door, the workman takes a razor blade from his 
     kit.

     He brings it against the writing on the glass of the door:

     DETECTIVE SOMERSET.  The workman pushes the razor to start 
     scraping the name away, and the razor on glass sounds like 
     fingernails on a blackboard.

     Somerset looks up.

                           WORKMAN
               Sorry.

     Somerset turns back to the typing, hunt-and-peck.  The captain 
     watches.  The workman continues.

                           CAPTAIN
               Have you heard?

                           SOMERSET
                    (not looking up)
               No, I haven't heard.

                           CAPTAIN
               There was a second.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 26
     9-29-00                                                     


     Somerset stops, looks at the captain.

                           SOMERSET
               Already.

                           CAPTAIN
               Greed.  It was written in blood.

     Somerset thinks about this, then turns to type.

                           SOMERSET
               It's none of my business anymore.

                           CAPTAIN
               I thought you might want to be filled 
               in.

                           SOMERSET
               I'm sure everyone's doing their best.

                           CAPTAIN
               Yeah.

                           SOMERSET
               Good.

     Hunt-and-peck.  The captain's jowls clamp.  He steps up to 
     Somerset's desk, begins to straighten the two piles of forms.

                           CAPTAIN
               Come on.  What are you going to do 
               with yourself out there?

                           SOMERSET
               I'll get a job, maybe on a farm.  
               I'll work on the house.

                           CAPTAIN
               Can't you feel it yet?  Can't you 
               feel that feeling... ?  You're not 
               going to be a cop anymore.

                           SOMERSET
               What are you talking about?

                           CAPTAIN
               You know.

     Somerset reclines, facing the captain.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 27
     9-29-00                                                     


                           SOMERSET
               Did you read in the paper today, 
               about the man who was walking his 
               dog?  he was attacked, and his wallet 
               and his watch were taken.  And then, 
               while he was still lying unconscious, 
               his attacker stabbed him with a knife 
               in both eyes.  It happened four blocks 
               from here.

                           CAPTAIN
               I heard.

                           SOMERSET
               I have no understanding of this place 
               anymore.

                           CAPTAIN
               It's always been like this.

                           SOMERSET
               Really?

     Somerset saddles up to the typewriter.

                           SOMERSET (CONT'D)
               Maybe you're right.

     The captain lays the paperwork down.  Both piles are now 
     neat.

                           CAPTAIN
               You do this work.  You were made for 
               it, and I don't think you can deny 
               that.  I certainly can't believe 
               you're trading it in for a tool belt 
               and a fishing rod.
                    (pause, walks to leave)
               Maybe I'm wrong.

     The captain leaves.  Somerset looks up.  He grabs the 
     paperwork piles and ruffles them back to their disheveled 
     state.  He looks up at the workman.

     The workman is looking at Somerset, has a rag in his hand to 
     remove the last remnants of Somerset's name.

                           SOMERSET
                    (angrily)
               Try putting a little elbow grease 
               into it.

     The workman is startled, continues his work.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 28
     9-29-00                                                     


26   INT.  SOMERSET'S APARTMENT, LIVING ROOM -- LATE NIGHT         26   

     There is a dart board on one wall.  THWACK -- Somerset's 
     switchblade hits the board and embeds.

     Somerset crosses the nearly empty living room and takes the 
     blade from the dart board.  He walks back to stand in front 
     of the only chair in the room.  He throws the switchblade.

     It embeds in the dart board.  Somerset sits.

     He picks a book off the floor and holds it in his lap.  KIDS 
     can be HEARD CURSING and playing LOUD MUSIC from outside the 
     shuttered window.  Somerset stares at the ceiling.  He opens 
     the book and looks at the pages... stares at the pages...

     He puts the book back down on the floor.

27   EXT.  CITY STREET -- LATE NIGHT                               27   

     Somerset gets out of his car.  He walks down the sidewalk 
     with a notebook in hand.  THUNDER is HEARD.  He takes a 
     cigarette out of a full pack and lights it.

     He walks along the avenue.  Cars race by in the street.  
     People walk briskly past.  At a public phone, a man shouts 
     curses angrily into the phone, then starts pounding the phone 
     box with the receiver.  A fire engine passes in the street, 
     sirens, horn and lights going full blast.

     Somerset starts up a flight of massive stone stairs, past 
     several sleeping vagrants.  One VAGRANT sits up and looks to 
     Somerset.

                           VAGRANT
               Spare me a cigarette?  Spare a 
               cigarette?

                           SOMERSET
               Sorry, last one.

     Ahead of Somerset, the library looms, a solid, powerful 
     structure.

28   INT.  PUBLIC LIBRARY, MAIN LIBRARY -- LATE NIGHT              28   

     Somerset and GEORGE, 62, the night guard, enter the vast 
     space of the deserted main library.

     The lamps hanging from the ceiling give off a warm, pleasant 
     glow over mahogany tables and chairs.  To each side of this 
     center area are tall bookshelves.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 29
     9-29-00                                                     


     Balconies surround the room on all four sides; three levels 
     which overlook the center.

     Somerset is happy.  This is his element, this peaceful, 
     elegant place.  George motions to the long, empty tables.

                           GEORGE
               Sit where you'd like.

                           SOMERSET
               Thanks, George.

                           MAN'S VOICE (O.S.)
               Hey there, Smilely.

     Somerset looks up to the top balcony where TWO OTHER SECURITY 
     GUARDS and one JANITOR look over the banister.

                           SOMERSET
               Evening, gentlemen.

     They all say their hellos.

                           FIRST GUARD
               Come on, George.  Cards are getting 
               cold.

                           GEORGE
                    (to Somerset)
               Duty calls.

     George pumps Somerset's hand, then moves to a stairwell 
     leading to the balconies.  Somerset walks down the main aisle, 
     looks around at the shelves and shelves of books.

     George reaches the top balcony and the others sit at a card 
     table where a poker game is in progress.

     Somerset puts his notebook down on one table and switches on 
     a green banker's lamp.  THUNDER SOUNDS.  Somerset looks up.

     Rain is beginning to fall on the windows of the high ceiling.

                           SOMERSET
                    (shouts up)
               All these books, gentlemen... a world 
               of knowledge at your disposal, and 
               you play poker all night.

     UP ON THE BALCONY

     George has taken a huge BOOM-BOX from a broom closet.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 30
     9-29-00                                                     


                           JANITOR
               We got culture.

                           SECOND GUARD
                    (dealing cards)
               Yeah, we got culture coming out our 
               asses.

     They laugh.  George sets the boom-box against the railing of 
     the balcony so the speakers face towards Somerset.

     DOWN ON THE MAIN FLOOR

     Somerset has gone into one bookshelf aisle.  Poker table 
     conversation echoes from above.  Somerset searches books, 
     reading spines.  He finds one book and pulls it, continues 
     searching.

     UP ON THE BALCONY

     George hits play on the boom-box and turns the volume way 
     up.

                           GEORGE
               How's this for culture?

     DOWN ON THE MAIN FLOOR

     Somerset keeps looking for books.  From far away come the 
     strains of MOZART MUSIC filling the air.  High, drifting 
     music, such as AIR (On the G string.)  Somerset stops, 
     listens.

     He closes his eyes and soaks it in.

     UP ON THE BALCONY

     George sits at the card table, takes out a cigar and lights 
     up.

     He looks to the ground floor.

                           GEORGE (CONT'D)
               Where'd you get to, Smilely?

     Below, Somerset comes out from the aisle.

     DOWN ON THE MAIN FLOOR

     Somerset looks up at George.

                           SOMERSET
               Thank you.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 31
     9-29-00                                                     


29   INT.  PUBLIC LIBRARY, MAIN LIBRARY -- LATER NIGHT             29   

     MUSIC CONTINUES, spinning through the air like a slow, cool 
     breeze.

     Somerset walks, surrounded by books, carrying several.  He 
     pulls another off a shelf and adds it to his pile.

     UP ON THE BALCONY

     George lays down a winning hand.  The others toss in their 
     cards in disgust.  George laughs, spouting cigar smoke.

     Cigar smoke floats up in the air, thinning gracefully.  Above, 
     rain continues dancing on the ceiling windows.

     DOWN ON THE MAIN FLOOR

     Somerset sits, opens a book on the table and reads.

30   INT.  MILLS' APARTMENT, BEDROOM/LIVING ROOM -- NIGHT          30   

     MUSIC CONTINUES, uninterrupted over this scene.  Music so 
     pretty it is almost sad.  Tracy, in a nightgown, sits up in 
     bed, tense, She throws off the covers and goes to the door.

     She stands looking into the living room where Mills is at a 
     desk.

     Mills sorts through paperwork and photos with his back to 
     Tracy.

     A basketball game is on the television, but he pays it no 
     mind.

     He sits forward, obviously frustrated, drinks coffee.  He 
     does not know Tracy is there.

     Tracy watches her husband, concerned.

31   INT.  PUBLIC LIBRARY, MAIN LIBRARY -- NIGHT                   31   

     MUSIC CONTINUES.  Somerset has two books open.  He opens his 
     notebook and brings a pen to bear.  Writes:

     SEVEN DEADLY SINS

     GLUTTONY     GREED     WRATH    LUST     PRIDE     ENVY    
     SLOTH 

     He crosses out GLUTTONY and GREED.  Somerset picks up one 
     book:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 32
     9-29-00                                                     


     DANTE'S PURGATORY.  Volume II of the DIVINE COMEDY.  Somerset 
     opens it:

     -------------------------------------------------------------

     THE EARTHLY PARADISE    |

     -------------------------------------------------------- /\  
     |

     /  \ |

     VII The Lustful         /____\|

     /      |

     VI THE GLUTTONOUS    /_______|

     7 TERRACES OF                                /        |

     V The Avaricious  /         |                                    
     and Prodigal   /__________|

     PURGATION                               /           |                                                 
     /            |                                                
     /             |

     IV The Slothful  /______________|

     /               |                                             
     /                |                                            
     /                 |

     III The Wrathful     /__________________|

     /                   |

     II The Envious    /____________________|

     /                     |

     I The Proud    /______________________|

     /                       |                                     
     /                        |                                    
     /       THE ISLAND        | /                          | / 
     OF PURGATORY       |                                 /                            
     | 
     _______________________________/_____________________________| 
     UP ON THE BALCONY

     George and the guys finish another hand.  George looks down 
     at Somerset, who is writing in the notebook.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 33
     9-29-00                                                     


     George takes up the cards and starts shuffling.

                           GEORGE
                    (down to Somerset)
               You know, Smilely... you're really 
               going to miss us.

     George shuffles again, but they flip wrong and a few go off 
     the table, over the balcony.

     DOWN ON THE MAIN FLOOR

     Somerset looks up at George, then looks around.

                           SOMERSET
               I just might.

                           ABOVE
               The cards George dropped are 
               fluttering, flipping downwards.

32   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- EARLY EVENING      32   

     The office is dark.  Somerset is at his desk, writing:

     DETECTIVE MILLS,  YOU MAY WANT TO LOOK AT THE FOLLOWING BOOKS, 
     RELATING TO THE SEVEN DEADLY SINS:

     DANTE'S PURGATORY

     THE CANTERBURY TALES -- THE PARSON'S TALE

     DICTIONARY OF CATHOLICISM

33   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- LATER EVENING      33   

     Somerset lays an envelope on top of the two boxes which have 
     Detective Mills' name on them.  The envelope reads: MILLS.

     INSERT -- TITLE CARD

     WEDNESDAY

34   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- MORNING            34   

     Somerset pushes the door open and notices "DETECTIVE MILLS" 
     painted on the glass.  Rain falls outside.  Somerset goes to 
     his desk, but stops.  All his belongings have been moved to 
     a small, temporary desk in the corner.

     Somerset moves to open the top left drawer of the big desk.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 34
     9-29-00                                                     


     Empty.  He goes to the temporary desk and urgently searches 
     through the boxes of papers and files...  finds what he was 
     looking for.  He holds a small frame which fits in his palm.

     Inside the frame is a PHOTO of an attractive WOMAN.  Somerset 
     pops the frame open, looks at the picture, then puts the 
     picture in his wallet.

     Somerset sits at the temporary desk.  He begins to sort 
     through his papers.  After a moment, he glances over his 
     shoulder.  The envelope he left for Mills is gone.

35   EXT.  UPSCALE CITY BLOCK -- MORNING                           35   

     It's raining.  At one high-rent office building, many business 
     men and women are coming and going in a lunch-hour hurry.  
     Just to one side of the building, the CORONER'S WAGON drives 
     out from the mouth of the parking garage into the rain.  
     People on the sidewalk have to stop to let it cross to the 
     street.  At the same time, a large Lincoln Towncar turns off 
     the street, heads into the bowels of the garage.

36   EXT.  UPSCALE BUILDING, UNDERGROUND GARAGE -- MORNING         36   

     Many police cars and news vans here, and police men and 
     reporters and photographers everywhere.  Mills, looking 
     haggard, finishes a conversation with a TALL COP by the 
     service elevator.

                           MILLS
               ... good.  Do it.  I'm going back 
               up.

     Tall Cop hurries away as Mills pushes repeatedly on the 
     service elevator button.  The elevator doors open and Mills 
     steps in.  As the door are shutting, a COMMOTION is HEARD.  
     Mills stops the door and looks out.

     Across the garage, the Towncar is pulling to a stop and 
     reporters are rushing to it.  FLASHBULBS are FLASHING.

     MARTIN TALBOT, 47, impressive and well dressed, steps out of 
     the car and faces the reporters as they start shouting 
     questions.

     In the service elevator, Mills lets the doors slide shut.

37   INT.  UPSCALE BUILDING, SERVICE AREA -- MORNING               37   

     The service elevator opens to a dark physical plant room.  
     Mills exits the elevator and crosses past humming air-
     conditioning vents, dripping pipes and janitor's lockers.  
     To a door...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 35
     9-29-00                                                     


38   INT.  UPSCALE BUILDING, OFFICE CORRIDOR -- MORNING            38   

     Mills comes out the service area door into a bright, ritzy 
     hallway.  This hall and the doors along it reek of money.  A 
     few cops are standing around.  Ahead there's a police line, 
     which Mills ducks under on his way to stately mahogany doors.

39   INT.  LAW OFFICE -- MORNING                                   39   

     A huge law office.  A television is on in one corner, showing 
     the news.  Windows overlook the rain wet city.  Two FORENSICS 
     dust for prints, whispering to each other when Mills enters.

                           FORENSIC ONE
                    (to other forensic)
               ... going to screw it up.  I swear... 
               I've seen...

     The other forensic clears his throat, getting back to work.

     Forensic One shuts up.  Mills notices this, weary.

                           MILLS
               How's it coming?

                           FORENSIC ONE
               Nothing yet.

     Mills watches them a moment, then turns his attention to 
     another part of the office.  A leather chair sits in an open 
     area.

     The chair and the carpet under it are covered in a goodly 
     portion of brown, dried blood.

     There is a trail of dripped blood from the chair to a large 
     desk.

     On a cleared off section of the desk, a two-armed, counter 
     balance SCALE sits, also blood stained.  The desk has been 
     dusted.  Behind the desk, GREED is written on the wall in 
     blood, near a modern art painting.

     Mills stands staring at this area.  The TELEVISION is HEARD:

                           ANCHOR (V.O.)
                    (from television)
               ... going cut in live downtown right 
               now, where Defense Attorney Eli Gould 
               was found murdered in his office 
               late last night.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 36
     9-29-00                                                     


     District Attorney Martin Talbot is taking questions from 
     reporters...

     ON T.V., Talbot comes on screen, a powerful presence, with a 
     gold tooth in the front of his mouth.  It's from down in the 
     garage.

                           A REPORTER (V.O.)
                    (from television)
               ... a small conflict of interest 
               here?  I mean, your prosecutors have 
               lost more than a few very high profile 
               cases to Mister Gould and his defense 
               team...

                           TALBOT (V.O.)
                    (from television)
               Now, that's ridiculous to the point 
               of almost being offensive.  There's 
               no conflict of interest whatsoever, 
               and any claim that there would be, 
               or could be, is irresponsible.

     Other reporters begin to shout questions, but Talbot's not 
     done.

                           TALBOT (V.O.) (CONT'D)
               Now, hold on... I want to address 
               that.  I've just come from a meeting 
               with law enforcement officials, and 
               they've assured me they put their 
               best people on this thing.

     Mills turns to looks at Talbot on the screen.

                           TALBOT (V.O.) (CONT'D)
               You just wait and see how quickly we 
               get a handle on it.  This will be 
               the very definition of swift justice.

     Mills walks to turn the t.v. off.

                           MILLS
                    (quietly to t.v.)
               Shut the fuck up.

     He turns and looks to see the forensics looking at him.  The 
     forensics look away.

     Mills walks away from the t.v., to a picture frame on the 
     floor.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 37
     9-29-00                                                     


     The frame has been placed specifically in the center of the 
     room, facing the doors.

     It is a photo if a falsely pretty, middle-aged woman, smiling 
     and wearing pearls.  On the glass of the frame, two circles 
     have been drawn with blood around the woman's eyes.

     Mills sits on the floor, stares at the photo.

40   INT.  MILLS' CAR -- MORNING                                   40   

     Mills gets in and slams the door.  He is alone with the sound 
     of the rain.  He wipes water from his face and looks at his 
     tired eyes in the rear view mirror.  He leans over to the 
     glove compartment and takes out two newly purchased 
     paperbacks: The Canterbury Tales and Dante's Purgatory.

     Mills makes a face and opens Dante's Purgatory to a bookmark.  
     He rests the book on the steering wheel.  He reads.

     He bites his lip, leaning close to the words.

     He is really concentrating, mouths some of the words to 
     himself.

     He finally shakes his head and closes the book, not 
     understanding a word of it.  Pause.  He starts pounding the 
     book against the steering wheel with all his might.

                           MILLS
               Fucking, Dante, goddamn, poetry-
               writing, faggot motherfucker...

     Mills throws the book against the windshield, then puts his 
     head back and closes his eyes, trying to calm.  A long moment.  
     Quiet.

     BANG, BANG, BANG -- there's a loud BANGING on the window and 
     Mills looks up, startled...

     Tall Cop is at the window in rain gear.  Mills rolls it down.

     Tall Cop hands a wet paper bag through.

                           MILLS (CONT'D)
               Good work, Officer.  Good work.

     Mills rolls the window up, rips the bag open.  Inside: Cliff 
     Notes for Dante's Purgatory and for The Canterbury Tales.

                           MILLS (CONT'D)
               Thank God.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 38
     9-29-00                                                     


41   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY                41   

     It still rains outside.  Somerset sits at the big desk which 
     is now Mills'.  He fills out form by hand as Mills enters 
     with a ton of his own paperwork.  Somerset looks up.

                           SOMERSET
                    (gathers his things)
               Let me get out of your way.

     Mills sets his paperwork on the desk.  He is beat.  Somerset 
     moves to the temporary desk.  They both sit and settle in, 
     organizing, not looking at each other.

     Both attend to their work.  Here are two men, about five 
     feet apart, each trying not to acknowledge the other's 
     presence.

     Mills takes his Cliff Notes out, looks to see Somerset is 
     occupied, and hides them in a desk drawer.

     Somerset finishes one form, flips it and looks at Mills.  
     Mills sorts through photos from the greed murder.  Somerset 
     continues writing.  PHONE RINGS.  Both men look at it.  Phone 
     rings again.

                           SOMERSET (CONT'D)
               It's a package deal.  You get the 
               phone with the office.

                           MILLS
                    (picks up, into phone)
               Detective Mills here.
                    (listens, lowers voice)
               Honey... I asked you not to call me 
               here.  I'll call you back...

                           (LISTENS)
               What?  Why?

     Mills is very confused.

                           MILLS
                    (into phone)
               Why?  Okay... okay, hold on.

     Mills clears his throat and holds out the phone to Somerset.

                           MILLS (CONT'D)
               It's my wife.

                           SOMERSET
               What?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 39
     9-29-00                                                     


     Mills shrugs.  Somerset stands, takes the phone.

                           SOMERSET (CONT'D)
                    (into phone)
               Hello?
                    (listens)
               Yes, well... it's nice to speak to 
               you.
                    (listens)
               Well, I appreciate the thought... 
               but...
                    (listens)
               Then, I guess I'd be delighted.  
               Thank you very much.  Yes... goodbye.

     Somerset hangs up, shakes his head.

                           MILLS
               Well?

                           SOMERSET
               I'm invited to have a late supper at 
               your house.  And, I accept.

                           MILLS
               How's that?

                           SOMERSET
               Tonight.

     Mills is lost.  Somerset goes to sit back down.

                           MILLS
               I don't even know if I'm having dinner 
               there tonight.

