(THUNDER CRASHING)
(CAR RADIO) Well, folks, 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, south Florida.
Looks like the mean season is finally here.
Coach Don Shula welcomed a new crop of rookies
to the Miami dolphins' first training camp session of the year.
Hi, Mal.
How's it going? Hey, Jack.
Hey! Hey, welcome back.
How you doing, Jim?
Hey, Porter. How's it going?
I thought you weren't coming back till Monday.
Today's figures caught everyone by surprise,
but some private economists…
I don't think I'm coming back at all.
Saul, how you doing?
Mary Lou.
Hi.
What, aren't you going to say anything?
Don't want to intrude.
You look terrible.
Ha ha!
What are you hacking on?
Man's pet ocelot mauled his wife.
That sounds good. Hmm.
Lose something?
A little enthusiasm,
ambition, drive…
Time, mostly.
It's brown, it's a little book,
and you know where it is.
I do not.
He's leaving again.
Oh. He liked Colorado.
I loved it.
I love the nature of their news.
(KATHY) This is terrific.
Nolan's finally going to know how good I am.
That's why I want to quit, Kathy.
There it is.
How busy are you? Just the man I want to see.
Found a body shot in the head on Baggs beach.
Not interested. He doesn't work here.
I can tell him.
This could be good. Go while it's still news.
I just got off an airplane.
Give it to her. I don't want it.
What are you talking about? She's only been out of school 3 weeks.
(KATHY) Three years.
We talk, you don't listen.
Bill, I'm burned out here.
You're not burned out, you're in a slump.
It's more than that.
Kathy, is that the weekender piece? Yes.
Save it. Storm off Puerto Rico
got upgraded to a hurricane.
Her name's Annie. Get to know her.
Can I have a minute?
I don't have a minute.
I'll have one later. Here.
Later.
I can count on it?
Hey.
Porter's going with you.
Okay, bill.
Try and get some good stills this time, Andy.
When you going to have something, doc?
Um… Tuesday, probably.
We got a softball game Sunday. Want to play?
I don't know. I just got back.
You okay? Hey.
What's the story?
Come here.
How was the trip? Not bad.
The quality of our local crime hasn't improved any.
(RAY) I hear that.
Jesus, she's just a kid. Was she raped, molested, or what?
Had her clothes on. Doc, any action?
Not likely.
Where's that jogger? Is he the guy I want to talk to?
Yeah, Ben hogan over there.
Hi. Malcolm Anderson, journal. How are you?
You run by here every day?
Couple times a week.
Uh-huh.
You must,
must really have sharp eyes, 'cause…
No, no. I was running along the beach,
and I just walked up through here,
and I almost stepped on her.
If some kid found this,
it really could have messed him up for a couple years.
Talk to you later.
Yeah, I thought about that. I got a couple of kids.
(MALCOLM) I need your name.
Listen, I'd rather you wouldn't.
I don't want to get involved in this.
No problem. Thanks a lot.
Take it easy, ray. Okay.
(CAR DOORS SLAM)
Nothing like blood, shit, and hot weather
to bring out the flies.
One of these days, I just might catch you in a bad mood.
It's not good for your health.
Come on. Give it a rest.
Is this the girl's father?
Mr. Hooks?
Blue car, sir.
You taking him down to make the I.D., ray?
Yeah. I don't think the mother's quite up to it.
Can I talk to her?
Come here.
Mrs. Hooks?
This is Malcolm Anderson from the journal.
How do you do, ma'am?
He wouldn't mind staying with you until your husband calls.
Is that all right?
Yes.
I think it'll be a good idea.
Thanks, ray.
(♫ SOFT MUSIC)
(MALCOLM) I have the feeling
that Sarah's really very popular.
(MRS. HOOKS) She is.
I don't know what Sarah's going to want to do.
I imagine 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…
And that's all we have now.
(TELEPHONE RINGS)
(RINGS)
Excuse me.
(RINGS)
Hel-hello.
(♫ SAD MUSIC)
(CAMERA SHUTTER CLICKS)
(CLICK)
I've been working behind you at my terminal.
It's good.
Really good.
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?
Didn't think it was necessary, bill.
The whole story works because of the snapshots.
Sorry.
Okay, there.
Better.
Andy, thank you.
Run it right down, will you?
So, you think this will hold your interest for a little while?
Okay? No.
