SEVEN (Continue)
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 Zero tied to the
bed, with a date written at the bottom of each picture. It
is a visual history of Zero's physical decay.
BLOND COP
What is going on?!
Mills sees the female cop looking at the pictures.
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 Zero, 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'
wax sculpture or something.
Somerset places his finger along Zero's throat.
MILLS
Somerset, you...you better look here.
Mills looks at the photos with awe. Somerset joins him.
MILLS (cont'd)
All pictures of Zero tied to the bed.
(crouches)
The last one dated three days ago.
Somerset looks at the first photo. In it, Zero is bound and
gagged, but he is healthy.
SOMERSET
The first one....is dated one year ago to
the day.
Somerset wipes his pale face.
California stands by the corpse, behind Somerset and Mills.
He lifts the sheet to look under.
CALIFORNIA
Mother...
Mills kneels and lifts the sheet which had covered the
pictures off the floor. There is an open shoebox underneath.
MILLS
What the...
On the side of the box: TO THE DETECTIVES, FROM ME.
California leans close to Zero's gaunt, blindfolded face,
examining with morbid curiosity
CALIFORNIA
You got what you deserved, Zero.
Somerset leans down beside Mills. Mills looks through the
shoebox. Inside are plastic, zip-lock bags. On bag contains
small clumps of hair, one contains yellow liquid.
MILLS
(looking at bags)
A urine sample, hair sample...stool
sample. Fingernails.
(looks at Somerset)
He's laughing at us.
California is still close to Zero's face, when suddenly
Zero's lips twist open and Zero lets out a loud, guttural
bark.
California jerks back, shouting in fear, falling over a chair
to the floor.
Mills and Somerset reel, standing. They see California on
the ground, scared out of his mind, pointing.
CALIFORNIA
He's alive!
Somerset and Mills look towards the bed. Zero's lips move
feebly as he lets out a sick, gurgling moan.
CALIFORNIA (cont'd)
He's still alive!!!
EXT. SLUM APARTMENT BUILDING - MORNING
A crowd has gathered at the entrance. Mills's car, the
police van and two ambulances are parked on the sidewalk.
INT. SLUM HALLWAY - MORNING
The cops are in the hall holding the neighbors at bay.
INT. SLUM APARTMENT - MAIN ROOM - MORNING
Three ambulance attendants are at the bed, working on Zero.
One attendant uses wire cutters to clip Zero's bonds.
INT. SLUM STAIRWELL - MORNING
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 didn't
think it was possible, but we may have
underestimated this guy.
MILLS
I can't tell. I'm still spinning.
SOMERSET
The type of intestinal fortitude it must
take...to keep a man bound for a full
year. To connect tubes to his genitals
and rectum. To sever his hand and use it
to plant fingerprints!
MILLS
I want him bad. I don't just want to
catch him anymore. I want to hurt him.
SOMERSET
Listen to me. He is all about playing
mind games.
MILLS
No kidding! No fucking kidding!
SOMERSET
We have to divorce ourselves from our
emotions here. No matter how hard it is.
We must stay focused on the small
details.
MILLS
I don't know about you, Somerset, but I
feed off my emotions.
SOMERSET
He's attacking us, and he'll string us
along all the way if we're not careful.
Mills is looking down at the floor, still burning with anger.
Somerset grabs him by the jacket.
SOMERSET (cont'd)
Are you listening to me?
Mills pushes Somerset's hand off.
MILLS
I hear you.
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 takes another picture, flashbulb flashing. Mills goes
down the stairs, grabs the reporter, a short, 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 with a thud.
MILLS
That doesn't mean anything to me! This
is a closed crime scene now!
Somerset steps down and pulls 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 next 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 these cockroaches get here so
quick?
SOMERSET
They pay cops for the inside scoop, and
they pay well, so you better...
MILLS
(calming)
I'm sorry...I'm sorry...
SOMERSET
You can hate them, but you better learn
to act like their best friend. Because,
if you don't give them something, they'll
just make it all up.