42   INT.  MILLS' APARTMENT, LIVING ROOM/KITCHENETTE -- NIGHT      42   

     Food is cooking on the stove.  Tracy is in the living room 
     area carefully setting the table with good silver and china.

     The door to the apartment is HEARD OPENING and CLOSING.  
     Mills and Somerset come down a short hallway.  Mills carries 
     a brand new briefcase.

                           TRACY
               Hello, men.  You made it.

                           MILLS
               Hi, honey.

     Mills gives Tracy a kiss, then presents Somerset.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 40
     9-29-00                                                     


                           MILLS (CONT'D)
               I'd like you to meet Somerset.

                           SOMERSET
               Hello.

     Somerset shakes Tracy's hand lightly.

                           TRACY
               It's nice to meet you.  My husband 
               has told me a lot about you... except 
               your first name.

                           SOMERSET
               Oh... um, William.

                           TRACY
               It's a nice name.  William, I'd like 
               you to meet David.
                    (to Mills)
               David... William.

     Mills smiles and nods this off, heading across the room.

                           MILLS
               Great... I'm, uh, just going to put 
               these things away.

     Mills moves to the adjoining bedroom.  Somerset stands with 
     his hands folded in front of him.

                           SOMERSET
               It smells good.

                           TRACY
               What?  Oh, yes.  I mean, thank you.
                    (motions to the table)
               Please, sit down.

     Somerset takes off his jacket.  Tracy goes to check on the 
     food.

                           TRACY (CONT'D)
               You can put that over on the couch.  
               You'll have to excuse all the mess.  
               We're still unpacking.

     Somerset notices something on Mills' desk.  It's a medal, in 
     a small, clear case amongst the papers and pens.

                           SOMERSET
               I hear you and Mills were high school 
               sweethearts.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 41
     9-29-00                                                     


                           TRACY
               High school and college, yes.  Pretty 
               hokey, huh?  I knew on our first 
               date this was the man I was going to 
               marry.  God...  he was the funniest 
               man I'd ever met.

                           SOMERSET
               Really?

     Somerset has to think about that one for a second.  He picks 
     the medal up: a medal for valor from the Police Department.

                           SOMERSET (CONT'D)
               Well, it's rare these days... that 
               kind of commitment.

     He puts the medal down.  Tracy is looking at the gun strapped 
     under Somerset's arm as Somerset starts to unstrap it.

                           SOMERSET (CONT'D)
                    (about the gun)
               Don't worry.  I don't wear it at the 
               dinner table.

                           TRACY
               No matter how often I see guns, I 
               still can't get used to them.

     Somerset lays the gun with his jacket.

                           SOMERSET
               Same here.

     Tracy smiles.  Somerset goes to the table and transfers a 
     small notebook from his breast pocket to his pants pocket.  
     A piece of paper falls to the floor, closer to Tracy.

                           TRACY
               Anyway... what girl wouldn't want 
               the captain of the football team as 
               their lifetime mate?  Here... you 
               dropped something...

     Tracy picks it up.  It is the pale, paper rose.  She looks 
     at it as she hands it back to Somerset, who is self-conscious.

                           TRACY (CONT'D)
               What is that?

     Somerset looks at the rose, then puts it away.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 42
     9-29-00                                                     


                           SOMERSET
               My future.

     Tracy tilts her head, looking at Somerset.

                           TRACY
               You have a strange way about you... 
               I mean interesting.  I'm sorry.  
               It's really none of my business.  
               It's just nice to meet a man who 
               talks like that.
                    (goes back to stove)
               If David saw that paper, he'd say 
               you're a fag.  That's how he is.

                           SOMERSET
                    (smiles)
               I guess I won't be showing it to him 
               then.

43   INT.  MILLS' APARTMENT, LIVING ROOM -- LATER NIGHT            43   

     A record player on a moving box PLAYS QUIET MUSIC.  Tracy, 
     Mills and Somerset are eating.  Mills has a beeper beside 
     his plate and occasionally fingers it absently.

                           TRACY
               Why aren't you married, William?

                           MILLS
               Tracy... what the hell?

     Somerset pokes at the napkin, thinking.

                           SOMERSET
               I was close once.  It just didn't 
               happen.

                           TRACY
               It surprises me.  It really does.

                           SOMERSET
               Any person who spends a significant 
               amount of time with me finds me... 
               disagreeable.  Just ask your husband.

                           MILLS
               Very true.

     Mills grins, but he means it.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 43
     9-29-00                                                     


                           TRACY
                    (to Somerset)
               How long have you lived here?

                           SOMERSET
               Too long.
                    (drinks)
               What do you think so far?

     Tracy glances immediately to Mills.

                           MILLS
               It takes time to settle in.

     Somerset can see it is a sore subject.

                           SOMERSET
               Well, you can get numb to it pretty 
               quickly.  There are things in any 
               city...

     A LOW RUMBLING is HEARD.  Plates on the table begin to 
     clatter.

                           MILLS
               Subway train.

     The dishes clatter more.  Coffee cups clink against their 
     saucers.  Tracy holds her coffee cup to stop it and smiles 
     at Somerset to act like it's nothing, but she is clearly 
     bothered.

                           TRACY
               It'll go away in a minute.

     They wait.  The rumbling grows louder, knocks something over 
     in the sink.  Somerset continues eating, fiddles with his 
     food.  The record player skips, then plays on.  The clattering 
     dies down.

     Mills seems uncomfortable.

                           MILLS
               This real estate guy... this miserable 
               fuck, he brought us to see this place 
               a few times.  And, first I'm thinking 
               he's good, really efficient.  But 
               then, I started wondering, why does 
               he keep hurrying us along?  Why will 
               he only show us this place for like 
               five minutes at a time?

     Mills laughs lamely.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 44
     9-29-00                                                     


                           TRACY
               We found out the first night.

     Somerset tries to stay straight, but he can't help laughing.

                           SOMERSET
               The soothing, relaxing, vibrating 
               home.  Sorry...

     He laughs harder, covering his mouth.  Tracy and Mills laugh.

                           MILLS
               Oh, fuck.

44   INT.  MILLS' APARTMENT, LIVING ROOM -- LATER NIGHT            44   

     The record player plays another album.  Tracy brings over a 
     pot of coffee and pours.  Mills and Somerset have beers.

                           TRACY
               I don't think I've ever met anyone 
               who doesn't have a television before.  
               That's... weird.

                           MILLS
               It's un-American is what it is.

                           SOMERSET
               All television does is teach children 
               that it's really cool to be stupid 
               and eat candy bars all day.

                           MILLS
               What about sports?

                           SOMERSET
               What about them?

     Tracy brings over a plate of cookies and puts it on the table.

                           MILLS
               You go to movies at least?

                           SOMERSET
               I read.  Remember reading?

                           MILLS
               I just have to say, I can't respect 
               any man who's never seen "Green 
               Acres."

     Somerset gives a blank stare.  Tracy walks across the room.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 45
     9-29-00                                                     


                           MILLS (CONT'D)
               You've never seen "The Odd Couple?"  
               This is sick.  "The Honeymooners?!"

                           SOMERSET
               I vaguely recall a large, angry man, 
               and someone called Norton.

     Tracy turns the record player down further, then goes into 
     the bedroom and shuts the door behind her.

     Somerset and Mills look a the closed door.  A long moment.  
     They look at each other, then sit for a time.  Somerset puts 
     down his beer, sighs.  He looks around.

45   INT.  MILLS' APARTMENT, LIVING ROOM                           45   

     The only sounds are from the city outside.  The living room 
     table has been cleared and its surface is now covered with 
     various forms, reports and 8" by 10" photographs.  Mills and 
     Somerset are both standing.  Mills guides Somerset through 
     the photos.

                           MILLS
               Our guy got into office, probably 
               before the building closed and 
               security tightened up.  Gould must 
               have been working late.

                           SOMERSET
               I'm certain.  He was the biggest 
               defense lawyer around.  Infamous, 
               actually.

                           MILLS
               Well, his body was found Monday night, 
               okay?  But, get this... the office 
               was closed all day Monday.  Which 
               means, as long as the gluttony killing 
               was done before the weekend, our 
               killer could've gotten in here on 
               Friday.  He could've spent all day 
               Saturday with Gould, and all day 
               Sunday.

     Mills picks up one photo and shows it to Somerset.  Long 
     shot: it shows the greed murder scene.  Gould sits dead in 
     the leather chair, near the desk where the counter-balance 
     scale sits.

                           MILLS (CONT'D)
               Gould was tied down, nude.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 46
     9-29-00                                                     


                           MILLS (CONT'D)
               The killer left his arms free and 
               handed him a big, sharp butcher's 
               knife.  See... the scale here.

     Mills pulls another photo.  Close up: the two-armed scale.  
     In one suspended plate is a one pound weight.  In the other 
     is a hunk of flesh.

                           SOMERSET
               A pound of flesh.

     Mills digs, comes up with a photocopy of a hand-scrawled 
     note.

                           SOMERSET (CONT'D)
                    (reading note)
               "One pound of flesh, no more no less.  
               No cartilage, no bone, but only flesh.  
               This task done... and he would go 
               free."

     Mills takes out one photo showing the note pinned to the 
     wall beside where "greed" is written in blood.

                           MILLS
               The leather chair was soaked through 
               with sweat.

                           SOMERSET
                    (nods, grim)
               All day Saturday, and all day Sunday.
                    (pause)
               The murderer would want Gould to 
               take his time.  To have to sit there 
               and decide.

     Where do you make the first cut?  There's a gun in your 
     face... but, what part of your body is expendable?

                           MILLS
               He cut along the side of his stomach.  
               The love handle.

     Somerset's still studying the photos.

                           SOMERSET
               He must have left another puzzle 
               piece.

                           MILLS
               Look, I appreciate being able to 
               talk this out, but, uh...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 47
     9-29-00                                                     


                           SOMERSET
               This is just to satisfy my curiosity.  
               I'm still leaving town Saturday.

     Mills is very tired.  He rubs his eyes, then walks to take 
     one more photo from his briefcase.  It is the photo of the 
     framed picture of the falsely pretty woman with her eyes 
     circled in blood.

                           MILLS
               Gould's wife.  She was away on 
               business.

     If this means she saw anything, I don't know what.  We've 
     questioned her at least five times.

                           SOMERSET
               And, if it's a threat.

                           MILLS
               We put her in a safe house.

     Somerset nods.  He puts down the photos he's holding.  He 
     begins spreading all the pictures out.

                           SOMERSET
               Look at these with fresh eyes.  Don't 
               see what the killer wants you to.  
               Don't let guide you...

     While he speaks, Somerset keeps shifting the photos, for 
     example: covering the corpse in one with the edge of another.

                           SOMERSET (CONT'D)
               Even if the corpse is right there... 
               it's almost like looking through it.  
               Editing out the initial shock.  Look 
               at the room.

     In the photos, there's the scale.  The note on the wall.  
     Shelves of books.  The Modern Art painting.

     GREED written in blood.

                           SOMERSET (CONT'D)
               He's preaching.

                           MILLS
               Punishing.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 48
     9-29-00                                                     


                           SOMERSET
               The sins were used in medieval 
               sermons.  There were seven cardinal 
               virtues, and then seven deadly sins, 
               created as a learning tool, because 
               they distract from true worship.

                           MILLS
               Like in the Parson's Tale, and Dante.

                           SOMERSET
               Did you read them?

                           MILLS
               Yeah.  Parts of them.  Anyway, in 
               Purgatory, Dante and his buddy are 
               climbing up that big mountain... 
               seeing all these other guys who 
               sinned...

                           SOMERSET
               Seven Terraces of Purgation.

                           MILLS
               Right.  But there, pride comes first, 
               not gluttony.  The sins are in a 
               different order.

                           SOMERSET
               For now, let's just consider the 
               books as the murderer's inspiration.  
               The books and sermons are about 
               atonement for sin.  And, these murders 
               have been like forced attrition.

                           MILLS
               Forced what?

                           SOMERSET
               Attrition.  When you regret your 
               sins, but not because you love God.

                           MILLS
               Like, because someone's holding a 
               gun on you.

     Mills runs his hands across his face, walks to the fridge to 
     get beer.  Somerset keeps looking at photos and papers.

                           SOMERSET
               No fingerprints?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 49
     9-29-00                                                     


                           MILLS
               Nothing.

                           SOMERSET
               Totally unrelated victims.

     Mills nods, drinking from a beer.

                           SOMERSET (CONT'D)
               No witnesses of any kind?

                           MILLS
               None.  Which I don't understand.  He 
               had to get back out.

     Somerset sits in a chair, picks up the photo of the wife.  
     Runs his fingers over the eyes circled in blood.

                           SOMERSET
               In any major city, minding your own 
               business is a perfected science.  
               There's a public crime prevention 
               course offered at the precinct house 
               once a month.  The first thing they 
               teach is that you should never cry 
               "help."  Always scream "fire," because 
               people don't want to get caught up 
               in anything.  But a fire... that's 
               an evening's entertainment.  They 
               come running.

     Looking at the wife's photo.

                           SOMERSET (CONT'D)
               This is the one thing.

                           MILLS
               I know.

                           SOMERSET
                    (holds photo up)
               What if it's not that she's seen 
               something?  What if she's supposed 
               to see something, but she just hasn't 
               been given a chance to see it yet?

                           MILLS
               Okay.  But, what?

46   INT.  SAFE HOUSE -- NIGHT                                     46   

     The room is like a hotel room.  Mills stands beside the woman 
     from the picture, MRS. GOULD.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 50
     9-29-00                                                     


     Mills shows her photos from the murder scene.  The photos 
     have been covered in sections to hide the Mr. Gould's corpse.  
     Mrs. Gould is crying.  Somerset is on the other side of the 
     room, holding more photos.

                           MILLS
               I'm sorry about this, Mrs. Gould.  I 
               really am.

                           MRS GOULD
               I... I don't understand.

     Mills helps her flip through the photos.  He isn't too keen 
     to put her through this.

                           MILLS
               I need you to look at each one 
               carefully...  very carefully.  Look 
               for anything that seems strange or 
               out of place.  Anything at all.

                           MRS GOULD
               I don't know why... why now?

                           MILLS
               Please, I need you to help me if 
               we're going to get who did this.

     Mrs. Gould sobs quietly, wipes her tears.

                           MILLS (CONT'D)
               Anything... anything missing or 
               different.

                           MRS GOULD
               I don't see anything.

                           MILLS
               Are you absolutely certain?

                           MRS GOULD
               I can't do this now... please.

     Mills looks to Somerset, looks at the photos Somerset holds.

                           MILLS
               Maybe we better wait.

     Somerset looks at the photos in his hand.  These show Mr. 
     Gould's corpse in the chair, not covered in any way.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 51
     9-29-00                                                     


                           SOMERSET
               It should be now.  There may be 
               something we're not seeing.

                           MRS GOULD
               Wait.  Here...

                           MILLS
               What is it?

     Mrs. Gould points at the modern art painting on the wall in 
     one photo.  The painting is just splattered paint, abstract.

                           MRS GOULD
               This painting...

                           MILLS
               What?

                           MRS GOULD
               Why is this painting hanging upside-
               down?

     Mills turns to look at Somerset.

47   INT.  LAW OFFICE -- NIGHT                                     47   

     Where the greed murder took place.  Somerset, wearing gloves, 
     reaches to take the modern art painting off the wall.  Mills 
     near, watching.

                           SOMERSET
               You're sure your men didn't move 
               this?

                           MILLS
               Even if they did, those photos were 
               taken before forensics.

     Nothing on the wall behind the painting.  Blank space.

                           MILLS (CONT'D)
               Nothing.

                           SOMERSET
               It's got to be.

     Somerset puts the painting down, resting it on its bottom 
     edge.

     The painting is backed by a thick sheet of brown papers 
     stapled into the wooden frame.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 52
     9-29-00                                                     


     Somerset points to where the wire's eye screws used to be 
     screwed into the frame, and to where it has been rescrewed.

                           SOMERSET (CONT'D)
               He changed the wire to rehang it.

     Somerset takes out his switchblade.  Mills is surprised.

                           MILLS
               What the fuck is that?

                           SOMERSET
               A switchblade.

     Somerset cuts along the edge of the brown paper to get to 
     the hollow space between it and the back of the canvas.  He 
     cuts out the entire sheet.  Mills helps pull it away.  
     Nothing.  Empty.

     Mills looks at both sides of the paper, then tosses it away.

                           MILLS
               Nothing.  Damn it!

     Somerset lays the painting face up on the floor.  He pokes 
     his finger on the painted surface.  He brings the flat of 
     his blade against the painting, tries to peel some of the 
     paint.

                           MILLS (CONT'D)
               The killer didn't paint the fucking 
               thing.

     Give it up.

     Somerset pushes the painting away, frustrated.

                           SOMERSET
               There must be something.

                           MILLS
               We're screwed.  He's fucking with 
               us.

     Somerset backs away from the wall, staring at the space where 
     the painting hung.  There is only a nail.  He turns, looking 
     around the office, then crosses.

     Mills puts his hands to his temple, furious, picks up a lamp 
     and throws it to the floor, venting.

                           MILLS (CONT'D)
               Motherfucker!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 53
     9-29-00                                                     


     Across the room, Somerset falls to his knees and pulls open 
     a forensics kit.  He takes out a fingerprint brush, examining 
     the bristles.  Mills sees this.

                           MILLS (CONT'D)
               What?

                           SOMERSET
               Bear with me.

     Somerset goes back to the wall where the painting was.  He 
     pulls over a chair, gets on it and starts brushing near the 
     nail.

                           MILLS
               Oh, yeah, sure.  You got to be 
               kidding?!

                           SOMERSET
               Just wait!

     Somerset brushes with a few wider strokes.  He leans close, 
     studies the powder residue.  Leans closer still.  Pause.

                           SOMERSET (CONT'D)
               Call the print lab.

48   INT.  MILLS' APARTMENT, BEDROOM -- NIGHT                      48   

     Tracy is asleep, dressed, with the lights still on.  She 
     stirs, then awakens and sits up slowly.  She squints from 
     the light, sweaty and uncomfortable.  She looks around and 
     listens.  All she hears is traffic.

49   EXT.  MILLS' APARTMENT, LIVING ROOM -- NIGHT                  49   

     FROM OUTSIDE, looking into the apartment, we see Tracy come 
     in from the bedroom.  She sees Mills and Somerset are gone.  
     She comes to open a window, then goes to the kitchen area.

     We're still LOOKING IN at her as she starts the dishes in 
     the sink.  The RUMBLING of the SUBWAY TRAIN is HEARD starting.  
     The room begins to rattle, as before.

     Tracy looks out into the living room, ill at ease.

50   INT.  LAW OFFICE -- NIGHT                                     50   

     The male forensic from the gluttony murder scene is here.  
     He has a magnifying glass which he's using to study a very 
     clear fingerprint in black powder on the wall.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 54
     9-29-00                                                     


                           MALE FORENSIC
               Oh, man...

                           MILLS (O.S.)
               Talk to me.

     The male forensic bites his lip, still studying.

     Mills and Somerset are watching the forensic who works O.S.

                           MILLS (CONT'D)
                    (to Somerset)
               Just, honestly... have you ever seen 
               anything like this... been involved 
               in anything like this?

                           SOMERSET
               No.

                           MALE FORENSIC (O.S.)
               Well, I can tell you, boys...

     The forensic steps down from a stool.  Behind him, where the 
     painting once was, are fingerprints, clear and distinct.  
     The prints have been left, one after the other, to form 
     letters which form words:  HELP ME.

                           MALE FORENSIC (CONT'D)
               ... just by looking at the shape of 
               the underloop on these, they are not 
               the victim's fingerprints.

51   INT.  PRECINCT HOUSE, PRINT LAB -- NIGHT                      51   

     Dark.  A TECHNICIAN sits before an old computer.  The 
     computer's green screen shows enlarged fingerprint patterns 
     being aligned,

52   COMPARES, AND THEN REJECTED: WHIR - CLICK - WHIR - CLICK - 
     WHIR -                                                        52   

     click.  Mills and Somerset watch, bathed in a green glow.

                           MILLS
               He just may be nuts enough.

                           SOMERSET
               It doesn't fit.  He doesn't want us 
               to help him stop.

                           MILLS
               Who the hell knows?
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 55
     9-29-00                                                     


                           MILLS (CONT'D)
               There's plenty of freaks out there 
               doing dirty deeds they don't want to 
               do.  You know... little voices tell 
               them bad things.

     Somerset doesn't buy it.  The technician adjusts a knob, 
     then turns to the detectives.

                           TECHNICIAN
               I've seen this baby take as long as 
               three days to make a match, so you 
               guys can go cross your fingers 
               somewhere else.

