Se7en

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Se7en
Directed by	David Fincher
Produced by	Arnold Kopelson Phyllis Carlyle
Written by	Andrew Kevin Walker
Starring	Brad Pitt Morgan Freeman Gwyneth Paltrow John C. McGinley
Music by	Howard Shore
Cinematography	Darius Khondji
Editing by	Richard Francis-Bruce
Distributed by	New Line Cinema
Release date(s)	September 22, 1995 [1]
Running time	127 min.
Country	USA
Budget	$30,000,000[1]
Official website
All Movie Guide profile
IMDb profile

Se7en (also known as Seven) is an American 1995 crime film directed by David Fincher. The story follows two detectives, one retiring and one his replacement, jointly investigating a series of ritualistic murders inspired by the seven deadly sins. Over the course of the investigation they attempt to track down the killer before he has a chance to murder his seven victims. The film was written by Andrew Kevin Walker. It stars Brad Pitt and Morgan Freeman as the detectives.

Walker received a BAFTA Award nomination for Best Original Screenplay. Film editor Richard Francis-Bruce was nominated for an Academy Award for Film Editing, and Director of Photography Darius Khondji's extensive use of bleach bypass film processing has since been noted as a major influence on contemporary cinematographic technique, especially in the late 1990s.^[2] The film was given an MTV Movie Award as best movie.

Taglines:

• Seven deadly sins. Seven ways to die.
• Long is the way, and hard, that out of hell leads up to light.

[edit] Cast

• Brad Pitt: Detective David Mills
• Morgan Freeman: Detective Lt. William Somerset
• Gwyneth Paltrow: Tracy Mills
• R. Lee Ermey: Police Captain
• John C. McGinley: California

[edit] Plot

The story unfolds in a large, unspecified American city.^[3] The constant rain and endless grime make it an almost dystopian setting, exhibiting all the worst aspects of urban life—crime, congestion, inner-city decay, with rampant depravity, rude, aggressive inhabitants, and social alienation. Detective Somerset (Morgan Freeman) is a week away from retirement after many grueling and unpleasant years of dealing with the destitution and apathy bred within the grimy and forlorn city. During this time, he is partnered with Detective Mills (Brad Pitt), an idealistic and inexperienced detective who just transferred into the department from somewhere outside the metropolis. The two men are at odds with each other almost immediately; Mills is brash, temperamental, and lets his anger get the better of him, in stark contrast to Somerset's analytical and introspective personality and methods.

[edit] Gluttony

Their first assignment together is at a crime scene in a filthy, cockroach-infested apartment in which an obese man lies dead, face-down in a bowl of spaghetti. He is bound with barbed wire at his ankles and wrists, and there is a bucket of vomit under the table. The pathologist later verifies that the man was force-fed an enormous quantity of food, then kicked in the side, rupturing his stomach and causing an internal hemorrhage. The first piece of evidence that leads Somerset to believe they are after a killer with a plan is Somerset's discovery of two shopping receipts, indicating that the killer had risked leaving and returning to the apartment to get more food for the forced feeding.

[edit] Greed

Somerset voices his doubts to their captain about Mills' readiness to handle the gluttony case, and the next day Mills takes on a new case, the gruesome murder of a prominent lawyer named Eli Gould. Gould was made to excise a pound of his own flesh, a reference to a demand made by Shylock from The Merchant of Venice; written on the floor in Gould's blood is the word GREED.

Meanwhile, Somerset, puzzled by curled linoleum shavings found in the first victim's stomach, returns to the apartment where the first murder was committed. The strips turn out to be a clue to grooves on the kitchen floor indicating the refrigerator had been moved. Somerset pulls it away from the wall and finds GLUTTONY written in grease. He begins to suspect that the two crimes are related, and tells Mills and the captain that there will likely be five more murders, each patterned after one of the remaining five of the seven deadly sins.

Mills' wife Tracy (played by Paltrow) invites Somerset to their new house for a late supper. That same evening, Somerset and Mills, once again working together, find a large set of fingerprints and handprints at the site of Gould's murder which spell out "HELP ME"; the prints, hidden behind a painting which Mrs. Gould notices has been turned upside-down, belong to a known sexual predator and drug dealer, but the following morning, as the task force prepares to storm the offender's residence, Somerset is already sure that he is not the person for whom they are looking.

