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SEVEN (Continue)
Somerset lays an enveloped on top of the two boxes which have
Detective Mills's name on them. The envelope reads:
DETECTIVE MILLS - PERSONAL.
INT. SOMERSET'S APARTMENT - LIVING ROOM - LATE NIGHT
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 dartboard. He walks back, to stand in front
of the only chair in the room. He throws the switchblade,
and it embeds in the dartboard. Somerset sits.
He picks a book off the floor and holds it in his lap. KIDS
can be HEARD CURSING and playing LOUD ROCK MUSIC from outside
the shuttered window. Somerset stares at the ceiling. He
opens the book and looks at the pages...looks at the
pages...puts the book back down on the floor.
EXT. CITY STREET - LATE NIGHT
Somerset gets out of his car. He walks down the sidewalk
with a notebook in his 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 is
cursing into the phone angrily, then starts pounding the
phonebox 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 marvelous structure,
solid and powerful.
INT. PUBLIC LIBRARY - MAIN LIBRARY - LATE NIGHT
Somerset and GEORGE, 62, the night security guard, enter the
vast space of the deserted main library.
The big brass lamps hanging from the ceiling give off a warm,
pleasant glow over the mahogany chairs and tables. To each
side of this center area are tall bookshelves. 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
Good evening, gentlemen.
They all say their hellos, all calling him "Smilely."
FIRST GUARD
Come on, George. Cards are getting cold.
GEORGE
(to Somerset)
Duty calls.
George pumps Somerset's hand, then moves to a spiral
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 looks to the men on the balcony, smiles.
SOMERSET
(shouts)
All these books. A world of knowledge at
your disposal, Gentlemen, and you play
poker all night long.
UP ON THE BALCONY
George has taken a huge boom-box from a broom closet.
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 THE MAIN FLOOR
Somerset has gone into one bookshelf aisle. He runs his
fingers along the spines of the books as he walks. Poker
table conversation echoes from above.
UP ON THE BALCONY
George hits play on the boom-box and turns the volume up.
GEORGE
How's this for culture, Smilely?
DOWN ON THE MAIN FLOOR
Somerset looks over the 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 down at the card table, takes out a cigar and
lights up. He looks down to the ground floor.
GEORGE (cont'd)
Hey, Smilely, where'd you go?
Below, Somerset comes from the aisle.
DOWN ON THE MAIN FLOOR
Somerset looks up at George.
SOMERSET
Thank you.
INT. PUBLIC LIBRARY - MAIN LIBRARY - LATE NIGHT
The MUSIC CONTINUES, spinning through the air like a slow,
cool breeze.
Somerset walks, surrounded by books, searching. He pulls one
book down.
UP ON THE BALCONY
George lays down the winning hand. The others toss in their
cards in disgust. George laughs, spouts cigar smoke.
The cigar smoke floats up in the air, thinning gracefully.
Rain continues, dancing on the ceiling windows.
DOWN ON THE MAIN FLOOR
Somerset sits, opens the book on the table and reads.
INT. MILLS'S APARTMENT - BEDROOM - NIGHT
The 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 out into the living room where Mills sits
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. In her eyes there is great
concern.
INT. PUBLIC LIBRARY - MAIN LIBRARY - LATE NIGHT
The 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: Dante's Purgatory and opens it.
UP ON THE BALCONY
George and the guys finish another hand. George looks down
at Somerset, who is writhing in the notebook. George takes
up the cards and prepares to shuffle.
GEORGE
(shouts to Somerset)
You know, Smiley...you're really going to
miss us.
George shuffles the cards, 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
You're probably right, George. You're
probably right.
UNDER THE BALCONY
The cards George dropped are fluttering, flipping downwards
One lands on the floor, face up: ACE OF SPADES
INSERT - TITLE CARD
WEDNESDAY
INT. PRECINCT HOUSE, SOMERSET'S OFFICE - MORNING
Somerset pushes the door open and notices DETECTIVE MILLS
painted on the glass. Rain falls outside the office window.
Somerset goes to his desk, but stops. All his belongings
have been moved to a small, temporary desk in the corner.
He moves to the big desk and opens the top left drawer.
Empty. He goes to the temporary desk and urgently searches
through the boxes of papers, files...he 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.
He looks around. The envelope which he left for Mills on top
of the boxes is gone. Somerset nods to himself and sits at
the temporary desk. He begins to sort through his papers.