53   INT.  PRECINCT HOUSE, HALLWAY -- NIGHT                        53   

     Somerset and Mills come out from the Print Lab.  A janitor 
     is mopping the hall.  The computer is HEARD WHIRing AND 
     CLICKing onwards.  Somerset sits with a groan on a couch 
     outside the lab door.  Mills flops beside him.

                           SOMERSET
               You meant what you said to Mrs. Gould, 
               didn't you?  About catching this 
               guy.  You really want to believe 
               that, don't you?

                           MILLS
               And you don't?

                           SOMERSET
                    (laughs, very tired)
               I wish I still thought like you.

                           MILLS
               Then, you tell me what you think 
               we're doing.

                           SOMERSET
               All we do is pick up the pieces.  We 
               take all the evidence, and all the 
               pictures and samples.  We write 
               everything down and note what time 
               things happened...

                           MILLS
               Oh, that's all.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 56
     9-29-00                                                     


                           SOMERSET
               We put it in a nice neat pile and 
               file it away, on the slim chance 
               it's ever needed in a courtroom.
                    (pause)
               It's like collecting diamonds on a 
               desert island.  You keep them just 
               in case you ever get rescued, but 
               it's a pretty big ocean out there.

                           MILLS
               Bullshit.

                           SOMERSET
               I'm, sorry, but even the most 
               promising clues usually lead only to 
               other clues.  I've seen so many 
               corpses rolled away...  unrevenged.

                           MILLS
               I've seen the same.  I'm not the 
               country hick you seem to think I am.

                           SOMERSET
               In this city, if all the skeletons 
               came out of all the closets... if 
               ever hidden body were to suddenly 
               rise again, there'd be no more room 
               for the living.

     Somerset slumps back, takes out a cigarette and lights it.

                           MILLS
               Don't tell me you didn't get that 
               rush tonight... that adrenalin, like 
               we were getting somewhere.

     Mills sits back on the couch, closes his eyes.

                           MILLS (CONT'D)
               And, don't try to tell me it was 
               because you found something that 
               would play well in a courtroom.

     Somerset looks at Mills, who crosses his arms to sleep.  
     Somerset puffs the cigarette.

     The computer is heard: whir - click - whir - click...

     INSERT -- TITLE CARD

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 57
     9-29-00                                                     


     THURSDAY

54   INT.  PRECINCT HOUSE, HALLWAY -- EARLY MORNING                54   

     Mills and Somerset are fast asleep on the couch, leaning 
     against each other.  People pass and look at them strangely.  
     A man steps in front of the couch.  He reaches with both 
     hands to slap their faces simultaneously.

     It's the captain leaning over them.

                           CAPTAIN
               Wake up, Glimmer Twins.  We have a 
               winner.

55   INT.  PRECINCT HOUSE, READY ROOM -- EARLY MORNING             55   

     A windowless classroom.  The captain stands at a podium in 
     front with a white screen at his side.  A mug-shot of a man, 
     VICTOR, 25, is projected onto the screen from a slide 
     projector.

                           CAPTAIN
               He goes by the name Victor, as many 
               of you know, and his prints were 
               found on scene by Detectives Mills 
               and Somerset.

     FIVE hardened POLICE OFFICERS, four men and one woman, sit 
     in chairs facing the captain.  The all wear bullet-proof 
     vests with the word POLICE spray-painted across them.

     Somerset and Mills sit in back, drinking coffee, still asleep.

                           CAPTAIN (CONT'D)
               Now, this guy's a real beauty.  He 
               has a long, long history of serious 
               mental illness.  According the head-
               shrinkers, it seems his parents gave 
               him a very strict, Southern Baptist 
               upbringing, but somewhere along the 
               line he dropped his marbles.

     Two of the cops in the front row are talking.

                           CAPTAIN (CONT'D)
               Hey, you two can shut-up now!

     The two cops separate like huge, embarassed school children.

                           CAPTAIN (CONT'D)
               Thank you, fuckheads.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 58
     9-29-00                                                     


                           CAPTAIN (CONT'D)
               Now, Victor spent a couple of months 
               in prison for the attempted rape of 
               an eight year old boy, but his lawyer 
               made sure he didn't stay long.  Before 
               that, he dabbled in drugs, armed 
               robbery and assault.

     We've been doing our best to keep an eye on him, but he's 
     been out of circulation for a while.

                           FEMALE COP
               If he disappeared, what do you want 
               from us?

                           CAPTAIN
               His last place of residence is still 
               in his name.  A search warrant is 
               being pushed through the courts as 
               we speak.

     A red-headed cop, CALIFORNIA, raises his hand.

                           CALIFORNIA
               So, have the housing cops walk up 
               and ring the doorbell.

     The cops laugh.  The captain is clenching his jaw, angry.

                           CAPTAIN
               Listen, California.  When you go in, 
               if Victor isn't home, one of his 
               buddies might be house-sitting, so 
               you go in guns first.

     Besides using, Victor deals, and we know what kind of crowd 
     he runs with.

     There is some chatter amongst the cops.

                           CAPTAIN (CONT'D)
               This is what the D.A. has a hard-on 
               for right now, Ladies and Germs, so 
               we do not question why.

     Mills leans to Somerset while the captain continues the 
     briefing.

     They whisper.

                           MILLS
               Does this make it with you?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 59
     9-29-00                                                     


                           SOMERSET
               Doesn't seem like our man, does it?

                           MILLS
               You tell me.  I'm new in town.

                           SOMERSET
               He doesn't have the desire somehow.  
               Our killer seems to have more purpose.  
               More purpose than Victor could ever 
               conceive of.

                           MILLS
               The fingerprints.

                           SOMERSET
               Yes.  They were there... so, it must 
               be.

                           MILLS
               We'll tag along.

     Somerset wants no part of that.

                           SOMERSET
               Why would we?

                           MILLS
                    (smiles)
               Satisfy our curiosity?

56   INT.  MILLS' CAR -- MORNING                                   56   

     Mills drives, follows a police van.  Somerset rides shotgun.

     Mills seems pumped and ready.  Somerset takes two Rolaids 
     off a fresh roll and chews them.

                           MILLS
               You ever take one?

     Somerset takes out his gun, opens it to check the load.

                           SOMERSET
               Never in my twenty-four years, knock 
               on wood.  I've only ever taken my 
               gun out five times with the actual 
               intention of using it.  Never fired 
               it though.  Not once.
                    (closes his gun)
               You?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 60
     9-29-00                                                     


                           MILLS
               Never took a bullet.  I pulled my 
               gun once.  fired it once.

                           SOMERSET
               And?

                           MILLS
               It was my first one of these.  We 
               were a secondary unit, and I was 
               pretty shaky going in.  I was still 
               considered a rookie.

     Mills takes a corner, tires screeching.

                           MILLS (CONT'D)
               We busted the door, looking for this 
               junkie, right?  The geek just opened 
               fire.  Another cop was hit in the 
               arm and he went flying... like in 
               slow motion.
                    (pause)
               I remember riding in the ambulance.  
               His arm was like Jello.  A piece of 
               meat.  He bled to death right there.

     A pause.

                           SOMERSET
               How did the fire fight end?

                           MILLS
               I got him.  I got the son-of-a-bitch.  
               See, I was doing really good up till 
               then.  Lots of street busts.  I've 
               always had this weird luck... 
               everything always went my way, but 
               this was wild.
                    (pause)
               I got him with one shot... right 
               between the eyes.  Next thing I know, 
               the mayor's pinning a medal on me.  
               Picture in the paper, whole nine 
               yards.

     Somerset unrolls the window, feels the air across his face.

                           SOMERSET
               How was it?

                           MILLS
               I expected it to be bad, you know.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 61
     9-29-00                                                     


                           MILLS (CONT'D)
               I took a human life... but I slept 
               like a baby that night.  I never 
               gave it a second thought.

                           SOMERSET
               I think Hemingway wrote somewhere... 
               I can't remember where, but he wrote 
               that in order to live in a place 
               like this, you have to have the 
               ability to kill.  I think he meant 
               you truly must be able to do it, not 
               just faking it, too survive.

                           MILLS
               Sounds like he knew what he was 
               talking about.

57   INT.  SLUM BUILDING, STAIRWELL -- MORNING                     57   

     The five cops from the briefing, fully geared up and ready, 
     rifles and handguns out, move quickly up the stairs in single 
     file.  Somerset and Mills follow, guns out.  Somerset is 
     sweating bullets.  Mills is wild eyed, juiced.

     Crack viles and hypodermic needles on the stairs crunch under 
     the cops' heavy boots.

58   INT.  SLUM HALLWAY -- MORNING                                 58   

     The cops enter the dank hall.  The move cautiously.  A man 
     is lying on the floor, looking up, helpless, with dead eyes.

     A door opens and a woman peeks out.  The female cop points 
     her gun and the door slams.  California, leading the group, 
     steps up to apartment 303.  He has a search warrant scotch-
     taped to the front of his bullet-proof vest.

                           CALIFORNIA
                    (to black cop)
               This is it.  Give it up.

     The black cop hoists a heavy battering ram to California.  
     The other cops get on both sides of the door.  Somerset and 
     Mills hang back a few feet, watching their backs.

                           BLACK COP
                    (points to Mills)
               Cops go before Dicks.

     Many people are sticking their heads out of doors in the 
     hall.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 62
     9-29-00                                                     


                           CALIFORNIA
               Police!  Open the door!!

     California brings the ram forward with a splintering THUD -- 
     once -- twice -- the door flies open.  The cops storm in.

59   INT.  SLUM APARTMENT, MAIN ROOM -- MORNING                    59   

     The apartment is incredibly dusty.  The cops charge down the 
     short hall into this room where a bed sits against the far 
     wall.

     California moves up to the bed.  Someone lies under the 
     sheets.

     Three other cops move, all training their weapon on the bed.

                           CALIFORNIA
               Good morning, sweetheart!

     A blond cop goes into another room.  California moves closer 
     to the bed, gun up.

                           CALIFORNIA (CONT'D)
               Get up, now, motherfucker!  NOW!

60   INT.  SLUM APARTMENT, ADJOINING ROOM -- MORNING               60   

     The blond cop enters, gun trained, looks around in confusion.

     The room's tables, chairs and floor are covered with hundreds 
     of colorful, plastic air fresheners.

61   INT.  SLUM APARTMENT, MAIN ROOM -- MORNING                    61   

     Mills and Somerset enter.  Somerset looks at the cops around 
     the bed, then looks at a nearby wall.  His mouth drops in 
     horror.  On the wall, written in excrement: SLOTH.

                           SOMERSET
               Jesus...

     California kicks the bed, enraged.

                           CALIFORNIA
               I said get up, Sleepyhead!

     He pulls the sheets off the bed and reveals the shriveled, 
     sore-covered form of a man who is blindfolded and tied to 
     the bed with a thin wire which has been wrapped time and 
     time again around the mattress and bed frame.  Tubes runs 
     out from a stained loincloth around the man's waist and snake 
     under the bed.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 63
     9-29-00                                                     


                           CALIFORNIA (CONT'D)
               Fuck me!

     Mills pushes past the other cops.

                           MILLS
               Holy shit.

     The cops recoil from the stench.  Somerset steps up, putting 
     his gun away.

                           SOMERSET
               Victor?

                           BLACK COP
               What the hell... ?

                           CALIFORNIA
                    (to Somerset)
               Check this out, Dick...

     California points with his gun to the end of the man's right 
     arm.

     The hand is gone, severed at the wrist long ago.

                           MILLS
               It is Victor.

                           SOMERSET
                    (points to a cop)
               Call an ambulance.

     The blond cop enters from the other room.

                           BLOND COP
               What the fuck is this?

                           CALIFORNIA
               Somebody call a hearse, more like.

     The female cop has gone to one wall where a sheet is pinned 
     up.

     She pulls the sheet down.  Pinned behind the sheet are fifty-
     two Polaroid pictures; all pictures of Victor tied to the 
     bed, with a date written at the bottom of each picture.  It 
     is a visual history of Victor's physical decay.

                           BLOND COP
               What is going on?

     Mills sees the female cop looking at the pictures.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 64
     9-29-00                                                     


                           MILLS
               Hey, California, get your people 
               out.

     Somerset takes out rubber gloves and puts them on.

                           CALIFORNIA
               You heard him.  Hit the hall, and 
               don't touch anything.

     Somerset replaces the sheet over Victor, but not over his 
     head.

     The cops file out and Mills goes to examine the pictures.

     California stays by the bed with Somerset.

                           CALIFORNIA (CONT'D)
               It looks like he's some kind of 
               friggin' sculpture or something.

     Somerset places his finger along Victor's throat.

                           MILLS
               Somerset, you... you better look 
               here.

     Mills looks at the photos in awe.  Somerset joins him.

                           MILLS (CONT'D)
               All pictures of Victor tied to the 
               bed.
                    (crouches, points)
               The last one is dated three days 
               ago.

     Somerset looks at the first photo.  In it, Victor is bound 
     and gagged, but he is healthy.

                           SOMERSET
               The first one... it's dated one year 
               ago.  To the day.

     Somerset wipes his pale face.

     Californian stands by the corpse, behind Somerset and Mills.  
     He lifts the sheet on the bed to look under it.

                           CALIFORNIA
               Mother...

     Mills kneels and lifts the sheet which had covered the 
     pictures off the floor.  There is an open shoebox underneath.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 65
     9-29-00                                                     


                           MILLS
               What...?

     On the side of the box: TO THE DETECTIVES, FROM ME.

     California leans close to Victor's gaunt, blindfolded face, 
     examining with morbid curiosity.

                           CALIFORNIA
               You got what you deserved, Victor.

     Somerset leans down beside Mills.  Mills looks through the 
     shoebox.  Inside are plastic, zip-lock bags.

     One contains small clumps of hair.  One contains a yellow 
     liquid...

                           MILLS
                    (looking at bags)
               A urine sample, hair sample... stool 
               sample.  Finger nails...
                    (looks to Somerset)
               He laughing at us.

     California is still close to Victor's face, when suddenly 
     Victor's lips twist open and Victor lets out a loud, guttural 
     bark.

     California jerks back, shouting in fear, falling over a chair 
     to to the floor.

     Mills and Somerset reel.  They see California on the ground, 
     scared out of his mind, pointing.

                           CALIFORNIA
               He's alive!

     Somerset and Mills look towards the bed.

     Victor's lips move feebly as he lets out a sick, gurgling 
     moan.

                           CALIFORNIA (CONT'D)
               He's still alive!!

62   EXT.  SLUM APARTMENT BUILDING -- MORNING                      62   

     A crowd has gathered at the entrance.  Mills' car, the police 
     van and two ambulances are parked on the sidewalk.

63   INT.  SLUM HALLWAY -- MORNING                                 63   

     The cops are in the hall holding neighbors at bay.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 66
     9-29-00                                                     


64   INT.  SLUM APARTMENT, MAIN ROOM -- MORNING                    64   

     Three ambulance attendants are at the bed, working on Victor.

     One attendant uses wire cutters to clip Victor's bonds.

65   INT.  SLUM STAIRWELL -- MORNING                               65   

     Mills and Somerset are standing in the middle of one flight 
     of stairs.  Both are highly agitated.

                           SOMERSET
               The way this has gone till now, I 
               wouldn't have thought it was possible, 
               but we may have underestimated this 
               guy.

                           MILLS
               I want him bad.  I don't just want 
               to catch him anymore.  I want to 
               hurt him.

                           SOMERSET
               Listen to me.  He's all about playing 
               games.

                           MILLS
               No kidding!  No fucking kidding!

                           SOMERSET
               We have to divorce ourselves from 
               emotions here.  No matter how hard 
               it is, we have to stay focused on 
               the details.

                           MILLS
               I don't know about you, but I feed 
               off my emotions.

                           SOMERSET
               He'll string us along all the way if 
               we're not careful.

     Mills is looking at the floor, still burning.  Somerset grabs 
     him by the jacket.

                           SOMERSET (CONT'D)
               Are you listening to me?

     Mills pushes Somerset's hand off.

                           MILLS
               I hear you.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 67
     9-29-00                                                     


     There is a sudden, brilliant FLASH OF LIGHT and the SOUND of 
     a CAMERA ADVANCING.  Mills and Somerset look.

     Down the stairs, a REPORTER has his camera up, pointed at 
     them.

                           REPORTER
               Say cheese.

     He take another picture, flashbulb flashing.

     Mills goes down the stairs, grabs the reporter, a balding, 
     almost silly looking man with thick glasses and wrinkled 
     clothing.

                           MILLS
               What the fuck are you doing here?

     The reporter squirms, holds up a laminated press pass on a 
     cord around his neck.

                           REPORTER
               I have a right, Officer.  I...

     Mills shoves him, and the reporter stumbles a few steps, 
     then falls to the landing below with a thud.

                           MILLS
               That doesn't mean anything!  This is 
               a closed crime scene!

     Somerset comes to pull Mills back.  The shaken reporter stands 
     uneasily.

                           REPORTER
               You can't do this!  You can't...

                           MILLS
               Get the fuck out of here!

     The reporter scrambles down the nest flight, out of sight.

                           REPORTER (O.S.)
               The public has a right to know!

     Somerset yanks Mills back harder, till Mills sits on the 
     stairs.

                           MILLS
               How do those cockroaches get here so 
               quick?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 68
     9-29-00                                                     


                           SOMERSET
               They pay cops for the inside scoop, 
               and they pay well.

                           MILLS
                    (calming)
               Sorry about that... I just...

                           SOMERSET
                    (sarcastic)
               Oh, it's alright.

     Somerset starts back up the stairs.

                           SOMERSET (CONT'D)
               It's always impressive to see a man 
               feeding off his emotions.

66   INT.  HOSPITAL ROOM -- DAY                                    66   

     Somerset and Mills are with DOCTOR BEARDSLEY.  Victor lies 
     inside an oxygen tent with tubes running into him.  The room 
     is dim.

                           DOCTOR
               A year of immobility seems about 
               right, judging by the deterioration 
               of the muscles and the spine.  Blood 
               tests show a whole smorgasbord of 
               drugs in his systems; from crack to 
               heroin... even an antibiotic which 
               must have been administered to keep 
               the bed sores from infecting.

     Mills looks into the oxygen tent.

                           MILLS
               He hasn't said anything, or tried to 
               express himself in any way?

                           DOCTOR
               Even if his brain were not mush, 
               which it is... he chewed off his own 
               tongue long ago.

     Mills winces, moves away from the bed.

                           SOMERSET
               There's no way he'll survive?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 69
     9-29-00                                                     


                           DOCTOR
               Detective, he'd die right how of 
               shock if you were to shine a 
               flashlight in his eyes.

     Silence for a moment, then the doctor lets out a chuckle.

                           DOCTOR (CONT'D)
               It's funny to think... he's 
               experienced about as much pain and 
               suffering as anyone I've 
               encountered... give or take... and 
               he still has hell to look forward 
               to.

     He chuckles again, engrossed in some information on a 
     clipboard.

     Mills looks to Somerset like, "this guy's nuts."

67   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY                67   

     A blackboard is nailed to the wall.  Written in chalk:

     1 gluttony (x)    5 wrath 

     2 greed (x)       6 pride 

     3 sloth (x)       7 lust 

     4 envy 

     Somerset and Mills are at their paperwork covered desks.

                           SOMERSET
                    (reading one sheet)
               Victor's landlord says an envelope 
               of cash was in the office mailbox 
               each month.  He says, quote, "I never 
               heard a single complaint from the 
               tenant in apartment three-o-one, and 
               nobody ever complained about him.  
               He's the best tenant I've ever had.

                           MILLS
               A landlord's dream tenant: a paralyzed 
               man with no tongue.

                           SOMERSET
               Who pays the rent on time.

     Somerset turns to the typewriter, types.  Mills fills out a 
     form by hand.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 70
     9-29-00                                                     


     He make an error and tries to erase, but the paper rips.  He 
     curses, crumples the paper and throws it.

                           MILLS
               I'm sick of sitting around, waiting 
               for him to kill again.

                           SOMERSET
               This is the job.  It's not an Easter 
               egg hunt.

                           MILLS
               There must be something in this pile 
               of garbage we can follow.  I mean, 
               Christ...  do we have to let this 
               lunatic make all the moves.

                           SOMERSET
               It's too dismissive to call him a 
               lunatic.  We can't make that mistake.

                           MILLS
               Oh, blah, blah, blah.  The guy's 
               insane.

                           SOMERSET
               It's a fine line between insane and 
               inspired.

                           MILLS
               Hey, Freud, what brand of bullshit 
               are you shoveling, huh?  Right now 
               he's probably dancing around his 
               room in a pair of his mommy's panties, 
               singing show tunes and rubbing himself 
               with peanut butter...