Forgot to put your name on it again.
Only five minutes late.
(WIND BLOWING)
Wait for me!
(WOMAN) Try working on it at home tomorrow.
It's not really that hard
once you get the hang of it.
You'll see.
(BELL RINGS)
All right, you guys. That's it for today.
(♫ SOFT MUSIC)
(CHILD) Bye.
(WOMAN) 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.
So, 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, though.
You could have called. I was still home.
I know,
but I wanted to get at Nolan right away.
I'd like to hear about that.
In a minute.
Your mom.
(♫ SOFT MUSIC CONTINUES)
(CHRISTINE) You sure you don't have any doubts, Malcolm?
(MALCOLM) What gives you that idea?
I just want you to be sure about Colorado.
I mean, running the Greeley tribune
will never be like a job at the New York times.
I told you.
I like the town. I like the paper.
I even like your parents.
But you didn't tell Nolan you're quitting.
I had to go cover that murder.
I'll tell him in the morning,
soon as I walk in the door.
Really? Promise.
(NOLAN) It's good work, Mal.
Competition didn't do so well.
Thought about a follow-up?
Yeah.
Uh…
"Fear stalks quiet neighborhood
"in wake of teenager's murder."
Malcolm, you haven't been at this long enough
to be as burned out as you like to think you are.
I've done it, bill.
Eight years. I've done it to death.
What? What the hell does that mean?
What do… What do you want?
I don't know.
Just want Watergate, right?
I don't want to see my name in the paper
next to pictures of dead bodies anymore.
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, Mal.
I appreciate it, bill.
Mal, we're not the manufacturer.
We retail.
News gets made somewhere else.
We just sell it.
(♫ SCARY MUSIC)
Malcolm?
Aah!
Honey. Honey, wait. Honey.
Ha ha ha!
Ah… wait!
I'm glad you stopped by.
I wanted to talk to you.
Honey, did you get my other suit out of the cleaner's?
Will you listen to me? I'm serious.
(CHUCKLES)
All right.
This is serious. What?
Now, if we're really going to move,
I've got to 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!
Oh, god. What a day.
Bill, I want to talk.
Malcolm, telephone's for you.
Tell them I'll call back.
I am not your secretary.
Five seconds? I'll be there.
Anderson.
(MAN) Hello.
Yeah, hello.
Listen,
I've been reading your stories
about the murder of the young girl.
Um, well-written.
I mean, they seem very accurate.
Well, I appreciate the call,
and I am kind of busy right now.
(MAN) I have a special interest in your stories.
I see. Why is that?
Because it was me.
I killed her.
(♫ SUSPENSEFUL MUSIC)
Who is this?
(LAUGHS)
You don't really expect me to answer that, do you?
It depends on why you called.
I get 30 calls like this every day,
people claiming responsibility for anything.
What makes you so different?
Uh…
I called
because I want to help you.
How could you help me?
Her right rear pocket.
Was there something in it?
Um, I hope you're as bright
as I assumed you were.
Um…
Listen.
Can you be at your phone
at, say, 3:00?
(CRACKLE)
Hello?
(DIAL TONE)
Hey, ray.
So, you guys decided
to hold out on me, huh?
What do you want?
We got a court appearance. Make it fast.
Did you look through her clothes?
What did you find?
None of your fucking business.
Just thought you might have found 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 you? The killer.
Shit.
Come here.
He says the killer called him.
Bullshit.
What did he say? What did he sound like?
He said he left something in her pocket.
Didn't sound like anything. Could have been the red cross.
I'm trying to find out.
Was he white, black, oriental…
White, probably.
How old? Over 30.
Did he say he was going to call again?
What did you find?
No.
Take it easy. Hold on.
We got to tell him what we got.
(MAN) No. He'll just stir it up.
(RAY) He's got no reason to lie to us.
It'll be okay
this is not for publication.
You know me better than that.
I just want to know what it's about.
There was a note.
What did it say?
Raymond.
"Number one."
Now, don't go crazy on this.
(♫ SCARY MUSIC)
If this is the same guy,
you'll want to talk to me.
Wait! What have you got for us?
Nothing. What do you mean?
Call me when you get out of here.
Don't jump to any conclusions!
Hey, come on, guys. What…
Doesn't anybody have anything better to do?
(RINGS)
Anderson.
(MAN) Afraid I wouldn't call?
