The storm that's been battering Puerto Rico is heading for Miami.
It's packing winds of 90 miles an hour, so batten down the hatches.
It looks like the mean season is finally here.
Coach Don Shula welcomed a new crowd of rookies to the Miami Dolphins' training camp.
- Hi, Mal. How's it going? - Hey, Jack.
- Hey, welcome back. - How are you doing, Jim?
Porter, how's it going?
I thought you weren't coming back until Monday.
I don't think I'm coming back at all.
Saul, how are you doing? Mary Lou... Hi.
- Aren't you gonna say anything? - I don't want to intrude.
You look terrible.
- What are you hacking on? - A man's pet ocelot mauled his wife.
- Lose something? - A little enthusiasm, ambition, drive...
Time, mostly. It's a brown, little book. You know where it is.
- I do not. - He's leaving again.
- Oh, he liked Colorado. - I loved it, especially their news.
Terrific. Nola's finally gonna know how good I am.
That's why I want to quit, Kathy. Here it is.
How busy are you? They found a body shot in the head over on Baggs Beach.
- Not interested. - Try and get out there while it's still news.
I just got off an aeroplane. Give it to her.
- She's only been out of school three weeks. - Three years!
- I think I'm burned out. - You're just in a slump.
- It's more than that. - Is that the weekender piece? Save it.
The storm off Puerto Rico got upgraded to hurricane. Her name's Annie. Get to know her.
- Bill, can I have a minute? - I don't have a minute. I'll have one later. Here.
- Later. - I can count on it?
- Porter's going with you. - OK, Bill.
Try and get some good stills this time, Andy.
- When will you have something, Doc? - Tuesday, probably.
- Softball game on Sunday. Do you wanna play? - I don't know. I just got back.
- What's the story? - Come here.
- How was the trip? - Not bad. I see crime here hasn't improved.
- Jesus, she's just a kid. Was she raped? - Had all her clothes on.
- Doc, any action? - Not likely.
- Where's that jogger? Is he the guy to talk to? - Yeah, Ben Hogan over there.
Hi, Malcolm Anderson, the "Journal" You run by here every day?
A couple of times a week.
You must really have sharp eyes...
No, I was runing along the beach, and I just walked up through here...
I almost stepped on her.
If some kid foud this, it really could have messed him up for a couple of years.
Yeah, I thought about that. I've got a couple of kids.
- I need to get your name. - I'd rather not. I don't want to get involved.
No problem. Thanks a lot.
Take it easy, Ray.
Nothing like blood, shit and hot weather to bring out the flies.
- One day, I'll catch you in a bad mood. - That's not good for your health.
- Give it a rest. - Is this the girl's father?
- Mr Hooks? - The blue car, sir.
- Are you taking him down to make the ID? - Yeah, the mother's not up to it.
Can I talk to her?
Come here.
Mrs Hooks? This is Malcolm Anderson from the Journal.
I don't think he minds staying until your husband calls.
- Is that all right? - Yes.
- I think it'll be a good idea. - Thanks, Ray.
- I have the feeling Sarah's popular. - She is.
I don't know what Sarah's gonna want to do. She'll find something when she's in high school.
- This is her. - She really is very pretty.
You must be proud of her.
And that's all we have now.
Excuse me.
Hello?
I've been working behind you at my terminal. It's really good.
It needs an ending, though.
"The tragic vision of Mrs Hooks, where snapshots lay..."
- Did you get one of those snapshots? Mal? - No.
- You're kidding me, right? - I didn't think it was necessary.
The whole story works because of the snapshots.
Sorry.
OK. There.
Better.
Andy, thank you. Run it right down.
Do you think this will hold your interest for a while?
- OK? - No. You forgot your name again.
Only five minutes late.
It's not that hard once you get the hang of it. You'll see.
All right, that's it for the day.
- Bye. - Bye-bye.
- Hello. - Hi.
- Shouldn't you be running across the room? - If I tripped and fell, I'd be humiliated.
And I'd be hysterical.
- I missed you. - I missed you, too.