                           SOMERSET
               No.

                           MILLS
               Sooner or later his luck's going to 
               run out.

                           SOMERSET
               No.  He's not depending on luck.  
               You've seen that.  We walked into 
               that apartment exactly one year after 
               he first tied Victor to the bed, to 
               the day.  To the day!

     Because he wanted us to.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 71
     9-29-00                                                     


                           MILLS
               We don't know for sure...

                           SOMERSET
               Yes we do.  Here...

     Somerset picks up the photocopy of the first note.

                           SOMERSET (CONT'D)
               This quote... his first words to us.  
               I looked it up.  It's from Milton's 
               Paradise Lost.  "Long is the way, 
               and hard, that out of hell leads up 
               to light... "

                           MILLS
               And so what?

                           SOMERSET
               Well, he's been right so far, hasn't 
               he?

                           MILLS
               Just because the bastard has a library 
               card, it doesn't make him Einstein.

                           SOMERSET
               Just, realize... this is not some 
               common lunatic.  The type of 
               intestinal fortitude it must take... 
               to keep a man bound for a full year.  
               To connect tubes to his genitals.  
               To sever his hand and use it to plant 
               fingerprints.  He's methodical and 
               exacting, and worst of all, he's 
               patient.

                           MILLS
               What does all that matter anyway?  
               It's not our job to figure him out, 
               is it?  All we have to do is catching 
               him.

     Something clicks for Somerset.  He looks away, thinking.

     Mills watches him.

                           MILLS (CONT'D)
               What?

     Somerset sits.  Ponders, staring off into space.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 72
     9-29-00                                                     


                           MILLS (CONT'D)
               What is it?

     Somerset stands back up, takes money out of his pockets.

                           SOMERSET
               How much money do you have?

                           MILLS
               I don't know... like fifty.

     Somerset picks up the phone and dials, still sifting through 
     his own money.  Mills doesn't know what's going on.

                           SOMERSET
                    (to Mills)
               I propose a field trip.

68   INT.  PUBLIC LIBRARY -- DAY                                   68   

     Somerset walks through the busy main library, goes to a group 
     of computer terminals.  Mills follows, wound up.  Somerset 
     sits at one computer and works the keyboard, hunt-and-peck.

                           MILLS
               Somerset... what the fuck?

     Several people turn to shush him.  Somerset takes out a 
     notepad.

                           SOMERSET
               At the top of the list, we'll put 
               Purgatory, Canterbury Tales... 
               anything relating to the seven deadly 
               sins.  Now, what the killer might 
               research.  What would he need to 
               study to do the things he's done?  
               What are his other interests?  For 
               example...

     INSERT -- COMPUTER SCREEN

     Somerset types.  On the screen:    SEARCH: JACK THE RIPPER.

69   EXT.  HOT DOG WORLD -- DAY                                    69   

     The restaurant's sign reads: HOT DOG WORLD, HOME OF THE 
     WORLD'S BIGGEST DOGS.  A MAN is trying to give out paper 
     advertisements.

     People walk out of their way to avoid him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 73
     9-29-00                                                     


                           MAN
                    (to people)
               Take one, you stupid fucks!  Here... 
               take one!  It's a fucking coupon!  
               Take it!

70   INT.  HOT DOG WORLD -- DAY                                    70   

     Mills and Somerset are in a booth, both on the same seat on 
     the same side of the table.  They look over their list of 
     books.

     Mills goes to eat a hot dog, but Somerset stops him.

                           SOMERSET
               They had about fifty health violations 
               during the last inspection.

     Mills throws the dog down, looks at his watch.

                           MILLS
               Could you at least sit across from 
               me?  I don't want people to thing 
               we're dating.

     Somerset watches a GREASY MAN, wearing a black suit, enter.  
     The man's hair is slicked back.

                           SOMERSET
               Give me your money.

     Mills hands his money to Somerset.

                           MILLS
               I'm handing you this, and for some 
               strange reason, I have the idea I 
               should know what the fuck we're doing.

     Somerset folds the money with his own into the list of books.  
     He holds the list in his lap, under the table.  Greasy Man 
     comes to sit at the table.

                           GREASY MAN
               Hey, Somerset.  How are you?  I didn't 
               know this was going to be a menage-a-
               trois.

                           SOMERSET
               It's not a problem.

                           GREASY MAN
               Only for you do I do this.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 74
     9-29-00                                                     


                           GREASY MAN (CONT'D)
               Big risk here... so I figure we'll 
               be even-up.  All fair and square.

     Greasy Man has his hands under the table.  he gets up to 
     leave with his hand in his pocket.  He picks up Mills' dog.

                           GREASY MAN (CONT'D)
               About an hour.

     Greasy Man leaves, eating the hot dog.

                           MILLS
               Well, that was money well spent.

                           SOMERSET
               Let's go.

71   INT.  PIZZA PARLOR -- DAY                                     71   

     Mills and Somerset sit with a pizza before them.

                           SOMERSET
               By telling you this, I'm trusting 
               you more than I trust most people.

                           MILLS
               It's be best if you got to the point, 
               cause I'm about ready to punch you 
               in the face.

     Somerset leans closer to Mills, speaks quietly.

                           SOMERSET
               It's probably nothing, but even if 
               it is, it's no skin off our teeth.  
               The man at Hot Dog World is a friend, 
               in the Bureau.

                           MILLS
               Him?

                           SOMERSET
               For a long time, the F.B.I.'s been 
               hooked into the library system, 
               keeping accurate records.

                           MILLS
               What?  Assessing fines?

                           SOMERSET
               They monitor reading habits.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 75
     9-29-00                                                     


                           SOMERSET (CONT'D)
               Not every book, but certain ones are 
               flagged.  Books about... let's say, 
               how to build a nuclear bomb, or maybe 
               Mein Kampf.  Whoever takes out a 
               flagged book has their library records 
               fed to the F.B.I. from then on.

                           MILLS
               You got to be kidding.

                           SOMERSET
               Flagged books cover every topic the 
               Bureau deems questionable... communism 
               to violent crime.

                           MILLS
               How is this legal?

                           SOMERSET
               Legal... illegal.  These terms don't 
               apply.  I don't applaud it.

     Somerset takes a bite of pizza.

                           SOMERSET (CONT'D)
               They can't use the information 
               directly, but it's a useful guide.  
               It might sound silly, but you can't 
               get a library card without i.d. and 
               a current phone bill.

     Mills is starting to warm to it.

                           MILLS
               So they ran our list.

                           SOMERSET
               If you want to know who's been reading 
               Paradise Lost, Purgatory, and say... 
               The Life and Time of Charlie Manson, 
               the Bureau's computer will tell you.  
               It might give us a name.

                           MILLS
               Yeah.  Some college student who's 
               taking English 101 and just happens 
               to be writing a paper on Twentieth 
               Century Crime.

                           SOMERSET
               Yeah, well... at least we're out of 
               the office.  We've got pizza.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 76
     9-29-00                                                     


                           MILLS
               How do you know all about this?

                           SOMERSET
               I don't.  Neither do you.

     Somerset looks up.  Greasy Man is entering the pizza parlor.

72   INT.  SOMERSET'S CAR -- DAY                                   72   

     The car is parked with Somerset at the wheel and Mills beside.

     They're looking through pages of connected computer paper.

                           MILLS
               This is a waste of time.

                           SOMERSET
               We're focusing.

                           MILLS
               I know, I know... focusing on one 
               little thing.

                           SOMERSET
                    (reading aloud)
               The Divine Comedy.  A History of 
               Catholicism.  A book called Murderers 
               and Madmen.

     He hands the sheets to Mills.  Mills looks them over.

                           MILLS
                    (reading)
               Modern Homicide Investigation.  In 
               Cold Blood.  Of Human Bondage.  Human 
               Bondage?

                           SOMERSET
               It's not what you think it is.

                           MILLS
                    (reads)
               The Marquis de Sade and Origins of 
               Sadism.

                           SOMERSET
               That is.

                           MILLS
                    (reads)
               The Writings of Saint Thomas Aqu... 
               Aquin...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 77
     9-29-00                                                     


                           SOMERSET
               Saint Thomas Aquinas.
                    (starts the car)
               He wrote about the seven deadly sins.

73   INT.  TENEMENT BUILDING, STAIRWELL/HALLWAY -- DAY             73   

     Somerset and Mills walk up the stairs and turn a corner into 
     this long hall.  Somerset is looking at the computer sheets.

                           MILLS
               You're sure you're reading that right?  
               John Doe?

                           SOMERSET
               That's what it says.  Jonathan Doe.

                           MILLS
               This is stupid.  It'd be just too 
               easy.

                           SOMERSET
               We'll take a look at him.  Talk to 
               him.

                           MILLS
               Sure.  Uh, excuse me... are you by 
               any chance a serial killer?  Oh, you 
               are?  Well, come with us then, if 
               it's okay.

     They reach a door, apartment 6A.  Somerset knocks.

                           MILLS (CONT'D)
               What are you going to say?

                           SOMERSET
               You do the talking.  Put that old 
               silver tongue of yours to work.

                           MILLS
               Who told you about my silver tongue?  
               You been talking to my wife?

     Mills knocks on the door, hard.

                           MILLS (CONT'D)
               This is really lame.

     A CREAK is HEARD O.S.  Somerset turns to look towards it...

     A male figure, JOHN DOE, is standing at the stairwell, wearing 
     a hat and standing in shadow, looking towards them.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 78
     9-29-00                                                     


     Stark still.

     Somerset furrows his brow.

     The John Doe reaches into his coat, lifts his arm, pointing...

                           SOMERSET
               Mills... !

     BLAM -- GUNFIRE SOUNDS, deafening, as a bullet slams into 
     door 6A, just missing Somerset as he and Mills hit the floor.

     John Doe fires again...

     The bullet blows a huge hole in the wall, throwing plaster.  
     A third bullet follows, just above Mills and Somerset, and 
     John Doe is heard running back down the stairs.

     The gunfire's still echoing, ringing, as Mills gets up and 
     unholsters his gun.

                           MILLS
               Jesus Christ...

     Mills scrambles down the stairwell...

     IN THE STARWELL

     Mills bounds down stairs, turns a corner and leaps down 
     another flight.  He halts on the landing, listening.  John 
     Doe can be HEARD still RUNNING, below.

     IN THE HALL ABOVE

     Somerset rolls and takes out his gun.  He stands, dazed.

                           MILLS (O.S.) (CONT'D)
                    (from in stairwell)
               What kind of gun was it?

                           IN THE STAIRWELL
               Somerset comes into the stairwell.

                           MILLS (O.S.)
                    (from below)
               Damn it, Somerset... what kind of 
               gun?!  How many bullets?

     BELOW, IN THE STAIRWELL

     Mills hurries down more stairs.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 79
     9-29-00                                                     


                           SOMERSET (O.S.)
                    (from above)
               I don't know.  Might've been a 
               revolver.

     Voices echo.  Mills loses his footing, falls...

     Mills hits the next landing hard, dropping his gun.

                           MILLS
               Fuck!

     Mills gets back up and picks up his gun and keeps going.

     ABOVE IN THE STAIRWELL

     the stairs, breathing hard.

                           MILLS (O.S.) (CONT'D)
                    (from below)
               What's he look like?

                           SOMERSET
               Brown hat.  Tan raincoat... like 
               a... like a trench coat.

     BELOW IN THE STAIRWELL

     Somerset, gun ready, moves to peer over the railing, down 
     into stairwell's center...  

     John Doe, in shadow, aiming his gun straight up...  

     A SHOT is FIRED from below.

     ABOVE

     The wood near Somerset splinters into a million pieces, sends 
     Somerset ducking for cover.  

     Far below -- the bullet is HEARD RICOCHETING

     BELOW

     Mills waiting as the gunshot echoes.

                           MILLS
                    (to himself)
               Five... that's five...  

     Mills continues down the stairs.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 80
     9-29-00                                                     


74   INT.  TENEMENT BUILDING, LOWER HALLWAY -- DAY                 74   

     Mills goes down the stairs and into a hallway, falling to 
     one knee, aiming his gun one direction -- empty hallway.

     He turns in the other direction, gun hand shaking, catches a 
     glimpse of John Doe just as he disappears around a corner 
     far away.  Mills gets up, looking back to the number 2 by 
     the stairs, shouting back towards the stairwell...

                           MILLS
               Second floor!  Second floor!

     We FOLLOW him, tearing ass...  

     He makes the turn, full speed ahead, bringing his gun up...

     John Doe's running...

     Mills takes aim...

     Ahead, between John Doe and Mills, a tenant in t-shirt and 
     underwear comes out an apartment, looking towards John Doe, 
     blocking the line of fire...

                           MILLS (CONT'D)
               Get down!  Move... !

     The tenant turns to Mills, confused.  Mills pushes angrily 
     past...

     Ahead, John Doe makes an abrupt halt.  A woman tenant is 
     looking out her door and John Doe grabs her and throws her 
     into the hall.

     She falls as John Doe shoves his way into her apartment.

     BACK AT THE STAIRWELL

     Somerset comes down the stairs, tired.  He runs.

     AROUND THE CORNER, IN THE OTHER HALLWAY SECTION

     Mills reaches the apartment Doe entered, bursting in...

75   INT.  TENEMENT APARTMENT -- DAY                               75   

     Mills enters, gun up.  It's a railroad apartment, with all 
     the rooms adjoining in a row.  At the far end of the 
     apartment, John Doe can be seen moving out one room's window 
     onto a fire escape just as that room's door is swinging shut.

     Mills charges through the apartment, full on...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 81
     9-29-00                                                     


     He bashes through the closed door...

76   EXT.  TENEMENT BUILDING, FIRE ESCAPE -- DAY                   76   

     Mills leans out the window over an alleyway.  BLAM -- GUNSHOT.

     The window above Mills' shatters and Mills pulls back.

     Mills leans back out, fanning with his gun, searching.

     Below, John Doe runs out the alleyway's mouth and rounds a 
     corner, gone.

     Mills curses, scrambling out onto the fire escape, running a 
     few steps and then vaulting the rail... crashes down on the 
     roof of a car parked below.  The windshield cracks.  Mills 
     jumps off and continues the pursuit...

                           MILLS
                    (to himself)
               That's six...

77   EXT.  CITY STREET -- DAY                                      77   

     Mills rounds the alleyway corner into people packed streets.

     Several people are running, heading several different 
     directions.

     Mills comes to a halt, his focus confused, searching 
     desperately.

     Others run upon seeing his gun.  Woman scream and grab up 
     their children.  Mills can't see far down the sidewalk because 
     of all the people.  He moves forward...

     He jumps atop a fire hydrant, gripping a street sign for 
     balance, trying to see further down the street.

     MILLS' P.O.V. -- There he is!  John Doe can be seen, far 
     off, moving across the street, through traffic, to the 
     opposite sidewalk.

     ON THE STREET, Mills runs, into traffic, avoiding cars, down 
     the center line.  Angry drivers scream at him.

     Ahead, John Doe glances back, ducking into an alley.

     Mills gets to the other sidewalk, yelling for people to get 
     out of the way...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 82
     9-29-00                                                     


78   EXT.  CITY ALLEYWAY -- DAY                                    78   

     Mills comes to this tight alleyway.  It's dark, with a long, 
     tall, vertical sliver of daylight far ahead.  Mills runs...

     Charging hard onwards...

     A two-by-four swings out from a hidden nook along the side 
     of the alleyway -- slamming Mills in the face with a THWACK!!

     Mills' gun hits the alley wall and clatters into a puddle.

     Mills hits the dirt, on his back, nose broken and split, 
     face bloodied.  He cries out, rolling to his side, clutching 
     his face.

     The two-by-four is dropped.  John Doe's feet cross a short 
     distance.  Doe's hand reaches to pick up Mills' gun.  (We 
     never see John Doe's face.)

     Mills still lies on his side, stunned, spitting blood and 
     cursing, when he feels the barrel of his gun against the 
     side of his face.  Mills freezes.

     John Doe moves the gun slowly across Mills' face, till the 
     barrel reaches Mills' mouth.  The barrel is inserted between 
     his lips.

     The gun's hammer is pulled back.

     Mills quakes, tries to open his eyes, but he's blinded by 
     the blood from his broken nose.  For an instant, there is a 
     sudden, BRIGHT FLASH of LIGHT.

     After a long moment, the gun withdrawals.  From O.S., the 
     bullets fall out of Mills gun onto his chest.

     The gun is dropped.  John Doe runs towards the sliver of 
     light.

     He's gone.

     Mills lies for a long moment, gasping.  At the alleyway's 
     entrance, Somerset appears.

                           SOMERSET
               Mills...

     Mills rolls, shaken, feeling to pick up the bullets and trying 
     to rub the blood out of his eyes with his shirt sleeve.  
     Somerset arrives.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 83
     9-29-00                                                     


                           SOMERSET (CONT'D)
               Are you alright?

                           MILLS
               I'm fine.

                           SOMERSET
               What happened?

     Mills gets up, collects his gun and pockets it, then walks 
     past Somerset, heading back.

                           SOMERSET (CONT'D)
               Mills... ?

     Mills starts running.  Somerset runs to follow.

79   INT.  TENEMENT BUILDING, STAIRWELL/HALLWAY -- DAY             79   

     Mills moves from the stairwell, driven, his nose still 
     bleeding, heading for apartment 6A.  Somerset takes Mills 
     arm, but Mills pulls away and keeps going.

                           SOMERSET
               Wait... just wait.

                           MILLS
               It was him.

                           SOMERSET
               You can't go in there.

     Somerset grabs Mills again and Mills shoves him off.

                           MILLS
               The hell I can't!  We get in there 
               and we can stop him.

                           SOMERSET
               We need a warrant.

                           MILLS
               We have probable cause now.

     Somerset grabs Mills and shoves him against the wall.

                           SOMERSET
               Think about it...

                           MILLS
               What the fuck is wrong with you?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 84
     9-29-00                                                     


                           SOMERSET
               Think about how we got here!

     Somerset holds the computer paper, now crumpled in his hand.  
     He waves it in Mills' face as Mills struggles.

                           SOMERSET (CONT'D)
               We can't tell anyone about this.  We 
               can't tell them about the Bureau, so 
               we have no reason for being here.

     Mills stops struggling, breathing hard, seething, trembling.

                           MILLS
               By the time we clear a warrant someone 
               else is going to be dead.

                           SOMERSET
               Think it through.  If we leave a 
               hole like this, we'll never prosecute.  
               He'll walk.
                    (pause)
               We have to come up with some excuse 
               for knocking on this door.

                           MILLS
               Okay... okay... get off.

     Somerset releases Mills.  Mills looks around the hall, then 
     goes right to door 6A and KICKS IT IN -- the door jam 
     splinters and the door swings open to darkness for a moment 
     before swinging back, half-shut.

                           SOMERSET
               You stupid son of a...

                           MILLS
               No point in arguing anymore...

     Mills strides down the short end of the hall, towards a 
     window.

                           MILLS (CONT'D)
                    (pointing back)
               Unless you can fix that.

     Mills stops, looking out the window.  It overlooks a weedy, 
     overgrown courtyard where a THIN VAGRANT lies asleep on the 
     concrete.  Mills turns, looking back to Somerset.

                           MILLS (CONT'D)
               How much money do we have left?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 85
     9-29-00                                                     


80   INT.  TENEMENT BUILDING, STAIRWELL -- EARLY EVENING           80   

     On a stairwell landing, Somerset watches the thin vagrant 
     from the courtyard talk to a uniformed POLICEMAN who writes 
     on a clipboard, taking the statement.

                           THIN VAGRANT
               So, I... I noticed this guy going 
               out...  going out a lot when those 
               murders were happening.  So... so 
               I...

     The vagrant's clinging to the rail, drunk and out of it.  
     Mills is down further on the stairs, high strung, chomping 
     at the bit to get this over with.

                           MILLS
               So, you called Detective Somerset, 
               right?

                           THIN VAGRANT
               Yeah, I... I called the detective.  
               Because, because this guy seemed... 
               creepy.  And... and...

                           MILLS
                    (urging him on)
               And...

                           THIN VAGRANT
               And, one of the murders was over 
               there...  over... nearby here.  I... 
               I called the cops...

     The vagrant wipes drool from his lips.  Mills comes to grip 
     him so he doesn't fall, searching the policemen's face for 
     suspicion.

                           MILLS
               I told you the rest.  You got it?

                           POLICEMAN
                    (still writing)
               Yeah, whatever.

                           SOMERSET
               Have him sign it.

     The policeman holds the clipboard and pen out to the vagrant.

     Mills takes the pen and guides the vagrant's hand, almost 
     signing it for him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 86
     9-29-00                                                     


                           MILLS
               Great.  Is that it?

