FADE IN:

	BLACK.  TITLE CARD in WHITE LETTERS appears on BLACK.

	
		"The world is a fine place and worth 
		fighting for."

					- Ernest Hemingway

					1940, For Whom The Bell Tolls

							WIPE TO:

	INT. OLD HOUSE - DAY

	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 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.

	EXT. OLD HOUSE 0 DAY

	Somerset stands in front of the old home.  he looks out at 
	the surrounding farm 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, there's nothing wrong.  It's just 
		that everything here seems...seems so 
		strange to me.  All this.

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

				SOMERSET
		No.  I like the house.  And this place.  

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

	Somerset nods, taking a deep breath.  He smiles.

				SOMERSET
		That is exactly what I mean.  Strange.

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

	INT. AMTRACK TRAIN - LATER DAY

	Somerset is in a 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 small lawns rush by.  
	The panorama is dappled by the rays of the soon to be setting 
	sun.

	The light flickers across Somerset's face.  He shifts his 
	weight content.

	INT. AMTRACK TRAIN - LATER DAY

	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.  A 
	little further on, two dogs are fighting, circling, 
	attacking, their coats matted with blood.  

	Somerset turns his head slightly to watch the dogs.  Away in 
	the field, another dog sprints to join the fight.

	INT. AMTRACK TRAIN - EARLY EVENING

	The train is passing urban streets below.  Slums and smashed 
	cars.  People stand in groups on the corners.  Bleak.  The 
	sky is full of smokestacks and huge industrial cranes.

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

	EXT. CITY STREET - NIGHT

	Somerset is carrying 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 and it has become 
	a tugging match.  "I'll take you to a taxi...I'll take you," 
	the weird man is shouting.  Ahead, a group is gathered on the 
	sidewalk near two ambulances.  People are clamoring to get a 
	look at a bloody body which lies on the street.

	Policemen 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 and one pulls up 
	from the street's stream of vehicles.

	INT. CAB - NIGHT

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

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

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

				SOMERSET
		Why do you care?

				DRIVER
		Well, fuck you too.

	The driver leans forward, checks it out.  The circle of 
	spectators shifts violently.  A man has shoved another man 
	and they're really going at it now.  They 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.  The police try to stop it.

				DRIVER (cont'd)
		Fucking crazy fucks.

	The driver pulls away and the cab rages down the street.  
	Somerset looks at the parade of neon passing on the avenue.  
	He slumps back in the seat and closes his eyes.

				DRIVER (cont'd)
		Hey, where the fuck you heading?

	Somerset opens his eyes.

				SOMERSET
		Far away from here.

	INT. SOMERSET'S APARTMENT - LATER NIGHT

	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 
	many 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 sounds compete with the 
	sound of the car alarm.  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.  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.

	INSERT - TITLE CARD

	SUNDAY

	INT. SOMERSET'S APARTMENT - MORNING

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

	INT. TENEMENT APARTMENT - DAY

	Somerset stands before a wall which is stained by a starburst 
	of blood.  A body lies on the floor under a sheet.  A sawed-
	off shotgun is on the floor a few feet away.  The apartment s 
	sad and 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.  Boom, boom, both barrels.

				SOMERSET
		Did the wife confess?  Did she actually 
		speak the words?

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

	Somerset begins walking around the apartment.

				SOMERSET
		Why, always like this?  Only after the 
		fact...they have 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 shifts his weight, impatient.

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

	Somerset looks at a coloring book open on the coffee table.  
	There are crayons beside it.  Somerset picks up the book.

				SOMERSET
		Did their son see it happen?

				TAYLOR
		I don't know.

	Taylor closes his notebook, perturbed.  Somerset flips 
	through the book's pages, looks at the cute, crudely colored 
	animals.

				TAYLOR (cont'd)
		What kind of fucking question is that, 
		Somerset?

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

				TAYLOR (cont'd)
		I'm glad I'm getting rid of you today.  
		You know that?  You always ask these 
		questions..."Did the kid see it?"  Well, 
		who gives a fuck?
			(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 
		nothing!

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

	Somerset puts the coloring book back on the coffee table and 
	stares at the floor, showing no reaction to Taylor's tantrum.

				MILLS
		Uh, Lieutenant Somerset?

	Somerset looks to see Mills.

	EXT. CITY STREET - DAY

	A body bag is carried through the crowd of people outside the 
	tenement building's entrance.  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.

				MILLS
		I'm a little thrown.  I just stepped off 
		a plane like twenty minutes ago and then 
		they brought me here.

				SOMERSET
		Since we are just starting out, I thought 
		we should go to a bar.  Sit and talk for 
		a while.  There will be time to...

				MILLS
			(interrupting)
		No.  I want to get to the precinct house 
		a.s.a.p...seeing how we don't have much 
		time for this whole transition thing.

	Somerset just keeps walking, says nothing.

				MILLS (cont'd)
		I need to get the feel of it all.  And 
		meet the people.  Right?

	They walk in an uncomfortable silence.

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

				MILLS
			(wary)
		I don't follow.

				SOMERSET
		All this effort you've gone through, to 
		be transferred from Philadelphia, to 
		here.  It is 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...
			(pause)
		...before you decided to give up.

	Somerset stops and faces Mills.

				SOMERSET
		You think you know me?  You just met me.

				MILLS
		Maybe I don't understand the question 
		you're asking.

				SOMERSET
		It is very plain and very simple.  I do 
		not understand why you have come from the 
		"City of Brotherly Love" to the "City of 
		Brotherly Hate."  I have never seen it 
		done that way, Detective.

				MILLS
		I thought I could do more good here than 
		there, I don't know.
			(steps closer)
		It would be great by me if we didn't 
		start right off kicking each other in the 
		balls.  It'd be a real treat.  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 to prepare you for...

				MILLS
			(cuts in)
		I wasn't standing around in Philly 
		guarding the Liberty Bell.  I've worked 
		homicide for five and a half years.

				SOMERSET
		You've never worked homicide in this 
		city.

				MILLS
		I realize that.

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

	Mills just stares back at Somerset.  Somerset walks away.

	INSERT - TITLE CARD

	MONDAY

	INT. SOMERSET'S APARTMENT - BEDROOM - EARLY MORNING

	Somerset lies asleep on the bed.  It is still dark outside.  
	The PHONE beside the inactive metronome RINGS.  Somerset 
	awakens suddenly and looks at the phone, startled.

	INT. MILLS' APARTMENT - BEDROOM - EARLY MORNING

	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 the 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 and looks around.  The room is in shambles, 
	filled with moving boxes.

	The light coming through the window glows upon a football 
	trophy.  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, startled.  Tracy 
	awakens.  She looks up with half-open eyes.  She is 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?  Where are we?

