In 1991, aspiring screenwriter
Andrew Kevin Walker made his big breakthrough with this screenplay. Four years later, it became
the seventh highest-grossing film of 1995 and is now ranked number 20
on IMDB's top-rated movies. Here are seven screenwriting secrets in Seven. [MUSIC] In Seven, we have two main characters: Detective William Somerset and Detective David Mills. They're essentially together for the entire film. So, in order to get the most
dynamic relationship out of them, screenwriter Andrew Kevin Walker gives
us a clear contrast in their characters. Let's take a look. Somerset is older and single. Mills is younger and married. They use different firearms. They have a different choice of beverage: Mills: I'm just gonna get another beer.
Beer? Somerset: Wine, please. Somerset is patient and methodical. Somerset: There must be something. Just wait a minute. Mills is impatient and hasty. Somerset: Where are you going? Mills: I'm going in. Somerset: No, no. Wait. This is even reflected in their neckties. Mills lets his emotions get the best of him. Mills: Get out of here! Reporter: Hey! Mills: Get out of here! Reporter: I got a fucking right to be here,
you fucking jerk. Somerset: We have to divorce ourselves
from emotion, David. No matter how hard it is,
we have to remain focused on -- Mills: Hey man, I feed off my emotions.
How's that? Mills is extremely judgmental. Mills: How'd the fat fuck ever fit out his front door? Mill: Waiting until the lunatic does it again. Somerset: It's dismissive to call him a lunatic.
Don't make that mistake. Mills: Right now, he's probably dancing around
in his grandma's panties rubbing himself in peanut butter. Look at Mills's choice of language: Mills: Don't jerk me off. Fuck yeah. Goddamn, poetry-writing, faggot piece of shit! Compare that to how Somerset speaks: Somerset: Sermons were about atonement for sin. These murders are like forced attrition. Mills: Forced what? Their levels of education are drastically different. Somerset: "But only flesh." Merchant of Venice. Mills: Didn't see it. Marquis de "Sharday"... Somerset: That's the Marquis de Sade. Mills: Whatever. Check out their different interrogation styles. Mills asks simple yes/no questions. Mills: You heard nothing strange,
you saw nothing strange? You didn't see anyone? Do you like what you do for a living? Somerset asks deeper, open-ended questions. Somerset: The girl, the prostitute.
Where was she? Who tied her down? You or him? So, if you want to create natural conflict and humor, give your characters contrasting qualities. [EERIE MUSIC] Detective stories can teach us
an effective way of advancing the story. They seem to lend themselves very well
to hooking one scene into the next. In the screenplay for Seven,
there are many examples of this. Let's take a look. In this scene, the captain enters Somerset's
office to alert him of the Greed murder. They first set up an expected outcome
that Somerset doesn't care anymore. Captain: Mills is heading up the investigation. Somerset: Well, good for him. Then, we get a reversal: Captain: The coroner sent this down for you. Found them in the fat boy's stomach. And, finally, the hook leads us into the next scene: Captain: They were fed to him. Let's see how this is brilliantly crafted in several scenes. Here, Somerset and Mills look through
photos of a crime scene. Somerset: The trick is to find one item,
one detail, and focus on it. Here's the expected outcome: Mills: You know what? Thank you for talking this out, but I gotta sleep. Then, the reversal: Mills: Oh, shit. Wait. Gould's wife. And, finally, the hook: Somerset: I don't know. But that's the one thing. This pattern is cleverly repeated in other scenes. Mills: Okay I need you to look
at each photo very carefully. Mrs. Gould: I don't see anything. Mills: You sure? Mrs. Gould: Please, I just --