- When did you get in? - Early. I took the red-eye.
- And you went right by the paper. - To quit.
- But you didn't. - The timing wasn't right. I'm working on it.
- You could've called. - I wanted to get at Nolan right away.
- I'd like to hear about that. - In a minute.
Your mum...
- Are you sure you don't have doubts? - What gives you that idea?
I just want you to be sure about Colorado.
Running the "Greeley Tribue" will never be like a job at "The New York Times"
I told you I like the town and the paper. I even like your parents.
- You didn't tell Nolan you're quitting. - I had to go cover that murder.
I'll tell him in the morning.
- Really? - I promise.
It's good work, Mal. The competition didn't do so well. Thought about a follow-up?
Yeah.
"Fear stalks quiet neighbourhood in wake of teenager's murder."
You haven't been at this long enough to be as burned out as you think.
I've done it, Bill. Eight years, I've done it to death.
What the hell does that mean?
What do you want?
I don't know.
I used to want Watergate, right?
I don't want my name in the paper next to pictures of dead bodies any more.
Reporters report, which happens to be the one thing you do really well.
I don't want to lose you to some small-town paper in Colorado.
I appreciate it, Bill.
We're not the manufacturer, we retail.
News get made somewhere else, we just sell it.
Malcolm?
Honey, wait.
Wait...
I'm glad you stopped by. I wanted to talk to you.
Honey, did you get my other suit out of the cleaners?
Would you listen to me? I'm serious.
All right.
Is this serious? What?
If we're really gonna move, I've gotta tell the school so they can plan for September.
Tell them.
Really?
Really.
You should be slapped.
- You shouldn't scare me like that. I hate that. - God, what a day.
- Bill, I want to talk to you. - Malcolm, telephone.
- Tell him I'll call him right back. - I'm not your secretary.
- Five seconds? - I'll be there.
- Anderson. - Hello.
Listen, I've been reading your stories about the murder of the young girl.
Well written. They seem very accurate.
I appreciate the call, and I am kind of busy right now.
- I have a special interest in your stories. - Why is that?
Because it was me. I killed her.
- Who is this? - You don't expect me to answer that, do you?
It depends on why you called. I get calls every day, people claiming responsibility for anything.
- What makes you so different? - I called because I want to help you.
How could you help me?
- Her right, rear pocket. - Was there something in it?
I hope you're as bright as I assumed you were.
Listen... Can you be at your phone at 3.00?
Hello?
Hey, Ray. So you guys decided to hold out on me?
What do you want, Mal? We've got a court appearance. Make it fast.
Did you look through her clothes? What did you find?
None of your fucking business.
I thought you'd find something in her right, rear pocket.
We did. Lint.
Take it easy.
Wait a second. Malcolm, hold on.
- How do you know? - He called me.
- Who called? - The killer.
Shit. Come here.
- He says the killer called him. - Bullshit.
- What did he say? - He said he left something in her pocket.
He didn't sound like anything, could've been the Red Cross.
- Was he white, black, Oriental? - White, probably. Over 30.
- Did he say he was gonna call again? - What did you find?
- No. - Hold on.
- We've gotta tell him what we've got. - No, he'll just stir it up.
He's got no reason to lie to us. We'll be OK.
- This is not for publication. - I just want to know what we're talking about.
- It was a note. - What did it say?
Raymond!
"Number one". Don't go crazy on this.
If this is the same guy, you're gonna want to talk to me.
- What do you got for us? - I haven't got anything. Give me a call.
Just don't jump to any conclusions, Mal.
- Come on, guys. - Doesn't anybody have anything better to do?
Anderson.
- Afraid I wouldn't call? - I wasn't certain.
Certainty is something the world is in very short supply of.
- Did you call and talk to the police? - Yes.
What did they say?
There was something in her pocket. Suppose you tell me what it was.
A true sceptic.
Notepaper, folded once. Two words.
"Number one".
- There's going to be a number two? - And a three, a four and a five.
- Why? - It's too early for that.
- You're doing this on some kind of schedule? - Something along those lines.