	INT. APARTMENT - CRIME SCENE - HALLWAY - EARLY MORNING

	Somerset and Mills, both wearing badges, stand with OFFICER 
	DAVIS, 35, a beefy, uniformed cop.  The hall is dark and 
	ugly.  Every few seconds the light from a camera's flash 
	spills in from the nearby kitchen.  Davis hands Somerset two 
	flashlights.

				DAVIS
		The light's burnt out and we're looking 
		for a replacement.  It's one of those 
		round, fluorescent things.  

				MILLS
		What?

				SOMERSET
		Wonderful.

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

				SOMERSET
		At 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 spaghetti for 
		about forty-five minutes now.

				MILLS
			(to Davis)
		What?  You didn't check for vital signs?

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

	INT. APARTMENT - KITCHEN - EARLY MORNING

	Somerset and Mills enter, using their flashlights in the 
	dark.  Mills is slipping into his own gloves.  The grungy 
	kitchen is tiny, barely enough room for four people.  ERIC is 
	crouched on the floor, putting his camera equipment away.  He 
	hoists his bag and moves past the detectives.

				ERIC
		Enjoy.

	Eric leaves.  In the center of the room, revealed by the 
	flashlight beams, is an OBESE MAN slumped forward in a 
	kitchen chair.  He is face down dead in a plate of spaghetti.

	The kitchen table is covered with soiled paper plates which 
	hold bits of half-eaten sandwiches, potatoes, beef stew, 
	donuts and many other junk foods.

	Somerset sweeps the room with his flashlight.  He goes to the 
	huge corpse, kneels beside it.  Mills moves to stand beside 
	Somerset.  A rope is tied around the chair and the man's wide 
	mid-section.

				MILLS
		I guess that makes it murder.

	Somerset uses a pen to lift one of the dead man's pants 
	cuffs.  Rope is tied around the swollen, purple ankle.

	Mills steps behind the chair and examines the rope's knots.

				MILLS (cont'd)
		Still, he could have tied himself in.  To 
		make it look like a murder.

	Somerset does not listen.  He is focused on the corpse, 
	studies the back of the man's head and neck without touching.

				MILLS (cont'd)
		I don't see blood or bruises yet, you?

				SOMERSET
			(irritated)
		Not yet.

	Somerset stands and points his flashlight to the sink and 
	stove.  Each burner of the stove has a used pot or pan on it.

	Mills walks around the brim with empty food containers.

				MILLS
		I saw a guy who committed suicide, but he 
		wanted his family to collect insurance, 
		right.  So, he takes a knife...

	He opens the refrigerator.  It's nearly empty.

	Somerset is looking at food which has been slopped on the 
	stove and adjoining countertop.  Used utensils are everywhere 
	along with empty tin cans and jars.  Cockroaches swarm about.

				MILLS (cont'd)
		...so this guy, he holds the knife behind 
		him, puts the tip in his back.  Then gets 
		real close to the wall, and pushes the 
		knife...

				SOMERSET
		Please, be quiet for a while.  Leave the 
		refrigerator open for the light.

				MILLS
			(sarcastic)
		Oh, yes, sir.

	Somerset looks at the floor, refocusing.  The flashlight beam 
	follows a trail of dripped sauces, soups and bits of food 
	running across the floor from the stove to the kitchen table.

	Somerset looks at this a long time, then turns his head.

				SOMERSET
		What do you smell?  Other than him, and 
		all the food.

				MILLS
			(sniffs)
		I don't know...there's something...

	Somerset goes close to the corpse, leans farther to peer 
	under the table's cheap tablecloth.

				SOMERSET
		A bucket.

	Somerset points the flashlight and Mills crouches, pulls up 
	the cloth on his side of the table.  A metal bucket sits 
	under the table.  Mills slides under with his flashlight to 
	look.  He is repulsed, pulls back.

				MILLS
		Vomit.  It's a bucket of vomit.

	Somerset stands, looks at the dead man.

				SOMERSET
		Is there any blood in it?

				MILLS
		Can't tell by looking.

	Somerset stares, deep in thought.  He shakes his head, 
	perplexed, as there is a KNOCK at the door.  The detectives 
	look to DOCTOR THOMAS O'NEILL, 52, the medical examiner.  
	O'Neill is looking at the ceiling.  He reaches to the light 
	switch, turns it on.  No light, so he begins flicking it up 
	and down.

				O'NEILL
		This makes no sense to me at all.

	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 goes to the trashcan, begins to poke around with a pen.

				MILLS
			(to Somerset)
		You think he was poisoned?

				SOMERSET
		Guessing at this point is useless.

				O'NEILL
		You girls have got forensics in the 
		living room chompin' at the bit.  Don't 
		know if they'll fit in here 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, please go help the 
		officers while they 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 passes.  
	Somerset looks at Mills, the light shining directly in 
	Somerset's eyes.  A longer moment.  Mills switches off the 
	light.  He leaves.

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

				O'NEILL
		He is dead.

				SOMERSET
		How very insightful, Doctor, thank you.

	INT. SOMERSET'S CAR - DAY

	Somerset drives with Mills as the passenger.  They are 
	driving in heavy city traffic.  Both stare ahead in silence.  
	Mills is a bundle of nerves.

				MILLS
		You have seen my files...seen the things 
		I've done?

				SOMERSET
		Yes.  Impressive work.

	Mills looks out the window.

				MILLS
		I've done my time on door to doors, and 
		walking a beat.  I did all that shit a 
		long time ago.

				SOMERSET
		I know.

				MILLS
		The badge in my pocket says Detective.

				SOMERSET
		I made a decision, because I have to 
		worry about the integrity of the scene.  
		I cannot worry about whether you feel 
		like you're getting enough time on the 
		playing field.

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

	Mills looks at Somerset.  Somerset keeps his eyes on the 
	road, but he nods.  That said, Mills leans to relax in the 
	seat.

				SOMERSET
		We will be spending every waking hour 
		together until I leave.  I will show you 
		who your friends are, and who your 
		enemies are.  I will help you cut through 
		the red tape and help you "integrate," as 
		the captain puts it.  But, no matter how 
		much you beg, or plead...jerking off will 
		have to be something you do for yourself.

	This throws Mills.  Somerset has a sense of humor?  Mills 
	laughs nervously.

				SOMERSET (cont'd)
		I just don't think we should have that 
		sort of relationship.

				MILLS
		Whatever you say.  It's just that, with 
		my old partner, you know, an occasional 
		handjob relieves tension.

	Somerset smiles slightly.

				SOMERSET
		We'd start quarreling over insignificant 
		things.