I can't do this right now. Mills: Okay. Mrs. Gould: Wait. This painting. It's upside down. SWAT Leader: Get up, you sack of shit. Somerset: Call an ambulance. SWAT Leader: A hearse would be more like it. It's like some kind of friggin wax sculpture or something. You got what you deserved. [GAGGING] Somerset: Guns down! Emergency on that ambulance! [AMBULANCE SIRENS] Somerset: Wait. Mills: What are you talking about? He fuckin shot at us. Somerset: We can't go in there. Mills: What do you mean, "we can't"? Somerset: We need a warrant. Mills: We got probable cause. Okay, man. You're right. I'm all fucked up. How much money we got left? Somerset: I figure one of two things will happen: Either we'll get John Doe, or he'll finish his series of seven
and this case we'll go on for years. John Doe: Detective! You're looking for me. Mills: Hey! John Doe: I'd like to speak
to my lawyer, please. Mills: Goddamn it. Swarr: He will take Detectives Mills
and Somerset to these bodies but only Detective Mills and Somerset only at six o'clock today. Talbot: Frankly, counselor,
I'm inclined to let them rot. Captain: We don't make deals here, Mr. Swarr. Swarr: He says that, if you do accept, under his specific conditions, he will sign a full confession
and plead guilty right now. Mills: Let's finish it. So, the lesson here: If there's one thing that we can use
from detective stories, it's got to be the scene hook. [MUSIC] When you have a story dealing with dark matters
like Seven does, it's important to give the audience
a varied emotional palette. For example: This film doesn't forget to inject
some humor into the story. [RUMBLING] Mills: Subway. [LAUGHS] Somerset: Lust. And Envy. [PHONE RINGS] Captain: Hold on. This is not even my desk. Mills: He's a nutbag. Just because the fucker's got a library card,
it doesn't make him Yoda. If I should accidentally shave off a nipple,
would it be covered by Workman's Comp? Somerset: I suppose so. Mills: What do you got? Somerset: Dead dog. John Doe: I didn't do that. And, finally, as in any story,
don't forget about humanity. Guard 1: Hey, we got culture. Guard 2: Yeah, we got culture coming out our ass. Tracy: William, I'd like you to meet David. David, this is William. Mills: How are the good dogs? Tracy: Why aren't you married, William? Mills: Aw, Trace, what the hell? Somerset: I was close once. Why don't you tell me what's really bothering you, Tracy? Tracy: David and I are gonna have a baby. Somerset: You spoil that kid every chance you get. Mills: I love you, honey. So much. Remember not to burden your audience
with constant darkness in a story like this. Give them a little light. [MUSIC] In any well-crafted screenplay, the
protagonist wrestles with a question that will usually be answered
at the end of the story. In Seven, it's Detective William Somerset
that struggles over the theme. Somerset: I just don't think I can continue to live
in a place that embraces and nurtures apathy as if it was a virtue. Love costs. It takes effort and work. So, the external world is relentless in challenging him to believe in the negative thematic argument
that apathy is the easy choice. First, we have the police force: Detective: Neighbors heard them screaming
at each other for two hours. It was nothing new. Who gives a fuck?
He's dead. His wife killed him. Anything else has nothing to do with us. Mills: Wait a minute.
No one bothers with vital signs? Officer: Did I stutter? This guy ain't breathing unless
he started breathing spaghetti sauce. Mills: So, that's how it's done around here. Somerset: The act itself has meaning. Captain: Come on. Somebody had a problem with the fat boy
and decided to torture him. Somerset: I don't understand this place anymore. Captain: It's the way it's always been. Mills: How do they get here so fucking quick? Somerset: They pay police for the information. And they pay well. We're collecting all the evidence. Putting everything
into neat little piles and filing it away on the off chance it will ever be
needed in the courtroom. And, finally, we have the civilians. [YELLING IN DISTANCE] Man: Coupons! Free coupons! Somerset: In any major city,
minding your own business is a science. The first thing they teach women in rape prevention is: never cry for help. Always yell "fire". Well, let me tell you.
