All language subtitles for The.Mean.Season.1985.1080p.BluRay.H264.AAC-RARBG.Eng

(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?

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)

(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)

(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.

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)

(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.

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)

(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!

MALCOLM!

MALCOLM!

MALCOLM!

MALCOLM!

MALCOLM!

MALCOLM!

MALCOLM!

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.