	Mills feels a bit of weight off his shoulders.

				MILLS
		Whatever you say, Detective.  Beautiful.

	INT. AUTOPSY ROOM - DAY

	The room is large, cold and clean.  Stainless steel and white 
	tile.  Many pathologists work at slabs.  A bone saw is 
	screaming.  Mills and Somerset are with DOCTOR SANTIAGO, 54, 
	who stands over the obese corpse which is pretty well 
	dissected already.

				SANTIAGO
		If you can take a look here, buddies.  I 
		can tell you, it was not a poison.  If 
		you can see...

	Santiago moves to make room for Mills to stand beside him.  
	Mills moves up a little, but not much, as Santiago reaches 
	into the obese man's stomach.  We do not see inside.

				SANTIAGO (cont'd)
		I have emptied all of everything out of 
		the stomach, but look at it, now that I 
		took away the liver.

	Santiago pulls on something and there is a squashy sound.  
	Mills watches, trying to hide his disgust.

				SANTIAGO (cont'd)
		I move the lungs over here.  Look, first 
		see how big this fat son-of-a-bitch 
		stomach is.

	Somerset sees Mills shying away from the sight.

				SANTIAGO (cont'd)
		It took three guys to help me, you know, 
		to lift this fat fuck up so I could shave 
		his head.

				SOMERSET
		He was a hefty gentleman.

				SANTIAGO
		Now...see the strange thing, on the 
		stomach?  Stretches.  
		And, here it is distended.  Look at the 
		size of that, because of all the foods.

	Somerset looks in disbelief.

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

				SANTIAGO
		Look at the lines of distention on the 
		stomach.

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

				SANTIAGO
		Yes, well, he didn't actually burst.  He 
		was bleeding inside of himself, and there 
		was a hematoma on the outside, on the 
		belly...very large.

				MILLS
		He died by eating?

	Somerset walks around the slab, looking over the body.  He 
	sees something on the partially shaved head.

				SANTIAGO
		Yes...well, there is something you have 
		to look at and see.

	Somerset leans close to look at five or six small bruises on 
	the back of the dead man's head; bruises, some circular, some 
	semi-circular, all about the same diameter as a dime.  
	Somerset stands straight, realizes something.

				SANTIAGO (cont'd)
		Most of the stomach contents are in the 
		lab now...

	Santiago picks up a glass jar and shows it to Mills.

				SANTIAGO (cont'd)
		...but this.  I found these in the fat 
		man's stomach.

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

				MILLS
		Plastic?

	Mills gets Somerset's attention and hands him the jar.  
	Somerset looks at it a long time.

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

	INT. APARTMENT - CRIME SCENE - KITCHEN - DAY

	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 and sink?  Near the food?

				MALE
		What do you mean?

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

	They both continue looking around the floor.

				SOMERSET
		You always have to find one singular 
		thing to focus on.  There is 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 by the 
	refrigerator.

				MILLS
		It could be nothing.

				SOMERSET
		Yes, but why would so many pieces be 
		inside this guy if it were nothing?  It 
		seems intentional.

	Somerset stops.  There are deep scratches 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 at some time.

				SOMERSET (cont'd)
			(to Mills)
		Come here.

	INT. APARTMENT - KITCHEN - LATER DAY

	Mills and Somerset pull on the refrigerator, rock it back and 
	forth away from the wall so there will be a clear view behind 
	it.  They strain, pull it a few more feet, then release it.

	Mills leans to look behind.  Shock.

				MILLS
		Holy shit.  It ain't nothing.

	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.

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

	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 his 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 in 
	leather chairs.

				SOMERSET
		The bruises on the back of the victim's 
		head were caused by the muzzle of a gun.  
		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, and eating...till his 
		body started rejecting the food.  The 
		killer held a bucket under him, then kept 
		serving this, this sick feast.  The 
		victim's throat was swollen from the 
		effort, and there must have been a point 
		where he passed out.  The killer kicked 
		him in the stomach, for good measure.  
		Popped him.
			(pause)
		An exercise in extreme cruelty.

				CAPTAIN
		That seems obvious.

	Somerset picks up a photocopy of the note which was pinned 
	behind the refrigerator.

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

				CAPTAIN
		Announcing what?

				SOMERSET
		What is gluttony?

				CAPTAIN
		Being a pig.

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

				CAPTAIN
		So what?  This victim...

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

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

	Somerset is shaking his head "no."

				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 was a premeditated puzzle, and it is 
		just beginning.

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

	Somerset sits down beside Mills.

				SOMERSET
		I need you to know...we are declining 
		this case.  I want to have us reassigned.

				MILLS
		What?!  What?!

				CAPTAIN
		What's this, "We are declining this 
		case?"  It don't work that way.

				SOMERSET
		This cannot be my last duty here.  It 
		will go on and on.

				CAPTAIN
		You've left unfinished business before.

				SOMERSET
		Everything else has been taken as close 
		to conclusion as humanly possible.  
		Also...I don't think this should be 
		Mills's first case.

				MILLS
		This is not my first case, dickhead!  
		What the hell!?

	Mills stands, furious and walks away from Somerset.

				CAPTAIN
		I don't have anyone else to give this to, 
		Somerset, you know that.  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 fly 
		with him.  If Somerset wants out, then 
		"goodbye."  Give the case to me.

	The captain considers this.

				SOMERSET
		It will be too much for him, too soon.

				MILLS
			(to captain)
		Could we please talk in private?

	The captain looks at Somerset, then at Mills.

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

				MILLS
		Thank you, Sir.

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

	Mills looks at Somerset.  Somerset will not look up.  Mills 
	leaves, closing the door.  Somerset seems deflated.  He looks 
	at the captain.

				CAPTAIN (cont'd)
		You win, Somerset.  You're out.

	INSERT - TITLE CARD

	TUESDAY

	EXT. CITY STREET - DAY

	A newspaper vendor lays out a pile of tabloid newspapers at 
	the front of his busy newsstand.  The paper's 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 places a third tabloid stack beside the others.  
	SICKENING MURDER - EXCLUSIVE DETAILS INSIDE!, it reads.

	INT. PRECINCT HOUSE - SOMERSET'S OFFICE - DAY

	The office is old, with a single window which faces a 
	billboard.  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, begins 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 Somerset's name away, and the razor on glass 
	sounds like fingernails on the blackboard.

	Somerset looks up.

				WORKMAN
		Sorry.

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

				CAPTAIN
		Have you heard?

				SOMERSET
			(not looking up)
		No, I have not heard.

				CAPTAIN
		There was a second.

	Somerset stops.  He 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 hear about 
		it.

				SOMERSET
		I'm sure Mills is doing a fine job.

				CAPTAIN
		He is.