I wasn't certain.
Certainty, I have learned,
is something the world is in very short supply of.
Did you call and talk to the police?
Yes.
And what did they say?
There was something in her pocket.
Suppose you tell me what it was.
Ah, a true skeptic.
Notepaper. Folded once.
Two words.
"Number one."
There's going to be a number two?
And a three and 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.
Ah…
Three women and two men.
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.
Tell me about it.
Look, that's all for now.
We'll talk again after number two.
(HANGS UP)
(DIAL TONE)
(CAMERA CLICKING)
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.
There's no way of seeing where this thing could go.
It could take some kind of twist.
We could look negligent.
(JACOBY) The chance of liability?
He didn't call the paper. He called me.
Mr. Jacoby…
I think we have a chance,
let alone the obligation,
to do a piece on a sociopath who's still out there.
He's still a threat.
That's… that's our responsibility,
isn't it?
This story's going to 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 try to protect his identity in any way?
No.
Did you imply your conversation
was off the record or confidential?
No.
Make them comfortable.
Well, we have three impatient cops outside.
Oh, lovely.
Can we go talk to them?
I think we better.
Go ahead.
Thank you.
How many times has he called?
Twice.
We want a statement from Anderson
and to look at his notes.
You know better than that. No notes.
Bill, we've got a guy in the street
who's announced he's going to 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.
That's your opinion. That's a fact.
If we don't write about these guys, and get the public involved,
you'll never get them.
We'll take care of our end.
John, we can't be required
to turn over the notes
by you or the state's attorney.
I'll tell you what I know.
If this son of a bitch kills somebody else,
I'll tell the post you held back information
that could have prevented it.
We didn't say we weren't going to cooperate.
We want an arrangement that we can all live with.
How about a tap on Anderson's phone?
No way.
You won't need it.
We'll give you tapes of the conversations.
Good. Okay.
What's the deal here?
You give us whatever you get exclusively,
24 hours before the other newspapers. Uh-uh.
No. We've all got our relationships to maintain.
6 hours. 18.
10. Sold.
(♫ DRAMATIC MUSIC)
(MALCOLM ON TAPE) I just might not print this.
(MAN ON TAPE) Then you will be missing a wonderful opportunity.
I'll call someone else.
Look.
You are 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 the bastard 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 judgmental,
and I wouldn't push him into giving more
than what he wants to give.
Be patient.
Be a friend.
Hey, Steve. What are you guys doing out here?
Give us a break.
The man you talked to, the killer.
Did the killer indicate when he would call next?
Any specifics at all, Mal?
He wasn't specific.
He didn't say anything
that would narrow it down, guys.
How long did you talk to him, Mal?
10 minutes? How long was it?
How long was your conversation?
Neither one was more than a couple of minutes.
Everything I know is in the paper.
Are you going to be able to live with yourself?
(ASKING QUESTIONS)
(♫ TELEVISION NEWS THEME MUSIC)
So far, Malcolm Anderson,
a journalist with the Miami journal,
is the only person to have been contacted
by the killer of Sarah hooks,
the girl found murdered on bill Baggs beach.
Anderson has been contacted twice by the killer.
Each of the two conversations were brief,
lasting a minute or two.
It is known for sure, however, that he has established
a definite contact with Anderson
for reasons that no one has been able to determine.
Malcolm Anderson seemed somewhat reticent
to talk to reporters,
apparently confused by the media attention
that has been thrust upon him.
According to Mr. Anderson's story in the Miami journal,
neither he nor the public
has heard the last of this individual.
Although news center 7
tried to get him to elaborate…
What would you guys say?
…he refused to say anything more.
I'm Jill beach, news center 7.
Oh, I'm sorry, honey.
Were you awake?
We just… we stopped by for a beer.
Hmm.
I'm sorry, honey.
Saw you on the television.
Did you?
Mmm-hmm.
Mmm? What did you think?
I looked like a jerk, didn't I?
I just looked like such a frump!
Wait… let's talk about obnoxious.
Those guys don't give you a chance to think.
I mean, these are my friends!
When you're on 60 minutes,
you mind giving me a call?
I'd like to bring the machine home and tape it.
Oh, you think I ought to do that show?
Yeah, why not? Give them a break.
Call Morley in the morning.
I mean, call morning in the Morley.
(LAUGHING)
Come on!