MILLS
I'm sorry...I just...
SOMERSET
(sarcastic)
Oh, it's alright.
Somerset starts down the stairs.
SOMERSET (cont'd)
It's always impressive to see a man
feeding off his emotions.
INT. HOSPITAL ROOM - DAY
Somerset and Mills are with DOCTOR BEARDSLEY. Zero lies
inside and 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
system; from crack and heroin, to 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.
MILLS
There's no way he'll survive?
DOCTOR
Detective, he'd die right now 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 just 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 too.
INT. SOMERSET'S OFFICE - DAY
A blackboard is nailed to the wall. Written in chalk.
1. gluttony (with a line through it)
2. greed (with a line through it)
3. sloth (with a line through it)
4. envy
5. wrath
6. pride
7. lust
Somerset and Mills are at their paperwork covered desks.
SOMERSET
(reading one sheet)
Zero's landlord says an envelope of cash
was in the office mailbox each month. He
says, quote, "This guy I never heard a
single complaint 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 throws the paper. He turns to the typewriter,
types.
Mills fills out a form by hand. He makes an error and tries
to erase, but the paper rips. He curses and crumples it.
MILLS
I don't want to sit around, just waiting
for this guy 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. Something we can follow up on.
SOMERSET
Have you realized, the reason we have
nothing? It is most probably because
this murderer is a genius.
MILLS
He's insane.
SOMERSET
Those qualities are not mutually
exclusive. It is a fine line...
MILLS
Hey, Freud, what brand of bullshit are
you shoveling now?! The guy's a
fruitcake!
Somerset stands and goes to look at the blackboard.
SOMERSET
What was the last book you read before
Dante's Purgatory?
MILLS
I don't know. It was...
SOMERSET
T.V. Guide, maybe?
MILLS
It was a book about a spy...
SOMERSET
Whatever it was, it wasn't the Canterbury
Tales. It wasn't The Divine Comedy. You
struggled through those only because they
became required reading. Look...
Somerset picks up a photocopy of the first note.
SOMERSET (cont'd)
Look at this quote. "Long is the way and
hard..." I looked it up. it's from
Milton's PARADISE LOST. He probably
breezes through Milton, and these are the
philosophies that fill his mind.
MILLS
You can spit out theories all day...
SOMERSET
Look at the things he's done! Just
realize, that this is not some common
lunatic. He is methodical - exacting.
MILLS
And I say just because the bastard has a
library card, it don't make him Einstein!
We could be completely off base with all
this book stuff, and you know it!
Something clicks for Somerset, and he stops thinking.
MILLS (cont'd)
He may have seen the seven deadly sins
in...in a Spiderman comic book. He could
be just...just...
Mills realizes Somerset is not listening.
MILLS (cont'd)
What? What is it?
Somerset sits. Ponders, staring off into space. Mills
waits.
SOMERSET
I can't talk about it here. I don't know
if I can tell you at all.
Somerset stands up and takes money out of his pockets.
SOMERSET (cont'd)
How much money do you have?
MILLS
I don't know...like fifty.
Somerset picks up the phone, dials. Mills doesn't know
what's going on.
SOMERSET
(to Mills)
I propose a field trip.
INT. PUBLIC LIBRARY - DAY
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 pad.
SOMERSET
At the top of the list, we'll put
Purgatory, Canterbury Tales...anything
relating the seven deadly sins. Now,
imagine what kinds of things the killer
might read.
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 in on the screen: SEARCH: JACK THE RIPPER.
EXT. HOT DOG WORLD - DAY
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.
MAN
(to people)
Take one, you stupid fucks!! Here, take
one! It's a fucking coupon! Take it!
INT. HOT DOG WORLD - DAY
Mills and Somerset are in a booth, both on the same seat on
one side of the table. They look over their list of books.
Mills goes to eat a hot dog, but Somerset stops him.
SOMERSET
This place had about fifty health
violations during its last inspection.
Mills throws down the dogs, looks at his watch.
