
Green River KIiller Page #20
- Year:
- 2005
- 436 Views
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:
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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