People don't want a champion. They want to eat cheeseburgers, play the Lotto
and watch television. Mills: Hey, how did you get like this? Somerset: Well, you get numb after a while. But, on the positive end of the argument, we have David and Tracy. They provide the light of humanity for William. Somerset: It's William. Tracy: William, I'd like you to meet David. David, this is William. Somerset: I understand you two
were high school sweethearts. Tracy: I knew on our first date
that this was the guy I was gonna marry. Somerset: Really? Tracy: Mmm-hmm. Somerset: Well, it's kind of rare nowadays. I mean, that level of commitment. The only time Somerset laughs in the film
is when he's with Mills. [LAUGHS] [CHUCKLES] Somerset: I suppose so. So, in the end, Somerset fights for Mills's soul. Somerset: Give me your gun. John Doe: She begged for her life, Detective. Somerset: Shut up. John Doe: She begged for her life
and for the life of the baby inside of her. Somerset: Shut up! Give me the gun, David. Captain: We'll take care of him. Somerset: Whatever he needs. And he gives us his final answer
on the thematic argument: Somerset: Ernest Hemingway once wrote: "The world is a fine place and worth fighting for." I agree with the second part. [MUSIC] There are two crucial setups in the story. We head into the finale with little time
to squeeze in the final two deadly sins. There's a real danger of them being contrived
to fit the big plot twist. But look at how they're set up beforehand. First, we have the setups for Envy: Mills: Hello? John Doe: I admire you. I just had to call and express my admiration. Mills: Why us? Swarr: He says he admires you. John Doe: When I said I admired you,
I meant what I said. You've made quite a life for yourself, Detective. You should be very proud. I wish I could have lived like you, David. Do you hear me, Detective? I'm trying to tell you how much I admire you
and your pretty wife. Mills: What? 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? Then, we have the setups for Wrath. We have to know that Detective Mills
has the emotional constitution to fall for the trap. Mills: Fucking Dante. Goddamn, poetry-writing, faggot piece of shit! Closed crime scene. Get the fuck out of here. Reporter: Hey, I got a right to be here. Mills: Get out of here! Get the fuck off me! Also, it's important that they set up
what Tracy means to him. Mills: Mills. Hey. Are you okay? Something wrong? How are the kids? Tracy: They're good. They're in their room. [DOGS BARKING] David and I are gonna have a baby. Mills: I love you, honey. So much. So, now he's ripe for the picking. John Doe: You're only alive because I didn't kill you. Mills: Okay, sit back. John Doe: I spared you. Mills: Sit back, you fucking freak!
Shut your fucking mouth! What's in the fucking box? John Doe: She begged for her life
and for the life of the baby inside of her. Mills: You lie! You're a fucking liar!
Shut up! John Doe: Become vengeance, David. Mills: She's all right. You tell me. John Doe: Become Wrath. [GUNSHOT] [MUSIC] In most detective stories with a serial killer, the villain is exceptionally powerful and cunning, testing the detectives to their limits. Seven is no different. Let's take a look at John Doe. Somerset: This guy is methodical, exacting,
and worst of all: patient. No fingerprints. Mills: Nope. Somerset: Totally unrelated victims. Mills: Yup. Somerset: And no witnesses of any kind. Captain: He cuts the skin off the tips of his fingers. That's why we couldn't find
one single usable print in his apartment. Mills: Honestly. Have you ever seen anything like this? Somerset: No. Somerset: Mills. [GUNSHOTS] [GUNSHOTS] [GUNSHOTS] Swarr: My client also wishes to inform you that,
if you do not accept, he will plead insanity across the board. And we all know with the extreme nature of these
crimes, I could get him off with such a plea. Somerset: California, stay away from here. Whatever you hear, stay away. John Doe has the upper hand. Furthermore, the villain generally wants
the same thing that the hero wants. In this case, it's Tracy. She's what's at stake in this dark city. Tracy: I'm going around looking at schools but the conditions here are horrible. I hate this city. Notice what the two detectives ask her