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

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

				CAPTAIN
		Can't you feel it yet?  Can't you feel 
		that feeling yet...that you won't be 
		special anymore?

				SOMERSET
		I don't know what you're talking about.

				CAPTAIN
		You know.

	Somerset reclines, faces the captain.

				SOMERSET
		Did you read in the paper today, about 
		the man who wanted to take his dog for a 
		walk?  And, how he was attacked?  His 
		money and his watch were taken, and then, 
		while he was still lying unconscious, out 
		cold, his attacker stabbed him with a 
		knife in both eyes.  It happened last 
		night, a few blocks from here.

				CAPTAIN
		I heard.

				SOMERSET
		I have no understanding of this place 
		anymore.

				CAPTAIN
		It's always been like this, Somerset.

				SOMERSET
		Yes.

	Somerset saddles up to the typewriter.

				SOMERSET (cont'd)
		You're absolutely right.

	The captain lays the paperwork down.  Both piles are now very 
	neatly stacked.

				CAPTAIN
		You exist to do this work.  You were made 
		for this work, and I don't think you'll 
		be able to deny it.  I certainly can't 
		believe you're trading it all in for a 
		tool belt and a fishing rod.  But, maybe 
		I'm wrong.

	The captain leaves.  Somerset looks up now that the captain's 
	gone.  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, he has a rag in his hand 
	to remove the last remnants of Somerset's name.

				SOMERSET
			(angrily)
		Try putting a little bit of elbow grease 
		into it!

	The workman is startled, continues his work.

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

	Somerset's work is complete and piled on the blotter. he 
	turns off the lamp on the desk and goes to the door.  He 
	stops in the doorway.  He goes back to the desk, turns on the 
	light.  

	he takes a paper from the desk, and a pen.  Writes quickly.

	DETECTIVE MILLS, I HAVE BEEN THINKING ABOUT YOUR CASE.  YOU 
	MAY WANT TO LOOK INTO THE FOLLOWING BOOKS, RELATING TO THE 
	SEVEN DEADLY SINS:

	DANTE'S PURGATORY

	THE CANTERBURY TALES - THE PARSON'S TALE

	DICTIONARY OF CATHOLICISM

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

	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.

				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!

				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.

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

	The blackboard:

	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 (with a line through it)

	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.

	INT. SPORTS BAR - NIGHT

	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, that after a day of the 
		type of work he did, he'd come home and 
		read me these morbid crime stories.  Le 
		Fanu's Green Tea.  Murders in the Rue 
		Morgue.  My mother would give him hell, 
		because I was young, and he'd be keeping 
		me up till all hours of the night.

				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 
		traces the history of detection as a 
		science, and it sealed my fate, because 
		it was real, not fiction.  That a drop of 
		blood, or a piece of hair could solve a 
		crime...was incredible to me.

	Somerset drinks, then pours some more beer.

				SOMERSET (cont'd)
		You know, there's not going to be a happy 
		ending to this.  It's no longer possible.

				MILLS
		If we get him, I'll be happy enough.

				SOMERSET
		No.  You're going to have to come to face 
		it right now.  You have to stop thinking 
		it's good guys against the bad guys in 
		this city.

				MILLS
		How can you say there's no good and evil?  
		Especially after today?!

				SOMERSET
		Don't try to focus on things as black and 
		white, because you'll go blind.  There is 
		no winning and losing here.

				MILLS
		You're the oldest man I know, Somerset.

				SOMERSET
		You tell me, when you walk into an 
		apartment, and a man has beaten his wife 
		to death, or, a wife has murdered her 
		husband in cold blood...you have to wipe 
		the blood off their children.  You put 
		the killer in jail.  Who won?!

				MILLS
		You do you job...

				SOMERSET
		where's the victory?!

				MILLS
		Follow the law, and do the best job you 
		can.  It's all there.

				SOMERSET
		Just know, that in this case, there will 
		be no 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 
		himself!  He's just a man.

				MILLS
		Somerset, why don't you shut the fuck up 
		for awhile!  You make these speeches, 
		like you know everything there is to 
		know.  You bitch and complain...if I 
		thought like you, I would have slit my 
		wrists already!

	Somerset sits back and looks at Mills.

				MILLS (cont'd)
		You think you're preparing me for the 
		hard time ahead?  You think you're 
		toughening me up? Well, you're not!  You 
		are poisoning me!  You're leaving, but 
		I'm staying to fight!

				SOMERSET
		Who are you fighting for?  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
		There is no one thing, if that's what you 
		mean.  I just...I can't live surrounding 
		by stupidity anymore.  I cannot live 
		where stupidity is embraced and nurtured 
		as if it were a virtue.

				MILLS
		You're so much better than everyone.  You 
		don't think anyone'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 smoke crack, and not worry 
		that your wife and kids are starving to 
		death, and you are nothing, worth 
		nothing.  It's easier to beat a child 
		till that kid finally shuts up, because 
		it takes so much work to love.  And, if 
		you stopped to think about the abuse, and 
		the damage, you'd be sad!

				MILLS
		You're talking about people who are 
		mentally ill!  You're...

	Somerset slams his hand on the table.

				SOMERSET
		No, I am not!  I am talking about common, 
		everyday life here!  Ignorance is not 
		only bliss, it is a matter of survival.  
		Stupidity is the closest thing there is 
		to a quick fix!  

				MILLS
		Listen to yourself.  You say, "The 
		problem with people is they don't care, 
		so I don't care about people."  But, if 
		you're not part of the solution...

				SOMERSET
			(cuts in)
		People who are in arguments over their 
		heads always seem to use meaningless 
		little slogans, but life does not conform 
		to analogies!  All I say is, I cannot 
		live here while there are places where 
		you can walk around without being afraid 
		for your life and your sanity.

				MILLS
		You're already here, and you've been here 
		a long time.  There's a part of you that 
		knows everything you say may be true, but 
		even so, 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 
		up 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.

	INT. MILL'S APARTMENT - BEDROOM - NIGHT

	Mils 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.

	Mills holds her tighter.  She wraps her arms around him.  
	They lie together, clinging, holding tighter still.

	EXT. MILLS'S APARTMENT BUILDING - NIGHT

	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 parked not 
	far from Mills's building.  
	Inside the car, John Doe sits, looking up at Mills's window.  
	Doe looks as plain as white bread.  He adjusts his thick 
	glasses, sips from a coffee cup.  He starts the car and 
	drives away.

	INT. SOMERSET'S APARTMENT - BEDROOM - NIGHT

	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.

	INT. SOMERSET'S APARTMENT - LIVING ROOM - NIGHT

	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

	INT. JOHN DOE'S APARTMENT - ROOM ONE - DAY

	The clock on the wall says twelve-thirty.