- And you already know who they are? - I know what they are.
Three women and two men.
- I just might not print this. - Then you'll miss a wonderful opportunity.
I'll call someone else.
Look, you're going to be my conduit to the public.
- Tell me about it. - We'll talk again after number two.
This is the one you've been waiting for, Mal. Fabulous.
I'm not sure this story will do us or anybody else any good.
ufortunately, there's no way of seeing where this thing could go. We could look negligent.
- The chance of liability? - He didn't call the paper. He called me.
We have an obligation to do a piece on a sociopath who's still out there. He's still a threat.
That's our responsibility, isn't it?
This story is gonna sell a hell of a lot of newspapers for somebody.
Legally, how far could our asses be hanging out?
- Did you tell him you'd protect his identity? - No.
- Did you imply that it was off the record? - No.
Make them comfortable.
- We have three impatient cops outside. - Lovely.
- Can we go talk to them? - I think we'd better.
Thank you.
- How many times has he called? - Twice.
- We want to look at Anderson's notes. - You know better than that. No notes.
We've got a guy who's gonna kill someone. We'd like your cooperation.
But if we have to, we'll get a subpoena.
- What happened to freedom of the press? - You're abusing the privilege.
If we don't write about these guys, you never get them.
We'll take care of our end.
You know we can't be required to turn over the notes.
If this son of a bitch kills somebody else, I'll tell the "Post" that you could've prevented it.
We didn't say we weren't going to cooperate. We want an arrangement we can all live with.
- How about a tap on Anderson's phone? - You won't need it. We'll give you the tapes.
- Good. - So, what's the deal here?
You give us whatever you get 24 hours before the other newspapers.
No, we've got relationships to maintain. Six hours.
- Eighteen. - Ten.
Sold.
I just might not print this.
Then you will be missing a wonderful opportunity. I'll call someone else.
Look, you're going to be my conduit to the public.
There must be some kind of profile here, Doc. We need something to narrow this guy down.
I'm not a mind-reader, I'm a shrink. I can't tell anything from one short, taped conversation.
But isn't there something Anderson could do to keep him talking longer, draw him out?
I think you're doing the right things intuitively.
Listen to him. When he's unclear, ask questions.
I wouldn't be judgemental, and I wouldn't push him into giving more than he wants to give.
Be patient.
Be a friend.
- What are you guys doing here? - Give us a break.
- The man you talked to, the killer. - Did he say when he'd call next?
He didn't say anything that would narrow it down, guys.
- How long did you talk to him? - How long was the conversation?
Neither one was more than a couple of minutes. Everything I know is in the paper.
Are you gonna be able to live with yourself?
Did he say when he'd call next?
Malcolm Anderson is the only one to have been contacted by the killer of Sarah Hooks,
the young girl found murdered on Bill Baggs Beach.
Anderson has been contacted twice, and each of the two conversations were brief.
It is known for sure that he has established a definite contact with Anderson,
for reasons that no one has been able to determine.
Malcolm Anderson seemed reticent to talk to reporters, confused by all the media attention.
According to Mr Anderson's story, neither he nor the public has heard the last of this individual.
Although "News Center 7" went to great lengths to get him to elaborate...
I'd like to see what you guys would have said.
I'm Jill Beach, "News Center 7".
I'm sorry, honey. Were you awake? We stopped by for a beer.
- I'm sorry, honey. - I saw you on the television.
What did you think?
I looked like a jerk, didn't I? I just looked like such a frump!
Let's talk about obnoxious. Did you believe those guys? I mean, these are my friends!
When you're on "60 Minutes" do you mind giving me a call?
- I'd like to bring the machine home and tape it. - You think I ought to do that show. Why not?
Call Morley in the morning. I mean, call morning in the Morley.
Come on.
- Honey, will you turn off the television? - I hated the way I looked.
Honey, the television.
Who moved this thing?
Baby...
You're bad. One beer...
- Anderson. - Sorry to bother you.
- That's OK. - I just called to say I love you.
I love you, too.
