Green River KIiller Page #20

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GARY:

I did have an urge, but I didn’t do

it... and that’s why I started

burying them. Taking them out to

where I wouldn’t go back.

TOM:

That’s not unusual Gary. That’s

okay.

GARY:

‘Cause I... I didn’t want to...

TOM:

Didn’t want to do that.

INT. THE BUNKER, PROSECUTION VIEWING ROOM (2003) - CONTINUOUS

SHERIFF REICHERT

We never wrote about any of this in

here?

PETERS:

We suspected something, but... no,

nothing in there, nothing he could

have seen.

INT. THE BUNKER, INTERROGATION ROOM (2003) - CONTINUOUS

TOM senses GARY could shut down, knows he has to be careful.

TOM:

I know it was more than an urge.

Okay? I know that you went back to

some of them.

GARY just looks at him.

112.

TOM (CONT’D)

Nothing to be ashamed of. Thousands

of people have done it before you.

You’re not the first one and you

won’t be the last.

GARY:

Uh huh.

TOM:

It’s okay to let it out.

GARY:

This is... the Gary I was before...

TOM:

That’s right. If he went back and

had sex with the bodies... that was

him. That’s not you.

GARY:

I can’t keep holding it in...

TOM:

It’s building up inside you, like a

bad cheeseburger and... you need to

take a sh*t...

GARY and TOM locked into each other, as everyone else looks

on.

GARY:

Yes, I did lie about that. I tried

to stop, but it didn’t work...

TOM:

Which ones did you go back to,

Gary?

EXT. RIVER BANK, GREEN RIVER (1982) - DAY

The LONG GRASS on the banks of the Green River. There is

movement in there, but the grass obscures whatever is

happening.

GARY (O.S.)

The ones at the river. Three of

them.

113.

INT. THE BUNKER, INTERROGATION ROOM (2003) - CONTINUOUS

GARY:

One out near the airport.

EXT. WOODED AREA, NORTH AIRPORT SITE (1982) - DAY

In the distance, partially obscured amongst the trees, we see

the pale, fleshy figure of GARY, naked and having sex with a

lifeless body. Like an animal rutting in the forest.

INT. THE BUNKER, INTERROGATION ROOM (2003) - CONTINUOUS

TOM trying to contain his emotions, not to put GARY off.

GARY:

One off Highway 18.

EXT. WORKMAN’S HUT AREA, NEAR HIGHWAY 18 (1983) - NIGHT

We watch this scene as if through a black and white infra-red

security camera. In the darkness, we can just see some

WORKMEN approaching. As they get close to their hut, they

trigger the sensors and some lights come on.

GARY (O.S.)

Out where they had some work going

on, I think.

The WORKMEN turn a corner, so don’t notice that the lights

have revealed GARY having sex with a woman’s body off near a

fence. As he turns mid-act, to see where the light has come

from, his eyes reflect the light, like an animal caught on a

night camera.

INT. THE BUNKER, INTERROGATION ROOM (2003) - CONTINUOUS

GARY:

The one at the bottom of Star Lake

Road. The one I strangled with her

clothes.

TOM knows who this is immediately. Tries not to show emotion.

EXT. STAR LAKE ROAD SITE (1984) - DAY

TERRY MILLIGAN on the ground, dead. Her striped blouse over

her head, the rest of her naked body obscured by GARY

standing over her, breathing hard, doing up his pants.

114.

GARY (O.S.)

I don’t know how many. I did it to

any one of them that was close by.

GARY turns to check on his VAN parked the other side of the

trees. Through the branches, he sees his son, MATTHEW,

sitting in the front seat.

GARY (O.S.) (CONT’D)

It was a release, y’know... Didn’t

have to pay for it. I was brought

up to not waste anything if it

still had use in it.

In the VAN, MATTHEW obediently plays with his toys, whilst

through the window, we see GARY in the distance, looking at

us.

INT. THE BUNKER, INTERROGATION ROOM (2003) - CONTINUOUS

GARY:

I’d go back... few times, maybe.

Until it got too difficult. They’d

be, y’know, too stiff... too many

maggots.

TOM is having a tough time hearing this, trying to keep it

together.

GARY (CONT'D)

That’s why I started burying them,

and putting the rocks in there.

Dumping them further away. I wanted

to stop... I wanted to stop..

INT. THE BUNKER, PROSECUTION VIEWING ROOM (2003) - CONTINUOUS

REICHERT and the team celebrate. This is the breakthrough

they’ve been waiting for. JIM DOYON staring at the screen.

DOYON:

You f***ing animal.

INT. THE BUNKER, INTERROGATION ROOM (2003) - CONTINUOUS

MATTSEN looks across at TOM, sees he’s struggling

emotionally.

MATTSEN:

You’re doing great, Gary. Really

great..

115.

INT. THE BUNKER, PROSECUTION VIEWING ROOM (2003) - CONTINUOUS

GRADDON looking at TOM on the monitor.

GRADDON:

Is Tom okay in there? Do we need to

call a break? Pull him out?

INT. THE BUNKER, INTERROGATION ROOM (2003) - CONTINUOUS

TOM gives a slight nod to MATTSEN. MATTSEN keeps pushing.

MATTSEN:

Was this always outside? You ever

keep a body at your house, to have

sex with later?

GARY:

No. Never in my house. Always got

‘em out real quick. Within fifteen

minutes. Well, except one...

(looks to PROTHERO)

But you don’t need to know about

that.

TOM:

Don’t need to know what?

GARY:

She’s one of the charged ones, that

I’m not supposed to, uh..

PROTHERO:

Don’t worry about that now, Gary.

Go ahead.

GARY:

She was the one that was closest to

me. She was special. Christensen...

uh, Carol Christensen.

FLASH IMAGE of TOM back in 1984 in the car with DOYON,

looking at the photograph of CAROL CHRISTENSEN with the fish,

sausage, wine bottle and bag over her head.

TOM:

Why... why was Carol special?

GARY:

I’d dated her a couple times

before. She’d always been real nice

to me. She liked me touching her.

She took her time.

(MORE)

116.

GARY (CONT'D)

She made me feel good... about

being with her. But this time she

was in a real hurry, and it didn’t

turn out right.

TOM:

She hurried you too much this time?

GARY:

Hurried me too much...

TOM:

She had to be somewhere?

GARY:

I don’t know. I know she had a

daughter...

TOM has a FLASH IMAGE of little SARAH, playing in the sand-

pit as he talks to CAROL’s mother in 1984. She looks up at

him. Her beautiful face.

Back in the room with GARY, TOM is clearly affected by this,

but again tries to hide it.

TOM:

So what happened?

INT. RIDGWAY HOUSE, SEA-TAC (1983) - NIGHT

We melt through the front door of GARY’s house, and very

slowly move along the dark hallway. All is still, quiet.

GARY (O.S.)

I waited for her outside the bar

she worked at. Asked her if she

wanted to date.

At the end of the hallway, a momentary flash of white as a

figure crosses the open kitchen doorway, like a ghost in the

moonlight. We keep moving slowly forwards.

GARY (CONT'D)

Said she was tired, had to be

someplace, I don’t know.

We round the corner into a darkened kitchen.

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

She said we’d have to be quick

about it. I took her to the house.

117.

Moving into the living room now. Someone is sitting with

their back to us on the sofa.

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

The other times we’d done it in my

truck, but I wanted her, uh... to

be more comfortable there.

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