(LAUGHING)
(KISSES)
Honey, will you turn off the television?
I hated the way I looked.
Honey, the television.
Ow! Shit.
Who moved this thing?
(LAUGHING)
Baby!
(LAUGHING)
(CHRISTINE) You're bad! One beer…
(LAUGHING)
(TELEPHONE RINGS)
Anderson.
(CHRISTINE) Sorry to bother you.
That's okay
I just called to say I love you.
I love you, too.
Bye.
(TELEPHONE RINGS)
(RINGS)
Anderson.
(CHRISTINE) How could I love
a small-town newspaperman?
(CHUCKLING)
(TELEPHONE RINGS)
What?
Christine, honey, I can't keep this line tied up.
(MAN) Who's Christine?
Your wife or your girlfriend?
Tested your faith, didn't I?
You were beginning to worry
I wouldn't 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 try to describe a smell?
Why?
Um…
You're going to smell something
that's going to 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 exactly what it is
without having to look.
651 nautilus. Got that?
(SIREN)
You're going to get sick, you get sick out here.
You got it?
(COUGHS)
(TELEVISION STATIC)
I'd be careful with this guy.
He knows as much about you
as you do him.
(FLIES BUZZING)
(REPORTER) Malcolm!
(REPORTERS ASKING QUESTIONS)
One at a time.
(REPORTER) You talked to the killer?
Yes. What did he say?
Look, I got a deadline to meet just like you.
Everything I know will be in tomorrow's journal.
That's it.
(REPORTERS ASKING QUESTIONS)
Getting better.
(CHRISTINE) Is your fan mail personal?
No, but it sure is nice to get some.
(TELEPHONE RINGS)
Hi.
Hello.
(MAN) Surprise.
Ha ha ha!
How did you get my home phone number?
Well, 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 going to be one there 24 hours a day.
If I wanted you or your girlfriend,
it would be so easy.
Don't worry, Malcolm.
I'm supposed to trust you?
You've got to be 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.
Um…
And, uh…
It's a lot easier to find a victim
than it is a listener.
Mmm-hmm.
Well, what about friends?
Well,
I had one friend.
Once, till the plant closed.
What… what plant was that?
An auto plant in Detroit.
A machine took his hand…
Took three fingers clean off.
That's really awful.
You, uh,
you and him keep in touch, do you?
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, yeah, but,
we're not really friends.
I want to talk about the old people now.
All right. Why did you pick them?
They were what I wanted.
They were a match… A reasonable duplication.
Was this something you've heard about or read about?
It was just like before.
I caught them on their porch.
I just stared.
(MALCOLM TYPING ON KEYBOARD)
And you know, they couldn't move.
Then, when the gun came out,
they couldn't even speak.
Fascinating, isn't it?
Malcolm?
Then I got them into the dining room,
and I put a pillow in front of the gun.
Even so, it was
much louder than I expected.
(GUNSHOTS)
(♫ EERIE MUSIC)
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
like I was invisible.
Nobody seemed to notice me.
Nobody cared!
Phew!
(MAN HANGS UP)
Hello?
Christ, I got a lot.
Appreciate it.
Hey, good stuff, Malcolm. Thanks a lot.
I liked it. Really. I read it twice.
Is… is Nolan…
Nicely done.
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?
He quits talking to me, we might never get him.
We?
Honey, I can't get away from this thing till it's over.
I gave my notice.
So did I.
(UNDER BREATH) 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?
Get away from here when we can.
Oh, come on, honey.
Oh, jeez.
Can I get the check, please?
(WAITER) Yes, sir.
(♫ SCARY MUSIC)
(GASPS)
Too many creepy cab drivers.
(LAUGHING)
When this thing is all over,
whether you end up at a 20-cent weekly in Colorado
or the New York times,
part of it stays with you.
I just wish you'd think about that.
(TELEPHONE RINGS)
(RINGS)
Hello?
(MAN) Is Malcolm Anderson there?
No, I'm sorry. He's still in the shower.
Can I have him call you?
Um, no.
Uh… 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.
(MAN) Can I talk to Malcolm?
(CHRISTINE) No. Why are you killing all these innocent people?
Give me the phone, Chris.
Malcolm, you can't talk to him.
What the hell are you doing?
Malcolm, he's sick!
Don't talk to him.
(MAN) Malcolm?
Are you there?