[edit] Sloth

Somerset is proved right when the man is found tied to his bed, alive but suffering from severe mental and physical deterioration after spending a year completely immobile. Somerset once again voices concern that they stand little chance of catching the cold-blooded, calculating killer, who over the course of a year photographed the victim's face dozens of times as he deteriorated. The killer also manipulated the evidence the detectives collected to ensure that they discovered his victim exactly one year after he rendered him immobile. The perpetrator severed his hand, which explains how the victim's prints turned up at the scene of the lawyer's murder. The word SLOTH is written in excrement on the wall above the victim's bed, the third victim in three days.

Tracy privately reveals to Somerset that she is pregnant and desires to be a mother, but is not sure bringing a child into this city would be wise. She says, crying, "I hate this city." Somerset tells her he was faced with the same decision earlier in his life and convinced his girlfriend to have an abortion. Somerset says that although he is intellectually certain that he made the right decision (to not bring a child into such a gloomy world), he nonetheless has deeply regretted that decision ever since. He advises Tracy that, assuming she go through with the abortion, she never tell Mills of her pregnancy.

With the investigation going nowhere, Somerset pays a contact in the FBI to print out the list of names on the government database of "flagged" library books, books in which Somerset's research indicates the killer would be interested. Through the list, they come up with a list of possible matches, one of which is named "Jonathan Doe" (a variant of the John Doe name used for anonymous crime victims). When they visit Doe's apartment, Doe arrives, and from down a hall sees them at his door. Doe opens fire at them, then leads them on a lengthy chase through a labyrinth of tenement buildings. During the pursuit, Doe hits Mills in the head with a crowbar and then holds a gun to Mills' head. Doe runs off to the sound of Somerset closing in on him, leaving Mills in the alley. It should be noted that Doe could have shot Mills easily at the situation, but he chooses not to. Also, the face of the man is not noticed by the detectives.

[edit] Lust

Once the detectives gain access into Doe's apartment, through forced entry, they discover a darkroom (with photographs that prove that Mills had unknowingly confronted the killer earlier), and hundreds of meticulously-kept logs of the killer's thoughts. However, there are no fingerprints, anywhere. Amongst the heap that suggests Jonathan Doe is an obsessive maniac, evidence of possible future victims arises. One of them is a photograph of what seems to be a prostitute.

One of the few concrete pieces of evidence is a receipt from a custom leather fetish shop. The detectives visit the shop, and the shopkeeper gives them a Polaroid he took of the custom-made item.

The detectives are soon paged to the site of the next victim (the prostitute). LUST is carved into the door of a room; inside the room is the body of the prostitute, the police, and a man seemingly in shock, screaming, "Get this thing off of me." Back at the station, the badly shaken man says that the killer forced him at gunpoint to put on the custom-made item (a codpiece with a long blade attached as a pseudo-phallus) and copulate with the bound prostitute. A brief shot of the picture of the item is shown.

Mills and Somerset later argue in a bar about the value of what they are doing, and Somerset is not convinced that staying on as a policeman would make any difference.

[edit] Pride

A fifth victim turns up the next day after a phone call from John Doe to police headquarters. A model is found dead in her own bedroom. Doe cut off her nose—"to spite her face"— then offered her a choice of living with her disfigurement or suicide, by gluing a bottle of sleeping pills to one hand (from which she could overdose) and a phone to the other (to call for help). By choosing suicide, she accedes to the sin of PRIDE, which is written in blood (or lipstick) on the headboard of the bed.

Mills and Somerset return to police headquarters, where in the lobby they are confronted by a man whose hands and shirt are covered in blood. This man is soon confirmed to be Doe (Kevin Spacey). During his processing and interrogation, it is discovered that Doe regularly cuts the skin off his fingertips, which explains the lack of fingerprints in his apartment.

Through his lawyer, Doe offers to confess to all of the murders, but only if he is allowed to escort the detectives to a scene where Doe says two more bodies will be found. Refusal of this offer, Doe's attorney threatens, will lead to a plea of insanity. Mills decides he wants the full confession.

Before detective Mills and Somerset escort Doe to the next two bodies, they're both seen, in what appears to be the police station's restroom, shaving their chest of any hair so they can easily tape microphone wires to their bare chests. During this scene, Mills mentions his wife, but doesn't follow through with what he was going to say, and he walks away, leaving Somerset by himself. It's not said or suggested what Mills was going to say, but by Somerset's silence, it is alluded that it involved the knowledge of Tracy's pregnancy.

