Zodiac Page #3

FINAL SHOOTING SCRIPT 8.

14B INT. SAN FRANCISCO CHRONICLE THIRD FLOOR -- MORNING 14B

Graysmith gets his coffee from Shorty and heads to his desk,

getting hung up by a CROWD OF PEOPLE standing around PAUL

AVERY'S DESK. Avery, 30's, well dressed, crime

reporter. Currently entertaining the crowd with a joke.

AVERY:

...and the bartender says,

"Superman, you are one mean son of

a b*tch when you're drunk!"

The others laugh. Graysmith pushes through them. Reachinghis own desk. Devoid of people, away from the action. He

opens his briefcase, just settling in when

HYMAN:

Editorial in two!

Graysmith begins regathering up his things as -

The ELEVATOR doors across the room open and the MAILMEN

emerge. We pick them up again, traveling the length of the

Third Floor offices and into

15 OMITTED 15

16 INT. CAROL FISHER'S OFFICE -- MORNING 16

Where the cart is DUMPED OUT onto a CAROL FISHER'S desk.

stay on the LETTER PILE as the she begins to sort them.

We

We zoom in on follow ONE LETTER in particular. Rush to

Editor is chickenscrawled twice on it. Through the door, wesee GRAYSMITH - last through into the EDITORIAL ROOM.

PECK (O.S.)

All right let's get going.

Graysmith shuts the door. Carol begins opening the letters.

17 INT. EDITORIAL ROOM -- MORNING 17

TEMPLETON PECK, privileged and ascoted runs the Editorial

Meeting around a long oak table. As he goes through

Graysmith's sketches one by one:

PECK:

Horrid, horrid, not horrid, and

horrid. I'm thinking we go with

not horrid, don't you?

(CONTINUED)

FINAL SHOOTING SCRIPT 9.

17 CONTINUED:
17

Graysmith just nods meekly and takes the sketches back.

17A INT. CAROL FISHER'S OFFICE -- MORNING 17A

Carol slices open the Rush To Editor letter...

17B INT. EDITORIAL ROOM -- MORNING 17B

PECK:

Paul, what's on the crime beat?

AVERY:

Janice in Datebook won't let me

take her to dinner.

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