Se7en Page #10

ON T.V., Talbot comes on screen, a powerful presence, with a gold

tooth in the front of his mouth. It's from down in the garage.

A REPORTER (v.o.)

(from television)

... a small conflict of interest here? I

mean, your prosecutors have lost more than

a few very high profile cases to Mister

Gould and his defense team...

TALBOT (v.o.)

(from television)

Now, that's ridiculous to the point of

almost being offensive. There's no

conflict of interest whatsoever, and any

claim that there would be, or could be, is

irresponsible.

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

TALBOT (v.o.)

Now, hold on... I want to address that.

I've just come from a meeting with law

enforcement officials, and they've assured

me they put their best people on this

thing.

Mills turns to looks at Talbot on the screen.

TALBOT (v.o.)

You just wait and see how quickly we get a

handle on it. This will be the very

definition of swift justice.

Mills walks to turn the t.v. off.

MILLS:

(quietly to t.v.)

Shut the f*** up.

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

forensics look away.

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

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

facing the doors.

It is a photo if a falsely pretty, middle-aged woman, smiling and

wearing pearls. On the glass of the frame, two circles have been

drawn with blood around the woman's eyes.

Mills sits on the floor, stares at the photo.

INT. MILLS' 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 of it. Pause. He starts pounding the book against the

steering wheel with all his might.

MILLS:

F***ing, Dante, goddamn, poetry-writing,

f*ggot motherf***er...

Mills throws the book against the windshield, then puts his head

back and closes his eyes, trying to calm. A long moment. Quiet.

BANG, BANG, BANG -- there's a loud BANGING on the window and

Mills looks up, startled...

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

Tall Cop hands a wet paper bag through.

MILLS:

Good work, Officer. Good work.

Mills rolls the window up, rips the bag open. Inside: Cliff

Notes for Dante's Purgatory and for The Canterbury Tales.

MILLS:

Thank God.

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

It still rains outside. Somerset sits at the big desk which is

now Mills'. He fills out form by hand as Mills enters with a ton

of his own paperwork. Somerset looks up.

SOMERSET:

(gathers his things)

Let me get out of your way.

Mills sets his paperwork on the desk. He is beat. Somerset

moves to the temporary desk. They both sit and settle in,

organizing, not looking at each other.

Both attend to their work. Here are two men, about five feet

apart, each trying not to acknowledge the other's presence.

Mills takes his Cliff Notes out, looks to see Somerset is

occupied, and hides them in a desk drawer.

Somerset finishes one form, flips it and looks at Mills. Mills

sorts through photos from the greed murder. Somerset continues

writing. PHONE RINGS. Both men look at it. Phone rings again.

SOMERSET:

It's a package deal. You get the phone

with the office.

MILLS:

(picks up, into phone)

Detective Mills here.

(listens, lowers voice)

Honey... I asked you not to call me here.

I'll call you back...

(listens)

What? Why?

Mills is very confused.

MILLS:

(into phone)

Why? Okay... okay, hold on.

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

MILLS:

It's my wife.

SOMERSET:

What?

Mills shrugs. Somerset stands, takes the phone.

SOMERSET:

(into phone)

Hello?

(listens)

Yes, well... it's nice to speak to you.

(listens)

Well, I appreciate the thought... but...

(listens)

Then, I guess I'd be delighted. Thank you

very much. Yes... goodbye.

Somerset hangs up, shakes his head.

MILLS:

Well?

SOMERSET:

I'm invited to have a late supper at your

house. And, I accept.

MILLS:

How's that?

SOMERSET:

Tonight.

Mills is lost. Somerset goes to sit back down.

MILLS:

I don't even know if I'm having dinner

there tonight.

INT. MILLS' 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.

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