MILLS
Could you at least sit across from me? I
just don't want people to think we're
dating.
Somerset watches a strange MAN, wearing a black suit, enter.
The man's hair is slicked and greasy.
SOMERSET
Give me your money.
Mills hands his money to Somerset.
MILLS
I'm handing you this money, 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. The greasy
man sits 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 no problem.
GREASY MAN
Only for you, I do this. Big risk here,
so I figure we'll be even up after this.
All fair and square.
The greasy man has his hands under the table. He gets up to
leave with his hand in his pocket. He picks up Mills's dog.
GREASY MAN (cont'd)
About an hour.
The greasy man leaves, eating the hot dog.
MILLS
Well, that was money well spent. What a
delight!
SOMERSET
Let's go.
INT. PIZZA PARLOR - DAY
Mills and Somerset sit with a pizza before them.
SOMERSET
By telling you this, I'm trusting you
more than I trust most people. Certainly
more than I've ever trusted anyone I've
known only a few days.
MILLS
And, it would 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 is probably nothing, but if it is it
will be 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 FBI has been hooked
into the city's library systems, keeping
very accurate records.
MILLS
They're assessing fines now?
SOMERSET
They keep lists of who takes out what
books. They monitor our reading habits.
MILLS
What?
SOMERSET
Not every person is monitored. Certain
books are flagged...books about, let's
say, how to build a nuclear bomb, or even
Mein Kampf. Whoever takes out a flagged
book has their library records fed to the
FBI computer from then on.
MILLS
You got to be kidding.
SOMERSET
The flagged books cover every topic the
Bureau deems questionable. From
communism to violent crime.
MILLS
How is this legal?
SOMERSET
Legal...illegal. These terms do not
apply. I don't applaud it, but it is
exactly the type of activity the public
wants the FBI and the CIA to engage in.
Until they find out it's actually
happening, then they scream bloody
murder.
Somerset takes a bite of pizza.
SOMERSET (cont'd)
The FBI can't use this information
directly, but, it is 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 up to it.
MILLS
So they'll run our list.
SOMERSET
If you want to know who's been reading
Paradise Lost, Purgatory, and say, The
Life and Times of Charlie Manson, the
Bureau's computer can probably tell you.
It can give us a name.
MILLS
Yeah, a college student who's taking
English 101 and just happens to be
writing a paper on Twentieth Century
Crime.
SOMERSET
Yes, well, at least we're out of the
office now. We've got pizza.
MILLS
How do you know about all this?
SOMERSET
I don't. And now, neither do you.
Somerset looks up. The greasy man is entering the pizza
parlor.
INT. SOMERSET'S CAR - DAY
The car is parked with Somerset at the wheel and Mills
beside. They are 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
(reads aloud)
The Divine Comedy. A History of
Catholicism. A book called Murderers and
Madmen.
He hands the sheet 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...
SOMERSET
(starts the car)
Saint Thomas Aquinas. He wrote about the
seven deadly sins.
INT. APARTMENT BUILDING HALLWAY - DAY
Somerset and Mills walk up the stairs and turn a corner into
this hall. Somerset is looking at the computer sheets.
MILLS
You sure you're reading that right? John
Doe?
SOMERSET
That's what it says. Jonathan Doe.
MILLS
This is stupid. It would just be too
easy.
SOMERSET
We'll take a look at him. Talk to him.
MILLS
Excuse me, Mr. Doe, but 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 3A. Somerset knocks. SOMEONE
else can be heard CLIMBING THE STAIRS they just came up.
MILLS (cont'd)
What are you going to say to him?
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 lame.
Whoever is climbing the stairs is HEARD close to the top,
OFFSCREEN. Mills turns to look towards the stairs.
MILLS (cont'd)
Really...
A MALE FIGURE is standing at the top of the stairs, wearing a
hat and standing in shadow, looking towards them. The man
lets out a scream of horror and reaches into his coat.
MILLS (cont'd)
Somerset!!
