Green River KIiller Page #11

Synopsis: Green River Killer is a 2005 American crime film by Ulli Lommel starring George Kiseleff, Jaquelyn Aurora (as Jacquelyn Horrell), Georgina Donovan, Shannon Leade, Naidra Dawn Thomson, and Shawn G. Smith. It is based upon the crimes of serial killer Gary Ridgway.
Genre: Crime, Horror
Year:
2005
436 Views


GARY (O.S.)

Sometimes they wouldn’t want to

come in, so we’d sit outside in my

truck and I’d say, “Well, here’s

ten dollars for your trouble”, but

they’d see I had another thirty or

forty on me, and they’d figure,

“What the hell”, y’know?

EXT. 90/18 WOODS - MORNING

GARY looking around for something familiar, as he speaks.

GARY:

The money didn’t matter ‘cause I’d

get it back after I killed them,

anyway.

(with a smile of

embarrassment)

I know, I’m cheap...

Suddenly, GARY becomes hyper-alert. He’s completely still,

every sense alive to something unseen. It’s unsettling.

TOM:

What is it?

GARY:

Someone’s coming.

Everyone looks around, nothing. Eventually, back through the

trees, TOM sees a PASSERBY walking his DOG along the road

towards the OFFICER standing guard at the entrance to the

WOOD. TOM quietly alerts the others.

Everyone stands silently watching. The PASSERBY has a brief

conversation with the OFFICER, then moves on his way. TOM

looks at GARY. How did he know?

GARY (CONT'D)

It’s this way.

60.

Starts shuffling ahead. TOM walks just behind.

TOM:

Once you got them inside the house,

what happened then?

We see GARY’s old house again. We start to move in slowly

towards it. As GARY speaks, we cut between this moving shot,

and GARY in the woods.

GARY:

(focus on his

surroundings)

I’d let them take a look around,

make sure they saw my son’s room,

all his toys on the floor and such,

they’d loosen up, y’know? Family

man ain’t gonna hurt them, kind of

thing. I’d tell them to go use the

bathroom if they needed to. Save me

cleaning up after them, later. I

learned that lesson the hard way.

EXT. RIDGWAY HOUSE, DES MOINES (1983) - DAY

Moving slowly closer to the seemingly lifeless house and its

front screen-door.

GARY (O.S.)

Then we’d go in the bedroom, and

I’d get them naked. I didn’t want

anything getting on their clothes

for you guys to find. There was a

plastic sheet under the bed waiting

for them, so afterwards I could get

them out real quick. Anyway, I’d

get them on the bed, and then we’d

have sex.

EXT. 90/18 WOODS - MORNING

The group moving slowly through the woods.

GARY:

Then I’d, uh.. I’d kill her. Choke

her from behind, like I said. Got a

pretty good system, after a while.

In and out in about twenty minutes,

if I was lucky.

61.

EXT. RIDGWAY HOUSE, DES MOINES (1983) - DAY

Almost up to the door now.

GARY (O.S.)

Except one time. There was one that

tried to get away. She scratched my

arm, and bit real hard, she was

strong. I had to let go and she ran

off. Got all the way to the front

door.

And as we reach the screen-door, we see a BLURRED FIGURE

behind the thick glass of the FRONT DOOR, desperately

scrabbling at it, trying to get out, and hear MUFFLED effort

noises. We see another SHAPE appear behind the glass. A brief

struggle, and the FIGURES move down to the floor. Eventually,

they’re still, and only one rises.

GARY (O.S.) (CONT’D)

That was real close.

EXT. 90/18 WOODS - MORNING

GARY has led them to an OPEN MARSHY AREA.

GARY:

I’m pretty sure it was this one.

Afterward, I got her into my truck,

and I dumped her right over there.

He points into the MARSH. MATTSEN, PETERS and a few others

move off to take a closer look.

TOM:

You didn’t bury her? Because some

of the others were buried.

GARY:

Not this one. I’m quite certain.

MATTSEN:

(calls back)

I’m not seeing anything.

DOYON:

Not surprising. It’s been twenty

years.

PETERS:

(walking back)

We should bring in a crew for a

more thorough search.

62.

GARY:

Wait. Maybe I did bury her...

GARY thinking.

GARY (CONT’D)

Or maybe I’m thinking of someone

else. You guys found another one

not far from here?

