Zodiac Page #12

AVERY:

(getting into it)

And since they think the whole

word is "Kill"

GRAYSMITH:

That gives them the symbols for

"K" and "I". And they're on their

way.

AVERY:

So how does someone go from A is 1

and B is 2 to this?

(CONTINUED)

FINAL SHOOTING SCRIPT 67.

105 CONTINUED:
(4) 105

GRAYSMITH:

The same way I did. He goes to

the library.

Graysmith opens his briefcase and pulls out a STACK of

LIBRARY BOOKS. Holds up the first one.

GRAYSMITH (CONT'D)

"The Codebreakers". In the

preface, the author presents a

simple substitution alphabet. 8

of the 26 symbols he suggests were

in the first Zodiac cipher.

AVERY:

What about other symbols? The

medieval looking ones?

GRAYSMITH:

I thought they looked medieval

too. Then I found a cipher used

during the Middle Ages in here.

(pulls a second book)

Guess what the cipher was called.

The Zodiac Alphabet.

A beat. Avery takes the book. Looks at the page. The

Zodiac Alphabet sits there, many symbols identical to the

First Code. Avery, lights the cigarette. Taking Graysmithin.

AVERY:

Jesus, kid... What do you wantout of this?

GRAYSMITH:

What? Nothing-

AVERY:

What's your angle? This is goodbusiness for everyone but you.

GRAYSMITH:

How can you call this business?

106 INT. TOSCHI'S APARTMENT -- NIGHT 106

Toschi, up late. Staring at the letter. Big band plays on

the phonograph. He absently munches animal crackers as he

rereads the lines over again:

What you do not know is whether the death

machine is at the sight or whether it is

being stored in my basement for future use

(CONTINUED)

FINAL SHOOTING SCRIPT 68.

106 CONTINUED:
106

Come to bed.

TOSCHI'S WIFE

He looks up at her. A beat.

TOSCHI:

I have to make a call.

He picks up the phone and dials.

On the other end, groggy:

She heads for the bedroom.

Hello?

ARMSTRONG (O.S.)

TOSCHI:

Not many people have basements in

California-

ARMSTRONG (O.S.)

"Basement for future use", yeah.

I'll have Vallejo and Napa check

with their city planners. Get

some sleep.

Toschi looks to the bedroom.

chance of that tonight.

Then back to the letter. No

107 EXT. MELVIN BELLI'S TOWNHOUSE -- NIGHT 107

December 29, 1969. Bleary eyed, Toschi and Armstrong climb

the steps to Belli's richly appointed residence.

BELLI (V.O.)

(overly dramatic)

Dear Melvin, this... Is the

Zodiac speaking.

108 INT. MELVIN BELLI'S TOWNHOUSE -- LIVING ROOM -- NIGHT 108

Close on Toschi and Armstrong, pad out, taking notes.

across from them, reading the newest ZODIAC LETTER.

Belli

BELLI:

I wish you a happy Christmass.

The one thing I ask of you is

this, please help me. I cannot

reach out for help because this

thing in me won't let me.

WIDEN to show that Belli has called the police there in the

middle of a DINNER PARTY. The hoi palloi of San Francisco

stand behind Toschi and Armstrong, gasping at Belli's

dramatic reading of the letter he just received.

(CONTINUED)

FINAL SHOOTING SCRIPT 69.

108 CONTINUED:
108

Belli pauses as his HOUSEKEEPER delivers a hot toddy.

BELLI (CONT'D)

Thank you.

(clears his throat)

I am finding it extremely difficult

to hold it in check I am afraid I

will loose control again and take

my ninth & possibly tenth victim

SOCIETY WOMAN:

Melvin, he's reaching out to you!

ARMSTRONG:

Poor fellow.

BELLI:

Inspectors, he sent the letter

directly to my residence instead

of the papers. It's a cry forhelp, intended as a private

communique.