Bye.
- Anderson. - How can I love a small-town newspaper man?
What? Christine, honey, I can't keep this line tied up.
Who's Christine? Your wife or your girlfriend?
I tested your faith, didn't I? You were beginning to worry that I wasn't going to call you again.
- Was that the idea? - It would be nice if you wanted to talk to me.
But still, your words are the important thing. And I do like them.
Thank you.
Ever tried to describe a smell?
Why?
You're gonna smell something that's gonna test your writing abilities. It has a sweetness to it,
and at the same time it reaches into your body and twists your insides.
But the odd thing is that once you smell it, you know what it is without having to look.
651 Nautilus. Got that?
If you're gonna get sick, get sick out here.
I'd be careful with this guy. He knows as much about you as you do him.
- Malcolm! - How many bodies were in there?
One at a time.
- Did you talk to the killer? - Yes.
- What did he say? - I've got a deadline, just like you do.
Everything I know will be in tomorrow's "Journal"
Getting better.
- Is your fan mail personal? - No, but it sure is nice to get some.
Hi. Hello?
Surprise.
How did you get my home phone number?
Your phone's not listed, but Christine Connelly's is. I got her name out of your mailbox.
There's a policeman outside my door. There's gonna be one there 24 hours a day.
If I wanted you or your girlfriend, it'd be so easy.
Don't worry, Malcolm.
I'm supposed to trust you? You're out of your mind.
Without you, I'm nowhere.
Back to square one.
Besides, we work well together. I don't want to lose that.
What did you call about?
I have two needs, Malcolm. The need to talk,
and the other one...
And... it's a lot easier to find a victim
than it is a listener.
What about friends?
I had one friend, until the plant closed.
- What plant was that? - An auto plant in Detroit.
A machine took his hand. It took three fingers clean off.
That's really awful. You and he keep in touch?
Oh, Malcolm, you're so transparent.
I'm just doing my job. You're the story.
You're trying to make a connection to someone who can lead the cops to me.
We're friends, but we're not really friends.
I want to talk about the old people now.
- Why'd you pick them? - They were a match, a reasonable duplication.
- Was it something you've heard or read about? - It was just like before.
I caught them on their porch.
I just stared.
And you know, they couldn't move.
Then, when the gun came out, they couldn't even speak.
Fascinating, isn't it? Malcolm?
I got them into the dining room.
I put a pillow in front of the gun.
Even so, it was much louder than I expected.
I don't know how long I was in there. Five minutes, an hour...
When I left, I was covered with blood.
I walked right down the street. I was invisible.
Nobody seemed to notice me, nobody cared.
Hello?
Christ, I got a lot.
Appreciate it, Ed. Thanks a lot.
I liked it. Really, I read it twice.
- Nicely done, Mal. - Is Nolan real busy right now?
Seen this yet?
Jacoby wanted me to make sure you saw it.
Page 103.
Our illustrious publisher thinks you may be entering Pulitzer territory.
You jump to another paper, Mal, I'll punch your heart in.
Celebrating with you is making adequate use of all my remedial skills.
I'm sorry, honey. I'm out of it.
- Waiting for the phone to ring? - I can't get my mind off it.
Do you want him to call?
If he quits talking to me, we might never get him.
We?
I can't get away from this thing until it's over.
- I gave my notice. - So did I.
Yeah, postdated.
- What? - I just don't think you know what you're doing!
Things happen out there, it's called the news. I only report it.
Are you reporting it or participating in it?
It's kind of a unique situation.
What do you want me to do?
We'll get away from here when we can.
Come on, honey...
- Excuse me, can I get the check? - Yes, sir.
Too many creepy cab drivers.
When this thing is all over,
whether you end up at a twenty-cent weekly in Colorado or...
"The New York Times"
...part of it stays with you.
I just wish you'd think about that.
- Hello? - Is Malcolm Anderson there?
No, he's still in the shower. Can I have him call you back?
Ndo
We've never met, I'm Malcolm's friend. You know, the one?
Why are you doing this?