On the way to the location of the final two bodies, Doe extensively alludes to the greatness of his achievement, and seems particularly preoccupied with Detective Mills. He offers reasons as to why he has committed the heinous murders, and explains that in order to arouse a heightened consciousness in the desensitised, amoral people of today, one cannot expect to "tap them on the shoulder and have them listen," but rather, "hit them with a sledgehammer."

[edit] Envy

When they arrive at Doe's prearranged location, dry and desert-like with rows of electrical transmission towers, a delivery van soon arrives. Somerset stops the van several hundred yards from their location and confronts the driver, who says that he was to deliver a box to their location. The box is addressed to Mills, but Somerset decides to open it. He recoils from the box in horror, and yells to Mills, who is struggling to ignore Doe's comments, to put his gun down and to not come near the box.

As Somerset runs back to Mills and Doe, Doe reveals to Mills that he had visited Tracy after Mills left for work and tried to "play husband." The independently wealthy Doe envied the fruits of a common man's life and is thus guilty of ENVY. Doe discloses that he killed Tracy, then adds, "I took a souvenir...her pretty head."

As Somerset returns, Mills comprehends Doe's implication. Desperate for a reason not to believe Doe's claims, Mills repeatedly demands that Somerset reveal what was in the box. Somerset's refusal to directly answer the question leaves Mills with little doubt as to the contents of the box and the truth of Doe's words. Doe then taunts Mills when he realizes that Mills was unaware of Tracy's pregnancy.

[edit] Wrath

Enraged, horrified, and grief-stricken, Mills dramatically contemplates killing Doe. Somerset tries to stop him, arguing that Doe's revelations only stand if he is killed for his sin of Envy and if Mills is the one who kills him and so becomes the embodiment of WRATH. "If you kill him, he will win," says Somerset. However, the distraught and emotional Mills shoots Doe in the head, empties his gun into Doe's body, and, from the viewpoint of the helicopter watching them, is shown walking away from Somerset and Doe's corpse in the direction of the box.

In the final scene, Mills is driven away in a police cruiser, while the captain assures Somerset that Mills will be taken care of. Somerset offers that if Mills needs anything, Somerset will want to help. However, given Somerset's impending retirement, the captain is unsure how he would contact Somerset if need be. The captain asks, "Where are you going to be?" Somerset wearily replies, "I'll be around," suggesting that he will not go through with his long-awaited retirement.

The film concludes when, in voice-over, with sirens wailing in the background, Somerset explains, "Ernest Hemingway once wrote: 'The world is a fine place and worth fighting for.' I agree with the second part."

[edit] John Doe

Unlike many fictional serial killers, like Hannibal Lecter or Francis Dolarhyde, the viewer knows comparatively little about John Doe. The Police Captain describes Doe as "well-educated, independently wealthy and totally insane," but when Somerset tries to tease any personal information out him, Doe claims who he is "doesn't matter." Doe has created a completely blank identity for himself; there are no clues to his real identity in his apartment, his bank account was started with cash and he has no employment records. (There is a scene during the opening credits that shows him blanking out a picture of a young boy's face with a black marker; the picture could be of Doe as a boy, and the blanking-out could be symbolic of Doe erasing his past and his identity.) However, on the stairwell of Victor's apartment, he poses as a reporter and we see a press pass in his own home, suggesting that he was once a photojournalist. Unlike Lecter, Doe is only really defined by his crimes and his religious mania, as apparent in his apartment. His apartment, and particularly the 2000 notebooks he has compiled over the years, give us the biggest clues to who he is.

Doe's apartment is a shrine to his obsession with sin and revulsion of the world. His door carries multiple bolts and locks, his windows are blacked out, and there are religious icons and drawings everywhere. There is an air of asceticism about it, with his basic bed and the red neon cross above it; he is like a monk, shutting himself away from society to concentrate on his life's work. It could be said that Doe is afraid of being infected by the sin of the world, and thus becomes a semi-recluse. Doe seems to be a manic obsessive (he collects aspirin bottles and he details every part of his life in his notebooks, from a scab on his elbow to a man making small talk on the subway). These domestic observations are contrasted to his writings on sin. Doe is revolted by the self-glorification of a sinful world. While we think we are rulers of our world, he believes, we are - in the divine scheme of things - nothing, a pathetic shadow of what we could have been, if we had not Fallen. Only with his notebooks, Doe has obviously amassed a great amount of work on the subject of sin. The list of flagged books Somerset and Mills procure includes St. Thomas Aquinas, who wrote on the seven deadly sins in his Summa Theologiae. Doe also quotes from Paradise Lost.