GUNFIRE SOUNDS as Mills and Somerset hit the floor. A bullet
slams into door 3A behind them. Another bullet explodes,
knocking plaster off the wall. A third shot follows and the
man is heard running back down the stairs.
MILLS (cont'd)
It's him!!
Mills gets up, unholsters his gun and cocks it.
MILLS (cont'd)
Jesus Christ, we can get this fucker!!
Mills moves to the railing of the stairs. Somerset gets up
and takes out his own gun, dazed.
Mills moves to the railing. The stairwell is silent, the man
has stopped running. Mills peers over the railing through
the space in the stairwell's center, gun pointed. A HEAVE
METAL CLICK is HEARD from below and Mills leaps backwards as
bullets begin raining up accompanied by the SOUND of an UZI
MACHINE GUN FIRING.
Somerset gets on the floor and he and Mills crawl away from
the railing. Bullets soar unceasingly, shattering the
railing and shredding the floor around it.
Mills and Somerset cringe, holding their hands over their
ears against the deafening sound of the machine gun. Pieces
of wood and plaster fly in all directions. The uzi stops and
the man can be heard running again.
Mills gets up, covered in debris. He goes to the stairs.
Somerset rolls over, gets up more slowly. He looks back at
door 3A, then goes to follow Mills into the smoky stairwell.
EXT. APARTMENT BUILDING - REAR - DAY
Mills rushes out into a weedy, overgrown courtyard. He sees
a THIN VAGRANT sleeping on the building's junk pile, then
looks all directions. Mills's eyes are filled with fear and
his gun hand is shaking.
The courtyard is surrounded by alleyways. The man could have
gone anywhere and is nowhere in sight. Somerset comes out of
the building as Mills puts his gun away. Somerset's face is
wet with sweat.
MILLS
Are you alright?
SOMERSET
Yeah, I think so.
They look at each other for a long, silent moment, both
realizing they came very close to dying.
Mills looks around. Some of the building's other tenants are
looking down through their curtains. Mills moves to the
door.
MILLS
Go call it in.
Somerset takes Mills's arm. Mills pulls away, passes.
SOMERSET
Wait...just wait.
Mills turns back in the doorway.
MILLS
It had to be him.
INT. BUILDING - DAY
Mills turns through the door, leaving Somerset, but Somerset
comes into the hall and grabs him roughly.
SOMERSET
You can't go in there!
MILLS
The hell I can't! We get in there and we
can't stop this guy! We'll know who he
is!
Mills shoves Somerset off.
SOMERSET
We need a warrant! We...
MILLS
We have probable cause now!
Somerset grabs Mills and shoves him. Mills stumbles and
falls.
SOMERSET
Think about it!
MILLS
What the fuck is wrong with you!?
Mills gets up and continues. Somerset runs and spins him
around.
SOMERSET
Think about how we got here!
Somerset still holds the computer paper, now crumpled in his
hand. He waves it in Mills's face.
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. He's breathing hard, seething.
MILLS
Once we get in there, we'll know what
this guy is. We can stop him!
SOMERSET
Think it through. If we have a hold like
this, we'll never be able to prosecute.
Somerset releases Mills.
SOMERSET (cont'd)
We have to come up with some excuse for
knocking on this door, or we will have
nothing.
MILLS
Okay...okay...
Mills turns to the wall, frustrated. He puts his palms to
the wall and breathes to calm himself. He pushes his
fingers, cracking his knuckles.
MILLS (cont'd)
Okay...how much money do we have left?
INT. JOHN DOE'S APARTMENT BUILDING - EARLY EVENING
AT THE BOTTOM OF THE STAIRS, Mills stands beside the thin
vagrant who was sleeping on the junk pile. The vagrant is
sitting on the floor, talking to a POLICEMAN who writes,
taking the statement. Mills watches.
THIN VAGRANT
So, I...I noticed this guy going
out...going out a lot when those murders
were happening. So...so I...
The vagrant is drunk and out of it.
MILLS
You called Detective Somerset?
THIN VAGRANT
Yeah, I...I called the detective.