	INT. JOHN DOE'S APARTMENT - ROOM TWO - DAY

	Three deputy detectives are reading John Doe's notebooks.  
	PHONE RINGS from the other room.

	INT. ROOM ONE - DAY

	One deputy enters, answers the phone, turns on the recorder.

				JOHN DOE (O.S.)
			(through speaker)
		I've...gone off and done it again.

	INT. APARTMENT - BATHROOM - DAY

	Somerset is looking around this femininely decorated bathroom 
	with a forensic, GIL, 28.  Both wear rubber gloves.

	In the sink, objects covered in blood: a pair of sharp 
	scissors, a hypodermic needle, first-aid tape and gauze 
	bandage, a bottle of anesthetic for use with the needle, 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, 
	and a few bits of gauze float in it.  Gil jiggles the drain's 
	knob.  Some bubbles pop up from the clogged drain.

	INT. APARTMENT - BEDROOM - DAY

	PRIDE is written in lipstick on a 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.  Somerset enters from the bathroom.  Mills is 
	beside 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 her 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.

	Mills reaches to take the unicorn from her grasp.  There is a 
	cordless phone in her left hand, and the hand clings to it.

	Her right hand holds a bottle of prescription pills.  Mills 
	tries to open the fingers of this hand, but they are super-
	glued to the bottle.  Mills turns the hand slightly so that 
	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 
	moves to the bed and leans across it.  He slides the open 
	scissors under the bandage mask.  He 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)
			(to Mills)
		You can 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)
		You can call for help, and you will live.  
		But, you will be mutilated.  
		Disfigured...
			(raises right hand)
		...or, put yourself out of your misery.

	O'Neill now removes the bandages.  Mills looks away.  O'Neill 
	looks over his shoulder to the detectives.

				DOCTOR
		He cut off her nose to spite her face.  
		And, he did it very recently.

	EXT. CITY STREET - DAY

	Mills's car pulls up in front of the precinct house.  Mills 
	and Somerset get out, wade through cars towards the old 
	building.

				SOMERSET
		I've decided...I would like to stay on 
		till this is over.  Till it is either 
		done, or we can both see it will never 
		finish.

	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 
		will finish his series of seven...and 
		this case will go on for years.

				MILLS
		You think if you stay you're doing me 
		some big favor?

				SOMERSET
		I am requesting you keep me on as your 
		partner a few more days.  It is important 
		to me.  You'd be doing me the favor.

	Mills walks on.

				MILLS
		You knew I'd say yes.

				SOMERSET
		No.  I wasn't sure at all.

	In the street, John Doe's car pulls up and stops in front of 
	the precinct house.  Cars behind begin beeping.  People 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 just out for a stroll.  People on the sidewalk stop 
	on seeing him, avoid him.

	INT. PRECINCT HOUSE - RECEIVING LOBBY - DAY

	Mills and Somerset walk past the booking cubicles and benches 
	of handcuffed lowlifes.  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'll be gone.

				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-full.

	Mills walks to follow Somerset.

				JOHN DOE (O.S.)
		Detective Mills!!!

	Mills looks back, stops.  Somerset looks back down the 
	stairs.  

	ANGLE ON

	John Doe stands inside the precinct house doors.  He holds 
	out his arms as if to say, "Presto, here I am."

	There comes a near silence in the room.  All eyes go to the 
	blood-soaked figure of John Doe.

	Mills stands there, eyes not believing.  One UNIFORMED COP 
	takes out his gun, points at John Doe.

				UNIFORMED COP
		It's him!

	Several other cops drop what they're doing and draw their 
	weapons.  Mills, still off-balance, takes out his own gun.  
	He walks back through the gate and points the gun at Doe.

				MILLS
		Get down on the floor!

	Cops move slowly in on Doe from all sides.

				ANOTHER COP
		You heard him, fuckhead, get on the 
		floor!!

	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, but not too close.

				MILLS
		Get down, face on the floor!!!

	ONE COP comes from behind Doe and nudges him with his foot.

				ONE COP
		Spread your legs and get your hands out 
		in front of you!

		john Doe lays on his stomach and obeys.  
		Mills comes right up to Doe and puts his 
		gun against Doe's head.

				MILLS
		Don't move!  Don't move an inch!

	One cop begins frisking Doe.  Another comes to put on the 
	cuffs.  Somerset comes to Mills's side.

				SOMERSET
		I don't believe this.

				JOHN DOE
		Hello, Detective Somerset.

	The cop putting on the handcuffs looks up at Somerset and 
	Mills.

				COP
		What the fuck is this?

	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 manage a smile, face pressed against the 
	floor, glasses askew, gun at his temple.

				JOHN DOE
			(to Mills)
		I want to speak with my lawyer.

	INT. PRECINCT HOUSE - OBSERVATION ROOM - DAY

	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 superman/serial killer.  He looks 
	more like an eccentric college professor, not seething with 
	anger, but edgy and lucid.  The lawyer, MARK SWARR, 36, sits 
	at a table, taking notes and talking with Doe.

				CAPTAIN
		He cuts off the skin of his fingertips.  
		That's why we can't find a single usable 
		print in his apartment.  He's been doing 
		it for quite some time.  Keeps cutting 
		before the papillary lines can grow back.

				MILLS
		What about the trace on his bank account 
		and the guns?  There must be a connection 
		to his past.

				CAPTAIN
		So far, it's all dead ends.  No credit 
		history, no employment history.  His bank 
		account is only five-years old, and it 
		started out as cash.  We're even trying 
		to trace his furniture...but, all we know 
		is he's independently wealthy, well-
		educated and totally insane.  We may 
		never know how he got that way.

				SOMERSET
		Because he is a John Doe by choice.

				MILLS
		When do we get to question him?

				CAPTAIN
		You don't.  This goes to court no.

				MILLS
		This is crazy!  He wouldn't just turn 
		himself in, after all this!

	Somerset moves from the window, crosses the room.

				CAPTAIN
		It's not supposed to make sense.

				MILLS
		He's not finished!

				CAPTAIN
		You're wound too tight, Mills.

				MILLS
		He's pissing in our faces.

				CAPTAIN
		Drop it now!  

				MILLS
		Somerset...help me out here!

	Somerset looks at them, says nothing.

				CAPTAIN
		It's done.

	The captain leaves.  Mills is furious.

				MILLS
		God damn you, Somerset!  You know he's 
		fucking us!  He's...

	Somerset holds out his hand to silence Mills.

				SOMERSET
		Just slow up.  Slow up.  You and I are... 
		probably for the first time ever, in 
		total agreement here.  He would not just 
		stop.  But, we have to wait.