     The policeman nods.  Mills grips the vagrant and leads him 
     down the stairs in a hurry, around a bend.  Mills looks up 
     to be sure they're out of the policeman's sight, takes out a 
     wad of cash and shoves it in the vagrant's pocket.

                           MILLS (CONT'D)
               Go drink yourself happy.

     Mills quickly guides the vagrant on his way, then turns and 
     rushes up the stairs, taking them two at a time.

81   INT.  JOHN DOE'S APARTMENT, MAIN ROOM -- EARLY EVENING        81   

     Mills pushes door 6A open, putting on rubber gloves.  He 
     steps in with Somerset behind.  Somerset turns back to the 
     policeman.

                           SOMERSET
                    (to policeman)
               Wait outside.

     Somerset closes the door most of the way.  Mills hits a switch 
     on the wall and a lamp illuminates a desk.  The desk is in 
     the center of the room, facing them.  The room is bizarre, 
     with some areas cluttered and others barren.  All the walls 
     are painted black.  All the large, curtainless windows are 
     painted over.

     Somerset puts on his gloves.  Mills walks to the desk.

     The desktop is rather tidy.  The only blatantly strange thing 
     is a set of notches carved into the wooden surface: three 
     notches.

     A candle has been allowed to burn down at one corner of the 
     desk and the wax trail goes all the way to the floor.  Mills 
     opens the middle desk drawer.  It's empty except for The 
     Holy Bible.

     Somerset moves along shelves of books, looking at the spines.

     Lots of thick, oversized art volumes.  A HISTORY OF THEOLOGY.  
     HANDBOOK OF FIREARMS.  HISTORY OF THE WORLD.  SUMMA 
     THEOLOGICA.  UNITED STATES CRIMINAL LAW REVIEW.

     At the desk, Mills opens another drawer.  It's filled with 
     at least forty empty aspirin bottles.  He opens the next 
     drawer and finds a rosary and several boxes of bullets.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 87
     9-29-00                                                     


     Somerset comes to look at John Doe's "bed."  No mattress. 
     It's only a metal frame and springs with a sheet spread across 
     it.

     The sheet is sweat stained and dotted by stains of rust at 
     many points where springs have worn through.

     Somerset walks around the bed to a narrow table not far away 
     against the wall.  The table contains a strange tableau, 
     like a mini stage, hand-made of cardboard and pasted Communion 
     wafers.

     A human hand immersed in a jar of liquid is the centerpiece.

                           SOMERSET (CONT'D)
                    (quiet, to himself)
               Victor.

     Above this, on the wall, there's a clutter of pinned up 
     articles about the seven deadly sins, pages from art books, 
     pencil drawings of Christ, all tight together and overlapping.

     Mills picks up a small piece of paper from a letter holder.  
     It's a pink receipt from WILD BILL'S LEATHER SHOP.

     Written: CUSTOM JOB. $502.64. PAID IN FULL.  Mills puts the 
     receipt back down on the desk.

     Somerset walks to a black door.  Opens it.

82   INT.  JOHN DOE'S APARTMEN, ROOM TWO -- EARLY EVENING          82   

     Somerset enters.  A ceiling light is on.  Bare bulb.  There 
     are bookshelves on three walls, filled with notebooks.  
     Thousands and thousands of notebooks.

     Somerset takes one notebook down.  It is a thick composition 
     book with an unlabeled cover.  Inside, the pages are filled 
     with small handwritten sentences, thumb-nail sketches and 
     blurry, glued in photographs; small photos, seemingly cut 
     from contact sheets.  the sketches, pictures and writings 
     takes up ever single inch.

     Somerset takes down another notebook and flips through the 
     pages.

     Same as the first, filled to the brim.

     Somerset crosses to another shelf and pulls another notebook.

     Same deal.  Somerset looks around.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 88
     9-29-00                                                     


                           SOMERSET
               Jesus.

83   INT.  JOHN DOE'S APARTMENT, MAIN ROOM -- EARLY EVENING        83   

     Mills moves from the desk to a hall.  He tries a light switch, 
     but it does nothing.  He walks...

     It's dark.  A rather long hall.  The only light is a red 
     glow seeping from under the bottom of the closed door ahead.

84   INT.  JOHN DOE'S APARTMENT, ROOM TWO -- EARLY EVENING         84   

     Somerset walks to a 16mm film projector.  It sits facing a 
     battered white screen.  Somerset turns the projector on, 
     backing away to switch off the bare bulb above.

85   INT.  JOHN DOE'S APARTMENT, HALL -- EARLY EVENING             85   

     Mills reaches the door at the end of the hall.  He turns the 
     knob and pushes the door open.  He's bathed in red light.

86   INT.  JOHN DOE'S APARTMENT, BATHROOM -- EARLY EVENING         86   

     Mills enters.  He looks around, slowly.  Stunned.

87   INT.  JOHN DOE'S APARTMENT, ROOM TWO -- EARLY EVENING         87   

     The projector is clattering in the dark, running a piece of 
     film through.  The film is spliced to run as a non-stop loop.

     Somerset watches the screen, light strobing across him.

     The screen shows a bright image of clouds drifting, with 
     strange superimposed angels in flowing robes floating jerkily.  
     It's like a weird, old Hollywood version of Heaven.

     The images switch abruptly to fire and tormented souls 
     laboring around a pit of molten goo, where more tormented 
     humans squirm.

     Like Heaven, it's a scratched piece of film from Hollywood's 
     early days.

                           MILLS (O.S.)
               Somerset!

     Somerset is engrossed in the images.

                           MILLS (O.S.) (CONT'D)
               Somerset... come here!

     Somerset hears him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 89
     9-29-00                                                     


88   INT.  JOHN DOE'S APARTMENT, HALL/BATHROOM -- EARLY EVENING    88   

     Somerset comes down the hall.

                           MILLS (O.S.)
               We had him, damn it.

     Somerset reaches the bathroom where Mills stands looking up 
     at the wall.  The room has been converted into a dark room 
     lit by red bulbs, with strips of film hanging from the 
     ceiling.

                           SOMERSET
               What are you talking about?

                           MILLS
               We had him.

     There are hundreds of prints on the walls and hanging from 
     drying wires.  Somerset looks around, trying to understand...

     Pictures of John Doe's victims, alive and dead.  Grotesque 
     photos, of their pleading faces, and their dead bodies.  
     Close shots of eyes, fingers and mouths.

     Mills sits on the closed toilet, throwing something into the 
     nearby sink and resting his head in his hands.

                           MILLS (CONT'D)
               The pass was a fake.

     In the sink -- it's a laminated press pass on a neck cord.

     On the walls, more pictures: of the crime scenes, but from 
     the outside looking in.  Long shots.  Police cars.  
     Ambulances.

     Uniformed officers putting up police barrier ribbons outside 
     buildings.  The coroner's wagon.

     Somerset stares at them, taking them in, realizing...

                           MILLS (CONT'D)
               We had him and we let him go.

     In the backgrounds of the pictures: Somerset and Mills.  In 
     another: Mills crossing the street.  In another: Somerset 
     and Mills getting out of Somerset's car.

     One photo, close shot, shows Mills and Somerset on the 
     stairwell of the building where Victor's body was found.  It 
     is the picture taken by the balding, almost silly looking 
     reporter.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 90
     9-29-00                                                     


89   INT.  JOHN DOE'S APARTMENT, MAIN ROOM -- NIGHT                89   

     A male forensic uses tongs to remove Victor's hand from the 
     jar of liquid.  He places the hand in a clear plastic evidence 
     bag.

     The forensic walks away with the hand, past a FEMALE SKETCH 
     ARTIST who puts the finishing touches on an accurate drawing 
     of the balding, almost silly looking reporter who wears thick 
     glasses, now known as John Doe.

                           SKETCH ARTIST
               You're sure this is him?

     Mills stands over the sketch artist.  Two deputy detectives, 
     SARA and BILLY, are at work along with two other forensics 
     searching, photographing and dusting.

                           MILLS
               Just put it in circulation.

                           SKETCH ARTIST
               You got it.  Tomorrow morning, this 
               city's good citizens will be on the 
               lookout for Elmer Fudd.

                           SARA
                    (coming to Mills)
               We can't find anything to hang on 
               to.  No paystubs, no appointment 
               books or calendars.  Not even an 
               address book.  And, you're not going 
               to believe this...

                           MILLS
               Keep looking.

                           SARA
               It's just... we haven't found any 
               fingerprints yet.  Not a single one.

                           MILLS
               You know, you're right, I don't 
               believe you.  Keep looking.

     Mills walks away.

90   INT.  JOHN DOE'S APARTMENT, ROOM TWO -- NIGHT                 90   

     Somerset and three uniformed officers are looking through 
     the notebooks on the shelves.  Somerset squints at the 
     notebook in his hand, shaking his head as he reads.  Mills 
     enters.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 91
     9-29-00                                                     


     Somerset looks up and closes the notebook.

                           SOMERSET
               We could use about fifty more men 
               here.

                           MILLS
               I'm trying, alright?  Just tell me 
               what we've got.

     Somerset pauses briefly at Mills' abruptness.

                           SOMERSET
               Well, there are at least five thousand 
               notebooks in this room, and near as 
               I can tell, each notebook contains 
               two hundred and fifty pages.

                           MILLS
               Then, he must write about these 
               murders.

                           SOMERSET
                    (opens notebook, reads)
               "What sick, ridiculous, puppets we 
               are, and what a gross, little stage 
               we dance on.  What fun we have, 
               dancing and fucking, not a care in 
               the world.  Not knowing that we are 
               nothing.  We are not what was 
               intended."

     Somerset turns a few pages.

                           SOMERSET (CONT'D)
                    (reads)
               "On the subway today, a man came to 
               me to start a conversation.  He made 
               small talk, this lonely man, talking 
               about the weather and other things.  
               I tried to be pleasant and 
               accommodating, but my head began to 
               hurt from his banality.  I almost 
               didn't notice it had happened, but I 
               suddenly threw up all over him.  He 
               was not pleased, and I couldn't help 
               laughing."

     Somerset closes the notebook.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 92
     9-29-00                                                     


                           SOMERSET (CONT'D)
               No dates indicated, placed on the 
               shelves in no discernible order.  
               It's just his mind poured out on 
               paper.  I don't think it's going to 
               give us any specifics.

                           MILLS
               Looking around... I've got a bad 
               feeling these murders are his life's 
               work.

     A PHONE is HEARD RINGING in another room.  Mills looks.

91   INT.  JOHN DOE'S APARTMENT, MAIN ROOM -- NIGHT                91   

     Everyone's looking around, and at each other, trying to find 
     the source of the RINGING.  Mills and Somerset enter, baffled.  
     Mills looks to Sara.  She shrugs and shakes her head.

     Everyone searches.  PHONE RINGS.

     Mills gets on his hands and knees.

                           MILLS
               Here...

     Mills crawls under John Doe's "bed."  He comes back out with 
     a rotary phone.  Someone throws him a micro-cassette recorder.

     Mills turns the recorder on, makes sure it's running, then 
     picks up the phone with the recorder to the earpiece.

                           MILLS (CONT'D)
                    (into phone)
               Hello.

                           JOHN DOE (V.O.)
                    (from phone)
               I admire you.  I don't know how you 
               found me, but imagine my surprise.  
               I respect you detectives more every 
               day.

                           MILLS
                    (into phone)
               Okay, John, let's...

                           JOHN DOE (V.O.)
                    (from phone)
               No, no, no!  You listen.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 93
     9-29-00                                                     


                           JOHN DOE (V.O.) (CONT'D)
               I'll be back on schedule tomorrow, 
               even with this setback.  I just had 
               to call and express my admiration.  
               I'm sorry I had to hurt you today, 
               but I didn't have a choice.  You 
               will accept my apology, won't you?

     Mills says nothing, containing his anger.

                           JOHN DOE (V.O.) (CONT'D)
               I feel like saying more... but I 
               don't want to ruin the surprise.

     John Doe hangs up.  Mills puts down the phone.

92   INT.  JOHN DOE'S APARTMENT, ROOM TWO -- LATER NIGHT           92   

     Mills and Somerset stand in the dark, watching the continuous 
     loop projector's strange images of Heaven and Hell.

                           MILLS
               You were right.

     Somerset looks at Mills.

                           MILLS (CONT'D)
               He's preaching.

                           SOMERSET
                    (nods)
               These murders are his masterwork.  
               His sermon to all of us.  To all us 
               sinners.

     The door opens and light bursts in.  The captain stands there, 
     looking them over.

                           CAPTAIN
               It's been a long day, kids.  Go home.  
               Just make sure you sleep with the 
               phone between your legs.

93   INT.  SOMERSET'S APARTMENT, BEDROOM -- NIGHT                  93   

     Somerset winds his metronome.  PHONE RINGS.  Somerset does 
     not want to answer it, but does.

                           SOMERSET
                    (into phone)
               Hello.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 94
     9-29-00                                                     


                           TRACY (V.O.)
                    (from phone)
               Hello, William?  It's Tracy.

                           SOMERSET
                    (into phone)
               Tracy, is everything alright?

                           TRACY (V.O.)
               Yes, yes, everything's fine.

                           SOMERSET
               Where's David?

                           TRACY (V.O.)
               He's in the shower, in the other 
               room.  I'm sorry to call like this.

                           SOMERSET
               It's alright, I guess.

                           TRACY (V.O.)
               I, um... I need to talk to you.  I 
               need to talk to someone.  Can you 
               meet me somewhere... maybe tomorrow 
               morning?

                           SOMERSET
               I really don't understand.

                           TRACY (V.O.)
               I feel stupid, but you're the only 
               person I know here.  There's no one 
               else...

                           SOMERSET
               I just...

                           TRACY (V.O.)
               Can't you get away, for a little 
               while?

                           SOMERSET
               I don't know, with this case.

                           TRACY
               If you can, please call me.  Please.  
               I have to go now... goodnight.

     Tracy hangs up.  Somerset looks at the phone, wondering.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 95
     9-29-00                                                     


     INSERT -- TITLE CARD

     FRIDAY

94   INT.  COFFEE CAFE -- MORNING                                  94   

     Somerset sits in the window booth with Tracy.  The cafe is 
     noisy.

     Tracy stares into her coffee while she stirs it.

                           TRACY
               I mean, you known this city.  You've 
               been here for so long.

                           SOMERSET
               It's a hard place.

                           TRACY
               I don't sleep very well.

     Somerset is trying to be understanding, but sneaks a look at 
     his watch.

                           SOMERSET
               I feel strange being here with you...  
               without David knowing.

                           TRACY
               I'm sorry, I only...

     Two young punks step up to the window outside and look in at 
     Tracy.  One flicks his tongue rapidly.  Tracy looks away.

     Somerset takes out his badge and holds it against the window.

     One punk gives the finger and the other spits on the window.

     They leave, laughing.  Tracy tries to smile.

                           TRACY (CONT'D)
               Perfect example.

                           SOMERSET
               You have to put blinders on sometimes.  
               Most times.

                           TRACY
               I don't know why I asked you to come.

                           SOMERSET
               Talk to him about it.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 96
     9-29-00                                                     


                           SOMERSET (CONT'D)
               He'll understand if you tell him how 
               you feel.

                           TRACY
               I can't be a burden, especially now.  
               I know I'll get used to things.  I 
               guess I wanted to know what someone 
               who's lived here thinks.  Upstate, 
               it was a completely different 
               environment.
                    (pause)
               I don't know if David told you, but 
               I teach fifth grade, or did.

                           SOMERSET
               He mentioned it.

     Tracy seems very upset, near tears.

                           TRACY
               I've been going to some of the 
               schools, looking for work, but the 
               conditions here are... horrible.

                           SOMERSET
               You should look into private schools.

                           TRACY
               I don't know...

     Tracy looks up, wipes at her eyes.

                           SOMERSET
               What's really bothering you?

     Tracy bites her lip.

                           TRACY
               David and I are... going to have a 
               baby.

     Somerset sits back, the expression of soothing concern on 
     his face disappearing.

                           SOMERSET
               Oh, Tracy... I have to tell you, I'm 
               not the one to talk to about this.

                           TRACY
               I hate this city.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 97
     9-29-00                                                     


     Somerset sighs.  He takes out a cigarette, but thinks better 
     of it and puts it back.  He looks out the window.

                           SOMERSET
               If you're thinking...
                    (pause)
               I had a relationship once, very much 
               like a marriage.  And, she was going 
               to have our child.  This is a long 
               time ago.  She and I had decided we 
               were going to make the choice 
               together... whether to keep the baby.

     Tracy looks at Somerset.

                           SOMERSET (CONT'D)
               Well, I got up one morning and went 
               to work... just like any other day, 
               except it was my first since hearing 
               about the baby.  And, I... I felt 
               this fear and anxiety washing over 
               me.  I looked around, and I thought, 
               how can we raise a child surrounded 
               by all this?  How can a child grow 
               up here?
                    (pause)
               So, that night, I told her I didn't 
               want us to have it, and over the 
               next few weeks, I convinced her it 
               was wrong.  I mean... I wore her 
               down, slowly.

                           TRACY
               I want to have children.  It's just...

                           SOMERSET
               I can tell you now, I know... I'm 
               positive I made the right decision.  
               I'm positive.  But, there's never a 
               day that passes that I don't wish I 
               had decided differently.

     Somerset reaches and takes Tracy's hand.

                           SOMERSET (CONT'D)
               If you... don't keep the baby, if 
               that's what you decide, then, never 
               tell him you were pregnant.  I mean 
               that.  Never.
                    (pause)
               The relationship will whither and 
               die.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 98
     9-29-00                                                     


     Tracy nods, tears welling up again.  Somerset smiles a bit.

                           SOMERSET (CONT'D)
               But, if you do decide to have the 
               baby, then, at that very moment, 
               when you're absolutely sure, tell 
               David.  Tell him at that exact second, 
               and then spoil that kid every chance 
               you get.

     There are tears in Somerset's eyes.

                           SOMERSET (CONT'D)
               That's all the advice I can give 
               you, Tracy.  I don't even know you.

     He smiles again, wipes his own tears.

                           TRACY
               William...

     Somerset's beeper begins BEEPING.  He takes it out and stands, 
     wanting to leave.  Tracy gets up and kisses him on the cheek.

                           TRACY (CONT'D)
               Thank you.

     Somerset starts to back away.

                           TRACY (CONT'D)
               Keep in touch after you're gone, 
               William.  Please.

     Somerset nods, raises a hand to say goodbye as he leaves.

95   INT.  WILD BILL'S LEATHER SHOP -- DAY                         95   

     Mills and Somerset are on one side of the counter and WILD 
     BILL is on the other.  Wild Bill is shirtless and covered in 
     tattoos.

     He has a thick scar running down the center of his forehead 
     and down his cheek.  Leather belts, whips and jackets hang 
     on the walls and from the ceiling.

                           WILD BILL
               Yeah, he picked it up last night.

     Wild Bill holds the pink receipt from John Doe's apartment.

                           MILLS
               This was definitely him?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                  p. 99
     9-29-00                                                     


     Mills points to the rendering of John Doe he holds.

                           WILD BILL
               Yeah, John Doe.  Easy name to 
               remember.

                           SOMERSET
               What was this job you did for him?

                           WILD BILL
               I got a picture of it here.  It's a 
               real sweet piece...

     Wild Bill pulls a box from behind the counter, digs in it.

                           WILD BILL (CONT'D)
               I figured he must be one of those 
               performance artists.  That's what I 
               figured.  Like one of those guys who 
               pisses in a cup on stage and drinks 
               it.  Performance art.

     Wild Bill hands a Polaroid picture to Mills.  We do not see 
     the picture yet.

                           MILLS
               Oh... give me a break.

                           WILD BILL
               I think I undercharged him.

                           SOMERSET
                    (looks at photo)
               You built this for him?  You build 
               this?

                           WILD BILL
               I've built weirder shit than that.  
               So what?

     A POLICEMAN enters the store.

                           POLICEMAN
               Detectives... we have a situation.

     Mills and Somerset follow the cop out.

                           WILD BILL
               Hey, my picture... !

     Wild Bill watches them go, scratches his thick scar.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 100
     9-29-00                                                     


                           WILD BILL (CONT'D)
               Fucking pigs.

96   EXT.  THE HOT HOUSE MASSAGE PARLOUR -- DAY                    96   

     It's a madhouse outside The Hot House, a bright red storefront 
     bordered on both sides by porno theater after porno theater.  
     A crowd is gathered around a police action in progress.

     Cops have formed a barrier, holding back the crowd and 
     creating an aisle from the entrance of The Hot House to the 
     back of a jail-van.  Cops and detectives are escorting various 
     men, women and transvestites into the large vehicle.  The 
     crowd, consisting of the dregs of society, is shouting.  
     Some people are spitting and throwing trash at the cops.