On the DVD commentary, Andrew Kevin Walker compares Somerset to Doe. Both are well-read and both are disgusted by the apathy of the world - as seen in the bar scene between Somerset and Mills, where the former says, "I just don't think I can continue to live in a place that embraces and nurtures apathy as if it was virtue...It's easier to hit a child than raise it...Hell, love costs, it takes effort and work." It is the very fact that ordinary people aren't prepared to work hard at being good and virtuous, to not sin, that so angers both Doe and Somerset. However, whereas Somerset sympathises with people (and of course, is probably rational enough to know that killing won't solve the problem, and indeed, Doe's solution raises the question), Doe cannot. Doe perhaps sees the sinners as evil, as humans distorted by the ugliness of sin, and who can only be redeemed through their act of contrition - all of the five murders before he hands himself in, except for Victor, is an assisted suicide. Doe himself does not cut off Gould's pound of flesh and neither does he force the Pride victim to take an overdose (see below). Even with Victor, Doe only carries what he was doing before - taking drugs and not much else - but he takes it to an extreme.

Doe's crimes have the poetic justice of the Inferno. The fat man who is forced to eat until he (not quite literally) explodes; the drug dealer who is pumped full of drugs; the prostitute who has her trade turned against her - Doe has a vicious, sadistic intelligence. On one side, Mills calls him a 'nut-job,' but on the other, Somerset sees that Doe is 'methodical, exacting...patient.' In a world of such apathy, Doe stands out as a man of immense will and determination; someone who has dedicated his life to a cause, albeit, perhaps, a false one. Doe's anonymity is a great strength to the character. He is known not for who he is (something which can be changed and manipulated), but for what he has done, and in his eyes, achieved. It is implied that he sees himself as a latter-day prophet, if not even a messianic figure. He claims his acts will be "puzzled over and studied and followed... forever." Like many real-life and fictional serial killers, he wants to be remembered for doing something great, although this might just hide a desire to be infamous and remembered in fear. Unlike many fictional killers, Doe is not undone and defeated, but his "masterpiece" is finished perfectly, with Mills giving in to his sin of Wrath and punishing Doe for his Envy. Here, Doe is at his most self-righteous. He claims to want to have lived like a normal man, suggesting he feels he was called by God and that his mission was a burden he had to carry. By the end, Doe has proved his point: that everyone gives in to sin, because it is irresistible and in our fallen nature. Even Doe, the prophet, is not safe from it. There is a strong hint that Doe sees himself as a Christ-like figure, sacrificing himself for his mission to show the world its wrongs. A seemingly ordinary man who claims to know the 'right path' being killed by a sinful world is obviously reminiscent of Jesus Christ, but, as Somerset points out, Doe is a contradiction. Whereas neither Christ nor his Disciples killed people to make their point, Doe does and takes pleasure in it; he is a sadist, and his sadism is clear when we see his notebooks, which are filled with photographs of mutilation. Another theory, put forward on the DVD commentary, is that in a world this sinful and "shitty," only the most extreme acts could ever redeem it; a greater evil illuminates all the trivial sins.

Doe's insanity is perhaps more obvious than that of characters like Hannibal Lecter, who is charming and not obsessed nor motivated by any clear agenda. (In fact, Lector seems to be more sociopathic and antisocial rather than psychotic or delusional.) Doe seems paranoid and obsessive. A stereotype of many killers is an interest in crime and other murderers. Indeed, Doe shaves his head, perhaps to avoid hair fibres being found at the scene, or possibly to look 'blank' and nondescript. Some of the flagged books he borrows are also on crime and detection. He also seems narcissistic, as he takes photos of his victims, so to preserve his work on film. He seems to plan his crimes in minute detail (the planning seemed to involve knowledge of when Gould's wife was away, thus allowing him to trap his victim in his office all weekend), photographing the Lust victim in preparation, as well as having the machete-dildo made. His religious obsession extends to censoring texts and cutting 'God' out of dollar bills (as seen in the title sequence). Yet for all this detail, we still know nothing about Doe. Perhaps this suggests that Doe could be anyone, an ordinary person or even Somerset, who becomes appalled and obsessed with the moral laziness and proliferation of sin in society. Just as we all sin, so we are also angered by it (as people are today angered by the greed of certain lawyers and companies; or drug dealers and pederasts; by the extent that immorality has entered into society; or the fixation on outward beauty), and we can, if we follow Doe's logic, do something about it. There is a point at which we can understand Doe's motives, if not his actions. The audience can understand, even maybe sympathise, with his point of view.