every time she calls. Mills: Mills. Hey, are you okay? Is something wrong? Tracy: Hello, William? It's Tracy. Somerset: Tracy? Is everything all right? So, that's how John Doe most efficiently
attacks the hero's weakness. John Doe: I'm trying to tell you how much I admire you and your pretty wife. Mills: What? John Doe: I took a souvenir Her pretty head. She begged for her life, Detective. Somerset: Shut up! John Doe: And for the life of the baby inside of her. And, finally, the villain cannot be evil
just for the sake of being evil. Never forget that he's the hero of his own story. In this movie, we know exactly what makes John Doe
do what he does. John Doe: I won't deny my own personal desire
to turn each sin against the sinner. An obese man. A man who, if you saw him while eating,
you wouldn't be able to finish your meal. This is a man who dedicated his life to keeping murderers and rapists on the streets. So ugly on the inside that she couldn't bear to go on
living if she couldn't be beautiful on the outside. A drug dealer -- a drug-dealing pederast actually. Only in a world this shitty could you even try to say these were innocent people
and keep a straight face. So, when you craft the bad guy in your story, don't forget what Alfred Hitchcock taught us: The more successful the villain,
the more successful the picture. [MUSIC] Here's one of the cardinal rules of storytelling:
keep the audience engaged. Always make them want to know what will happen next. Let's look at how the screenplay of Seven
creates questions in the audience's mind and how this makes us look ahead
to a future point in the story, wanting to know the answer. First, we have questions that are left dangling
without an answer. Somerset: Why here? Mills: I don't follow. Somerset: It's the first question
that popped into my head. Mills: I guess the same reasons as you. It's my wife. Somerset: Sorry? Mills: She'd like to speak to you. Somerset: Yes. Thank you very much. [DIAL TONE] Somerset: Give me your money. Mills: I'm giving you this but, for some strange reason,
I've got to know what the fuck we're doing. John Doe: You will accept my apology, won't you? I feel like saying more but I don't want
to ruin the surprise. Somerset: What? It doesn't have to be in dialogue, either. Man: Oh, God! Get this thing off of me!
Get this thing off of me! Then, we have declarations
of future actions or outcomes. Detective: We are all gonna be real glad
when we get rid of you, Somerset. Captain: Six more days and you're all the way gone. Won't be the first time you've
left unfinished business. Somerset: Those other cases were taken
as close to conclusion as humanly possible. There are seven deadly sins, Captain. You can expect five more of these. Captain: We're gonna finish this thing up today,
ladies and germs. Somerset: Let's take a look at him.
Talk to him. You do the talking. I figure one of two things will happen: Either we'll get John Doe or he'll finish his series of seven
and this case will go on for years. He's two murders away from
completing his masterpiece. We'll wait for his plea. Swarr: He will take Detectives Mills and Somerset
to these bodies but only Detectives Mills and Somerset only at six o'clock today. So, knowing this, let's see
what they give us in the brilliant final act. Mills: So, where we heading? John Doe: You'll see. Mills: We're not just going to pick up
two more dead bodies, are we, John? John Doe: You can't see the whole complete act yet. What time is it? Somerset: Why? John Doe: I'd like to know. Somerset: Mills. Driver: I'm just delivering a package, man.
I got this package for this guy David. Detective David Mills. Somerset: We got a box. SWAT Leader: We got a box! [GASPS] Somerset: California, stay away from here. Whatever you hear, stay away. John Doe has the upper hand. Mills: What's in the box? Somerset: Not until you give me the gun -- Mills: What's in the fucking box? Somerset: It's what he wants. He wants you to shoot him. If you kill him, he will win. So, remember: Always keep the audience engaged and you'll have them for the entire story. Hi. I'm Daniel Lee, creator of Script Sleuth. First, I want to thank my patrons
for supporting me on Patreon. Your generosity helps keep the channel going. Thank you. If you're not a member yet,
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