Green River KIiller Page #12

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PETERSON (O.S.)

Makes perfect sense for our guy.

Secluded, woodsy. Easy access from

the road up there.

(MORE)

65.

PETERSON (O.S.) (CONT'D)

He can just roll them down the

hill, like they’re garbage. Simple.

A SKULL, debris and litter all around. A small metal marker

with ‘1’ written on it, marks the spot.

PETERSON (O.S.) (CONT’D)

Four bodies, separate spots, so

probably dumped at different times.

Most of a SKELETON lays up against a tree stump, surrounded

by trash. A marker says ‘2’.

PETERSON (CONT'D)

Looks like we’ve found ourselves a

new ‘cluster site’, huh?

Close on TOM, looking down, lost in what he’s seeing.

PETERSON (O.S.) (CONT'D)

You even listening to me, Tom?

Now we see what TOM solemnly stands before. At the foot of

the tree in front of him, lay the decomposed skeletal remains

of TERRY MILLIGAN (16). A RED/WHITE STRIPED BLOUSE obscures

her face and raised upper arms, as though she was in the

middle of pulling it over her head. Her hips are flexed at

nearly a 90 degree angle, both legs bent at the knees.

TOM stands silently, horrified. BRUCE PETERSON a short

distance behind him.

PETERSON (CONT’D)

Lets go, Tom.

But TOM doesn’t respond. A darkness descends over everything.

TOM slowly looks up. In the patch of sky visible above the

trees, we see a BLACK HELICOPTER slowly pass over, like a

giant flying beetle, blocking out all light as it goes. TOM

watches a PHOTOGRAPHER take pictures of him from it. And now,

the tremendous noise suddenly cuts in.

PETERSON (CONT’D)

(shouting over)

TOM! LET’S GO!

TOM looks round at him in slow-motion, disorientated.

PETERSON (CONT’D)

ADAMSON WANTS US TO NOTIFY THE

FAMILY! CAN YOU HEAR ME? TOM?

66.

INT. MILLIGAN RESIDENCE, SEATTLE (1984) - DAY

Deafening silence. MARY MILLIGAN, TERRY’s mother, sits

silently weeping in a worn armchair. Beneath a framed photo

of TERRY (in the same STRIPED TOP), TOM and PETERSON, in

suits and ties, sit on the sofa, opposite. A 2 year old BOY

at her feet, playing with a block.

TOM looks over at the dinner table, where TERRY’s 11 year old

BROTHER sits alone, elbows on the table, hand clenched around

his fist tight, covering most of his face. His eyes, angry,

hurt, pained.

MRS. MILLIGAN

She was so smart. Good with

computers. After she had the child,

I hoped she’d do something with

that kind of thing, but...

TOM nods, looks at the BOY. BRUCE head down. This is tough.

MRS. MILLIGAN (CONT’D)

She went to church. Used to take

her little brother over there. He’d

always fight with her about it.

At the table, TERRY’s BROTHER stares ahead, eyes glassy,

trying to keep the tears back.

MRS. MILLIGAN (CONT’D)

They were always fighting.

TOM can see how hard this is for him.

MRS. MILLIGAN (CONT’D)

Are you church people, detective?

TOM:

My wife. I, uh... I don’t, uh...

myself.

She nods. They sit in silence, once more. The BOY plays.

INT. JENSEN HOUSE KITCHEN (1984) - EVENING

CHARLAINE is preparing dinner in the kitchen, while the BOYS

chase each other and fight.

CHARLAINE:

Keep it down, you two!

TOM enters, jacket off, loosening his tie.

67.

TOM:

Hi.

CHARLAINE:

Oh, hey. I didn’t hear you come in.

He goes over and kisses her, while she carries on working.

CHARLAINE (CONT'D)

How was your day?

Shouts from the BOYS as they wrestle. A large, white DOG

barks excitedly round them.