97   INT.  THE HOT HOUSE, RECEPTION AREA -- DAY                    97   

     TWO COPS are in front of a glass and steel cage.  Inside the 
     cage is a fat, BALD MAN with a wall of sex toys behind him.

                           BALD MAN
               Just wait!  Just wait!

     One cop pounds his nightstick against the glass.

                           COP
               Get out of the fucking booth!

                           BALD MAN
               Just wait!  I'll come out, just wait!

98   INT.  THE HOT HOUSE, CORRIDORS -- DAY                         98   

     All the lights are red and the walls are painted red.  Mills 
     and Somerset follow a THIRD COP through the twisting 
     corridors.

     POLICEMEN can be HEARD SHOUTING and MAKING ARRESTS.  ROCK 
     MUSIC PLAYS, throbbing.  They come to a door.

                           THIRD COP
               I don't want to go in there again.

99   INT.  RED ROOM -- DAY                                         99   

     Mills and Somerset enter.  ROCK MUSIC CONTINUES, LOUD.  A 
     strobe light flashes from the ceiling.  TWO AMBULANCE 
     ATTENDANTS are in the room.  The first attendant is placing 
     a sheet over a bed, hiding the corpse of a blonde woman.  
     The second attendant is trying to examine the pupils of a 
     CRAZED MAN, 55, who is naked and wrapped in a sheet.  A 
     SWEATING COP holds crazed man down.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 101
     9-29-00                                                     


                           CRAZED MAN
               He... he... he made me do it!

                           SECOND ATTENDANT
               I have to look at you.  I have to 
               look at you!

     LUST is scratched into the red paint on the wall in big 
     letters.

     Mills and Somerset move towards the covered body.

                           FIRST ATTENDANT
                    (to Mills and Somerset)
               You're not going to want to see this 
               more than once.

                           CRAZED MAN
               He had a gun!  He made me do it!

     The sheet is lifted for the detectives.  They grimace at 
     what they see.  We do not see.  Somerset closes his eyes and 
     turns away.  The first attendant replaces the sheet.

     Mills steps back, takes out his handkerchief and sucks on 
     it.  He looks at the crazed man.  The crazed man jerks around 
     while the second attendant preps a needle.

                           SECOND ATTENDANT
               He's in shock, man.  He's gone.

                           CRAZED MAN
               Take this thing off me... take it 
               off!  Please, take this thing off 
               me!

     The sweating cop keeps his controlling grip on the crazed 
     man.

                           CRAZED MAN (CONT'D)
               Get it off... oh, God!

                           SWEATING COP
                    (to Mills and Somerset)
               You're the detectives, right?  Right?  
               Well, you'd better see this!

     Somerset's facing the wall.  Crazed man's still yelling.

                           SWEATING COP (CONT'D)
               Hey... you better see what's strapped 
               onto this guy!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 102
     9-29-00                                                     


     Mills turns to the cop.

                           MILLS
               We've already seen it!

100   INT.  SANATORIUM, WHITE ROOM -- DAY                         100   

     A Polaroid photograph on a white table.  It is the photo 
     Wild Bill gave to Mills.  It's a picture of a belt, made 
     with extra leather straps so it can be worn securely around 
     the groin.  It is a strap-on phallus, except there is no 
     plastic protuberance.

     Instead, there is a metal knife -- it's a strap-on butcher's 
     knife.

                           CRAZED MAN
               And... and... and he said... he asked 
               me if I was married.  And, I could 
               see he had a gun in his hand.

                           SOMERSET
               Where was the girl?

                           CRAZED MAN
               What?  What?

                           SOMERSET
               Where was the prostitute?  Where was 
               she?

     The crazed man leans forward in his chair.

                           CRAZED MAN
               She was... she was on the bed.  She 
               was just sitting on the bed.

                           SOMERSET
               Who tied her down?  You or him?

                           CRAZED MAN
               He had a gun.  He had a gun... and 
               he made it happen.  He made me do 
               it!
                    (sobbing)
               He made me put that... that thing 
               on.  Oh, Christ!  He made me wear 
               it... and... and he told me to fuck 
               her.  He had the gun in my mouth.

     The man slides to the floor and hides his face in his hands.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 103
     9-29-00                                                     


                           CRAZED MAN (CONT'D)
               The gun was in my throat!

     Somerset looks up at the mirror in his room.  He stands and 
     picks up the Polaroids as two men in institutional uniforms 
     enter to collect the crazed man from the floor.

101   INT.  PRECINCT HOUSE, INTERROGATION ROOM -- DAY             101   

     Mills stands in this dirty room with the dirty, bald man 
     from The Hot House's reception area booth.

                           MILLS
               You didn't hear any screams?  Nothing?  
               You didn't notice when this man walked 
               in with a package under his arm?!

                           BALD MAN
               No, I didn't.

                           MILLS
               You didn't notice anything wrong?  
               Nothing seemed strange to you?

                           BALD MAN
               Everybody who goes in there has a 
               package under his arm.  Some guys 
               are carrying suitcases full of stuff.  
               And, screams?  There're screams coming 
               out of there everyday.  It goes with 
               the territory, little boy!

                           MILLS
               You like what you do for a living?  
               You like the things you see?

     The bald man smiles strangely.

                           BALD MAN
               No.  No, I don't.  But, that's life.

102   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- EARLY EVENING    102   

     THE BLACKBOARD:

     1  gluttony (x)     5  wrath 

     2  greed (x)        6  pride

     3  sloth (x)        7  lust (x)

     4  envy 

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 104
     9-29-00                                                     


     Somerset and Mills are shell-shocked, silent, seated at their 
     desks.  Somerset is looking at the blackboard.  Mills is 
     looking at the billboard out the window.

103   INT.  SPORTS BAR -- NIGHT                                   103   

     Somerset and Mills sit with a full pitcher of beer.  The 
     jukebox plays for the other customers.  The walls of the bar 
     are covered with trophies, plaques and other victory symbols.

                           SOMERSET
               The irony is, after a day of the 
               type of work he did, he'd come home 
               and read me these morbid crime 
               stories.  Murders in the Rue Morgue.  
               Le Fanu's Green Tea.  My mother would 
               give him hell because he was keeping 
               me up till all hours.

                           MILLS
               Sounds like a father who wanted his 
               son to follow in his footsteps.

                           SOMERSET
               One birthday he gave me this brand 
               new hardcover book, "The Century of 
               the Detective," by Jurgen Thorwald.  
               It traced the history of deduction 
               as a science, and it sealed my fate, 
               because it was real, not fiction.  
               And, that a drop of blood or a piece 
               of hair could solve a crime... it 
               was incredible to me.

     Somerset drinks, then pours more beer.

                           SOMERSET (CONT'D)
               You know... there's not going to be 
               a happy ending to this.  It's not 
               possible anymore.

                           MILLS
               If we get him, I'll be happy enough.

                           SOMERSET
               No.  Face it now.  Stop thinking 
               it's good guys against bad guys.

                           MILLS
               How can you say that?  Especially 
               after today?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 105
     9-29-00                                                     


                           SOMERSET
               Don't try to focus on things as black 
               and white, because you'll go blind.  
               There's no winning and losing here.

                           MILLS
               You're the oldest man I know, 
               Somerset.

                           SOMERSET
               You tell me, then... you walk into 
               an apartment, and a man has beaten 
               his wife to death, or the wife 
               murdered the husband, and you have 
               to wash the blood off their children.  
               You put the killer in jail.  Who 
               won?

                           MILLS
               You do your job...

                           SOMERSET
               Where's the victory?

                           MILLS
               You follow the law and do the best 
               you can.  It's all there.

                           SOMERSET
               Just know that in this case there's 
               not going to be any satisfaction.  
               If we caught John Doe and he were 
               the devil himself, if it turned out 
               he were actually Satan, then, that 
               might live up to our expectations.  
               No human being could do these things, 
               right?  But, this is not the devil.  
               It's just a man.

                           MILLS
               Why don't you shut the fuck up for a 
               while?  You bitch and complain... if 
               I thought like you, I would have 
               slit my wrist already.

     Somerset sits back, looking at Mills.

                           MILLS (CONT'D)
               You think you're preparing me for 
               the hard times ahead?  You think 
               you're toughening me up?  Well, you're 
               not!  You're quitting, fine... but 
               I'm staying.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 106
     9-29-00                                                     


                           SOMERSET
               People don't want a champion.  They 
               just want to keep playing the lottery 
               and eating hamburgers.

                           MILLS
               What the fuck is wrong with you?  
               What burnt you out?

                           SOMERSET
               It wasn't one thing, if that's what 
               you mean.  I just... I can't live 
               here anymore.  I can't live where 
               stupidity is embraced and nurtured 
               as if it were a virtue.

                           MILLS
               Oh, you're so much better than 
               everyone, right?  No one's worthy of 
               you.

                           SOMERSET
               Wrong!  I sympathize completely, 
               because if you can't win... then, if 
               you don't ignore everything and 
               everyone around you, you...  you 
               become like John Doe.  It's easier 
               to beat a child than it is to raise 
               it, because it takes so much work to 
               love.  You just have to make sure 
               you don't stop to think about the 
               abuse, and the damage, because you'll 
               risk being sad.  Keep ignoring.

                           MILLS
               You're talking about people who are 
               mentally ill.  You're...

                           SOMERSET
               No I'm not!  I'm talking about common, 
               everyday life here.  If you let 
               yourself worry about one thing, you'll 
               worry about the next, and the next, 
               and it never ends.  In this place, 
               ignorance isn't just bliss, it's a 
               matter of survival.

                           MILLS
               Listen to yourself.  You say, "the 
               problem with people is they don't 
               care, so I don't care about people."  
               But, you're already here.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 107
     9-29-00                                                     


                           MILLS (CONT'D)
               You've been here a long time.  So, 
               there's a part of you that knows, 
               even if everything you say is true, 
               none of it matters.

                           SOMERSET
               That part of me is dead.

     Mills stands.

                           MILLS
               You want me to agree with you: "Yeah, 
               you're right, Somerset.  This is a 
               fucked place.  Let's go live in a 
               fucking log cabin."  Well, I don't 
               agree with you.  You're giving up, 
               and it makes me sick, because you're 
               the best I've ever seen.

     Mills throws some money on the table.

                           MILLS (CONT'D)
               Thanks for the beer.

     Mills leaves, other patrons watching him.

     Somerset takes out a cigarette and goes to light it.  The 
     lighter will not light, and when it does, Somerset's hand is 
     trembling.

104   INT.  MILLS' APARTMENT, BEDROOM -- NIGHT                    104   

     Mills comes quietly into the dark bedroom.  Tracy is asleep 
     on the bed.  Mills takes off his suit jacket, puts it down.  
     He sits on a chair and unties one shoe, takes it off, then 
     looks at Tracy.  Looks at her a long moment.

     He puts the shoe on the floor and goes to get on the bed.  
     He kisses his wife's forehead, kisses her cheek, then wraps 
     his arms under and around her.  He holds her tight, kisses 
     her again.

     Tracy stirs.

                           TRACY
               Honey?

     Mills runs his fingers along her face.

                           MILLS
               I love you.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 108
     9-29-00                                                     


     Mills holds her tighter.  She wraps her arms around him.  
     They lie together, clinging, holding tighter still.

105   INT.  MILLS' APARTMENT BUILDING/STREET -- NIGHT             105   

     Through the window of the apartment, we can see Tracy and 
     Mills on the bed.  CAMERA MOVES from this window, to the 
     street.

     CAMERA CONTINUES down the night street, to a car far from 
     Mills' building.  Inside the car, John Doe sits, looking up 
     at Mills' window.  Doe looks as plain as white bread.  He 
     adjusts his thick glasses, sips from a coffee cup.

106   INT.  SOMERSET'S APARTMENT, BEDROOM -- NIGHT                106   

     Somerset is in bed.  The metronome is sounding; tick... 
     tick...  tick...  The SOUNDS of the CITY are LOUD.

     Somerset closes his eyes, concentrating on the metronome.

     Tick... tick... tick...  TWO MEN are HEARD from outside, 
     YELLING at each other.  Somerset rolls over, restless.  
     Tick... tick...  tick...

     GLASS is HEARD SHATTERING.  Somerset opens his eyes.  MORE 
     GLASS, bottles being smashed.  Somerset sits up.  He reaches 
     over, grabs the metronome and throws it against the wall.

107   INT.  SOMERSET'S APARTMENT, LIVING ROOM -- LATER NIGHT      107   

     THWACK.  Somerset's switchblade hits the dartboard on the 
     wall and the blade embeds.

     Somerset crosses the room, still dressed for bed.  He is 
     tense.

     He takes the switchblade from the dartboard, paces back across 
     the room, turns, holds the blade, then throws.  The blade 
     sticks.

     Somerset paces back to the dartboard, pulls the blade, paces 
     back, throws the knife.  THWACK.  He goes to the board, gets 
     the blade, paces, turns, throws.  THWACK.

     INSERT -- TITLE CARD

     SATURDAY

108   INT.  JOHN DOE'S APARTMENT, MAIN ROOM -- DAY                108   

     A clock on the wall says 12:30.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 109
     9-29-00                                                     


109   INT.  JOHN DOE'S APARTMENT, ROOM TWO -- DAY                 109   

     Three deputy detectives are reading John Doe's notebooks.  
     PHONE RINGS from the other room.

110   INT.  JOHN DOE'S APARMENT, MAIN ROOM -- DAY                 110   

     One deputy enters.  He goes to the phone near the bed.  The 
     phone's been hooked into recording device with a speaker and 
     tracing equipment.  The deputy turns everything on, answers.

                           JOHN DOE (V.O.)
                    (through speaker)
               I've gone and done it again.

111   INT.  LUXURY APARTMENT, BATHROOM -- DAY                     111   

     Somerset is looking around this femininely decorated bathroom 
     with a forensic, GIL.  Both wear rubber gloves.

     At the sink, objects covered in blood: a pair of scissors, a 
     hypodermic needle, first-aid tape and gauze bandages, a bottle 
     of anesthetic, a straight razor and a tube of super glue.

                           GIL
               He really did a number on her, didn't 
               he?

     Gil opens the plastic shower curtain and looks into the tub.  
     The tub and shower wall are splattered with blood.  The tub 
     has a few inches of water in it.  The water is cloudy red.  
     A few bits of tape and gauze float in it.  Gil jiggles the 
     drain's knob.  Some bubbles pop up from the clogged drain.

112   INT.  LUXURY APARTMENT, BEDROOM -- DAY                      112   

     PRIDE is written in lipstick on a full length mirror.  Below 
     that: I DID NOT KILL HER.  SHE WAS GIVEN A CHOICE.

     Mills and Dr. O'Neill are in the room.  O'Neill goes through 
     his black bag.  They're by a bed where a WOMAN lies dead 
     under a blanket.  The woman's head is sloppily bandaged with 
     heavy white gauze and tape.  The gauze is stained by spots 
     of blood.  Only the eyes and mouth have been left uncovered.  
     A zoo's worth of stuffed animals have been placed across the 
     bed.  The woman holds a stuffed unicorn.

     Somerset enters from the bathroom as Mills reaches to take 
     the unicorn from the woman's grasp.  There is a cordless 
     phone in her left hand, and her hand clings to it.

     Her right hand holds a bottle of prescription pills.  Mills 
     tries to open the fingers of this hand with a tongue

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 110
     9-29-00                                                     


     depressor, but they are super-glued to the bottle.  Mills 
     turns the woman's hand slightly so two red pills roll out 
     onto the blanket.

                           SOMERSET
               Sleeping pills.

     Mills examines the left hand.  The phone is glued into it.

     O'Neill steps up, holding a thin pair of silver scissors.  
     He leans to slide the scissors under the woman's bandage 
     mask, starts cutting.

     Somerset goes to a dresser where the woman's purse sits open.  
     He takes out the driver's license and looks at the photo.  
     The woman in the picture is stunningly beautiful.

                           SOMERSET (CONT'D)
               You see what he did?

     Mills is watching the doctor work.

                           MILLS
               He cut her up and dressed the wounds.

                           SOMERSET
                    (holds up his left 
                    hand)
               Call for help, and you'll live.  
               But, you'll be disfigured.
                    (raises right hand)
               Or, put yourself out of your misery.

     O'Neill removes the bandages.  Mills looks away.  We do not 
     see.

     O'Neill looks to the detectives.

                           O'NEILL
               He cut off her nose to spite her 
               face, and he did it very recently.

113   EXT.  CITY STREET -- DAY                                    113   

     Mills' car pulls up in front of the precinct house.  Mills 
     and Somerset get out.  They wade through cars towards the 
     old precinct house building.

                           SOMERSET
               I've decided to stay on this, till 
               it's over.  Till it's either done or 
               we can both see it's never going to 
               finish.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 111
     9-29-00                                                     


     Mills remains impassive.

                           MILLS
               Oh, you want to stay now?

                           SOMERSET
               One of two things will happen.  We're 
               either going to get John Doe, or 
               he'll finish his series of seven, 
               and this case will go on for years.

                           MILLS
               You think you're doing me a big favor 
               by staying?

                           SOMERSET
               I'm requesting you keep me on as 
               your partner a few more days.  You'd 
               be doing me the favor.

     Mills walks on.

                           MILLS
               You knew I'd say yes.

                           SOMERSET
               No, actually, I wasn't sure at all.

     Somerset and Mills climb the steps of the precinct house.

     Behind them, in the street, John Doe's car pulls up and parks.

     Cars behind begin BEEPING.  People behind begin cursing and 
     screaming for him to move.

     John Doe steps out, his brown work boots, pants and shirttails 
     are splattered with blood.

     He walks towards the precinct house, hands in his pockets, 
     like he's out for a stroll.  People on the sidewalk stop on 
     seeing him, avoid him.

114   INT.  PRECINCT HOUSE, RECEIVING LOBBY -- DAY                114   

     Mills and Somerset walk past booking cubicles and benches of 
     handcuffed low-lifes.  Junkies are being led through by 
     uniformed cops.  The place is swimming with activity.  The 
     two detectives head to the wide duty desk at the end of the 
     room.

                           SOMERSET
               As soon as this is over, I'm gone.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 112
     9-29-00                                                     


                           MILLS
               Big surprise.

     They pass through a gate and Somerset goes towards a staircase 
     leading upstairs.  Mills stops at the duty desk.  Other cops 
     are vying for the DUTY SERGEANT'S attention.

                           MILLS (CONT'D)
               Mills and Somerset are on the 
               premises.

                           SERGEANT
               Wonder-fucking-ful.

     Another PLAIN CLOTHES COP behind the duty desk leans over to 
     hold out a few phone-message note to Mills.

                           PLAIN CLOTHES COP
               Your wife called this morning.  Do 
               us a favor and get yourself an 
               answering machine, how bout it?

     Mills nods and wave dismissively, pocketing the messages 
     without looking at them and walking to follow Somerset.

                           JOHN DOE (O.S.)
               Detective.

     Mills heads toward the stairs.

                           JOHN DOE (O.S.) (CONT'D)
               Detective!

     Mills looks back... stops.

     John Doe stands inside the precinct house doors.  He gives a 
     very slight smile.

                           JOHN DOE (CONT'D)
               I know you.

     Somerset stops, looks back down the stairs.

     Mills is staring at Doe, not comprehending.

     Doe holds up his arms as if to say, "Presto, here I am."  
     All eyes go to the blood-soaked figure of John Doe.  There 
     comes a sudden, near-silence in the room.

     One UNIFORMED COP takes out his gun, points it at John Doe.

                           UNIFORMED COP
               It's him!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 113
     9-29-00                                                     


     Several other cops drop what they're doing and draw weapons.

     Mills, still off balance, takes out his own gun, walking 
     back through the gate.  He points the gun at John Doe.

                           MILLS
               Get down.  Get down on the floor.

     Cops move slowly in on Doe from all sides.

                           ANOTHER COP
               You heard him, fuckface.  Get down!

     Somerset comes back through the gate.

                           SOMERSET
               Be careful!

     John Doe gets down on his knees, hands in the air.  Mills, 
     pulse pounding, steps up, gun in both hands.  Not too close.

                           MILLS
               Down!  Face on the floor!

     ONE COP comes from behind and nudges Doe with his foot.

                           ONE COP
               Spread your legs and get your hands 
               out in front of you!

     John Doe lies on his stomach, obeying.  Mills comes up and 
     puts his gun right against Doe's head.

                           MILLS
               Don't move.  Don't move an inch.

     One cop begins frisking Doe.  Another comes to put on cuffs.

     Somerset comes to Mills' side.

                           SOMERSET
               I don't believe it.

                           JOHN DOE
                    (to Somerset)
               Hello.