Somerset glances over his shoulder to the trashcan. After a
moment, he gets up and looks inside it. He leans down and
takes a crumpled paper out. He sees it is the note he left
for Mills, the list of books. Somerset seems angry,
slighted. He tears the paper up and throws it away.
INT. LUXURY APARTMENT - MORNING
The apartment is furnished grandly, with windows high above
the rain wet city, and modern art paintings on the walls.
Beside one painting is the word GREED, written in blood.
MAN'S VOICE (O.S.)
Now, I have voiced the same concerns to
the law enforcement officials, and they
assure me he is the best.
Mills stands looking at a leather chair. The chair and a
goodly section of the white carpet under it are covered in
brown, dried blood. Mils is downtrodden and weary.
The room has been searched and dusted for prints. Two female
forensics are at work. A big screen television is on in one
corner and this is the source of the voice. On the screen,
MARTIN TALBOT, 47, stands surrounded by reporters. Talbot is
a powerful man, with a gold tooth in the front of his mouth.
A REPORTER (O.S.)
(from television)
As District Attorney, don't you feel some
responsibility here? Detective Mills
lacks the experience...
TALBOT (O.S.)
(from television)
I have always said...I've always said do
not send a boy to do a man's job.
Mills turns to look at Talbot on the screen.
TALBOT (cont'd) (O.S.)
(from television)
But, Detective Mills has a sterling
record on the Philadelphia force. I
stand behind him. He's a good man.
Mills turns, seems relieved. He looks a the chair again.
From the puddle of blood underneath it, drops of blood run to
an area about six feet away; as if something dripping blood
were carried to this point. In this area is another large
stain of blood, but there is a circular unstained portion.
Something was sitting on the floor, blocking the blood from
hitting this portion.
TALBOT (cont'd) (O.S.)
(from television)
However...however...let me say this. If
Detective Mills, at any point in this
investigation...if he is not pulling his
weight, I will be the first one in line
to pull his plug.
Mills walks to the television and turns it off as reporters
crowd Talbot.
MILLS
(to television)
Fuck you.
Mills looks to see the two forensics looking at him. The
forensics look away.
Mills walks away from the TV, to a picture frame on the
floor. The frame has been placed specifically, with the
picture facing the door, as if to greet visitors.
It is a picture of 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 and stares at the photo.
INT. MILLS'S CAR - MORNING
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 he's reading. He starts pounding the
book against the steering wheel with all his might.
MILLS
Fucking, Dante, Goddamn, poetry writing
faggot, mother...
A figure appears outside and knocks on the window. Mills
rolls it down. A COP in rain-gear hands a wet paper bag
through.
MILLS (cont'd)
Good work, Officer. Good work.
Mills rolls the window back up, rips the bag open. Inside:
CLIFF'S NOTES for DANTE'S PURGATORY and for THE CANTERBURY
TALES.
MILLS (cont'd)
Thank God.
INT. PRECINCT HOUSE - SOMERSET'S OFFICE - DAY
It still rains outside. Somerset sits at the big desk which
is now Mills's. He fills out forms by hand as Mills enters
with a ton of his own paperwork. Somerset looks up.
SOMERSET
(stands)
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,
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.
MILLS
(into phone)
Detective Mills here.
Mills listens.
MILLS (cont'd)
(into phone, lowers voice)
Honey, I asked you not to call me here.
I'll call you sometime...
(listens)
What? Why?
Mills is very confused.
MILLS (cont'd)
(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?
Mills shrugs. Somerset stands, takes the phone.
SOMERSET (cont'd)
(into phone)
Hello?
(listens)
Yes, well...it's nice to speak with you.
(listens)
Yes, well, I appreciate the thought,
but...well, I guess I would be delighted
to. Thank you, very much. Goodbye.
Somerset hangs up, shakes his head.
MILLS
Well?!
SOMERSET
I am invited to have a late supper at
your home. And I accept.
MILLS
How's that?
SOMERSET
Tonight.
Mills is lost. Somerset goes to sit back down.
MILLS
Well, I don't even know if I'm having
dinner there tonight.
INT. MILLS'S APARTMENT - LIVING ROOM/KITCHENETTE - NIGHT
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.
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. He...
MILLS
(cuts between them)
I'm just going to put these away.
Mills moves to the adjoining bedroom. Somerset stands with
his hands folded in front of him.
SOMERSET
It smells very good.
TRACY
What? Oh, yes. I mean, thank you.
(motions to table)
Please, sit down.
Somerset nods, takes off his jacket.
TRACY (cont'd)
You can just put your jacket over on the
couch. You'll have to excuse all the
mess. We're still unpacking.