				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 will 
		try to finish it?

	Mills looks in at John Doe.

				MILLS
		No.

				SOMERSET
		I can tell you this; I recognize his 
		lawyer.  His name is Mark Swarr.

	Mills looks at Somerset.

				SOMERSET (cont'd)
		He's the one who got Zero off.
			(pause)
		We wait for John Doe's plea.

	INT. SOMERSET'S OFFICE - DAY

	Mills is at the desk, feet up.  he is staring at the 
	blackboard.

	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 (with a line through it)

	7. lust (with a line through it)

	Clock on the wall says 4:45.  Somerset is packing books into 
	boxes, preparing his eventual departure.

	The captain steps into the office and clears his throat, 
	looking like there is something very wrong.

	INT. CAPTAIN'S OFFICE - DAY

	Mills and Somerset stand together.  The captain is behind his 
	desk, with Martin Talbot 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.

	Swarr wipes his brow with a handkerchief.

				TALBOT
		Oh, Christ.

				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, the bodies will 
		never be found.

				CAPTAIN
		Frankly, counselor, I'm inclined to let 
		them rot.

				TALBOT
		Mr. Swarr, we don't make deals like 
		these.

	Mills walks up to Swarr's face.

				MILLS
		How do you like having clients like 
		these?  How can you do this?

				CAPTAIN
		Back off, Mills!

				SWARR
		I am required by law to serve my clients 
		to the best of my ability, and to serve 
		their best interests.

	Mills eases off.

				CAPTAIN
		We're going to have to pass.

				SWARR
		My client...he also wishes that I inform 
		you, if you do not accept, he will plead 
		insanity, across the board.

				TALBOT
		Let him try!  I want to see him try!

				SWARR
		Come now, Martin.  Even my client knows 
		with the nature of these crimes, I could 
		get him off with such a plea.

	Talbot stands, wringing his hands.  Mills and Somerset are 
	looking at each other, thinking it over.

				TALBOT
			(to no one in particular)
		This is madness.  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.  There is a moment of silence.

				CAPTAIN
			(to Mills)
		What do you think?

				MILLS
		I'm in.

				SWARR
		He says it must be both of you.

				SOMERSET
		If he were to plead insanity, this 
		conversation is admissible.  
		The fact that he's blackmailing us with 
		his plea...

				SWARR
		And, my client reminds you, two more 
		victims are dead.  The press would find 
		out that the police did not seem very 
		concerned about finding them...giving 
		them proper burial.

				SOMERSET
		If there really are two more dead.

	The captain picks up a sheet from his desk.

				CAPTAIN
		This lab report did come up from 
		downtown.  They did a quicky on Doe's 
		clothing and fingernails.  They found 
		blood from Doe, from his cutting the skin 
		off his fingers. And, there was blood 
		from the woman whose face he 
		removed...and, there was blood from a 
		third party...as yet unknown.

				TALBOT
			(to Somerset)
		You would be escorting an unarmed man.

	Somerset is thinking it through.  He looks at Mills.

				MILLS
		Let's finish it.

	Somerset looks at the floor, at Swarr.

				SOMERSET
			(to captain)
		Well...get the fucking lawyer out of the 
		room, and we can talk about how this 
		whole thing is going to go down.

	INT. PRECINCT HOUSE - BATHROOM - DAY

	Somerset's hand reaches to the sink to pick up a razor.

	Somerset and Mills are at the sinks, looking at themselves in 
	the mirrors.  They have their shirts off.  Shaving cream is 
	spread across their chests.  Somerset flicks his cigarette 
	into the sink, then brings the razor 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?

	Somerset smiles slightly.

				SOMERSET
		I suppose so.
			(pause)
		If you were man enough to actually file 
		the claim, I'd buy you a new nipple out 
		of my own pocket.

	Mills finishes shaving.  He steps away from the sink and 
	wipes his chest off with a towel.  He turns dead serious.

				MILLS
		Somerset...

	Somerset stops shaving and looks at Mills.

				SOMERSET
		What is it?

				MILLS
		I think I've fallen in love with you.

				SOMERSET
			(turns away)
		Slut.

				MILLS
			(laughs)
		Kiss me on the lips.

				SOMERSET
			(shaving)
		Give me a break.

	INT. READY ROOM - DAY

	Somerset and Mills have their shirts open.  A female 
	technician, Josie, tapes a small radio transmitter and 
	microphone to Mills's chest.  Somerset is already wearing the 
	same, pressing the adhesive to his chest, making sure it will 
	hold.

	Jose finishes prepping Mills.  Somerset buttons up his shirt.  
	Josie packs up her kit and leaves.  The room is quiet.  
	Somerset picks up a bullet-proof vest and slides into it.

	Mills buttons up, looks at his watch.  he puts on his own 
	vest, fastens it tight, 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 
	flicks a few into Mills's 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, close them up.  They lay the 
	guns in holsters at the small of their backs.  They look at 
	each other.  Mills holds out his hand.  Somerset shakes it.

	EXT. CITY STREET - DAY

	The street is full of shadows as the sun is falling low.  In 
	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, prepares to speak.

	EXT. CITY STREET - DAY

	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.

	EXT. SKYSCRAPER ROOFTOP - DAY

	California is dressed in full battle gear, looking through 
	binoculars at the city below.  The wind blows real 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
		It just makes the ride a little more fun.

	The pilot smiles.

	INT. SOMERSET'S CAR - AFTERNOON

	Somerset is at the wheel.  Mills sits in the back seat, 
	behind Somerset.  John Doe sits beside Mills.  Doe is 
	handcuffed and shackled with chains which run around his 
	ankles and travel to the handcuffs.  He is dressed in gray 
	pants and a gray shirt.  Mills is staring at Doe.  Doe is 
	greasy faced, hot.

				MILLS
		Who are you, Johnny?  Who are you 
		really??

				JOHN DOE
		It doesn't matter who I am.  Who I am 
		means absolutely nothing.

				MILLS
		You seem nervous.

	John Doe looks through his thick glasses to Mills.

				JOHN DOE
		I want this to go well.

				SOMERSET
		You want this to go well?  What is this?

	Doe looks at Somerset's eyes in the rearview mirror.

				SOMERSET (cont'd)
		For us to go pick up two more dead 
		bodies...wouldn't be sensational enough 
		for you?  Every single thing you've done 
		had been done to capture attention.  To 
		shock.

				JOHN DOE
		Wanting people to pay attention...you 
		can't just tap them on the shoulder.  You 
		must hit them in the head with a 
		sledgehammer.  You have to hit with a 
		hammer in the head, and you get their 
		strict attention.