TOM:

(guarded)

Uh huh.

GARY:

Maybe she was the one who tried to

run...

TOM:

Are you saying you didn’t leave a

body here after all?

GARY:

No. I’m sure I did. Because I

distinctly remember coming back and

taking her skull, to put it

someplace else...

This gets everyone’s attention.

TOM:

Okay. Why did you do that?

GARY:

Uh, I don’t know. To, uh, mess with

you guys, maybe. Confuse you, I

guess... maybe.

TOM:

You like to mess with us, Gary?

GARY not sure how to react. TOM stares at him. REICHERT

observing TOM. PROTHERO breaks the moment.

PROTHERO:

I think we should move to the next

location.

MULLINAX:

Sure. We should keep things moving

before there are too many people

around, anyway.

63.

They all start to move back to the vehicles. TOM holds back,

looking out at the area. DOYON approaches him.

DOYON:

Just another day at the office,

huh?

(looks out at the marsh)

Sue’s right. If there are bones

here, they’d be buried pretty deep

by now.

TOM nods, looking around, unsure.

GARY (O.S.)

Over here, maybe.

EXT. VACANT LOT, SOUTH AIRPORT SITE (1983) - DAY

Twenty years earlier. Empty, abandoned houses, reclaimed by

the wild. A pair of FERAL EYES stare out from a dark,

windowless opening. GARY’s parked TRUCK, empty in the vacant

lot nearby.

TRUDY (O.S.)

C’mon, let’s just do it here. My

feet are killin’ me.

EXT. WOODS NEAR VACANT LOT, SOUTH AIRPORT SITE (1983) - DAY

A younger GARY (34), and a young woman in a denim jacket,

TRUDY (19), walk along a trail through some WOODS. Behind

them, through the trees, we see GARY’s truck parked in the

vacant lot.

GARY:

Just, uh... just a bit further.

There’s a real nice spot. You’ll

like it, it’s real nice.

TRUDY:

That place we parked back there.

What is that? All those creepy

houses...

GARY:

Once the airport started using

jets, it got too loud. They had to

clear everyone out those houses.

Now they’re just empty, full of

animals...

64.

TRUDY:

(she stops suddenly)

What the f*** is that? Is that a

body?

GARY stops. Just off the trail a few yards ahead, there is a

NAKED WOMAN laying among the trees.

GARY:

What...

TRUDY:

Jesus f***ing Christ! That is a

dead woman right there. F***! It

is, right?

GARY looks over at the body. Confused.

TRUDY (CONT'D)

Sh*t... let’s get outta here!

She starts back up the trail. GARY stands, looking around,

worried.

TRUDY (CONT'D)

Come on! We should get the f*** out

of here. He might still be

around...

GARY takes one more look at the body, then follows TRUDY back

to the truck.

EXT. WOODS, STAR LAKE ROAD SITE (1984) - DAY

A distant FIGURE stands alone. Younger TOM, motionless in the

landscape, head bowed. A large, dark TREE, its leafless

branches reaching out like desperate arms, frames him against

the stark, grey sky behind. The only movement, loose ends of

police crime scene TAPE flapping in the breeze. A light RAIN

falls.

CAPTION - “APRIL 1, 1984 - STAR LAKE SITE”

A steep, WOODED HILLSIDE falling away from the road above,

covered in illegally dumped TRASH. “NO DUMPING ALLOWED” sign

in the middle of it. Large amounts of GARBAGE accumulated in

the gully below. Yellow ‘CRIME SCENE’ tape going from tree to

tree, marking out the entire area.

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Michael Sheen

Michael Christopher Sheen, OBE (born 5 February 1969)[1] is a Welsh actor and political activist. After training at London's Royal Academy of Dramatic Art (RADA), he worked mainly in theatre throughout the 1990s and made notable stage appearances in Romeo and Juliet (1992), Don't Fool With Love (1993), Peer Gynt (1994), The Seagull (1995), The Homecoming (1997), and Henry V (1997). His performances in Amadeus at the Old Vic and Look Back in Anger at the National Theatre were nominated for Olivier Awards in 1998 and 1999, respectively. In 2003, he was nominated for a third Olivier Award for his performance in Caligula at the Donmar Warehouse. more…

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