Somerset notices something on Mills's desk. It is a medal,
in a small, clear case among the papers and pens.
SOMERSET
I hear you and Mills were high school
sweethearts.
Somerset picks up the medal; a medal for valor from the
Philadelphia Police Department. He puts it down.
TRACY
Yes, we were. Pretty hokey, huh?
Tracy is looking at the gun strapped under Somerset's arm.
Somerset starts to unstrap it.
SOMERSET
It's rare these days...that kind of
commitment.
(about the gun)
Don't worry. I don't wear it at the
dinner table.
Tracy goes to check on the food.
TRACY
No matter how often I see guns, I can't
get used to them.
Somerset lays the gun with his jacket.
SOMERSET
Same here.
Tracy laughs. Somerset goes to the table and transfers a
notebook from his breast pocket to his pants pocket. A piece
of paper falls to the floor, closer to Tracy.
TRACY
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, puts it away.
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 was really
none of my business. It's just nice to
meet a man who talks like that.
She goes back to the stove.
TRACY (cont'd)
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.
INT. MILLS'S APARTMENT - LIVING ROOM - LATER
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, Somerset?
MILLS
Tracy. What the hell?
Somerset pokes at his napkin, thinking.
SOMERSET
I was this close once. It just didn't
happen.
TRACY
That 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.
TRACY
(to Somerset)
How long have you lived here?
SOMERSET
Too long.
(drinks)
Tell me what you think of it.
Tracy looks immediately to Mills.
MILLS
It takes time to settle in.
Somerset can see it is a sore subject.
SOMERSET
You get used to it pretty quickly. There
are things in any city...
The plates on the table begin to clatter and rattle as a low
RUMBLING is HEARD.
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 is nothing, but she is clearly
bothered.
TRAY
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...a real slime,
brought us to see the place a few times.
And, every time, I was wondering, why
does he keep hurrying us along? Why will
he only show it to us, like, five minutes
at a time?
Mills laughs, lamely.
TRACY
We found out the first night.
Somerset tires to stay straight, but he can't help laughing.
SOMERSET
The soothing, relaxing vibrating home.
I'm sorry...
He laughs harder, covering his mouth. Tracy and Mills laugh.
MILLS
Oh, fuck.
INT. MILLS'S APARTMENT - LIVING ROOM - LATER
The record player plays another album. Tracy is clearing the
table. Mills and Somerset are drinking beer.
SOMERSET
All television does is teach children
that it's really cool to be stupid eat
candy bars all day long.
TRACY
I've never met anyone who doesn't have a
television before. That's...weird.
Tracy takes a pot of coffee to the table and pours.
MILLS
It's un-American is what it is.
Somerset shrugs.
MILLS (cont'd)
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?
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.
MILLS (cont'd)
You've never seen The Odd Couple? The
Flintstones?!
SOMERSET
I vaguely recall Wilma, and someone named
Dino.
Tracy turns the record player down further, then goes into
the bedroom and shuts the door behind her.
Somerset and Mills look at 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.
INT. MILLS'S APARTMENT - LIVING ROOM - LATER
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
is
seated beside Somerset, guiding him through the photos.
MILLS
Our guy got into this rich guy Silberg's
apartment. We're not sure how, but we
think he acted like he was delivering a
package. The doorman says he doesn't
look at anybody who goes in anymore.
Somerset holds one photo: it shows the greed murder scene.
Mr. Silberg sits dead in the leather chair. An old
fashioned, counter balance scale is on the floor where the
second area of blood stains were.
MILLS (cont'd)
He was tied down, nude. The killer left
his arms free and handed him a big sharp
carving knife. See, the scale here.
Mills pulls another photo. It is a close-up of 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)
(reads)
"One pound of flesh, no more, no less.
No cartilage, no bone, but only flesh.
This task is done...and he would go
free."
Mills takes out a photo showing the note pinned to the wall
beside where greed is written in blood.
MILLS
The leather chair was drenched in sweat.
He was sitting there a long time.
SOMERSET
The murderer would want Silberg to take
his time. To have to sit and decide.
Where would 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.
SOMERSET
(studying photo)
The love handle.
MILLS
He tried for the whole pound at once, but
the blood was everywhere. He went into
shock.
A long silence. Somerset looks through the paperwork.
SOMERSET
No fingerprints?
Mills does not answer. Somerset looks at him.
MILLS
No. There was nothing. I even had the
refrigerator pulled out, just in case.
SOMERSET
Totally unrelated victims.