Just don't talk to him.
It's me.
I'm sorry I couldn't get to the phone.
Oh. 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.
(MAN HANGS UP)
Malcolm, how long are you going to let this go on?
What do you want me to do, Chris? I'm locked into this thing.
He won't talk to anybody else.
It's turned into a collaboration.
That's a real stupid thing to say.
Stupid? 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.
(THUNDER RUMBLING)
(♫ EERIE MUSIC)
(SIRENS)
How we doing here?
They're over there.
(BABY CRYING)
You're okay.
Mommy!
(CRYING)
You're okay, baby.
Tony, how you doing?
What do you mean? She's all chopped up.
Take a walk, babe. Come on.
(BABY WAILING)
We're about to talk to Malcolm Anderson,
a reporter for the Miami journal in Miami, Florida.
Recently, the series of brutal murders in his city
has somewhat changed his objectivity
because the killer has chosen to use him
as a liaison between the community,
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 W.S.V.N., our N.B.C. affiliate in Miami.
Malcolm, thanks for being with us.
My pleasure, John.
To begin with, tell us when and where
you received that first call.
Uh, it was at the journal,
and it was a few days
after they found the first body.
(JOHN) How did you react when he told you who he was?
I didn't believe him at first.
In my years of reporting,
I've had my share of peculiar calls.
(JOHN) But he convinced you.
He had knowledge of the murder and the victim
that nobody else could have had.
(JOHN) How many times have you and he talked?
(MALCOLM) Five times, John.
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 right now.
After talking to him as often as you have,
what's your sense of the relationship that's developed?
Well, "relationship", John, 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.
I mean, he called me.
(GUN COCKING)
(JOHN) Has he said why he called you in particular?
(MALCOLM) He said he liked the way I write.
(♫ EERIE MUSIC)
(TELEPHONE RINGS)
(MAN) 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, you know.
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?
(MAN ON TAPE) I really wish I could come forward
and speak for myself.
This is interesting.
Of course, I can't.
I've only been arrested once.
(MALCOLM ON TAPE) What year?
(MAN ON TAPE) Come on.
I'm already being too generous
on phones that are tapped.
(MALCOLM ON TAPE) My phone isn't tapped.
Is there any chance we'll ever meet in person?
Dumb.
(MAN ON TAPE) So you can bring the cops
and be a real hero.
Him, you arrest dead.
Well, you got to catch him first.
You get a feel for him,
figure out what he'll go after next,
and then blow his diseased brains out.
I'm going to get some American coffee.
You know, we sent a guy to Michigan,
and there's no record
of the industrial accident that he described,
not at any of the major assembly plants.
I got a 50 says he's making all this up.
You're not tapping my phone, right, ray?
No.
Good night, ray.
Yeah.
(♫ MOODY MUSIC)
Perfect. Wide open
(♫ SUSPENSEFUL MUSIC)
Whoa, whoa, whoa!
Wait! Wait! Wait a minute!
I, I, I… Por favor,
I deliver for you the paper.
What happened?
I've been with the cops all night.
I come home, and the place is wide open.
Is it too much trouble
to remember to lock the goddamn door?
I didn't even know you were gone.
I'm sorry.
I don't want to be around this anymore.
I'm sorry. I mean it. I am sorry. Don't be.
(♫ SAD MUSIC)
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.
It's getting attention, 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 know I've busted my ass for eight years.
What we've wanted is right here.
Don't you understand that?
Ever since you started the body count,
you let everything slide.
I've gotten so far away
that leaving's just a formality, Malcolm.
Honey, this is the last thing we need right now.
I said I was sorry, okay?
I heard.
Do you want a drag?
Drag, your ass.
You got to be closer than you're saying.
Sure would like everyone to think so.
You got a voice print. Got his M.O.
You know he's duplicating.
You know what part of the country he's from.
You got to be getting somewhere.
This guy's killing people
he's had no personal contact with.
Nobody he's mad at.
It's tough.
What do you guys do all day?
We run down 25 or 30 phone calls
from people who think they're living with him.
So do I.
When you write enough about somebody,
you start sounding like everybody.
I didn't expect it to last this long.
As long as he's out there, he's definitely news.
(MUMBLING) Yeah. So are you.
What are you saying to me?
I never understand what you're saying!
What's the matter with you?
I'm tired of him!
Well, you're getting in places you don't belong.