Because, because this guy
seemed...creepy. And, one of them
murders was over there...over...nearby
here. I...I called the cops.
The vagrant wipes drool from his lips. Mills is searching
the policeman's face for suspicion.
MILLS
I've told you the rest. Does it seem
clear to you?
POLICEMAN
Yeah, whatever.
MILLS
Have him sign it before he passes out.
UP THE STAIRWELL, several forensics are collecting shell
casings.
The casing are scattered all the way up the stairs and around
a bend. ONE FORENSIC walks upstairs beside another COP.
ONE FORENSIC
(to policeman)
I hear he's running around with an uzi in
one hand and a book of poetry in the
other.
COP
A real, modern day renaissance man, huh?
AT THE TOP OF THE STAIRS, Somerset leans against the wall by
3A. Two detectives, SARA and BILLY, stand with him, waiting.
Somerset has a beeper in hand and stares at the destroyed
railing and floor around the stairwell.
INT. COURTHOUSE - JUDGE'S CHAMBERS - EARLY EVENING
Martin Talbot has the phone to his ear, listens to it
RINGING. He watches as a judge reads a three-page document.
The judge grunts, turns to the last page and signs at the
dotted line.
INT. PRECINCT HOUSE - CAPTAIN'S OFFICE - EARLY EVENING
PHONE RINGS. The captain picks it up.
CAPTAIN
(into phone)
Hello.
TALBOT (V.O.)
(from phone)
Go.
INT. JOHN DOE'S APARTMENT - GROUND FLOOR - EARLY EVENING
Mills is alone with the thin vagrant who stands, barely.
Mills shoves some money in the vagrant's pocket and leads him
out.
MILLS
Go drink yourself happy.
There is the SOUND of a BEEPER GOING OFF from far away.
INT. JOHN DOE'S BUILDING - THIRD FLOOR - EARLY EVENING
The beeper in Somerset's hand is BEEPING. Somerset looks at
it and switches it off.
INT. JOHN DOE'S APARTMENT - EARLY EVENING
BOOM - the door to the apartment is knocked open by Mills who
holds a small battering ram. Mills drops the ram and enters
with Somerset. They both wear surgical gloves. It's dark.
MILLS
(to Sara and Billy)
Give us first crack at it.
Sara and Billy wait in the hall. Somerset 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 neat and clean.
The walls are painted black. The windows are painted over.
The far wall is made of shelves filled with books. Mills
goes to the desk while Somerset goes to the books. Books: A
History of Theology. Handbook of Firearms. A History of the
World. Summa Theologica. United States Criminal Law Review.
Mills looks at the desktop. It is tidy. The only blatantly
strange thing is a set of deep notches cut into the wooden
surface; THREE NOTCHES. He picks up a paper from the front
of a letter holder.
It is a red receipt from WILD BILL'S LEATHER SHOP. Written:
CUSTOM JOB, PAID IN FULL, $502.64. Mills puts the receipt
down and opens the middle desk drawer. It's empty except for
the Holy Bible.
Somerset walks to a black door. He opens it.
INT. JOHN DOE'S APARTMENT - ROOM TWO - EARLY EVENING
Somerset enters. The ceiling light is on. There are
bookshelves on three walls, filled with notebooks. Thousands
of notebooks.
Somerset takes one notebook down. It is thick composition
book with a blank cover. Inside, the pages are filled with
small, handwritten sentences which take up every inch.
He takes down another notebook and opens it. Same as the
first; filled with tiny scribbled sentences.
He walks to another wall, pulls another notebook. Same deal.
SOMERSET
Jesus.
INT. JOHN DOE'S APARTMENT - ROOM ONE - EARLY EVENING
Mills opens another desk drawer. It's filled with at least
forty empty aspirin bottles. He opens the next drawer to
find a rosary and a huge revolver.
INT. ROOM TWO - EARLY EVENING
Somerset walks to a 16mm film projector. It sits on a table
facing a white screen. Somerset turns the projector on.