Mills stands to stretch his legs.
MILLS
Yes.
SOMERSET
No witnesses of any kind?
MILLS
None, which I do not understand. How
can...
SOMERSET
In this city, minding your own business
is a perfected science.
(shuffles papers)
At the precinct, Sunday nights, a public
crime prevention course is offered. The
very first thing they teach is that you
should never, ever scream "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.
Somerset puts the papers down.
SOMERSET (cont'd)
He must have left another puzzle piece.
MILLS
Look, I appreciate being able to talk
this out, but...
SOMERSET
This is...just to satisfy my curiosity.
I'm leaving town on Saturday.
Mills is very tired. He rubs his eyes, then takes one more
photo from his briefcase. It is a photo of the framed
picture of the falsely pretty woman with her eyes circled in
blood. Somerset studies it.
MILLS
His wife. She was away on business. Got
back yesterday. If this means she saw
anything, I don't know what. We already
questioned her.
SOMERSET
And, if it's a threat?
MILLS
We put her in a safe house.
SOMERSET
This is the one thing.
Mills nods "yes."
INT. MILLS'S APARTMENT - BEDROOM - NIGHT
Tracy is asleep in bed with the lights still on.
INT. MILLS'S APARTMENT - LIVING ROOM - LATER
Mills and Somerset sit with their chairs facing one wall
where all the photos of the greed murder scene are taped up
in rows. Somerset is smoking a cigarette. The paperwork is
spread out on the floor.
SOMERSET
It's like he's preaching.
MILLS
Punishing.
SOMERSET
The sins were used in medieval sermons.
There were seven cardinal virtues, and
then the seven deadly sins, as a learning
tool. The sins distract man from true
faith, true worship.
MILLS
Like in Purgatory, and the Parson's Tale.
SOMERSET
You did read them?
MILLS
Yeah. I can read.
SOMERSET
I'm just surprised.
MILLS
Right, so, look at Dante and his buddy
climbing up that big mountain...seeing
all these guys who sinned...
SOMERSET
Seven Terraces of Purgation.
MILLS
Anyway...pride comes first, not gluttony.
The sins are in different order.
SOMERSET
The books could be mere inspiration. The
books and sermons are about atonement for
sin. And, these murders have been like
forced attrition.
MILLS
Pardon me? Forced what?
SOMERSET
Attrition. When you regret your sins,
but not because you love God.
MILLS
Like, because a guy's holding a gun on
you.
Mills runs his hands across his face. Somerset stands and
stares at the murder photos.
SOMERSET
When did the wife find the body?
MILLS
She didn't. The door to the apartment
was left open and a neighbor...
SOMERSET
What? You said she found it.
MILLS
No. I said she got back from business.
We were already on scene. We had
identification on him.
Somerset takes a photo of the wife's picture down. He points
to the eyes circled in blood.
SOMERSET
She has seen something...or is supposed
to see something.
MILLS
But what?
INT. SAFE HOUSE - NIGHT
The room is like a hotel room. Mills stands beside the woman
from the picture, MRS. SILBERG. Mills shows her photos from
the murder scene. The photos have been covered in sections
to hide the husband's corpse. Mrs. Silberg is crying.
Somerset is on the other side of the room, holding more
photos.
MILLS
I'm sorry about this, Mrs. Silberg. I
really am.
MRS. SILBERG
I...I don't understand.
Mills helps her flip through the photos. He is shaken
himself, not wanting to put her through this.
MILLS
I just need you to look carefully at each
one, very carefully. Look for anything
that seems strange or out of place.
Anything at all?
MRS. SILBERG
I don't know why...why now?
MILLS
Please. I need you to help me if we're
going to get the guy who did this.
Mrs. Silberg sobs quietly, wipes her tears.
MILLS (cont'd)
Anything...anything missing or different.
MRS. SILBERG
I don't see anything.
MILLS
Are you sure? Absolutely sure?
MRS. SILBERG
I can't do this right now...please.
Mills looks to Somerset, looks at the photos Somerset holds.
MILLS
Maybe we should wait on those.
Somerset looks at the photos in his hand. These photos show
Mr. Silberg's corpse in the chair, not covered in any way.
SOMERSET
It should be now. There may be something
we're not seeing.
MRS. SILBERG
Wait. Here...
MILLS
What is it?
Mrs. Silberg points at a modern art painting on the wall in
one photo. The painting is just splattered paint, abstract.
MRS. SILBERG
This painting...
MILLS
What?
MRS. SILBERG
Why is this painting hanging upside-down?