				SOMERSET
		What are they supposed to pay attention 
		to?  Your random violence?

				JOHN DOE
		These are like no other murders have ever 
		been, or will ever be.

				MILLS
		You're no different from any 
		psychotic...except you're especially 
		brutal.

	John Doe is offended and angry.

				JOHN DOE
		Wrong.  I have...

				SOMERSET
		The only way you've distinguished 
		yourself is by your exceptional illness.

				JOHN DOE
		No!

				SOMERSET
		At this point, nobody in this city would 
		deny that you are a very, very sick man.

				JOHN DOE
		You assume I am insane.

				SOMERSET
		Insane, and morally deficient.

				MILLS
		Fucked in the head.

				JOHN DOE
		You both know I'm different.  You, of all 
		people, know what I'm doing is special.

				MILLS
		In a year, nobody's going to remember 
		this happened.

	John Doe clenches his fists, digs his bandaged fingertips 
	into his palms, sweating.

				JOHN DOE
		You cannot see the whole...the whole 
		complete act.  Not yet.  
		But, when this is over, it will be 
		so...so unbelievable.  It will be...

				MILLS
		Spit it out, Johnny!

				JOHN DOE
		People will not be able to comprehend it, 
		but it will be reality.  It will be 
		almost surreal, but it will still be 
		reality.  So, it will be undeniable.

				SOMERSET
		Delusions of grandeur.

				JOHN DOE
		This game...this pretense of skepticism 
		is meaningless...
			(pause)
		These two...bodies will make the five 
		before them seem like child's play.  
		You'll see, within the hour.  This will 
		be the perfect, flawless series of 
		murders.  Tangible.

				MILLS
		I'm going to be standing right beside 
		you, so be sure to let me know when this 
		whole, complete reality thing is done.  
		Wouldn't want to miss it.

				JOHN DOE
		Oh, you won't...

	INT. POLICE HELICOPTER - DAY

	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 single thing.

	Two other armed cops sit in the belly of the chopper.  
	California leans in and looks to the pilot.

				CALIFORNIA
			(into helmet microphone)
		Head over to the bridge and try to keep 
		them in sight.  Just, keep your distance.

	The pilot nods.

	EXT. CITY SKY - DAY

	The chopper dips, flying like a bullet over the polluted 
	city, heads towards the setting sun.

	EXT. CITY STREETS - DAY

	Somerset's car moves along a highway at river's edge.  It 
	turns onto a huge suspension bridge, into a line of speeding 
	traffic.

	INT. SOMERSET'S CAR - DAY

	They drive across the bridge.  The sun is ahead.  John Doe 
	stares back at the city.  He looks wired, still sweating 
	profusely.

				JOHN DOE
		You can see a deadly sin on every street 
		corner.  On every corner and in every 
		home, they may seem trivial.  They are 
		not.
			(turns forward)
		I am showing the true face of sin.

				SOMERSET
		All you brought this world is more misery 
		and pain.

				JOHN DOE
		I bring God's anger in the form of pain.

				MILLS
		You got off on this.  You liked it.

				SOMERSET
		You did it for your own pleasure.

				JOHN DOE
		I won't deny my personal desires...my 
		intention to turn sin against the sinner.  
		But, I merely took each sin to its 
		logical conclusion.  I don't mourn the 
		victims in this, anymore than I mourn the 
		thousands who died in Sodom and Gomorrah.

				MILLS
		But, you tortured innocent people.

				SOMERSET
		God would have forgiven them.

				MILLS
			(leans forward)
		How dare you speak of God!  When...when 
		was the last time you spoke His name!?  
		Was it in prayer, or did you say His name 
		to curse another man?  Or, did you say 
		the Lord's name after you stubbed your 
		big toe!?

	Mills pulls Doe back in the seat.

				JOHN DOE
		You haven't earned the privilege to 
		speculate on God!!

				SOMERSET
		You want people to question God's 
		existence?  You want them to...

				JOHN DOE
		No!! No!! I want them to question their 
		own existence!  I want people to question 
		their own existence!

				MILLS
		You think you're doing God's work, you 
		fucking lunatic?  You really think what 
		you're doing is God's good work?!

	John Doe looks at Mills, then looks down.  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.

	EXT. SKY - EARLY EVENING

	The helicopter flies over huge, blackened industrial parks 
	past smokestacks spewing soot.  The sky is turning crimson.

	INT. POLICE HELICOPTER - EARLY EVENING

	California leans way out, looking at the city.

	EXT. INDUSTRIAL ROAD - EARLY EVENING

	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.

	EXT. SKY - EARLY EVENING

	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.

	INT. POLICE HELICOPTER - EARLY EVENING

	California still leans out, gun poised, looks over the 
	fields.

				CALIFORNIA
		There ain't no ambush out here.  There 
		ain't fucking nothing out here.

				PILOT
			(through headmic)
		We got about two minutes before they come 
		up behind us.

				CALIFORNIA
		Go high.  Go way up.  In sixty seconds, 
		cut to the west..

	EXT. SKY - EARLY EVENING

	The chopper heads up, really moving.

	EXT. INDUSTRIAL ROAD - EARLY EVENING

	Somerset's car comes down the road, surrounded by marshlands.

	The car slows, then stops.  Mills gets out and goes around to 
	extract Doe.  Somerset gets out, looking east to the 
	industrial parks and the 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 dog lies dead in the weeds, fresh and bloody.

	Somerset turns to the car, where John Doe stands with Mills.  
	Doe points with his cuffed hands to the dog, smiles.

				JOHN DOE
		I didn't do that one.

	EXT. MARSHLANDS - EARLY EVENING

	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 him.

	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 do you ask?

	Somerset looks at his watch.  It's one minute 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 not too far now.  Not far at all.

				SOMERSET (O.S.)
		Mills!

	Mills and Doe look back at Somerset.  Somerset is facing the 
	industrial road, pointing.  A van is coming quickly, dust 
	flying.  Somerset looks at Mills.  

	Mills looks at Somerset.  They take out their guns.  Somerset 
	starts towards the road.

				SOMERSET (cont'd)
		You stay with him.

				MILLS
		Wait!

				SOMERSET
		There's no time to discuss it!

	Somerset runs to head off the van.  John Doe begins walking 
	to follow Somerset.

				JOHN DOE
		Now, this is getting interesting.

	Mills levels his gun at John Doe's head.

				MILLS
		Stay where you are, Johnny.

	EXT. MARSHLANDS - EARLY EVENING

	Somerset runs, breathing heavily, opening the top of his 
	bullet-proof vest to speak into his hidden microphone.

				SOMERSET
		There's a van...coming down the 
		industrial road!  It's coming from the 
		east!