INT. JOHN DOE'S APARTMENT - BATHROOM - EARLY EVENING
Mills enters the bathroom which is also painted black. It
has been converted into a darkroom, lit by a red bulb, with
strips of film hanging from the ceiling.
Water is heard dripping. Mills goes to open the shower
curtain. The shower is a print drying area with prints
hanging on wires.
INT. ROOM TWO - EARLY EVENING
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, Hollywood version of Heaven.
The image switches abruptly to fire and tormented souls
laboring around a pit of molten goo, where more tortured
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 (cont'd) (O.S.)
Somerset! Come here!
INT. ROOM ONE - EARLY EVENING
Mills comes in from the bathroom, holding an 8" by 10"
photo.
Somerset enters from room two.
MILLS
We had him, Goddamn it! We had him!
SOMERSET
What are you talking about?!
Mills throws the picture and a laminated press pass onto the
desk. He sits in a chair, holding his head in despair.
MILLS
The pass is a fake, Goddamn it! We had
him and we let him go!!
Somerset looks at the photo, stunned. It is a picture of
Mills and Somerset, on the stairwell of the building where
Zero's body was found. It is the picture taken by the
balding, almost silly looking reporter!
INT. JOHN DOE'S APARTMENT - KITCHEN - NIGHT
The refrigerator door is open and a male forensic is using
tongs to remove Zero's severed hand from beside the soda pop
and mayonnaise. He places the hand in a clear plastic bag.
INT. JOHN DOE'S APARTMENT - ROOM ONE - EARLY EVENING
The forensic walks through with the severed 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
This is the guy?
Mills stands over the sketch artist. Sara, Billy and two
deputy detectives are at work, searching, photographing,
dusting.
MILLS
Just make sure it gets around.
SKETCH ARTIST
You got it. Tomorrow morning, this
city's good citizens will be on the
lookout for Elmer Fudd.
SARA
(to Mills)
We can't find anything to hang onto. No
paystubs, no appointment books or
calendars. Not even a book of phone
numbers. And, you're not going to
believe this...
MILLS
Keep looking.
SARA
It's just...we haven't found any
fingerprints yet. Not one.
MILLS
You know, you're right? I don't believe
it. Keep looking.
Mills walks away.
INT. JOHN DOE'S APARTMENT - ROOM TWO - EARLY EVENING
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.
Somerset looks up and closes the notebook.
SOMERSET
We could use about fifty more men in
here.
MILLS
I'm trying to get more men, so just tell
me what we've got.
Somerset bristles slightly at Mills's abrupt demeanor.
SOMERSET
There are about five thousand notebooks
in this room. And, near as I can tell,
each notebook contains two-hundred and
fifty pages.
MILLS
Than he must write about these murders.
SOMERSET
(opens notebook, reads)
"What sick, silly 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 God
intended."
Somerset turns a few pages.
SOMERSET (cont'd)
(reads)
"On the subway today, a man came to me to
start a conversation. He was making
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
happened, but I suddenly threw up all
over him. He was not pleased, but I
couldn't help laughing."
Somerset closes the notebook.
SOMERSET (cont'd)
No dates indicated. They are placed on
the shelves in no discernible order. He
writes five pages describing a broken
bottle, then writes about existential
philosophy in the next paragraph. It's
just his mind poured out on paper, and I
don't think it will give us any
specifics.
MILLS
I've got a bad feeling, looking
around...that these murders are his
life's work.
The PHONE RINGS in the other room. Mills looks.
INT. ROOM ONE - NIGHT
All attention has turned to the phone on John Doe's desk.
The phone is wired to record conversations. Mills enters,
picks up the receiver and hits a switch on the recorder,
which puts the phone through a speaker.
MILLS
(into phone)
Hello?
JOHN DOE (V.O.)
(from speaker)
I admire you. I don't know how you found
me, but...just imagine my surprise. I
respect you detectives more every day.
MILLS
(into phone)
Okay, John, let's...
JOHN DOE (V.O.)
