Se7en Box Scene
Andrew Kevin Walker
INT.  SOMERSET'S CAR -- DAY

Somerset is at the wheel.  Mills is in the passenger's seat, looking back at John Doe through protective wire mesh.  Doe's in the back seat. His handcuffs are attached to ankle cuffs by a length of chain.  He is dressed in red pants and a red shirt, looking out the window, sweaty but placid.

SOMERSET: Who are you, John?  Who are you really?

John Doe looks to Somerset's eyes in the rearview mirror.

JOHN DOE: What do you mean?

SOMERSET: I mean, at this stage, what harm would it do to tell us a little about yourself?

JOHN DOE (pause): It doesn't matter who I am.  Who I am means absolutely nothing. (looking out, to Somerset) You need to stay on your left up here.

MILLS: Where we headed?

JOHN DOE: You'll see.

MILLS: We're not just going to pick up two more bodies, are we, Johnny?  That wouldn't be... shocking enough.  We've got newspapers to think about, yeah?

JOHN DOE: Wanting people to pay attention, you can't just tap them on the shoulder anymore. You have to hit them in the head with a sledgehammer. Then you'll notice you have their strict attention.
MILLS: But the question is, what makes you so special that people should listen?

JOHN DOE: I'm not special. I've never been exceptional. (pause) This is, though. What I'm doing. My work.

SOMERSET: Your work, John?

JOHN DOE: Yes.

MILLS: See, I don't see anything special about it, John.

JOHN DOE: That's not true.

MILLS: No, it is true. And the funny thing is, all this work? Two months from now no one's gonna care, no one's gonna give a shit, no one's gonna remember.

JOHN DOE: You can't see the whole complete act yet.  Not yet. But when this is done, when it's finished, it's going to be... People will barely be able to comprehend it. But they won't be able to deny.

MILLS (to Somerset): Could the freak be any more vague? I mean, as far as master plans go, John...

JOHN DOE: I can't wait for you to see, I really can't. It's really going to be something.

MILLS: Well, know what, I'm gonna be standing right next to you, so when this big thing happens you be sure to let me know. Cause I wouldn't want to miss it.

JOHN DOE: Oh, don't worry. 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 thing.

EXT.  CITY SKY -- DAY

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

EXT.  CITY STREETS -- DAY

Somerset's car moves along a highway at river's edge. Heading for a huge suspension bridge filled with speeding traffic ahead.

INT.  SOMERSET'S CAR -- DAY

John Doe has his head against the window, looking up at the bridge, excited. He sits back, glances out the back window, then faces front, bites his lip, fidgety, like a kid on Christmas Eve.

Somerset's watching him through the rearview mirror.

SOMERSET: What's so exciting?

JOHN DOE: It's not too far now.

MILLS: I've been trying to figure something in my head, and maybe you can help me out, yeah? When a person is insane, as you clearly are, do you know that you're insane? Maybe you're just sitting around, reading Guns & Ammo, masturbating in your own feces, do you just stop and go "wow, it's amazing how fucking crazy I really am!" Yeah, you guys do that?

JOHN DOE: It's more comfortable for you to label me insane.
MILLS: It's very comfortable.

JOHN DOE: It's not something I would expect you to accept. But I did not choose. I was chosen.

MILLS: Whatever

SOMERSET: I don't doubt that you believe that, John. But seems to me you're overlooking a glaring contradiction.

JOHN DOE: Meaning what?

SOMERSET: Glad you asked. If you were chosen, that is by a higher power, if your hand was forced, it seems strange to me that you would get such enjoyment out of it. You enjoyed torturing those people. Doesn't seem to be keeping with martyrdom, does it?

MILLS: John?

JOHN DOE (long pause): I doubt I enjoyed it any more than...Detective Mills would enjoy some time alone with me in a room without windows. (looks to Mills) Isn't that true?  How happy would it make you to hurt me, with impunity?

MILLS (coy mocking): That hurts my feelings. I would never...

JOHN DOE: You wouldn't because you know there are consequences. It's in those eyes of yours, though... nothing wrong with a man taking pleasure in his work. I won't deny my own personal desire to turn each sin against the sinner.

MILLS: Wait a minute, I thought all you did was kill innocent people?

JOHN DOE: Innocent? Is that supposed to be funny? An obese man, a disgusting man who could barely stand up... a man who if you saw him on the street, you'd point him out to your friends so that they could join you in mocking him. A man who if you saw him while you were eating, you wouldn't be able to finish  your meal. And after him I picked the lawyer, and you both must have been secretly thanking me for that one. This was a man who dedicated his life to making money by lying with every breath he could muster... to keeping rapists and murderers on the streets.

MILLS: Murderers?

JOHN DOE (ignoring): A woman...

MILLS: Murderers John, like yourself.

JOHN DOE (ignoring, louder): A woman... so ugly on the inside that she couldn't bare to go on living if she couldn't be beautiful on the outside. A drug dealer... a drug dealing pederast, actually.