TOSCHI:

Which is why you contacted the

press.

BELLI:

The people have a right to know.

(offering)

Toddy?

ARMSTRONG:

When did the letter arrive?

BELLI:

In the last week. I was away forthe holiday, on safari. What did

you gentlemen do for Christmas?

TOSCHI:

You're looking at it.

BELLI:

You must see Africa. The cradle

of civilization. Fascinatingpeople. Beautiful. Savages.

Murmurs of agreement from the partygoers.

ARMSTRONG:

Back to the killer who wrote you?

(CONTINUED)

FINAL SHOOTING SCRIPT 70.

108 CONTINUED:
(2) 108

BELLI:

Yes, of course. It's my belief he

only penned this letter because he

couldn't get through to me on the

Dunbar show or here.

TOSCHI:

He called here?

BELLI:

Several times. I was out, but he

spoke with my housekeeper. Didn't

leave a number.

ARMSTRONG:

He's crafty like that. Mind if I

ask her some questions?

BELLI:

Not at all, though the real story

is the letter.

ARMSTRONG:

I'll be back.

He exits to go look for the housekeeper. Belli, focusing his

attention on Toschi.

BELLI:

This is a window into this man's

soul. Killing is his compulsion -

though he tries to ignore it, it

drives him. It's in his blood.

TOSCHI:

Could be. Or maybe he just likes

attention.

109 EXT. HIGHWAY 132 -- NIGHT 109

March 22, 1970. Outside Modesto. Late. A lone duster of a

SEDAN rattles down the highway, the only car in sight.

110 INT. SEDAN (MOVING) -- NIGHT 110

KATHLEEN JOHNS at the wheel. Sweet face, 30's. Changeslanes. From nowhere, HEADLIGHTS are suddenly behind her.

Kathleen signals. Changing lanes so the HEADLIGHTS can pass.

They don't. They pull up behind her. FLASHING NOW.

Kathleen keeps driving. The other driver becomes more

insistent. HONKING. Motioning for her to pull over.

Finally she does. Pulling to a halt on the SHOULDER of the

road. The other car pulls in behind her.

(CONTINUED)

FINAL SHOOTING SCRIPT 71.

110 CONTINUED:
110

And as it does, we TILT to see... Kathleen's SLEEPING BABY on

the seat next to her. A MAN walks up. WE DON'T SEE HIS

FACE. Kathleen, nervous. Thinking maybe this wasn't the

best idea. She reaches to put the car back in gear when:

THE MAN (O.S.)

(apologetic)

I hope I didn't scare you. Your

right wheel is loose.

Kathleen relaxes. Feeling dumb for being scared.

KATHLEEN:

Really?

THE MAN (O.S.)

I could tighten the lugs for you.

KATHLEEN:

Would you?

THE MAN (O.S.)

Can't be too careful.

He goes back to his car and retrieves a LUG WRENCH. Kneels

down behind her back tire, out of sight. He's down there a

long time. Kathleen checks her rearview. Can't see him.

Just as she's getting nervous again....

THE MAN (O.S.)(CONT'D)

All done.

She turns, he's STANDING by the passenger door.

KATHLEEN:

Thank you.

THE MAN (O.S.)

No problem. Have a good night.

He walks away. Kathleen, watching him go back to his own

car. He gets behind the wheel. Starts back up. Headlights

on. Puts the car in gear. Pulls back onto the highway.

Passing her. She watches his tail lights go. She puts herown car in drive and pulls out...

She only gets fifty yards when her RIGHT WHEEL CRUNCHES OFF

the axle in a SHOWER OF SPARKS! The baby, waking, CRYING...

Kathleen fights for control, wrenching the wheel right,

managing to pilot it to the shoulder. Kathleen, breathing

hard. Picks up her baby. Trying to quiet him. Through thewindshield, we see THE MAN'S CAR SLOWLY PULL A U-TURN.

Rate this script:5.0 / 1 vote