Damn it!
Hey! Walk away.
Go get him, Wilson!
Catch him so we can go home!
You're coming apart on me, Mal.
You know what happens when you come apart?
You crash, and we got nothing.
Right now, we got nothing!
You better get this guy before he kills somebody else.
I'm tired of being your contact man.
(SIGHS) Son of a bitch.
(WIND HOWLING)
"If you'd like a nice home-cooked meal
"and some quiet conversation,
"you're welcome to stop by.
"Hope to see you soon." Hmm-hmm. Okay.
(CLEARS THROAT)
"After the last killing,
"I read that the killer worked on an auto assembly line.
"I believe I remembered a guy
"from Kenosha, Wisconsin, or somewhere
"who was connected to something like this.
"You wrote the killer was duplicating other murders.
"He sounds like the one I heard about."
There is some kind of an address there.
"I'll talk to you alone,
"without anybody or police either.
"I live at paradise trailer park.
"If anybody or any cops come with you,
"I'll deny I wrote this.
"I don't want to be connected with this."
Here's the address.
I don't know. What do you think?
Give it a shot.
(SIGHS)
Why not?
(SHIP HORN BLOWS)
(♫ MOODY MUSIC)
(CLATTERING)
(COUGHS)
Excuse me.
You Mr. Anderson?
Yeah.
All alone.
Yeah, well, I think I'm glad you come.
I got to get this thing refitted down at the V.A. Hospital.
Treat you pretty good down there.
Oh, uh…
I'm just going to take a couple notes while we talk.
You don't mind, do you? Um…
(UNHOOKS LEG BRACE)
I guess. Go ahead.
I don't want my name in the paper.
I figure this guy's crazy enough,
he wouldn't think twice about wasting me.
I've been wasted enough already.
Got to hang onto what's left.
I can give you anonymity,
but the police will want to talk to you.
Let me think about that.
Well, I'm a little short on time. I'm working on a deadline.
Why don't we just start with your name?
(TURNING NOTEBOOK PAGES)
Listen, um, I've been led to believe that you people pay
for this kind of information.
I don't.
Oh, come on. It won't be much.
You know, 20? 10?
Do you have any information for me or not?
This guy's name was O'Shaughnessy,
and I met him downtown,
um, down at the salvation army.
Uh, kind of a juicer.
He was depressed all the time,
but then, he had good reason to be.
About a year ago,
uh, he lost his parents,
his wife, sister-in-law, and teenage daughter.
What happened?
His brother just went out of his head.
Got his gun, middle of the day,
and killed them all.
Put the muzzles right here,
right at the base of their skulls,
and blew their heads off.
Sound familiar to you?
You said his last name was O'Shaughnessy?
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 somewhere in my notes.
Excuse me a minute.
Yeah. Here it is.
I got to take myself a piss.
(FLY BUZZING)
Uh, listen, this is really good.
That's really all I need.
(URINATING)
I got to get your name for legal reasons.
Mike Hilson, spec four,
honorably discharged April 1, 1971.
Uh-huh. Is that h-i-l-s-o-n?
(MAN) That's right.
(CHUCKLES) Killed me some slopes with this.
It's no good at a distance, you know, but
when you drop them with the m-16,
this will stop them wriggling.
Go ahead. Click it if you want.
Firing pin's out because my nephew likes to play with it when he comes over to visit.
You don't need to tell me it's a lousy toy for a kid.
(CLICK)
(GROANS) Fucking leg.
Sometimes I wish I was paralyzed all the way.
Then the V.A. Would have to give me an extra 60 bucks a month.
Thanks, Mike.
Look, if there's anything I can do
to help you out down at the V.A.,
just give me a call, okay?
Thank you very much.
Take care of yourself.
Hey, thanks a lot.
(GROANS)
We ought to throw you in jail for obstructing justice.
You should have called me, Mal,
after you put this story to bed.
I had enough confirmation for a story
but not for you.
That's not your decision, man!
Just give me the guy's address.
We got problems. What?
According to American motors,
they never employed an Albert O'Shaughnessy.
The Pentagon says there was no spec four
named Michael Hilson discharged April 1, 1971.
I think we've been screwed.
April 1st?
April fools'?
You said you wanted to meet him face-to-face. Remember that?
What?
(MAN ON TAPE RECORDER) I certainly enjoyed our little chat.