[edit] Alternate endings

An early version of the script features a completely different ending in which Doe's visiting and killing Tracy does not occur. Instead there is a final confrontation between Doe and Mills and Somerset. Doe kills Mills, and in his rage, Somerset acts out the sin of wrath, taking brutal vengeance upon Doe. Somerset shoots Doe not to kill, but rather to inflict maximum pain, shooting Doe in each arm and each leg. As Doe writhes in agony, Somerset sets Doe ablaze and lets him burn alive.

In this version of the script, the film ends again suggesting that Somerset will not retire after all. Instead, the now-widowed Tracy moves away to have her baby and try to find the kind of life to which Somerset had envisioned himself retiring. He symbolically passes what had been his vision of his future on to her.

The special edition of the DVD makes clear that other endings were considered also. An unfilmed alternate ending features Somerset shooting John Doe in an act of self-sacrifice to save Mills. When Mills yells "What are you doing?" Somerset says, "I'm retiring."

One of the main reasons that the actual ending was used (Mills killing Doe) was because in Brad Pitt's (who played Detective Mills) contract, it was agreed that the ending would not be changed. Pitt reportedly threatened to leave the project if it was.

On the DVD commentary, Fincher states that once the desired resolution to the Doe/Mills/Somerset confrontation was settled upon, the film was then to end immediately after Mills shot Doe—the final camera shots being the scene of the crime seen from the helicopter. However, in the end the additional scene was added with Mills being driven off and Somerset indicating that he would not retire after all.

[edit] Origins and look

In an interview with Cinefantastique magazine, Andrew Kevin Walker stated that the primary influence for the film's screenplay came from his time spent in New York City while trying to make it as a screenwriter. "I didn't like my time in New York, but it's true that if I hadn't lived there I probably wouldn't have written Se7en."

The urban streets filled with crowded, noisy denizens while an oppressive rain always seems to fall without respite was an integral part of the film, as Fincher wanted to show a city that was "dirty, violent, polluted, often depressing. Visually and stylistically, that's how we wanted to portray this world. Everything needed to be as authentic and raw as possible."

To this end, Fincher turned to production designer Arthur Max to create a dismal world that often eerily mirrors its inhabitants. "We created a setting that reflects the moral decay of the people in it," says Max. "Everything is falling apart, and nothing is working properly." The film's brooding, dark look was also created through a unique chemical process whereby the silver in the film stock was re-bonded which in turn deepened the dark, shadowy images in the film and increased its overall tonal quality.

[edit] Religious imagery

A movie that deals heavily with religious themes, the movie is rife with Christian imagery, specifically crosses which are prominently displayed in many parts of the movie:

• The Pride murder victim is in a Cruciform position, with wrappings around her head and objects placed in each of her hands
• The power lines where the film's climax occurs.
• The large illuminated cross above John Doe's bed in his apartment
• The power lines in front of the Gluttony murder's apartment.

There are also several angelic statues prominently displayed.

[edit] Comic book

In 2006, comic book publisher Zenescope Entertainment began a seven-issue miniseries, each issue focusing on one of Doe's victims before they were killed. The first issue, Se7en: Gluttony, focuses on the "fat man." ^[4]