Christine, this is between Malcolm and me.
Don't call me Christine.
- Can I talk to Malcolm? - No. Why are you killing innocent people?
- Give me the phone, Chris. - Malcolm, you can't talk to him.
- What are you doing? Give me the phone. - Malcolm, he's sick!
- Don't talk to him. - Malcolm? Are you there?
Just don't talk to him.
It's me. I'm sorry I couldn't get to the phone.
It doesn't matter.
Why don't you just tell her not to answer the phone?
- I think you'd better call me at the paper. - You must be anxious to get to work.
- Number four... - Where?
Matheson Hammock.
Malcolm, how long are you gonna let this go on?
What do you want me to do? I'm locked into this. He won't talk to anybody else!
It's turned into a collaboration!
- That's a real stupid thing to say. - You just got off the phone with a maniac.
Did you ever tell that to him? Do you two ever argue?
Ray? I just got another one.
- How are we doing here? - Straight back.
They're over there.
OK. You're OK.
Mummy!
You're OK, baby.
Tony, how are you doing?
- She's all chopped up. - Take a walk.
We're about to talk to Malcolm Anderson, a reporter for "The Miami Journal"
Recently, the series of brutal murders in his city has changed his objectivity,
because the killer chose to use him as a liaison between the commuity, the police and himself.
A situation has developed where a reporter is materially involved in the story he's covering.
He's with us at WSVN, our NBC affiliate in Miami.
- Good morning. Thanks for being with us. - My pleasure.
Tell us when and where you received that first call.
It was at the "Journal" a few days after they found the first body.
How did you react when he told you who he was?
Of course, I didn't believe him at first. I've had my share of peculiar calls.
- But he convinced you? - He did have knowledge of the murder.
- How many times have you and he talked? - Five times.
Can we assume that he hasn't said anything that's been of much help to the police?
It wouldn't be helpful for me to comment on the progress of the investigation.
After talking to him as often as you have, what's your sense of the relationship that's developed?
"Relationship" suggests that there's something in it for both parties.
I'm certainly doing what I can to help, but this wasn't my idea. He called me.
- Has he ever said why he called you? - Yes, he said he liked the way I write.
I saw you on TV this morning. I didn't like it.
- Why? - You're becoming more important than me.
I'm doing the work, you get put on TV. You're getting too much attention.
I really wish I could come forward and speak for myself.
Of course, I can't. I've only been arrested once.
- What year? - Come on.
I'm already being too generous on phones that are tapped.
My phone isn't tapped.
- Is there any chance we'll ever meet in person? - So you can bring the cops and be a real hero?
You anger me, you know that?
- Cuban coffee, Phil? - I really wish I could come forward.
- This is interesting. - Of course, I can't.
I've only been arrested once.
- What year? - Come on.
I'm already being too generous on phones that are tapped.
My phone isn't tapped. Is there any chance we'll ever meet in person?
- Dumb. - So you can bring the cops and be a real hero?
Him, you arrest dead.
- You've gotta catch him first. - You get a feel for him.
You figure out what he'll go after next and then you blow his diseased brains out.
I'm gonna get some American coffee.
We sent a guy to Michigan. There's no record of the industrial accident that he described.
Not at any of the major assembly plants.
I've got a 50 says he's making all this up.
You're not tapping my phone, right, Ray?
Ndo
- Good night, Ray. - Yeah.
Perfect, wide open.
" Por favor," I deliver for you the paper.
What happened?
I've been with the cops all night, and the place is wide open.
Is it too much trouble to lock the goddamn door?
I didn't even know you were gone.
- I'm sorry. - I don't want to be around this any more.
- I'm sorry. - Don't be.
Don't be.
You're living alone and I'm living with somebody I don't even know.
- It doesn't work. - What does that mean?
I'm putting a lot of time in the story and you feel left alone. That's all there is to it, right?
You have no idea what it is.
You can't. You're not paying enough attention.
Chris, I've busted my ass for eight years. What we've wanted is right here.
Don't you understand that?
Ever since they started the body count, you've let everything slide.