I hope we can meet under more favorable circumstances in the future.
(MANIACAL LAUGHTER)
I'm sorry.
But you did want to meet in person. Malcolm.
You told me that yourself.
Heh heh heh!
Four down, one to go.
(MANIACAL LAUGHTER)
(SHUTS OFF TAPE RECORDER)
Hell of a deal.
(SIGHS)
(♫ MOODY MUSIC)
We could have had him.
Seal it off.
Okay, people, help us out.
Let's move it back here.
Move it back now, please.
(POLICE RADIO TRANSMITTING)
(NOLAN) You're going to take a public whipping like no one's ever seen.
I have absolutely no idea how to write this.
I better go.
Yeah.
When you finish with their artist,
bring back a copy of the sketch.
I'll keep working on it.
(TELEPHONE RINGS)
Anderson.
(MAN) 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.
You did. Now you can 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?
(♫ SUSPENSEFUL MUSIC)
I study people, too, hmm?
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?
(CLICKS RECEIVER)
Hey. Whoa!
Hey, Mal!
Oh!
What the hell's the matter with him?
(CHRISTINE STARTING ENGINE)
(ENGINE GRINDS)
Would you like me to take a look?
Oh, sure. Please.
I don't know what's wrong with it.
It was fine this morning.
Well, this isn't my field, you know,
but sometimes I get lucky.
(TIRES SQUEAL)
(SIREN)
(BRAKES SQUEAL)
Oh!
(HORNS HONKING)
(ENGINE GRINDS)
Okay, try it again.
(ENGINE GRINDS)
(SIREN)
Get a perimeter here! Come with me!
(POLICEMAN) Sid, cover the back!
Where's Christine Connelly?
I don't know.
I saw her out in the hall
talking to someone a few minutes ago.
Who?
Man, are you trying to get somebody killed?
What's wrong?
Just anybody can walk around your goddamn school?
Hey! Enough!
Did you see them leave, ma'am?
(THUD)
Stay here! Hey!
(♫ SUSPENSEFUL MUSIC)
(SIGHS)
Come on out.
It's okay now.
We're just looking for the bad guys.
Crayons, huh? So that's it.
Oh!
Sorry, kid.
Mal…
(SIGHS)
This guy here is… He's all flash.
She's okay, Mal.
You think so, right?
Yes.
If he's duplicating those five killings,
then he's already accounted for all the women.
She's okay
(♫ SUSPENSEFUL MUSIC)
Have you ever noticed
that the older you get,
the smaller you become?
(MUFFLED) I mean…
When I was a little kid,
the block we lived on
was the whole world to me.
But…
I knew everybody.
I was significant, even important.
Are you going to kill me?
Let's try to keep these things as abstract as possible.
Okay?
(GASPS) Apple?
No.
(GRUNTS)
I want you to understand something.
What?
You're killing people
because you want to be noticed.
You want to feel significant? Ha ha!
Hey, as a teacher,
your range of comprehension could be improved.
I'm sorry.
For the most part,
good behavior goes unnoticed.
Oh, never mind. What do you care?
I do care!
Just tell me what you want understood!
Just tell me what you want!
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.
(GUNSHOT)
(TELEPHONE RINGS)
Just give it a couple of full rings.
(RINGS)
It's Nolan.
(SIGHS)
Okay.
Some guy who's been following my stories
just walked into the journal.
He thinks he knows the killer.
He says he knows him well.
Tell him we're on our way.
What if the call comes here?
He knows where to reach you. He always has.
10 minutes.
Uh, look, uh…
Maybe this isn't the right person, you know.
It seemed like a weird coincidence to me
when I read my name in that story
that you got from the guy at the trailer.
Those five murders he told you about
sound like a series of murders
that happened in Chicago a few years ago.
I was working at a state-funded halfway house at the time
for dopers, alcoholics, mental hospital dischargees.
Some character stumbles into my office.
He says he's the guy that killed those five people in Chicago.
He says he went to the cops and turned himself in,
but they chased him out
because some psychiatrist decided that he was somebody
that got off making confessions, and, uh,
he needed the headlines.
Is that what you thought?
Well, I went down to the precinct with him
and listened to his story,
and it sounded straight to me.
It turned out, though, that he did have a history of false confessions.
(O'SHAUGHNESSY CHUCKLES)
He was pissed, though. I mean, he was pissed.