(from speaker)
No, no, no! You listen and don't talk.
I'll be back on schedule tomorrow, even
with this setback. I suppose you found
the picture, but I was going to send it
to you anyway, so this is just as well.
I had to call you and express my
admiration. I feel like saying
more...but...I don't want to ruin the
surprises.
John Doe hangs up. Mills puts down the phone, looks at
Somerset.
INT. JOHN DOE'S APARTMENT - ROOM TWO - EARLY EVENING
Mills and Somerset stand in the dark, watching the continuous
loop projector's strange images of Heaven and Hell.
MILLS
He's been trying to torture us along with
his victims.
SOMERSET
But, he's not targeting us personally.
He didn't know who would get this case.
He wants to get attention, and he's
accomplishing that with great success.
MILLS
You were right.
Somerset looks at Mills.
MILLS (cont'd)
He's preaching.
SOMERSET
(nods)
It's some sort of sermon to all of us.
To all us sinners.
They watch the screen. The door opens and light bursts in.
The captain stands there, looks them over.
CAPTAIN
It's been a long day, kids. Go home.
But, make sure you sleep with the phone
between your legs.
INT. SOMERSET'S APARTMENT - BEDROOM - NIGHT
Somerset winds his metronome. PHONE RINGS. Somerset does
not want to answer it, but he does.
SOMERSET
(into phone)
Hello.
TRACY (V.O.)
(from phone, quietly)
Hello, Somerset? It's Tracy.
SOMERSET
(into phone)
Tracy? Is everything alright?
TRACY (V.O.)
(from phone)
Yes, yes, everything's fine.
SOMERSET
Where's Mills?
TRACY (V.O.)
He's in the shower, in the other room.
I'm sorry to call you so late.
SOMERSET
It's alright, I guess.
TRACY (V.O.)
I, uh...I need to talk to you. I need to
talk to someone. I'm sorry...can we meet
somewhere, maybe tomorrow morning?
SOMERSET
I really don't understand.
TRACY (V.O.)
I feel stupid, but you're the only person
in the city I know.
SOMERSET
I just...
TRACY (V.O.)
Can you get away, for just a little?
SOMERSET
It will be hard, with this case.
TRACY (V.O.)
If you can, please call me tomorrow.
Please. I have to go no...goodbye.
Tracy hangs up. Somerset looks at the phone, totally
confused.
INSERT - TITLE CARD
FRIDAY
INT. THE COFFEE CAFE - MORNING
Somerset sits in the window booth with Tracy. The cafe is
noisy. Tracy is staring at her coffee while she stirs it.
TRACY
I mean, you know this city. You've been
here 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 Mills knowing.
TRACY
I'm sorry, I just...
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
You should talk to Mills...David. Tell
him how you feel. He will understand.
TRACY
I can't be a burden, especially now. I
know I'll get used to things. I guess I
just needed to know what someone who's
lived here thinks. In Philadelphia, we
could afford to live on the outskirts.
But, here...
Tracy seems very upset, near tears.
TRACY (cont'd)
I don't know if David told you, but I
teach fifth grade, or did.
SOMERSET
He mentioned it.
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 can't look up, wipes 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 disappears.
SOMERSET
Oh. Oh my, Tracy. I have to tell you,
I'm not the one to talk to about this.
TRACY
I hate this city.
Somerset sighs. He takes out a cigarette, but thinks the
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 baby. 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 on a
case...just like any other case, except
it was my first since hearing about the
baby. And, I...I felt this fear and
anxiety coming over me. I looked around
at the city, and I thought, how can I
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 the baby. And over the next
few weeks, I convinced her it was wrong.
I mean...I wore her down, slowly,
until...
TRACY
I want to have children. It's just...
SOMERSET
I can tell you know, I know...I am
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 ever.
(pause)
The relationship would wither and die.
Tracy nods, tears in her eyes. Somerset smiles a bit.
SOMERSET (cont'd)
However, if you decide to have the baby,
then, at the very moment when you are
absolutely sure you will keep it, tell
Mills. Tell him at that exact second.