I've gotten so far away that leaving's just a formality.
This is the last thing we need right now. I said I was sorry, OK?
I heard you.
- You want a drag? - Drag, your ass.
- You gotta be closer than you're saying. - I'd like everyone to think so.
You got a voiceprint, his MO and you know he's duplicating. You've gotta be getting somewhere.
This guy is killing people he's had no personal contact with, nobody he's mad at.
- It's tough. - What do you do all day?
We run down 25 or 30 phone calls from people who think they live in the same room with him.
When you write enough about somebody, he starts sounding like everybody.
I didn't expect it to last this long.
- As long as he's out there, he's news. - So are you.
What are you saying? I never understand what the fuck it is you're saying!
- I'm tired of him. - You're getting in places you don't belong.
- Dammit! - Hey! Walk away.
Go get him, Wilson. Catch him so we can all go home.
You're coming apart on me, Mal.
If you come apart, you crash. Right now we got nothing.
Get this guy before he kills somebody else. I'm tired of being your contact man.
Son of a bitch.
"If you'd like a nice, home-cooked meal and some quiet conversation, stop by."
"I hope to see you soon."
"After the last killing, I read that the killer worked on an auto assembly line."
"I remember a guy from Kenosha, Wisconsin, who was connected to something like this."
"You wrote the killer was duplicating other murders. He souds like the one I heard about."
There's some kind of a list there.
"I'll talk to you alone. Go to the Paradise Trailer Park."
"If anybody or any cops come with you, I'll deny I wrote this."
- Here's the address. - What do you think?
Give it a shot.
Why not?
Excuse me.
- You Mr Anderson? - Yeah.
- All alone. - I think I'm glad you've come.
I've gotta get this thing refitted down at the VA hospital.
They treat you pretty good down there.
I'm just gonna take a couple of notes. You don't mind, do you?
I guess, go ahead. But I don't want my name in the paper.
This guy won't think twice about wasting me. I've been wasted enough already.
I can give you anonymity, but the police are gonna want to talk to you.
- Let me think about that. - I'm a little short on time.
Why don't we start with your name?
Listen, I've been led to believe that you people pay for this kind of information.
- I don't. - It won't be much. 20? 10?
Do you have any information for me or not?
This guy's name was O'Shaughnessy. I met him downtown.
Down at the Salvation Army.
Kind of a juicer.
He was depressed all the time, but then he had good reason to be.
About a year ago, he lost his parents,
his wife, sister-in-law and teenage daughter.
- What happened? - His brother went out of his head.
Got his gun in the middle of the day and killed them all.
Put the muzzle right here at the base of their skulls and blew their heads off.
Sound familiar to you?
You said his last name was O'Shaughnessy? Do you remember his first name?
Albert, I do believe.
- Where was this? - Kenosha, Wisconsin.
He worked on a Pacer line. He used to call them Kenosha Cadillacs.
- This guy's from Detroit. - Kenosha.
I got that right here in my notes.
- Excuse me a minute. - Here it is.
I gotta take myself a piss.
This is really good. It's really all I need.
I gotta get your name for legal reasons.
Mike Hilson, spec 4. Honourably discharged April 1, 1971.
- Is that H-I-L-S-O-N? - That's right.
Killed me some slopes with this. It's no good at a distance,
but when you drop them with the M-16, this'll stop them wriggling.
Click it if you want. Firing pin's out because my nephew likes to play with it.
You don't need to tell me it's a lousy toy for a kid.
Fucking leg! Sometimes I wish I was paralysed all the way.
Then VA'd have to give me an extra 60 bucks a month.
Thanks, Mike.
If there's anything I can do to help you out down at the VA, just give me a call.
Thank you very much.
- Take care of yourself. - Thanks a lot!
We ought to throw you in jail for obstructing justice.
- You should have called me, Mal. - I had enough for a story, but not for you.
That's not your decision! Just give me the guy's address.
We've got problems. American Motors have never employed an Albert O'Shaughnessy.