     The cop putting on the handcuffs looks up at Somerset and 
     Mills.

                           COP
               What the fuck is this... ?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 114
     9-29-00                                                     


     The cop holds up Doe's cuffed hands.  Doe winces.  Every 
     single one of Doe's fingers has a bandage wrapped around it.

     John Doe tries to muster a smile, his face pressed against 
     the floor, glasses askew, gun at his temple.

                           JOHN DOE
                    (to Mills)
               I want to speak to my lawyer.

115   INT.  PRECINCT HOUSE, OBSERVATION ROOM -- DAY               115   

     Mills holds a fingerprint card.  The black ink prints are 
     just useless blobs, smeared with blood.

     Mills, Somerset and the Captain stand in darkness.  Mills 
     looks up from the print card through a two-way mirror into 
     an interrogation room.

     In the interrogation room, John Doe sits, handcuffed to the 
     wall.

     This is not some superhuman serial killer.

     He looks more like an eccentric college professor, not 
     seething with anger, but looking around with calm, almost 
     lazy eyes.  The lawyer, MARK SWARR, sits taking notes and 
     talking with Doe.

                           CAPTAIN
               He cuts off the skin if his 
               fingertips.

     That's why we can't find a single usable print in the 
     apartment.  He's been doing it for quite a while.  Keeps 
     cutting before the papillary line can grow back.

                           MILLS
               What about the trace on his bank 
               account and the guns?  There must be 
               something to connect him with a past.

                           CAPTAIN
               So far it's all dead ends.  No credit 
               history.  No employment history.  
               His bank account's only five years 
               old and it started as cash.  We're 
               even trying to trace his furniture, 
               but for now all we know is he's 
               independently wealthy, well educated 
               and totally insane.  We may never 
               know how he got that way.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 115
     9-29-00                                                     


                           SOMERSET
               Because he is John Doe, by choice.

                           MILLS
               When do we get to question him?

                           CAPTAIN
               You don't.  It goes to court now.

                           MILLS
               He wouldn't just turn himself in.  
               It doesn't make any sense.

     Somerset moves from the window, crossing the room to sit.

                           CAPTAIN
               Well, there he sits.  It's not 
               supposed to make sense.

                           SOMERSET
               He's not finished.

                           MILLS
               He's pissing in our faces again and 
               we're just taking it.

                           CAPTAIN
               You're wound too tight, Mills.  Let 
               it go.

     The captain walks.  Mills is furious.  He presses his fingers 
     against the two-way-mirror, pushes to crack his knuckles 
     loudly.

                           MILLS
                    (to Somerset)
               You know he's fucking us.

                           SOMERSET
               You and I are, probably for the first 
               time ever, in total agreement.  He 
               wouldn't just stop.

                           MILLS
               Well... what the fuck, man?

                           SOMERSET
               He's only two murders away from 
               finishing his masterpiece, right?  
               Can you even conceive of what's going 
               to happen next?  I mean, can you 
               even imagine how he'll try to finish 
               it?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 116
     9-29-00                                                     


     Mills looks in at John Doe.  Somerset comes to stand beside.

                           MILLS
               No.

                           SOMERSET
               I can tell you this.  I recognize 
               his lawyer.  His name's Mark Swarr.

     Mills looks at Somerset.

                           SOMERSET (CONT'D)
               He's the one who got Victor out.
                    (pause)
               We'll wait for John Doe's plea.

116   INT.  PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY              116   

     Mills is at the desk, feet up.  He stares at the blackboard.

     1  gluttony (x)      5  wrath 

     2  greed (x)         6  pride (x)

     3  sloth (x)         7  lust (x)

     4  envy 

     Clock on the wall says 4:45.  Somerset is packing books into 
     boxes, preparing for his eventual departure.

     The captain steps into the office and clears his throat, 
     looking like there is something making him very unhappy.

117   INT.  PRECINCT HOUSE, CAPTAIN'S OFFICE -- DAY               117   

     Mills and Somerset stand together.  The captain is behind 
     his desk with Martin Talbot, the D.A., seated in front of 
     him.  Mark Swarr is addressing them all, seems nervous but 
     in control.

                           SWARR
               My client says there are two more 
               bodies...  two more victims, hidden 
               away.  He will take Detectives Mills 
               and Somerset to these bodies, but 
               only Detectives Mills and Somerset.  
               Only at six o'clock today.

     Talbot wipes his moist brow with a handkerchief.

                           TALBOT
               Oh, Christ.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 117
     9-29-00                                                     


                           MILLS
               Why us?

                           SWARR
               He says he admires you.

                           SOMERSET
                    (to captain)
               This is all part of his game plan.

                           SWARR
               My client claims that if the 
               detectives do not accept this offer, 
               these two bodies will never be found.

                           CAPTAIN
               Frankly, counselor, I'm inclined to 
               let them rot.

                           TALBOT
               We don't make deals, Mr. Swarr.

     Mills gets in Swarr's face.

                           MILLS
               How is it working for a scumbag like 
               this?

     You proud of yourself?

                           CAPTAIN
               Ease back, Mills.

                           SWARR
               I'm required by law to serve my 
               clients to the best of my ability, 
               and to serve their best interests.

     Mills back off.

                           CAPTAIN
               Well, we're going to have to pass.

                           SWARR
               My client... he also wishes to inform 
               you, if you do not accept, he will 
               plead insanity, across the board.

                           TALBOT
                    (to no one in 
                    particular)
               Let him try!  I'd like to see him 
               try!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 118
     9-29-00                                                     


                           SWARR
               Come now, Martin.  We all know, with 
               the extreme nature of these crimes, 
               I could get him off with such a plea.

     Talbot considers this, wringing the handkerchief in his hands.

     Mills looks at Somerset.  Somerset looks at him.

                           TALBOT
               I'm not letting this conviction slide, 
               I can tell you that right here and 
               right now!

                           SWARR
               He says, if you accept, under his 
               specific conditions, he will sign a 
               full confession and plead guilty... 
               right here, right now.

     Talbot glares at Swarr.

                           CAPTAIN
                    (to Mills)
               What do you think?

                           MILLS
               I'm in.

                           SWARR
               It has to be both of you.

                           SOMERSET
               If he were to claim insanity, this 
               conversation is admissible.  The 
               fact that he's blackmailing us with 
               his plea...

                           SWARR
               And, my client reminds you, two more 
               are dead.  The press would have a 
               field day if they found out the police 
               didn't seem too concerned about 
               finding them... giving them a proper 
               burial.

                           SOMERSET
               If there really are two more dead.

     The captain picks up a sheet from his desk.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 119
     9-29-00                                                     


                           CAPTAIN
               The lab report came up from downtown,  
               They did a quickie on Doe's clothing 
               and fingernails.  They found blood 
               from Doe, from him cutting his own 
               fingers... there was blood from the 
               woman whose face he cut off, and 
               blood from a third party.  As yet 
               unidentified.

                           TALBOT
                    (to Somerset)
               You would be escorting an unarmed 
               man.

     Somerset thinks it over.  He looks to Mills.

                           MILLS
               Let's finish it.

     Somerset looks at the floor, then at Swarr.

                           SOMERSET
                    (to the captain)
               Well... get the fucking lawyer out 
               of the room and we can talk about 
               how this whole thing's going to go 
               down.

118   INT.  PRECINCT HOUSE, BATHROOM/LOCKER ROOM -- DAY           118   

     Somerset's hand reaches to the sink to pick up a razor.

     Somerset and Mills are at the sinks, looking at themselves 
     in mirrors, shirtless.  They have shaving cream spread across 
     their chests.  Somerset flicks his cigarette in the sink, 
     then brings the razor up to start shaving the hair off his 
     chest.  Mills is already doing the same.

                           SOMERSET
               If John Doe's head splits open and a 
               U.F.O.  flies out, I want you to 
               have expected it.

                           MILLS
               I will.

     They continue shaving.

                           MILLS (CONT'D)
               If I were to accidentally cut off 
               one of my nipples, would that be 
               covered by workman's compensation?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 120
     9-29-00                                                     


     Somerset smiles just slightly.

                           SOMERSET
               I suppose so.
                    (pause)
               If you were man enough to actually 
               file the claim, I'd buy you a new 
               one out of my own pocket.

     Mills finishes shaving, washes and wipes his chest off with 
     a towel.  He turns dead serious.

                           MILLS
               Listen, Somerset... I uh...

     Mills pauses, sighs.  Somerset stops shaving and looks at 
     him.

                           SOMERSET
               What is it?

                           MILLS
               Well, I have to tell you...
                    (pause)
               I think I've fallen in love with 
               you.

                           SOMERSET
                    (shakes his head)
               Slut.

                           MILLS
                    (laughs, walking out)
               Kiss me on the lips.

                           SOMERSET
                    (still shaving)
               Give me a break.

119   INT.  PRECINCT HOUSE, READY ROOM -- DAY                     119   

     Somerset and Mills have their shirts open.  A female 
     technician tapes a small radio transmitter and microphone to 
     Mills' chest.

     Somerset is already wired up, pressing the adhesive to make 
     sure it'll hold.

     The technician finishes prepping Mills.  Somerset buttons up 
     his shirt.  The technician packs up her kit, leaving.  The 
     room is quiet.  Somerset picks up his bullet-proof vest, 
     slides into it.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 121
     9-29-00                                                     


     Mills looks at his watch.  He puts on his own vest, fastening 
     it tight.  He looks at Somerset.

     Somerset takes out a roll of antacids and pops a few.

     Mills holds out his hand and waits for an antacid.  Somerset 
     looks at him, flicks a few into Mills' palm.  Mills chews 
     them.

                           SOMERSET
               Stay as cold as ice.

     Somerset picks up his gun off a chair.  Mills picks up his 
     gun.

     They both check them out and close them up.  They lay the 
     guns in holsters at the small of their backs.

     They look at each other.  Somerset holds out his hand.  Mills 
     shakes it.

120   INT.  CITY STREET, PRECINCT HOUSE FRONT -- DAY              120   

     The street is full of shadows as the sun is falling low.  At 
     the front of the precinct house, a throng of reporters shifts 
     anxiously.  A line of policemen holds them back.

     Martin Talbot steps out of the precinct house, cops on either 
     side of him.  The press swarm lurches forward, flashbulbs 
     exploding.  Talbot holds out his hands, preparing to speak.

121   EXT.  CITY STREET, PRECINCT HOUSE REAR -- DAY               121   

     At the rear of the precinct house, Somerset's car pulls out 
     of the fenced in parking lot.  The car speeds up on the street 
     and turns a corner, heading into the grim city.

122   EXT.  SKYSCRAPER ROOFTOP -- DAY                             122   

     California is dressed in full battle gear, looking through 
     binoculars to the city below.  The wind blows hard.

     A PILOT, holding two helmets, comes up behind California.  A 
     sleek police helicopter sits on the roof's helipad.

                           CALIFORNIA
               Is this wind going to hurt us?

                           PILOT
               Just makes the ride more fun.

     The cocky pilot grins.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 122
     9-29-00                                                     


123   INT.  SOMERSET'S CAR -- DAY                                 123   

     Somerset is at the wheel.  Mills is in the passenger's seat, 
     looking back at John Doe through protective wire mesh.  Doe's 
     in the back seat.  His handcuffs are attached to ankle cuffs 
     by a length of chain.  He is dressed in gray pants and a 
     gray shirt, looking out the window, sweaty but placid.

                           SOMERSET
               Who are you, John?  Who are you 
               really?

     John Doe looks to Somerset's eyes in the rearview mirror.

                           JOHN DOE
               What do you mean?

                           SOMERSET
               I mean, at this point, what would it 
               hurt if you told us a little about 
               yourself?

                           JOHN DOE
                    (pause)
               It doesn't matter who I am.  Who I 
               am means absolutely nothing.
                    (looking out, to 
                    Somerset)
               You need to turn left here... at the 
               traffic light.

                           MILLS
               Where we headed?

                           JOHN DOE
               You'll see.

     Mills looks at Doe for a long time in silence.

                           MILLS
               We're not just going to pick up two 
               more bodies, are we, Johnny?  That 
               wouldn't be... shocking enough.  
               Wouldn't keep you on the front page 
               of the newspapers.

                           JOHN DOE
               Wanting people to pay attention, you 
               can't just tap them on the shoulder.  
               You have to hit them in the head 
               with a sledgehammer.  Then, you have 
               their strict attention.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 123
     9-29-00                                                     


                           MILLS
               What makes you so special that people 
               should pay attention?

                           JOHN DOE
               Not me.  I'm not special.  I'm not 
               exceptional.
                    (pause)
               This is, though.  What I'm doing.

                           MILLS
               I hate to burst your bubble, but 
               other than the fact that you're 
               especially sadistic, there's nothing 
               unusual about these precious murders 
               of yours.

                           JOHN DOE
               You know that's not true.

                           MILLS
               In two months, no one's going to 
               even remember this happened.

     Doe looks down for a moment, then looks up, almost shyly.

                           JOHN DOE
               You can't see the whole... the whole 
               complete act yet.  Not yet.  But, 
               when this is done, it's going to 
               be... so... so...

                           MILLS
               Spit it out.

                           JOHN DOE
               It's going to be flawless.  People 
               will barely be able to comprehend 
               it.  It will seem almost surreal... 
               but it will have a tangible reality, 
               so they won't be able to deny it.

     Doe looks down, licking his lips.  He clenches his hands 
     into fists, digging his bandaged fingertips into his sweaty 
     palms.

                           JOHN DOE (CONT'D)
               I can't wait for you to see.  I can't 
               wait...
                    (pause, looks to Mills)
               It's really going to be something.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 124
     9-29-00                                                     


                           MILLS
               Well, I'll be standing beside you 
               the whole time, so you be sure to 
               let me know when this whole, complete 
               reality thing is done.  Wouldn't 
               want to miss it.

                           JOHN DOE
               Oh, don't worry. You won't...

124   INT, POLICE HELICOPTER -- DAY                               124   

     The helicopter is in flight above the city.  California is 
     strapped in, hanging out the door.  He holds a high powered 
     automatic rifle, wears goggles and a helmet/headset.

                           JOHN DOE (V.O.)
                    (through headset)
               ... you won't miss a thing.

     Two other armed cops sit in the belly of the chopper.  
     California leans in and looks up towards the pilot.

                           CALIFORNIA
                    (into helmet microphone)
               Head over the bridge and keep them 
               in sight.  Just keep your distance.

     The pilot looks back and nods.

125   EXT.  CITY SKY -- DAY                                       125   

     The chopper dips, flying like a bullet over the polluted 
     city, heading towards the setting sun.

126   EXT.  CITY STREETS -- DAY                                   126   

     Somerset's car moves along a highway at river's edge.  Heading 
     for a huge suspension bridge filled with speeding traffic 
     ahead.

127   INT.  SOMERSET'S CAR -- DAY                                 127   

     John Doe has his head against the window, looking up at the 
     bridge, excited.  He sits back, glances out the back window, 
     then faces front, bites his lip, fidgety, like a kid on 
     Christmas Eve.

     Somerset's watching him through the rearview mirror.

                           SOMERSET
               What's so exciting?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 125
     9-29-00                                                     


                           JOHN DOE
               It's not too far away now.

                           MILLS
                    (To John Doe)
               I've been wondering, and maybe you 
               can shed some light on this for me.  
               Does an insane person know he's 
               insane?  Like, here's what I mean... 
               when you're in bed at night, and 
               you're almost about to fall asleep, 
               do you ever stop  and say to yourself, 
               "Man, oh man, am I ever nuts.  It's 
               interesting, what a colplete fucking 
               fruitcake I am."  Does that happen?  
               Huh?

                           JOHN DOE
               It's more comfortable for you... to 
               label me insane.

                           MILLS
               Seems a pretty accurate label to me.

                           JOHN DOE
               It's something I wouldn't expect you 
               to accept.,, but, I didnt choose 
               this.  I was chosen.

                           MILLS
               Sure you were.

                           SOMERSET
               I don't have any doubt you believe 
               that, John.  But, you're ignoring a 
               glaring contradiction there.

     Silence.  Doe lets a long moment pass, hesitant.

                           JOHN DOE
               Meaning what?

                           SOMERSET
               Well, I'm glad you asked.  See, if 
               you were chosen... as if by some 
               higher power, and your hand was 
               forced... well...

     Somerset turns in his seat to look Doe in the eye.

                           SOMERSET (CONT'D)
               ... then it's strange you took so 
               much pleasure in it.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 126
     9-29-00                                                     


     Somerset stares at Doe.  Doe stares back.  After a momet, 
     Somerset turns back to the road ahead.

                           SOMERSET (CONT'D)
               You did enjoy torturing your victims.  
               And that's not really in keeping 
               with your martyrdom, is it?

     It's the first time anything's gotten to Doe.  He's ashamed, 
     though trying not to let it bother him.

                           JOHN DOE
                    (long pause)
               I... I doubt I enjoyed it any more 
               than...  Detective Mills would enjoy 
               some time alone with me in a room 
               without windows.
                    (looks to Mills)
               Isn't that true?  How happy would it 
               make you to hurt me, with impunity?

                           MILLS
                    (coy mocking)
               Now... I wouldn't do something like 
               that, Johnny.  I like you.  I like 
               you a lot.

                           JOHN DOE
               You wouldn't because you know there 
               are consequences.  It's in those 
               eyes of yours, though... nothing 
               wrong with a man taking pleasure in 
               his work.
                    (pause, shakes his 
                    head)
               I won't deny my own personal desire 
               to turn each sin against the sinner.  
               I only took their sins to logical 
               conclusions.

                           MILLS
               You only killed a bunch of innocent 
               people so you could get your rocks 
               off.  That's all.

                           JOHN DOE
               Innocent?  Is that supposed to be 
               funny?  Look at the people I killed.  
               An obese man, a disgusting man who 
               could barely stand up... who if you 
               saw him on the street, you'd point 
               so your friends could mock him along
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 127
     9-29-00                                                     


                           JOHN DOE (CONT'D)
               with you.  Who if you saw him while 
               you were eating, you wouldn't be 
               able to finish  your meal.  After 
               him I picked the lawyer.  And, you 
               both must have been secretly thanking 
               me for that one.  This was a man who 
               dedicated his life to making money 
               by lying with every breath he could 
               muster... to keeping rapists and 
               murderers on the streets.

                           MILLS
               Murderers?

                           JOHN DOE
                    (ignoring)
               A woman...

                           MILLS
               Murderers like you?

                           JOHN DOE
                    (ignoring, louder)
               A woman... so ugly on the inside 
               that she couldn't bare to go on living 
               if she couldn't be beautiful on the 
               outside.  A drug dealer... a drug 
               dealing pederast, actually.
                    (laughs at that one)
               And, don't forget the disease 
               spreading whore.  Only in a world 
               this shitty could you even try to 
               say these were innocent people and 
               keep a straight face.
                    (getting worked up)
               That's the point.  You see a deadly 
               sin on almost every street corner, 
               and in every home, literally.  And 
               we tolerate it.  Because it's common, 
               it seems trivial, and we tolerate, 
               all day long, morning, noon and night.  
               Not anymore.  I'm setting the example, 
               and it's going to be puzzled over 
               and studied and followed, from now 
               on.

                           MILLS
               Delusions of grandeur.

                           JOHN DOE
               You should be thanking me.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 128
     9-29-00                                                     


                           MILLS
               And, why is that?

                           JOHN DOE
               You're going to be remembered, and 
               it's all because of me.  And, the 
               only reason I'm here right now is 
               because I wanted to be.

                           MILLS
               We would have gotten you eventually.

                           JOHN DOE
               Really?  Just biding your time, then?  
               Toying with me.  Is that it?  Letting 
               five people die until you finally 
               felt like going out and hauling me 
               in?

     Doe sits forward, slowly getting to Mills.

                           JOHN DOE (CONT'D)
                    (angrily)
               Tell me what it was that gave me 
               away.  What was the piece of evidence 
               you were going to use against me 
               right before I walked up to YOU and 
               put my hands in the air.

                           MILLS
               I seem to remember knocking on your 
               door.

                           JOHN DOE
               And, I remember breaking your nose.
                    (leans further forward)
               You're only alive because I didn't 
               kill you.

                           MILLS
               Sit back.

     John Doe doesn't sit back, staying very close to the wire 
     mesh.

                           JOHN DOE
               I spared you, and you're going to 
               have to remember that every time you 
               look in the mirror at that nose on 
               your face for the rest of your life.  
               Or, I should say, for the rest of 
               what life I've allowed you to have.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 129
     9-29-00                                                     


     Mills slams his fist against the mesh, fed up, furious.

                           MILLS
               I said, sit back, freak.  Sit back 
               and shut your fucking mouth!