And, let's not forget the disease spreading whore. Only in a world this shitty could you even try to say these were innocent people and keep a straight face. *getting worked up* But that's the point. We see a deadly sin on every street corner, in every home. And we tolerate it. We tolerate it because it's common, it's trivial. We tolerate it morning, noon and night. Well not anymore. I'm setting the example. And what I've done is going to be puzzled over and studied and followed, forever.

MILLS: Yeah. Delusions of grandeur.

JOHN DOE: You should be thanking me.

MILLS: Why is that John?

JOHN DOE: Because you're going to be remembered after this. Realize detective, the only reason that I'm here now is that I wanted to be.

MILLS: No, no we would have got you eventually.

JOHN DOE: Really? So what were you doing, biding your time? Toying with me? Allowing five "innocent" people to die until you felt like springing your trap?

Doe sits forward, slowly getting to Mills.

JOHN DOE (angrily): Tell me, what was the indisputable evidence you were going to use on me right before I walked up to you and put my hands in the air?

MILLS: John, calm down. I seem to remember us knocking on your door.

JOHN DOE: Oh, that's right. And I seem to remember breaking your face. *leans further forward* You're only alive because I didn't kill you.

MILLS: Ok, sit back.

JOHN DOE: I spared you.

MILLS: Sit back!

John Doe doesn't sit back, staying very close to the wire mesh.

JOHN DOE: Remember that detective every time you look in the mirror at that face of yours for the rest of your life. Or,  should I say, for the rest of what life I've allowed you to have.

Mills slams his fist against the mesh, fed up, furious.

MILLS: I said, sit back! Sit back you fucking freak. Shut your fucking mouth! You're no Messiah, you're a movie of the week. You're a fucking T-shirt, at best.

Doe sits back, taking a deep breath and letting it out.

In the front seat, Somerset shoots a concerned glance at Mills, then looks up into the rearview mirror.

IN THE MIRROR: Doe, calm, gives Somerset a smile.

Doe then turns his attention back out the passenger window, watching the world pass by, his face pressed to the glass.

Mills sits forward in his seat, letting his anger come down. Doe keeps staring out the window. A long pause.

JOHN DOE: Don't ask me to pity the people I killed. I don't mourn them anymore than I do the thousands who died in Sodom and Gomorrah.

SOMERSET: Is that to say John that what you were doing was God's good work?

JOHN DOE: The Lord works in mysterious ways. Do you see those high tension towers? That's where we're headed.

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 back 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 no fucking nothing out here.

PILOT (v.o. through headset): We got about two minutes before they come up behind us.

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

EXT.  SKY -- EARLY EVENING

The chopper climbs, really moving.

EXT.  INDUSTRIAL ROAD -- EARLY EVENING

Somerset's car comes down the road, surrounded by marshlands. The car slows, then stops.  Mills and Somerset survey the area

MILLS: I'm getting him out.

Somerset nods

MILLS: Slowly, slowly. Stop. Stay.

Somerset walks to the edge of the roadway. He looks down and steps back from what he sees.

MILLS: What do you got?

SOMERSET: Dead dog.

A dead dog lies in the weeds, old and moldering.

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

JOHN DOE: I didn't do that.

The helicopter hovers above the scene, examining the three men through binoculars

JOHN DOE: What time is it?

SOMERSET: Why?

JOHN DOE: I'd like to know.

SOMERSET: 7:01

JOHN DOE (nodding): It's close.

MILLS: Let's go take a look.

JOHN DOE: *nods* it's this way.

The wind blows as Doe escorts Mills to the location with Somerset trailing the two men

SOMERSET: Mills!

Mills and Doe look back at Somerset.  Somerset is facing the industrial road, pointing.  A van is coming, dust flying. Somerset looks at Mills.  Mills looks at Somerset.  They take out their guns.  Somerset starts towards the road.

MILLS (to Doe): Down. Down. Down.

SOMERSET: Watch him!

Somerset runs to head off the van

JOHN DOE: There he goes.

Mills levels his gun at John Doe's head.

JOHN DOE (v.o. through headset): It's good we have some time to talk.

INT.  POLICE HELICOPTER -- EARLY EVENING

The two men watch Somerset running through their binoculars

CALIFORNIA: Stay on the guy in red, don't take the crosshairs off the guy in red.

Somerset gets in his car and guns it towards the van

INT. SOMERSET'S CAR

SOMERSET (into mic): There's a van coming down the road.

EXT.  MARSHLANDS, NEAR INDUSTRIAL ROAD -- EARLY EVENING

Somerset exits his car as the van approaches

SOMERSET: Be ready for anything now, but wait for my signal. Wait for me.

Somerset comes up on the road, near his car.  He signals for the van to stop, then fires a warning shot in the air.  The van is about one hundred yards away, still coming. Somerset walks towards it, breathless, pointing his gun.

SOMERSET: Get out of the van!

DELIVERYMAN: Jesus Christ, man, don't shoot me!

SOMERSET: Step away! Turn around put your hands on your head!

Deliveryman obliges

SOMERSET (v.o. through headset): What are you doing here?