	INT. POLICE HELICOPTER - EARLY EVENING

	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.)
		The van is coming from the east...I don't 
		know what it is!  Come around!  Come 
		around!

	EXT. MARSHLANDS - EARLY EVENING

	Somerset continues, charging through the mire.

				SOMERSET
		Just get ready for anything and wait for 
		my signal!  Wait for me!

	EXT. MARSHLANDS - EARLY EVENING

	Mills keeps the gun on John Doe, watches Somerset.

				JOHN DOE
		It's good you and I have some time to 
		talk.

	Doe starts walking again.

				MILLS
		Get down on your knees!

	Mills grabs Doe and pushes Doe's knee's 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 Doe and still 
	watch Somerset.

	EXT. INDUSTRIAL ROAD - EARLY EVENING

	Somerset comes up onto 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!

	He fires again in the air and aims at the van.  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 in the 
		air!  Do it now!

	The driver of the van, a young DELIVERY MAN, pushes the door 
	open and slides out, slow, takes off his sunglasses.

				DELIVERY MAN
		Jesus Christ, man, don't shoot!!

				SOMERSET
		Turn around!

				DELIVERY MAN
		What the hell is going on!

				SOMERSET
		Who are you?  What are you doing here?

				DELIVERY MAN
		I'm...I'm just delivering a package.

	INT. POLICE HELICOPTER - EARLY EVENING

	California listens as the chopper spins over industrial 
	parks.

				DELIVERY MAN (O.S.)
			(through headset)
		It's just a package...for this guy, David 
		Mills.  Detective David Mills.

				CALIFORNIA
		Motherfuck!!

	The pilot looks back at California.

				PILOT
		Let's do it!

				CALIFORNIA
		No!  Wait for Somerset!

	EXT. MARSHLANDS - EARLY EVENING

	Mills and Doe can see Somerset keeping his distance from the 
	van delivery man.  The delivery man 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.

	EXT. INDUSTRIAL ROAD - EARLY EVENING

	The delivery man takes a brown package, about a foot square, 
	from the van.

				DELIVERY MAN
		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!

				DELIVERY MAN
		Okay!  Okay!!

	He puts it on the road and backs away, holding his hands up.

	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 -- PLEASE HANDLE WITH CARE.

				SOMERSET
			(to delivery man)
		Go.  Get out of here!

	The delivery man backs off, then scrambles into the van.  
	Somerset pulls back his bullet-proof vest and speaks into the 
	mic.

				SOMERSET (cont'd)
		There is a package here.  It's a package 
		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)
			(into mic)
		I don't know...it could be a bomb, 
		but...I don't know.

	He looks out towards Doe and Mills.

	INT. POLICE HELICOPTER - EARLY EVENING

	

	California waits, listening, looking into the blood-red sky.

				SOMERSET (O.S.)
			(through headset)
		I'm going to have to open it.

	EXT. MARSHLANDS - EARLY EVENING

	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?!

	EXT. INDUSTRIAL ROAD - EARLY EVENING

	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.

	INT. POLICE HELICOPTER - EARLY EVENING

	The pilot grits his teeth.

				PILOT
			(into mic)
		Let's go!

				CALIFORNIA
		We are going to wait!!

	California listens.

				SOMERSET (O.S.)
			(through headset)
		Oh, Jesus Christ...oh, Christ...!

	EXT. INDUSTRIAL ROAD - EARLY EVENING

	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...no...

	EXT. MARSHLANDS - EARLY EVENING

	Mills is watching Somerset, and grabs John Doe by the shirt.

				MILLS
		Get up!  Stand up!  Let's go!

	Doe stands, tries to walk.  Mills is moving 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 weeds.

	EXT. INDUSTRIAL ROAD - EARLY EVENING

	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.  Whatever you 
		do...do not 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 pushes the blade back 
	in.  He enters the marsh.

	EXT. MARSHLANDS - EARLY EVENING

	Mills sees Somerset coming and pulls Doe so that Doe stands.

				JOHN DOE
		I want you to know, I wish I could have 
		lived like you do.

				MILLS
			(to Somerset)
		What the fuck is going on?!

	Somerset starts running towards Mills, mud splattering.

				SOMERSET
		Mills, put your gun down!  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's 
		happening here?!

				JOHN DOE
		Are you listening to me, Detective Mills?  
		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 down, Detective!  Now!!

				MILLS
			(to 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 painful 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 
	is holding 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 the tears.  

	Fury rises in Mills and he turns to level his gun at John 
	Doe, but Somerset raises his gun and points it at Mills.

				SOMERSET
		No!!!

	Mills sees Somerset's gun and raises his gun to Somerset.

				MILLS
		Tell me it's not true.

				SOMERSET
		I can't let you do this...

	Mills steps forwards, enraged.

				MILLS
		Put your gun down!!!

				SOMERSET
		Don't do this...please...

				MILLS
		Put down the gun, Somerset!

	A pause.  Somerset's gun is trembling.  The wind whips across 
	them.  The HELICOPTER can be HEARD distantly.  Somerset 
	throws his gun down.

				SOMERSET
		Mills, listen to me!

	Mills goes to grab John Doe by the throat and puts the gun to 
	Doe's forehead.  Mills is 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's eyes with wild expectation.

				JOHN DOE
		Kill me!

	Mills holds the gun on Doe's face, undecided, furious.

	Somerset edges towards them.

				MILLS
			(to Somerset)
		Stop it!  You stay away!

	Somerset moves the switchblade so he is holding it by the 
	blade, ready to throw.

				SOMERSET
		I can't let you do this! 

	Mills throws Doe on the ground.  The HELICOPTER is CLOSER.  
	Mills stands over Doe and points his gun.

				JOHN DOE
		She begged for her life...and for the 
		life of your baby inside her!

	Mills's face fills with confusion - then a wave of horror.

				MILLS
		Wh...what?!

	Doe's eyes register shock.

				JOHN DOE
		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, screaming, bloody, writhing in 
	pain.

	Mills turns the gun on John Doe.

	INT. POLICE HELICOPTER - EARLY EVENING

	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

	TWO WEEKS LATER

	INT. HOSPITAL ROOM - DAY

	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 the 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 road.

				CAPTAIN
		The guys down at the precinct hear 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.

				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 his hand out 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 wall.  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.

	INT. HOSPITAL, MAIN NURSE'S STATION - DAY

	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, Mr. Somerset.

	"Mister" causes Somerset to look strangely at the nurse.

				NURSE (cont'd)
		Yes?

				SOMERSET
		Nothing.

	EXT. HOSPITAL - DAY

	Somerset comes down the stairs, slowly, tired.

	Somerset 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 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 his 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.

	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.

							FADE OUT.