Mills jerks his head towards Somerset.
INT. LUXURY APARTMENT - NIGHT
This is where the greed murder took place. Somerset and
Mills stand in front of the modern art painting. Somerset
wears gloves and reaches to take the painting off the wall.
SOMERSET
You're sure your guys 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
This has got to be it.
Somerset puts the painting down, resting it on its bottom
edge. The painting is backed by a thick sheet of brown paper
stapled into the wooden frame.
SOMERSET (cont'd)
This has to be.
He points to where the wire used to be screwed into frame,
and to where it has been re-screwed.
SOMERSET (cont'd)
He changed the wire to re-hang it.
Somerset takes out his switchblade. Mills is surpassed.
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 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!
Somerset lays the painting face up on the floor. He pokes
his finger on the painted surface.
SOMERSET
It has to be something.
MILLS
Damn it!
Somerset brings the flat of this blade against the painting,
tries to peel some of the paint.
MILLS (cont'd)
The killer didn't paint the damn thing!
Give it up!
Somerset pushes the painting away, stands, frustrated.
SOMERSET
There must be something.
MILLS
He screwed us!
Somerset backs away from the wall, staring at the space where
the painting hung. There is only a nail. He stares
intently, then turns and walks out of this room.
Mills presses his hands against his temples, furious.
Somerset can be heard from the other room, going through
drawers, dropping things on the floor. Glass is heard
breaking.
Mills picks up a lamp and throws it to the floor.
MILLS (cont'd)
That motherfucker!
Somerset comes back in, holding something in his hand. He
steps over the lamp and goes to the blank wall space.
MILLS (cont'd)
What?
SOMERSET
Bear with me.
Mills watches. Somerset has a woman's make-up compact in
hand. He uses the soft brush to begin applying the red make-
up powder to the wall around the nail.
MILLS
Oh, yeah, sure! You got to be kidding?!
SOMERSET
Just wait!
Somerset brushes with a few wider strokes. He leans very
close to the wall, studies the powder. Leans closer still.
Pause.
SOMERSET (cont'd)
Call the print lab. Now!
INT. MILLS'S APARTMENT - BEDROOM - NIGHT
Tracy is asleep with the lights still on. She stirs, then
awakens and sits up slowly. She squints from the light,
looks around and listens. All she hears is traffic. SOME
WOMAN is SCREAMING a high pitched scream from far away
outside.
INT. MILLS'S APARTMENT - LIVING ROOM - CONTINUOUS
Tracy opens the door and enters. She sees Mills and Somerset
are gone. The RUMBLING of the SUBWAY TRAIN is HEARD
starting. The room begins to rattle as before.
Tracy stands still, seems frightened, all alone.
INT. LUXURY APARTMENT - NIGHT
The male forensic from the gluttony murder scene is here. He
has a magnifying glass which he is using to study a very
clear fingerprint in black powder on the wall.
FORENSIC
Oh, man...
MILO.S.
Talk to me.
The forensic bites his lip, still studying. Mills and
Somerset are watching the forensic who works offscreen.
MILLS
(to Somerset)
Just, honestly....have you ever seen
anything like this? Been involved in
anything like this?
SOMERSET
No. I have not.
FORENSIC (O.S.)
Well, I can tell you this, 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 the words: HELP ME.
FORENSIC (cont'd)
...just studying the shape of the
underloop on these, they are not the
victim's prints.
INT. PRECINCT HOUSE - PRINT LAB - NIGHT
Dark. A TECHNICIAN sits before an old computer. The
computer's green screen shows fingerprint patterns being
aligned, compared and then rejected; whir - click - whir -
click - whir - click. Mills and Somerset watch, bathed in a
green glow.
MILLS
He just may be nuts enough.
SOMERSET
It doesn't fit. I don't think he wants
us to help him stop.
MILLS
Who the hell knows? There's plenty of
schizoids out there doing dirty deeds
they don't want to do. You know, little
voices tell them 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.
INT. PRECINCT HOUSE - HALLWAY - NIGHT
Somerset and Mills come out of the print lab. A janitor is
mopping the hall. The computer is heard whirring and
clicking onwards. Somerset sits with a groan on a couch
outside the print lab door. Mills flops beside him.
SOMERSET
You really meant what you said to Mrs.
Silberg, didn't you? What you said about
us catching this guy. You really want to
believe that, don't you?
MILLS
And you don't?
SOMERSET
You really are green.
MILLS
Fuck you.
SOMERSET
(laughs, very tired)
I wish I still thought like you. I'm
just, so far gone from that.