He figured he finally did something,
then somebody else got the credit.
Well, after the visit to the police,
he kept coming around?
No. He, uh… He calls one more time after things quiet down,
and he wants to thank me for being so unselfish.
And then he, uh…
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?
Uh, yeah. Alan Delour.
(RAY) Sounds like our man.
(♫ DRAMATIC MUSIC)
(SIREN)
Lieutenant, no one up here.
Okay, it's clear.
There's nobody up there.
Perimeter people, bring it on in.
Missed him again.
Hey.
We'll be there, ray, around the corner.
Doesn't look like there was anybody there all night.
Raymond.
I'm going to get Mal in here.
(STARTS TAPE PLAYER)
(DELOUR ON TAPE) This is for Malcolm.
You've gotten this far, so you know who I am.
Anderson.
(REPORTERS ASKING QUESTIONS)
She's not in there.
No, but he's our guy.
He left a tape for you, Mal.
(REPORTER) What do you think, Malcolm? Come on!
Upstairs.
We'll be outside.
Come on.
(DELOUR ON TAPE) 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… I'm very sorry about your girlfriend,
but you got so much from all this.
You must have known there would be a price.
(♫ SAD MUSIC)
When I've made my mind up how it ends, I'll call.
Oh, and please spell my name right.
Alan with one "L,"
Delour, D-E-L-O-U-R.
Thanks for everything.
(♫ DRAMATIC MUSIC)
Hey, could I have some privacy?
(TELEPHONE RINGS)
(ALAN) Malcolm?
What's the matter, Alan? Nobody else to talk to?
Wouldn't 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.
(THUNDER)
(♫ DRAMATIC MUSIC)
Go!
(POLICEMAN) Take the right flank!
Over here. We found a Navy boat.
(POLICEMAN) Over here he's running away!
Straight ahead.
We've made contact with the suspect.
You two, circle that side.
You, come with me.
(GUNSHOTS)
(RAY) No shooting. He has a hostage.
(SHOUTING OVER WIND) 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 ruined everything!
Where is she, Alan?
It's too late!
Goddamn you, Anderson!
Goddamn you to hell!
Alan!
(GUNSHOT)
Alan!
Christine!
(♫ DRAMATIC MUSIC)
Where is she?
Mal!
Mal, he's dead!
They found her! They found her! Where?
She's okay just straight back. Straight back.
Get him out of there.
Move him!
Stay here. I don't want anybody touching him.
Damn it!
(♫ SOFT MUSIC)
(REPORTER) Hey, Mal! Did he rape her?
(REPORTERS ASKING QUESTIONS)
Did you let him get away, lieutenant?
Listen, jerk! Stand back!
It's over.
(THUNDER)
That stuff stings.
(DOOR BLOWS OPEN)
(WIND CHIME RINGING)
I better tie the place down.
I'm going to get some aspirin.
(CREAKING)
(CREAK)
(♫ DRAMATIC MUSIC)
(GLASS SHATTERS)
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.
Shut up? I can't shut up. I still need a story.
You were the story. That's the problem.
Somehow, somewhere along the line,
you stole it away from me.
(CHRISTINE) Malcolm? Don't come in!
He's in here, Christine. Come on.
(CHRISTINE GROANS)
Just… 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?
I mean, 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, Alan.
I'm not going anywhere.
(ALAN) Christine.
(HYSTERICAL) What? What do you want?
(MALCOLM) All right, Alan. All right.
So, when they come and find the bodies, who gets to tell the story?
(ALAN) They'll find somebody.
(MALCOLM) He won't tell it like I can.
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 videotape.
It will be on every TV station in the country.
I'll turn the machine on…
Don't! Don't do anything. Just listen to me.
This is good for you, and it's good for me!
We got the camera right here.
We got lights. We got the equipment. We're all set.
Don't move!
I'm not moving. I'm right here.
All we have to do…
(♫ DRAMATIC MUSIC)
(CHRISTINE) Malcolm!
Call the police.
(CLICKING TELEPHONE)
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.
Ha! Just like me.
This story is too big.
Shoot him!
You won't shoot me, my friend.
I'm safe.
Don't take another… (GUNSHOT)
(THUD)
(CRYING)
(TYPING)
You didn't put your name on it.
(TYPING)
(♫ SOFT MUSIC)
I love you.
Let's go.