     Die sits back, taking a deep breath and letting it out.

     In the front seat, Somerset shoots a concerned glance at 
     Mills, then looks up into the rearview mirror.

     IN THE MIRROR: Doe, calm, gives Somerset a smile.

     Doe then turns his attention back out the passenger window, 
     watching the world pass by, his face pressed to the glass.

     Mills sits forward in his seat, letting his anger come down.  
     Doe keeps staring out the window.  A long pause.

                           JOHN DOE
               Don't ask me to pity the people I 
               killed.  I don't mourn them any more 
               than I mourn the thousands who died 
               in Sodom and Gomorrah.

     Mills almost lets this pass, but can't.  Blunted anger:

                           MILLS
               You fuck.  You really think what you 
               did was God's good work?

     Pause.  John Doe is pressing his forefinger into the tip of 
     his thumb, causing blood to drip from under the bandage.

                           JOHN DOE
               The Lord works in mysterious ways.

128   EXT.  SKY -- EARLY EVENING                                  128   

     The helicopter flies over huge, blackened industrial parks, 
     past smokestacks spewing soot.  The sky is turning crimson.

129   INT.  POLICE HELICOPTER -- EARLY EVENING                    129   

     California leans way out looking back at the city.

130   EXT.  INDUSTRIAL ROAD -- EARLY EVENING                      130   

     Somerset's car comes down this rocky, deserted strip, towards 
     the industrial parks.  The car tosses dirt into the air where 
     it is captured on the wind.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 130
     9-29-00                                                     


131   EXT.  SKY -- EARLY EVENING                                  131   

     The chopper roars, low, close to the stretch of industrial 
     road.

     This is the only road through vast swampy fields.  The 
     industrial parks are far behind.

132   INT.  POLICE HELICOPTER -- EARLY EVENING                    132   

     California still leans out, gun poised, looks over the fields.

                           CALIFORNIA
               There ain't no ambush out here.  
               There ain't no fucking nothing out 
               here.

                           PILOT (V.O.)
                    (through headset)
               We got about two minutes before they 
               come up behind us.

                           CALIFORNIA
               Go high.  Way up.  In sixty seconds, 
               cut to the west.

133   EXT.  SKY -- EARLY EVENING                                  133   

     The chopper climbs, really moving.

134   EXT.  INDUSTRIAL ROAD -- EARLY EVENING                      134   

     Somerset's car comes down the road, surrounded by marshlands.

     The car slows, then stops.  Mills gets out and goes to extract 
     Doe.  Somerset gets out, looking east to the industrial parks 
     and city beyond.  The sky is darkening.

     Somerset walks and looks to the west.  The sky is red.  Very 
     far away, a passenger train moves towards the hidden sun.

     Somerset watches the train, walking to the edge of the 
     roadway.

     He looks down and steps back from what he sees.

     A dead dog lies in the weeds, old and moldering.

     Somerset turns to the car, where John Doe stands with Mills.  
     Doe points with his cuffed hands to the dog, grins.

                           JOHN DOE
               I didn't do that.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 131
     9-29-00                                                     


135   EXT.  MARSHLANDS -- EARLY EVENING                           135   

     The wind howls, pounding on John Doe as he walks through the 
     swampy field.  He walks slowly, encumbered by the deep muck 
     and by the short chain between his ankles.  Mills is with 
     Doe, disgusted by the ooze covering his shoes and pants cuffs.  
     He looks ahead, cautious.  Somerset walks behind them.

     Doe keeps looking back towards the car on the industrial 
     road.

                           MILLS
               What are you looking for?

     Doe looks forward.

                           JOHN DOE
               What time is it?

                           SOMERSET
               Why?

     Somerset looks at his watch.  It's one minutes after seven.

                           JOHN DOE
               I want to know.

     Mills gives Doe a shove.

     Somerset looks back towards the industrial road, worried.

                           MILLS
               Just keep leading the way.

                           JOHN DOE
               It's close.

                           SOMERSET
               Mills!

     Mills and Doe look back at Somerset.  Somerset is facing the 
     industrial road, pointing.  A van is coming, dust flying.

     Somerset looks at Mills.  Mills looks at Somerset.  They 
     take out their guns.  Somerset starts towards the road.

                           SOMERSET (CONT'D)
               Stay with him.

                           MILLS
               Wait!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 132
     9-29-00                                                     


                           SOMERSET
               There's no time to discuss it!

     Somerset runs to head off the van.

     John Doe begins walking to follow Somerset.

                           JOHN DOE
               There he goes.

     Mills levels his gun at John Doe's head.

136   EXT.  MARSHLANDS, NEAR INDUSTRIAL ROAD -- EARLY EVENING     136   

     Somerset runs, breathing hard, opening the top of his bullet-
     proof vest to speak into his hidden microphone.

                           SOMERSET
               There's a van... coming down the 
               industrial road.  Coming from the 
               east.

137   INT.  POLICE HELICOPTER -- EARLY EVENING                    137   

     The chopper is circling in the air, far from the marshlands 
     with the sun behind it.  Another cop is in the hatchway beside 
     California, looking through binoculars.

                           SOMERSET (V.O.)
                    (from headset)
               The van is coming from the east.  I 
               don't know what it is.  Come around.  
               Come around.

138   EXT.  MARSHLANDS, NEAR INDUSTRIAL ROAD -- EARLY EVENING     138   

     Somerset continues, charging through the mire.

                           SOMERSET
               Just get ready for anything and wait 
               for my signal.  Wait for me.

139   EXT.  MARSHLANDS -- EARLY EVENING                           139   

     Mills keeps the gun on John Doe, watches Somerset far off.

                           JOHN DOE
               It's good we have some time to talk.

     Doe starts walking again.

                           MILLS
               Get down.  Get down on your knees!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 133
     9-29-00                                                     


     Mills grabs Doe and pushes Doe's knees out with his foot, 
     making Doe kneel in the brown water.

     Mills positions himself behind Doe so that Doe is between 
     him and the road.  Now, Mills can keep the gun on Mills and 
     still watch Somerset.

140   EXT.  MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING          140   

     Somerset comes up on the road, near his car.  He signals for 
     the van to stop, then fires a warning shot in the air.  The 
     van is about one hundred yards away, still coming.

     Somerset walks towards it, breathless, pointing his gun.

                           SOMERSET
               Stop the van!  Stop!

     The van brakes, wheels sliding on the loose roadway.  Stops.

     Somerset moves up to it, staying about ten feet away.

                           SOMERSET (CONT'D)
               Get out!  Get out with your hands on 
               your head!  Do it now!

     The driver of the van, a DELIVERYMAN, pushes the door open 
     and slides out, slow, takes off his sunglasses.

                           DELIVERYMAN
               Jesus Christ, man, don't shoot me!

                           SOMERSET
               Turn around.  Hands on your head!

                           DELIVERYMAN
               What the hell's going on?

                           SOMERSET
               Who are you?  What are you doing out 
               here?

                           DELIVERYMAN
               I'm... I'm just delivering a package.

141   INT.  POLICE HELICOPTER -- EARLY EVENING                    141   

     California listens as the chopper spins over industrial parks.

                           DELIVERYMAN (V.O.)
                    (through headset)
               It's just a package for this guy... 
               David.  Detective David Mills.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 134
     9-29-00                                                     


                           CALIFORNIA
               Motherfucker.

     The pilot looks back at California.

                           PILOT
               Let's do it.

                           CALIFORNIA
               No!  Wait for Somerset!

142   EXT.  MARSHLANDS -- EARLY EVENING                           142   

     Mills and Doe can see Somerset keeping his distance from the 
     deliveryman.  The deliveryman moves to the back of the van 
     and opens the van's rear door.

                           JOHN DOE
               When I said I admired you... I meant 
               what I said.  I do admire you.

     Mills keeps his eyes on the van, but steps up to place his 
     gun at the back of Doe's head.  Pulls the hammer back.

                           MILLS
               Shut up.

143   EXT.  MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING          143   

     The deliveryman takes a brown package, about a foot square, 
     from the van.

                           DELIVERYMAN
               This guy paid me five hundred bucks 
               to bring it out here.  He wanted it 
               here at exactly seven o'clock.

                           SOMERSET
               Put it down.  Put it on the ground.

                           DELIVERYMAN
               Okay...

     He puts it on the road and backs away, holding up his hands.

     Somerset glances into the field to see Doe on his knees with 
     Mills behind him.  Somerset looks at the package.  Written 
     on top: DETECTIVE DAVID MILLS -- HANDLE WITH CARE.

                           SOMERSET
                    (to deliveryman)
               Go.  Get out of here!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 135
     9-29-00                                                     


     The deliveryman backs off, then scrambles into the van.  
     Somerset pulls back his bullet-proof vest and speaks into 
     the mic.

                           SOMERSET (CONT'D)
               There's a package here.  It's from 
               John Doe.

     The van tears away.  Somerset doesn't know what to do.  He 
     walks around the package, reholsters his gun.

                           SOMERSET (CONT'D)
               I don't know... I don't know...

     He looks out towards Doe and Mills.

144   INT.  HELICOPTER -- EARLY EVENING                           144   

     California waits, listening, looking into the blood-red sky.

                           SOMERSET (.O.)
                    (through headset)
               I'm going to have to open it.

145   EXT.  MARSHLANDS -- EARLY EVENING                           145   

     Mills watches Somerset kneel beside the package on the road.

                           JOHN DOE
               I wish I could have been a normal 
               man like you.  I wish I could have a 
               simple life.

                           MILLS
               What the fuck is going on here?!

146   EXT.  MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING          146   

     Somerset pulls his switchblade, clicks it open.

     He cuts across the top of the box, hands shaking, cuts 
     quickly.

     He pulls the box open, pulls at some bubble-wrap inside.

147   INT.  POLICE HELICOPTER -- EARLY EVENING                    147   

     The pilot grits his teeth.

                           PILOT
                    (into helmet mic)
               Let's go!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 136
     9-29-00                                                     


                           CALIFORNIA
               We are going to wait!

     California listens.

                           SOMERSET (V.O.)
                    (through headset)
               Oh, Christ... oh Christ...

148   EXT.  MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING          148   

     Somerset stumbles backwards, away from the open box.  He is 
     white as a sheet, eyes filled with numb fear.  He leans 
     against his car for support, wretches, sick, holds the back 
     of his hand to his mouth.

                           SOMERSET
               No...

149   EXT.  MARSHLANDS -- EARLY EVENING                           149   

     Mills is watching Somerset, grabs John Doe by the shirt.

                           MILLS
               Get up.  Stand up!  Let's go!

     Doe stands, tries to walk.  Mills is walking quickly, towards 
     Somerset.  Doe can't keep up.

                           JOHN DOE
               You've made a good life for 
               yourself...

                           MILLS
               Shut up!

     Doe falls and Mills starts dragging him through the reeds.

150   EXT.  MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING          150   

     Somerset wipes saliva from his lips and tears from his eyes.  
     He takes a deep breath, looks to see Mills dragging Doe.

                           SOMERSET
               Oh, fuck, no...

     Somerset straightens, tries to pull himself together.  He 
     swallows, draws his gun.

                           SOMERSET (CONT'D)
                    (into hidden mic)
               Listen... listen to me.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 137
     9-29-00                                                     


                           SOMERSET (CONT'D)
               Whatever you do...  don't come in 
               here.  Stay away.  No matter what 
               you hear, do not move in!
                    (starts towards Mills)
               John Doe has the upper hand.

     Somerset picks up his switchblade and flips the blade back 
     in.

     He enters the marsh.

151   EXT.  MARSHLANDS -- EARLY EVENING                           151   

     Mills sees Somerset coming and pulls Doe so that Doe stands.

                           JOHN DOE
                    (quietly, watching)
               Here he comes.

                           MILLS
                    (shouts to Somerset)
               What the fuck is going on?

                           JOHN DOE
                    (to Mills)
               I want you to know, I wish I could 
               have lived like you do.

     Somerset starts running towards Mills, mud splattering.

                           SOMERSET
               Mills... put down your gun!  Throw 
               it away!

     Mills leaves Doe behind, walks towards Somerset, gun down.

                           MILLS
               What?

     Somerset is fifty yards away and closing.

                           SOMERSET
               Throw your gun down now!

                           MILLS
               What are you talking about?  What 
               happened?

                           JOHN DOE
               Are you listening to me, Detective 
               Mills?
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 138
     9-29-00                                                     


                           JOHN DOE (CONT'D)
               I'm trying to tell you how much I 
               admire you... and your pretty wife 
               Tracy.

     Mills freezes, turns to Doe.  Doe smiles.  Somerset is close.

                           SOMERSET
               Throw your weapon, detective!  Now!

                           MILLS
                    (to John Doe)
               What did you say?

                           JOHN DOE
               It's surprising how easily a member 
               of the press can purchase information 
               from the men in your precinct.

                           SOMERSET
               David... please...

                           JOHN DOE
               I visited your home this morning, 
               after you left.

     Mills is filled with an aching terror.

                           JOHN DOE (CONT'D)
               I tried to play husband... tried to 
               taste the life of a simple man, but 
               it didn't work out. So, I took a 
               souvenir.

     Mills turns to look at Somerset with pleading eyes.  Somerset 
     holds out his hand.

                           SOMERSET
               Give me the gun.

                           JOHN DOE
               Her pretty head.

                           MILLS
               Somerset...

                           JOHN DOE
               Because I envy your normal life.  
               Envy is my sin.

     Somerset can't hold back tears.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 139
     9-29-00                                                     


     Fury rises in Mill and he turns to level his gun at John 
     Doe.

     Somerset raises his gun and points it at Mills.

                           SOMERSET
               No!

     Mills sees Somerset's gun, raises his gun to Somerset.

                           MILLS
               Tell me it's not true.

                           SOMERSET
               I can't let you do this...

     Mills steps forward, enraged.

                           MILLS
               Put your gun down!!

                           SOMERSET
               Don't do this... please...

                           MILLS
               Put the gun down, Somerset!

     A pause.  Somerset's gun hand is trembling.  The wind whips 
     across them.  The HELICOPTER can be HEARD distantly.  Somerset 
     throws his gun down.

                           SOMERSET
               David, listen to me...

     Mills goes to grab John Doe by the throat and puts the gun 
     to Doe's forehead, blind with rage.

     Somerset holds his hand behind his back, opens his 
     switchblade.

                           SOMERSET (CONT'D)
               He wants this!  He wants you to do 
               it!

     Doe is staring into Mills' eyes with wild expectation.

                           JOHN DOE
               Kill me.

     Doe lowers his head, waiting for execution.

     Mills holds the gun at Doe's head, undecided, furious.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 140
     9-29-00                                                     


     Somerset edges towards them.

                           MILLS
                    (looks to Somerset)
               Stop it!  You stay away!

     Somerset moves the switchblade so he's holding it by the 
     blade, ready to throw, keeping it hidden.

                           SOMERSET
               I can't let you do this!

     Mills kicks Doe and throws him backwards on the ground.  The 
     HELICOPTER is CLOSER.

     Mills stands over Doe and points the gun.

                           JOHN DOE
               She begged for her life, and for the 
               life of your baby inside her.

     Mills' face fills with confusion -- then a wave of horror.

     Doe's eyes register shock.

                           JOHN DOE (CONT'D)
               You didn't know.

                           SOMERSET
               NO!

     Somerset brings his hand out to throw the blade, but Mills 
     reacts to the movement, turns on Somerset and fires -- BLAM!

     Somerset flies backwards in the air, bullet exploding into 
     his shoulder, just above the bullet-proof vest's opening.

     Somerset hits the ground, crying out, bloody, writhing.

     Mills turns the gun on John Doe.

152   INT.  POLICE HELICOPTER -- EARLY EVENING                    152   

     The chopper is over the marshland.  California is leaning 
     out with his rifle.  He cringes from the sounds as FROM HIS 
     HEADSET is HEARD:  BLAM -- BLAM -- BLAM -- BLAM -- BLAM.

     INSERT -- TITLE CARD

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 141
     9-29-00                                                     


     TWO WEEKS LATER

153   INT.  HOSPITAL ROOM -- DAY                                  153   

     Somerset sits in a wheelchair.  He is dressed in a hospital 
     gown.

     His upper chest and shoulder are wrapped in bandages.  He 
     stares out the window at the city's buildings.

                           CAPTAIN (O.S.)
               Hey there, Somerset.

     Somerset turns to see the captain.  Somerset looks weak, 
     older.

                           SOMERSET
               Hello.

     The captain walks in, carrying something behind his back.

                           CAPTAIN
               How you feeling?

                           SOMERSET
               I can breathe without pain now, so I 
               guess I feel great.

     Somerset musters a lame smile.  The captain sits on the bed.

                           CAPTAIN
               The guys at the precinct heard you're 
               getting out today.  Anyway, we all 
               chipped in...

     The captain takes a big tool belt full of tools from behind 
     his back.  He hands it over.  Somerset looks at it and lays 
     it on his lap.  He smiles for real.

                           SOMERSET
               Thank you.  Tell them, thank you.

                           CAPTAIN
               We figure you need all the tools you 
               can get to fix up that piece of shit 
               you call a house.

                           SOMERSET
               Yeah, that's true.

     Somerset continues examining the tools.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 142
     9-29-00                                                     


                           CAPTAIN
               They're hoping you stop and say 
               goodbye before you go, but I told 
               them not to expect it.

                           SOMERSET
                    (not looking up)
               It would be too hard.

     The captain stands.

                           CAPTAIN
               I have to get going, but... there is 
               one more thing.

     Somerset looks up.  The captain takes a letter from his 
     pocket.

                           CAPTAIN (CONT'D)
               I don't know if you're going to want 
               it.

     It was down front.  It's from Mills.

     Somerset pauses, then puts out his hand to take it.

                           CAPTAIN (CONT'D)
               He's being arraigned tomorrow.

                           SOMERSET
               I read about it in the paper.

     Somerset just looks at the letter.

                           CAPTAIN
               I guess... decide for yourself.  I 
               don't know what it says.  I'm going 
               to go.

                           SOMERSET
               I'll see you.

     The captain nods and walks into the hall.

     Somerset wheels back to the window.  He looks at the letter.

     Pause.  He opens it.  Unfolds the paper inside.

     THE NOTE READS:

     YOU WERE RIGHT.  YOU WERE RIGHT ABOUT EVERYTHING.

     Somerset closes the note, upset.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 143
     9-29-00                                                     


154   INT.  HOSPITAL, MAIN NURSES' STATION -- DAY                 154   

     Somerset is in street clothes.  He signs a form at the busy 
     front desk.  A NURSE takes the form and hands Somerset a 
     large manila envelope.

                           NURSE
               There you go, Mister Somerset.

     "Mister" causes Somerset to look strangely at the nurse.

                           NURSE (CONT'D)
               Yes?

                           SOMERSET
               Nothing.

155   EXT.  HOSPITAL -- DAY                                       155   

     Somerset comes down the stairs, slowly, tired.  He holds the 
     manila envelope and a small suitcase.  The streets are busy 
     with pedestrians and traffic.

     He walks down the sidewalk.

     He puts down the suitcase and opens the manila envelope to 
     look inside.  He sorts through the contents, takes out his 
     keys and puts them in his pocket.

     He reaches in the envelope again, and takes out the square 
     of wallpaper with the pale, red rose on it.  There is some 
     dried blood on the paper.  Somerset lays the envelope on the 
     ground beside the suitcase.

     He looks at the rose, tries to scratch off the blood.

     He looks up, squinting from the sun, at the city bustling 
     around him.  At the tight canyon formed by the buildings.

     At the cars, buses and taxis racing in the streets.

     At a man, talking to himself, who lies on the sidewalk, 
     surrounded by garbage.

     At the people, miserable people, walking past him.

     Somerset takes out the note from Mills: YOU WERE RIGHT.  YOU 
     WERE RIGHT ABOUT EVERYTHING.

     A father passes by, holding his young son's hand.  Somerset 
     turns to watch them pass.  The father reaches to pick the 
     son up and carry him in his arms.  The boy laughs and holds 
     tight.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Se7en                                                 p. 144
     9-29-00                                                     


     The father hugs his son to him, kisses him on the cheek.  
     The boy returns the kiss with great affection.

     Somerset watches them disappear in the mass of humanity.  He 
     looks back at the two papers in his hands.  He lets out a 
     sigh.

                           SOMERSET
                    (to himself)
               Oh... man...

     He sighs again, drained.

     He puts the pale paper rose inside the note from Mills.  He 
     folds them together.

     He tears them both up, into little pieces.

156   EXT.  PRECINCT HOUSE -- DAY                                 156   

     Cars roll by in the street.  Cops come and go.

     Somerset walks up the stairs, into the precinct house.  The 
     doors shut behind him.

                                 END