CHARLAINE (CONT'D)

Grover, quiet! Hey! I’m not telling

you boys again. You’re like

animals. At least pretend to be

civilized human beings, even if

you’re not!

(to TOM)

Honestly, they’ve been like this

since I got in from work...

TOM:

I’ll be downstairs for a while.

He heads for the stairs to the basement.

CHARLAINE:

(concerned)

Are you okay, honey?

TOM:

Sure.

INT. TOM’S BASEMENT(1984) - EVENING

TOM is in his basement WORKSHOP, hammering away in his shirtsleeves,

intensely trying to stay focussed on what he’s

doing.

Suddenly, a FLASH IMAGE of TERRY MILLIGAN’S DECOMPOSED

REMAINS, blouse over her head and legs spread.

TOM’s hammering becomes more desperate, wild almost. He’s

destroying whatever he’s working on now.

GARY (O.S.)

I’ll never forget it.

68.

EXT. MIDDLE FORK ROAD, NORTH BEND SITE(2003) - DAY

A picturesque, FORESTED area bisected by a two-lane road. The

older GARY and TOM stand, side by side, at the roads edge,

looking off towards the woods, the rest of the TEAM behind

them.

GARY:

I was real angry at the time,

because I had to do the night

shift. The women at work, they

would, uh... manipulate people, to

get the easy jobs, y’know? It

really had me pissed. Well, I

remember I was in a hurry, but I

did the usual routine. Dump the

body real quick by the side of the

road here, then drive a ways

further along, and stop. Just back

there. That way if police or

someone comes along and stops me,

they won’t see the body. Then, I

came back and took it further in to

the woods.

(points ahead)

I dragged her in there about ten

feet from where we are now. Of

course, the forest came right up to

where we’re standing, back then.

TOM:

You sure about that, Gary?

GARY:

Quite certain. One hundred percent.

I mean, the trees are a lot taller

now but...

TOM:

Uh huh? And I’m going to take a

wild guess that this giant, f***ing

parking lot wasn’t here back then,

either?

And now we see that they are looking at a large PARKING LOT

with the forest surrounding it.

TOM (CONT'D)

Would that be correct, Gary? Would

I be right in saying that your

crime scene is now a parking lot?

GARY looks a little nervous. REICHERT watching TOM.

69.

GARY:

So, you didn’t find her? I, uh... I

thought maybe you did.

TOM:

Nope. And I thought you were

bringing us to places we hadn’t

found anything?

GARY:

Maybe, uh... maybe they found her

when they made this? But they’d let

you know, huh..?

TOM:

Pretty sure.

GARY looks to PROTHERO for help. Anyone.

GARY:

Or she could still be here, buried

under the blacktop.

DOYON:

(to TOM)

We’ll just bust all this up, and

ship it all off to the lab to test

for human remains. Shouldn’t be

more than a few thousand dollars.

GARY:

You can do that?

DOYON:

No.

TOM:

Detective Doyon was making a joke.

You know, just messing with you?

SHERIFF REICHERT exchanges a look with MULLINAX, then steps

in to diffuse the situation.

SHERIFF REICHERT

Okay... Let’s just look around real

quick before we leave.

GARY gets led away, as MULLINAX comes over to TOM.

MULLINAX:

Take it easy, okay?

TOM takes out a cigarette. DOYON watches them.

70.

MULLINAX (CONT’D)

Remember, the plan is we’ll get

more out of him if we butter him

up, make him feel good.

TOM:

(nods)

Go ahead. I’m taking a cigarette

break.

EXT. BURIEN STREET, KING COUNTY (1984) - NIGHT

A CANDLE FLAME flickers.

A crowd, of four hundred FEMALE PROTESTERS, are holding a

candle-lit ‘TAKE BACK THE NIGHT’ march through the streets.

We see BANNERS and PLACARDS, - ‘Every Woman Deserves

Justice’, etc. TOM watches them pass, from his car.

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