DELIVERYMAN: I'm just delivering  a package, I got this package here for this guy David. Detective David Mills.

SOMERSER: Get it. Slowly.

The deliveryman moves to the back of the van and opens the van's rear door.

DELIVERYMAN: This guy gave me 500 bucks to deliver it out here. He said he wanted it here exactly 7:00.

SOMERSET: Put it down. (into mic) We got a box.

CALIFORNIA: We got a box! Call the bomb squad, we need the bomb squad, we got a box.

SOMERSET (to deliveryman): Face the van. Hands up.

Somerset pats him down, takes his wallet and checks for ID

SOMERSET: Turn around.

He turns

SOMERSET: Ok, off you go. Go!

Deliveryman takes off

SOMERSET (into mic): I'm sending the driver out on foot. He's heading north along the road, have him picked up.

Flash to Mills and Doe together, then back to Somerset and the box

SOMERSET (after debating): I'm gonna open it.

EXT.  MARSHLANDS -- EARLY EVENING

JOHN DOE: When I said I admired you... I meant what I said.

EXT.  MARSHLANDS, 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.

SOMERSET: There's blood.

EXT. MARSHLANDS -- EARLY EVENING

JOHN DOE: You've made quite a life for yourself, detective. You should be very proud.

MILLS: Shut the fuck up you piece of shit.

EXT.  MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING

Somerset stumbles backwards, away from the open box. He is white as a sheet, eyes filled with numb fear. He looks to Mills who has his gun on Doe

SOMERSET (into hidden mic): California stay away from here. Stay away from here now, don't come in here. Whatever it is, stay away.

SOMERSET (starts towards Mills): John Doe has the upper hand. Mills!

EXT.  MARSHLANDS -- EARLY EVENING

JOHN DOE (quietly, watching): Here he comes.

MILLS (shouts to Somerset): What?

JOHN DOE: I wish I could have lived like you...

MILLS: Shut up. The fuck you talking about?

JOHN DOE: Do you hear me, detective? I'm trying to tell you how much I admire you. And your pretty wife.

MILLS: What?

JOHN DOE: Tracy.

MILLS: What you fucking say?

Mills freezes, turns to Doe. Doe smiles. Somerset is close.

JOHN DOE: It's disturbing how easily a member of the press can purchase information from the men in your precinct.

Somerset starts running towards Mills

SOMERSET: Throw your gun down!

JOHN DOE (to Mills): I visited your home this morning. After you'd left.

Mills is filled with an aching terror.

JOHN DOE: I tried to play husband. I tried to taste the life of a simple man.

Somerset is fifty yards away and closing.

SOMERSET: Throw it away!

JOHN DOE: It didn't work out. So I took a souvenir. Her pretty head.

SOMERSET: Mills!

Mills raises his gun in the air

SOMERSET: No no no. Give me the gun.

MILLS: What's going on over there?

Somerset throws his own weapon away

SOMERSET: Put the gun down.

MILLS: Show me the box, what was in the box?!

JOHN DOE: Because I envy your normal life--

SOMERSET: Put the gun down, David.

JOHN DOE: --it seems that envy is my sin.

MILLS: What's in the box? WHAT'S IN THE FUCKING BOX?!

JOHN DOE: I just told you.

MILLS: You lied! You're a fucking liar! Shut up!

SOMERSET: It's what he wants! He wants you to shoot him!

MILLS: No! No! You tell me that's not true. That's not true.

JOHN DOE: Become vengeance, David.

MILLS: She's alright, you tell me.

JOHN DOE: Become wrath.

MILLS: Tell me she's alright!

SOMERSET: If you murder a suspect, David--

MILLS: NO! NO!

JOHN DOE: She begged for her life detective. She begged for her life, and for the life of the baby inside of her.

Somerset slaps John Doe across the face

SOMERSET: Shut up!

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

Doe's eyes register shock.

JOHN DOE (to Somerset): He didn't know.

Mills raises and lowers the gun a few times, sobbing

SOMERSET: Give me the gun, David.

Mills turns the gun on John Doe.

SOMERSET: David, if you kill him he will win.

MILLS (in agony): Oh god! OH GOD!

An image of Tracy flashes briefly across the scene. John Doe closes his eyes. Mills pulls the trigger once, and then empties his clip on the body

INT.  POLICE HELICOPTER -- EARLY EVENING

CALIFORNIA: He fucking shot him!

We observe the two men through binoculars in the helicopter

CALIFORNIA: Set us down. Jesus Christ. Somebody call somebody.

INT. COP CAR

Mills is sitting in the back seat, expressionless and shocked

CAPTAIN: We'll take care of him.

SOMERSET: Whatever he needs.

CAPTAIN: Where you gonna be?

SOMERSET: Around. I'll be around.

EXT. HIGH TENSION WIRES

Camera scans over the scene of this memorable crime

SOMERST (V.O.) Ernest Hemingway once wrote "the world is a fine place, and worth fighting for". I agree with the second part.

END
Write the lyrics for a misc song made in 1995, titled "Se7en Box Scene", by artist "Andrew Kevin Walker".