And then, spoil that kid every chance you
get.
There are tears in Somerset's eyes. Tracy tries not to be
upset.
SOMERSET (cont'd)
That's all the advice I can give you,
Tracy. I don't even know you.
He smiles again, wipes at his own tears.
TRACY
Somerset...I'm sorry.
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 with use, after you're
gone, Somerset. Please.
Somerset nods, raises his hand to say goodbye as he leaves.
INT. WILD BILL'S LEATHER SHOP - DAY
Mills and Somerset are on one side of the counter and WILD
BILL, 37, 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 bent nose. Leather
belts, whips and jackets hang from the walls and ceiling.
WILD BILL
Yeah, he picked it up last night.
Wild Bill holds the red receipt from John Doe's apartment.
MILLS
This was definitely him?
Mills points to the rendering of John Doe on the counter.
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.
Wild Bill pulls a box from behind the counter. Digs in it.
WILD BILL (cont'd)
I figured that this guy must be one of
those performance artists. That's what I
figured.
Like one of those guys who pisses in a
cup on stage, then 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, since I was
working all yesterday to finish it.
SOMERSET
(looks at photo)
You built this for him? You built this?!
WILD BILL
I've built wilder things 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. He scratches his thick scar.
WILD BILL (cont'd)
Pigs.
EXT. THE HOT HOUSE MASSAGE PARLOR - DAY
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, woman 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.
INT. THE HOT HOUSE - RECEPTION AREA - DAY
TWO COPS are in front of a glass and steel cage. Inside the
cage sits a bald, FAT MAN with a wall of sex toys behind him.
FAT MAN
Just wait! Just wait!
One cop pounds his nightstick against the glass.
COP
Get out of the fucking booth!
FAT MAN
Just wait! I'll come out, just wait!
INT. THE HOT HOUSE - CORRIDORS - DAY
All the lights are red and the walls are painted red. Mills
and Somerset are following a COP through the twisting
corridors. POLICEMEN can be HEARD SHOUTING and MAKING
ARRESTS. ROCK MUSIC PLAYS, throbbing. They come to a door.
COP
I don't want to go in there again.
INT. RED ROOM - DAY
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 COP holds
him in a chair.
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. Mills and
Somerset move forward, towards the covered body.
FIRST ATTENDANT
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. He walks to face the wall. 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.
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 ROCK MUSIC from outside SUDDENLY STOPS. The cop
continues holding the crazed man down.
CRAZED MAN (cont'd)
Get it off me! Oh, God!
COP
Somerset, you better see this!
Somerset is facing the wall.
COP (cont'd)
Hey, Somerset, you better see what's
strapped onto this guy!
Mills turns to the cop.
MILLS
We've already seen it!
INT. SANATORIUM - WHITE ROOM - DAY
A photograph is on a white table. It is the photo Wild Bill
gave to Mills and Somerset. It is the picture of a belt,
made with extra leather straps so it can be worn securely
around the groin. It is like a strap-on phallus, but there
is no plastic protuberance. Instead, there is a metal knife,
it is a strap-on butcher knife.
Somerset is sitting beside the white table in this white
room. The crazed man from the lust murder is in a chair
across the room. The crazed man is crying.
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 hooker? Where was she?
The crazed man leans forward.
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 it on...that thing! Oh,
Christ! He made me wear...that thing!
And he told me to fuck her! And...he had
the gun in my mouth!
The man slides off the chair and hides his face in his hands.
CRAZED MAN (cont'd)
The gun was in my throat!
Somerset looks up at the mirror in the room. He stands and
picks up the Polaroid as two men in white uniforms enter the
room to collect the crazed man from the floor.
INT. PRECINCT HOUSE - INTERROGATION ROOM - DAY
Mills stands in this dirty room with the dirty, bald man from
the hot House's glass 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 did not!
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 shit. And, screams?
There are screams in there every single
day. It all goes with the territory,
little boy!
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