[edit] Trivia

• Screenwriter Andrew Kevin Walker reveals his source for the name of Lt. William Somerset during the scene in which Somerset and Mills research library books. One of the books they explicitly mention is Of Human Bondage, the best known work of William Somerset Maugham.
• Kevin Spacey refused billing for the movie, and his name does not appear in the opening credits. He claimed that he does not want people to wait to see him in the movie, preferring his part in the film to be a surprise to add suspense.
• R. Lee Ermey, who plays the police captain, originally auditioned for the part of John Doe.
• Dr. Robert Rey of Dr. 90210 fame was the medical advisor on this film.
• The scenes in the apartment complex where Mills and Somerset first encounter John Doe were shot on location at the run-down yet historically significant Alexandria Hotel in downtown Los Angeles. During its heyday, the hotel was a favorite haunt of Charlie Chaplin among other Hollywood notables. Somerset is shown leaving the Chester Williams Building.
• The injury (broken arm) suffered by Mills in the pursuit of Doe was added to the story after Brad Pitt injured himself attempting a stunt in the scene.
• In a deleted scene from the PRIDE sequence, Doe wrote in blood "I did not kill her. I gave her a choice" on a wall leading to the bedroom where the victim was found.
• One version of the script contained a few scenes following the final confrontation between the detectives and John Doe. In one, Somerset is in the hospital recovering from being shot by Mills and the captain delivers him a letter from Mills which reads, "You were right. You were right about everything."
• While shooting for the GLUTTONY scenes, Fincher used live cockroaches. Because of this the set had to be raised on to stilts and wrapped in plastic to ensure none would escape.
• Shortly before shooting John Doe, a single flash of Mills' wife's face appears on screen. David Fincher later used this technique in Fight Club, which also starred Pitt.
• R.E.M.'s Michael Stipe was originally offered the role of John Doe, before the role went to Kevin Spacey.
• Somerset's badge number is 714, the same badge number as Sgt. Joe Friday in the television series Dragnet.
• David Mills fires his gun seven times in the movie: once in the scene when he talks with William Somerset, and six times into John Doe. While chasing John Doe through the apartments, he does not fire his gun.
• Other uses of the number 7 abound in the film including all of the buildings in the opening scene starting with 7, and the delivery in the movie's climax being scheduled for 7:00 p.m. The movie spans seven days, Monday through Sunday. Also, at the beginning of the movie, Somerset mentions that he has 7 days before he retires.
• Though Kevin Spacey did a large amount of research for his role in the film, he said Anthony Hopkins' performance in The Silence of the Lambs also inspired his own acting.
• The closing credits of the movie (over which David Bowie's song "The Hearts Filthy Lesson" can be heard) scroll down from the top of the screen, the reverse of typical credit movement (scrolling up from the bottom).
• At the time in which the movie takes place, the list of flagged library books Somerset obtains from his FBI contact violated civil liberties and due process (which is why the exchange of the information takes place secretly and Mills later bribes a witness to construct a story about how they found Doe's apartment). After 2002, the USA PATRIOT Act made it legal for agencies to compile such lists to investigate suspects.
• The words "Bardach County Jail" appear on the back of the killer's orange jumpsuit. Elinor Bardach is the movie's costume supervisor.
• David Fincher appears at the end of the foot chase where John Doe catches Mills in an alley at gunpoint from Mills' point-of-view. Fincher is holding the gun wearing the trenchcoat.
• Excluding the final murder by Mills, none of the murder victims are killed onscreen.
• There is a deleted scene from the opening of the film with Somerset purchasing a house in the country. He uses his switchblade to cut a swatch of wallpaper. This is what he shows Tracy in the dinner sequence, which makes little sense without the deleted scene in place.
• New Line developed a serial killer screenplay called Solace which they intended to turn into a pseudo-sequel^{[citation needed]}. This idea was abandoned.
• It is raining throughout the course of the movie until the killer turns himself in.
• This film was #26 on Bravo's 100 Scariest Movie Moments.

[edit] Soundtrack

The opening credit music is a spliced sample of an uncredited remix of the Nine Inch Nails song "Closer" by Coil, available as "Closer (Precursor)" on the "Closer" single. The song during the end credits is David Bowie's song "The Hearts Filthy Lesson". The film's original score is by Howard Shore.

1. "In the Beginning" - The Statler Brothers
2. "Guilty" - Gravity Kills
3. "Trouble Man" - Marvin Gaye
4. "Speaking of Happiness" - Gloria Lynne
5. "Suite No. 3 in D Major", BWV 1068 "Air" - written by Johann Sebastian Bach, performed by Stuttgarter Kammerorchester / Karl Münchinger
6. "Love Plus One" - Haircut 100
7. "I Cover the Waterfront" - Billie Holiday
8. "Now's the Time" - Charlie Parker
9. "Straight, No Chaser" - Thelonious Monk
10. "Portrait of John Doe" - Howard Shore
11. "Suite from Seven" - Howard Shore

[edit] See also

• List of movies: numbers

[edit] Footnotes

Wikiquote has a collection of quotations related to:

Se7en

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