Green River KIiller Page #9

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As we wait at the lights, we look out of the side window and

see a girl, MARY (16) a slight distance away, standing alone.

She waves to us in slow-motion, a strange, SLOW WAVE, that

will become familiar to us. We keep our eyes locked on her as

the lights change and we move off.

48.

INT. FAST-FOOD JOINT, ‘THE STRIP’ - LATER

We’re sitting in the window of a fast-food place at a small

strip-mall. In the distance, on the other side of the road

from us, we watch MARY as she tries to attract customers.

EXT. SOUTH 144TH STREET, ‘THE STRIP’ - CONTINUOUS

MARY is about sixteen, African-American, wearing very little

and feeling the cold. The fast-food joint in the distance.

From where MARY is, we see GARY sitting in the window sipping

on a coffee and watching her.

INT. FAST-FOOD JOINT, ‘THE STRIP’ - CONTINUOUS

GARY watches the action on ‘The Strip’ from this perfect

vantage point.

EXT. ‘OLD FOREST’ - DAY

We suddenly get a FLASH IMAGE of a FOREST standing before us,

under a cold, grey sky.( We’ll call it the ‘OLD FOREST’.) Its

darkened entrance a portal into another, hidden world.

Ancient, wild, uncivilized. Unfeeling. We begin to move

towards it.

EXT. SOUTH 144TH STREET, ‘THE STRIP’ - LATER

We’re with MARY, trying to see into CARS as they pass,

looking for business.

Everything slows down, strange, dream-like. A BUSINESSMAN in

a rental car drives by. He looks MARY up and down as he

passes, appraising her.

A TAXI-CAB with a sleazy looking driver who leers at her.

A car with an OLDER WOMAN in the passenger seat, her face

searching, haunted. She holds up a picture of a young girl

against the window for MARY to see, the WOMAN’s eyes silently

pleading, and then she’s gone.

A PICK-UP TRUCK WITH A CAMPER SHELL on the back. We see GARY

looking out the window, waving a handful of money in slow-

motion at MARY, and then pointing down the road. His TRUCK

pulls into a shadowy PARKING LOT further down the block.

49.

EXT. PARKING LOT, ‘THE STRIP - MOMENTS LATER

MARY walks up to GARY’s TRUCK, looks in the open window.

MARY:

Hi. How ya doin?

GARY:

I’m doin’ real good, thanks.

MARY:

You lookin’ for a date?

GARY:

Could be.

She opens the door and gets in.

MARY:

You’re lucky, I was just about to

finish for the night. It’s cold out

there.

He shows her his ID. Next to his photo, a picture of his son,

MATTHEW.

GARY:

So, now you know I’m not a cop, you

wanna beer?

Slab of beers at his feet. She sees a child’s toys and action

figures around the truck. He’s got a kid, he’s safe.

MARY:

Sure.

They crack their beers and take a sip. They share a small

laugh. This guy seems real nice.

MARY (CONT’D)

I’ve only done this a few times

before.

GARY:

I figured. You look pretty new.

What are you, about fifteen?

MARY:

Sixteen.

GARY:

You doin’ ok? You need some food or

anything?

50.

MARY:

I’m okay. Thanks though.

GARY:

I can go get you some coffee?

That’ll warm you up.

MARY:

(little laugh)

That sounds pretty good.

GARY:

O-kay, then. Show me your titties

or your p*ssy.

She’s thrown momentarily.

MARY:

What...?

GARY:

I’ve been stung by them decoy cops

before. Just need to make sure.

Hesitantly, she starts to pull up her top.

GARY (CONT’D)

Can’t be too careful these days,

y’know?

INT. INTERVIEW ROOM, BURIEN PRECINCT (1984) - DAY

CLOSE on the face of a bearded man being interviewed.

BEARDED MAN:

They are a f***in’ plague and their

diseased little pussies should be

sewn up, y’know what I’m saying?

This is God’s vengeance.

INT. INTERVIEW ROOM, BURIEN PRECINCT - DAY

A thin, buttoned up, soft-spoken man now.

THIN MAN:

Women will always use men to get

what they want, that is a fact.

They are programmed to deceive. You

can’t argue with science.

51.

INT. INTERVIEW ROOM, BURIEN PRECINCT - DAY

Now, a man with a pony-tail.

PONY-TAIL MAN

What do they expect? It goes with

the job. C’mon, you’re telling me

you’re not happy there’s a few less

whores out there for you to deal

with?

INT. GREEN RIVER TASK FORCE HEADQUARTERS, BURIEN (1984) - DAY

A NOTICE-BOARD displays photos of the dead and the missing.

Under ‘DECEASED’, we see twelve faces and four JANE DOEs.

Under ‘MISSING’, we see another eight faces.

TOM (O.S.)

There’s a lot of men out there who

want to hurt women.

The headquarters, now fully operational, is full of activity.

TOM, and BRUCE PETERSON sit opposite sides of a desk, going

over interview transcripts.

TOM (CONT’D)

These “sick-trick” interviews? It’s

like turning over a rock and

watching all the bugs come

scuttling out.

PETERSON:

This is one hell of a big rock.

DOYON approaches.

DOYON:

I’ve been going over the missing

persons reports for last year, and

it looks like there could be four

more to go up.

He lays out four photos on their desk.

DOYON (CONT'D)

These three are nineteen years old,

this one fifteen. Not one of them

been heard from for over a year.

TOM:

Why the hell had nobody looked at

these before?

52.

PETERSON:

Unless they’re known prostitutes, I

guess they’ve been low priority. Do

you know how many runaways are

being reported every day?

TOM:

You think they might be our Jane

Does?

DOYON:

Their dental charts just came back

from Haglund, and he says they

don’t match any of the

unidentifieds so far.

TOM:

So these could be four new victims

still out there?

INT. CAPTAIN’S OFFICE, TASK FORCE H.Q., BURIEN (1984) - DAY

CAPTAIN ADAMSON sits at his desk, with the girl’s photos in

front of him. Silently, he shakes his head.

ADAMSON:

A year older than my son, this one.

TOM:

Yeah.

ADAMSON:

In less than a year, we’ve gone

from six murders to a possible

twenty-nine?

TOM:

With these four, I make that twenty-

eight.

ADAMSON:

As of today, I’m putting Carol

Christensen on the official list. I

know not everyone agrees, but I’m

doing it. I want you and Jim to go

talk to her family before the press

start sniffing around.

EXT. HOLMIN RESIDENCE, HOQUIAM (1984) - DAY

A five-year-old girl, SARAH, sits, playing in a sand-pit.

53.

MRS.HOLMIN (O.S.)

She stopped asking about her after

a couple months. Doesn’t talk about

her at all anymore.

TOM and JIM stand with CAROL CHRISTENSEN’s mother, PATRICIA

HOLMIN. They watch Carol’s daughter playing over in the sand-

pit.

MRS.HOLMIN (CONT'D)

People always say children are so

adaptable. Like that’s a good

thing. Where does it all go? That’s

what I worry about, you know?

TOM:

(delicately)

Your daughter was last seen in an

area well known for prostitution.

All the other victims...

MRS.HOLMIN

Carol had made some poor choices in

the past, but she was trying real

hard to make things better for her

and Sarah. When she got the

waitress job, we were so happy.

Meant we could see the baby a

little more, too. Careful what you

wish for. She was trying real

hard...

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