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. I see now.
SOMERSET
We are file clerks, because we take all
our evidence, make a nice neat pile, then
file it away, just in case it's ever
needed in a courtroom.
(pause)
Mostly, it's like collecting diamonds on
a deserted 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 put
away...unrevenged.
MILLS
I've seen the same. I'm not the country
hick-boy you seem to think I am.
SOMERSET
In this city, if all the skeletons came
out of all the closets...if every hidden
body were to suddenly rise and walk
again, I think 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 feel that rush
tonight, that adrenaline, 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 on the cigarette. The computer is heard: whir
- click - whir - click.
INSERT - TITLE CARD
THURSDAY
INT. PRECINCT HOUSE - HALLWAY - EARLY MORNING
Mills and Somerset are fast asleep on the couch, leaning
against each other. People pass and look strangely at them.
A man steps in front of the couch. He reaches with both
hands to slap their faces simultaneously.
It is the captain leaning over them.
CAPTAIN
Wake up, Glimmer Twins. We have a
winner!
INT. PRECINCT HOUSE - READY ROOM - MORNING
A windowless classroom. The captain stands at a podium in
front with a white screen at his side. The face of a black
man, ZERO, 25, is projected on the screen from a slide
projector.
CAPTAIN
His street name is Zero, as many of you
know, and his prints were found at the
scene by Detectives Mills and Somerset.
FIVE hardened POLICE OFFICERS, four men and one woman, sit in
chairs facing the captain. They 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, Zero has a long, long history of
mental illness. Serious illness. He...
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, embarrassed school children.
CAPTAIN (cont'd)
Thank you, fuckheads. Now, Zero was all
over your television sets two years ago
after he raped and killed a seventy-three
year old woman.
(pause)
He did not go to jail. He got off, as
the saying goes, on a technicality. We
kept an eye on him, but he went out of
circulation about a year ago.
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.
RED HEADED COP
So, have all 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
there, if Zero ain't home, one of his
buddies bight be house sitting. So you
go in guns first. Besides using, Zero
deals. And we know what kind of crowd he
runs with.
There is come chatter among 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?
SOMERSET
Does not seem like our man, does it?
MILLS
You tell me. I'm new in town.
SOMERSET
Zero does possess the requisite degree of
insanity...but he doesn't have the desire
somehow. Our killer seems to have more
purpose. More purpose than Zero 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?
INT. MILLS'S CAR - MORNING
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 pulls out his gun and opens it to check the load.
SOMERSET
No. Never in twenty-four years. I took
my gun out only five times with the
actual intention of using it. Never
fired it, not once.
(closes his gun)
You?
MILLS
Never took a bullet. The gun...I pulled
it 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, and the guy just opened
fire.
A buddy of mine 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, just a piece of meat.
Surprised the hell out of me when he bled
to death right then and there.
A pause.
SOMERSET
How did the fire fight end?
MILLS
I got him. I got that son-of-a-bitch.
See, I was doing really good in Philly up
till then. Lots of street busts. I've
always had this weird luck...everything's
always gone my way. But, this was wild.
(pause)
I got the guy 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 on his face.
SOMERSET
How was it?
MILLS
I expected it to be bad because I heard
about other guys. You know, 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 city like this one,
you have to have the ability to kill. I
think he meant you truly must be able to
do it, not just faking it, to survive.
MILLS
Sounds like he knew what he was talking
about.
INT. SLUM BUILDING - STAIRWELL - MORNING
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 vials and hypodermic needles on the stairs crunch under
the cops' heavy boots.
INT. SLUM HALLWAY - MORNING
The cops enter the dank hall. They 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 shut.
California, the big, red-headed cop 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.
CALIFORNIA
Police! Open the door!!
California brings the ram forward with a splintering thud -
once - twice. The door flies open. The cops storm in.
INT. SLUM APARTMENT - MAIN ROOM - MORNING
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
weapons 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!!
INT. SLUM APARTMENT - ADJOINING ROOM - MORNING
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.
INT. SLUM APARTMENT - MAIN ROOM - MORNING
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 Christ.
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 black 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 bedframe. Tubes run out
from a stained loincloth around the man's waist and snake
under the bed.
CALIFORNIA (cont'd)
Oh, 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
Zero?
BLACK COP
What the hell is this?
CALIFORNIA
(to Somerset)
Check this out, Dick.
California points with his gun to the end of the black man's
right arm. The hand is gone, severed at the wrist long ago.
MILLS
It is Zero.
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