And there was no spec 4 named Michael Hilson discharged from the 1 st Division, April 1, 1971.
- Great. - I think we've been screwed.
April 1? April Fools'?
You said you wanted to meet him face-to-face. Remember that?!
What?
I enjoyed our little chat. I hope we can meet under more favourable circumstances.
I'm sorry.
But you did want to meet in person, Malcolm.
You told me that yourself.
Four down, one to go.
Hell of a deal.
We could've had him.
Seal it off.
OK, people. Help us out. Let's move it back here.
You're gonna take a public whipping like no one's ever seen.
I have no idea how to write this.
I'd better go.
When you're finished with their artist, bring back a copy of the sketch.
- Anderson. - Hi, it's me.
What the hell are you trying to prove?
You were getting bigger than me. I had to bring you down a peg or two.
- Call somebody else. Your story's gotten old. - I'm going to freshen it up.
- I had planned on talking to someone else. - Fine, I'm not writing one more word about you.
I knew this would happen, but you're still going to have a part.
No, no part.
Don't be that way, Malcolm. Remember, no one's safe, no one's immune.
Are you threatening me?
I study people, too. Just like a reporter.
Watch their habits, their routines.
Supposing her car wouldn't start.
How would she know the wires had been switched on the distributor cap?
Do you think she'd turn down help from a substitute teacher?
Hey!
What's the matter with you?
- Would you like me to take a look? - Oh, sure. Please.
I don't know what's wrong. It was fine this morning.
This isn't my field, but sometimes I get lucky.
Shit.
OK, try it again.
Set up perimeter here. Come with me.
- Where's Christine Connelly? - I don't know.
- I saw her in the hall talking to someone. - Who?
What are you trying to do? You want to get somebody killed?
- What's wrong? - Can anybody walk around your school?
Enough!
Did you see them leave, ma'am?
Stay here.
Come on out.
It's OK now. We're just looking for the bad guys.
Crayons, huh? So that's it?
Sorry, kid.
Mal?
This guy is all flash. She's OK.
- You think so, Ray? - Yes.
If he's duplicating those five killings, he's already accouted for all the women.
She's OK.
Have you ever noticed that the older you get, the smaller you become?
When I was a little kid,
the block we lived on was the whole world to me.
I knew everybody. I was significant, even important.
Are you gonna kill me?
Let's try to keep these things as abstract as possible, OK?
Apple?
- I want you to understand something. - What?
You're killing people because you want to be noticed? You want to feel significant?
As a teacher, your range of comprehension could be improved.
I'm sorry.
For the most part, good behaviour goes unnoticed.
- What do you care? - I do care!
Just tell me what you want understood!
It's not important. Nothing is.
All you're concerned about is dying.
I'm not responsible. It's not my fault. None of it is.
Just give it a couple of full rings.
It's Nolan.
OK.
Some guy who's been following my stories just walked into the "Journal"
- He thinks he knows the killer. - Tell him we're on our way.
- What if the call comes here? - He knows where to reach you, Mal.
Ten minutes.
Look, maybe this isn't the right person.
It seemed weird to me when I read my name in that story you got from the guy at the trailer.
Those five murders he told you about sound like a series of murders in Chicago a few years ago.
I was working at a state-fuded halfway house at the time.
Dopers, alcoholics, mental hospital dischargees.
Some character stumbles into my office and says he's the guy who killed those five people.
He went to the cops and turned himself in,
but they chased him out when some psychiatrist decided that he got off making confessions.
He needed the headlines.
Is that what you thought?
I went down to the precinct with him and listened to his story. It sounded straight to me.
It turned out, though, that he did have a history of false confessions.
He was pissed, though.
He figured he finally did something, and somebody else got the credit.
After the visit to the police, he kept coming around?
He calls one more time after things quiet down.
He wants to thank me for being so unselfish.
He said if I tried to get any attention from what he'd done,
he'd have me killed.
- You got a name on this guy? - Yeah.
- Alan Delour. - Sounds like our man.
- Lieutenant, no one up here! - OK, it's clear.
There's nobody up there.
Perimeter people, bring it on in.
Missed him again.
We'll be there, Ray, around the corner.
Nobody in there all night.
Raymond...
I'm gonna get Mal in here.
This is for Malcolm. You've gotten this far, so you know who I am.
Anderson!
- She's not in there. - No.
But he's our guy.
He left a tape for you, Mal.
What do you think, Malcolm?
Upstairs.
We'll be outside.
Come on.
This is for Malcolm.
You've gotten this far, so you know who I am.
It was time. I'm not sure what to do now.
How to wrap it all up so it makes sense.
I'm very sorry about your girlfriend, but you got so much from all this.
You must've known there would be a price.
When I've made my mind up how it ends, I'll call.
And please spell my name right.
Alan with one L, Delour - D-E-L-O-U-R.
Thanks for everything.
Could I have some privacy?
- Malcolm? - What's the matter? Nobody else to talk to?
Would you like to talk to Christine?
Is she alive? Just tell me.
She's right here with me. We're out in the Glades.
Ellis Hammock, out near Coopertown.
I'll trade her for you.
And don't bring the police. They'll just ruin it for all of us.
Bye.
Go!
Up the right flank!
They're here. We found an empty boat.
Over here! He's running away!
Straight ahead. We've made contact with the suspect.
You two, circle that side. You, come with me.
No shooting. He has a hostage.
Where is she, Alan?
You coward, Anderson! You couldn't do one thing right for me!
I told you not to bring anyone with you!
It's over! You can't get out of here!
I didn't want to! You and me, Malcolm! That's what I wanted!
You can have that! Just send her out and I'll come in there!
- You've ruined everything! - Where is she, Alan?
It's too late!
Goddamn you, Anderson! Goddamn you to hell!
Alan!
Christine!
Where is she?
Mal... Mal, he's dead.
They found her. She's OK. Straight back.
Get him out of there.
Move him.
Stay here. I don't want anybody touching him.
Dammit!
Hey, Mal. Did he rape her?
Are you all right?
- Did you let him get away, Lieutenant? - Listen, sir! Stand back!
It's over.
Did you see the killer?
That stuff stings.
I'd better tie the place down.
I'm gonna get some Aspirin.
You are going to be sorry, my friend.
- Whose body was that? - Number five. A good likeness, don't you think?
- I need you. - Shut up.
- I still need a story. - You were the story. That's the problem.
Somewhere along the line, you stole it away from me.
- Malcolm? - Don't come in!
He's in here, Christine. Come on.
- Just keep me, Delour, but let her go. - I don't care about her. I care about us.
We had a great thing going, Malcolm. It was really working for both of us, wasn't it?
It still can, Alan.
But then you turned on me. You wanted to be the star.
You brought in the cops. I thought we had an understanding.
- You're still the star, Alan. - You're just talking to stay alive.
God, that makes me hate you.
You're trying to distract me. Don't you think I've thought about those things?
At least the others went out with some dignity.
They didn't beg like you're begging, Malcolm...
That does disappoint me.
- Don't move! - I'm not going anywhere. I'm right here.
- Christine? - What? What do you want?
All right, Alan. All right.
So when they come and find the bodies, who gets to tell the story?
- They'll find somebody. - He won't tell it like I can.
Because he won't understand you like I do.
We'll just wait until the power comes back on,
and then we'll record it on video tape. It'll be on every TV station in the country.
I'll just turn the machine on. Listen to me, Alan. It's good for you and it's good for me.
We got the camera right here. We've got lights, we've got the equipment. We're all set.
- Don't move! - I'm not moving. I'm right here.
Now all we have to do...
Malcolm!
Malcolm! Stop it!
Stop it!
No!
Malcolm!
Call the police.
The line's dead.
You can't shoot me, my friend.
This is too good a story.
You wouldn't pass up the 7.00 news.
Television... You need an audience. Just like me.
- This story is too big. - Shoot him!
You won't shoot me, my friend.
I'm safe.
Don't take another st...
You didn't put your name on it.
I love you.
Let's go.