A young woman named Sarah Hooks is shot, execution-style, on the beach in Miami, Florida. Reporter Malcolm Anderson wants to quit his job at the Miami Journal, but is assigned by his editor, Bill Nolan, to cover the murder. Anderson goes to the scene of the crime with press photographer Andy Porter, then to the Hooks residence. Mrs. Hooks shows him the family photo album. Anderson contemplates taking Sarah’s picture, but puts it back before leaving. However, Andy grabs it and follows Anderson out. Back at the Miami Journal, Nolan is upset when he discovers that Anderson did not filch a photo of the victim, but is mollified when Andy hands him the stolen snapshot. That night, Anderson’s girl friend, a schoolteacher named Christine Connelly, asks if he definitely wants to give up the life of a big-city reporter to take the job he has been offered at the Greeley Tribune in Greeley, Colorado. He assures her yes, and promises to give his resignation in the morning. The following day, Nolan tells Anderson he has not worked long enough to have burned out, and asks what the reporter wants. Anderson alludes to his desire to be a celebrated star reporter, then adds, “I just don’t want to see my name next to pictures of dead bodies anymore.” Later, Anderson advises Christine to give notice at her school, since they are definitely moving to Colorado. At his office the next morning, he receives a call from a man who claims to be Sarah’s killer. To prove it, the man mentions there was something in Sarah’s left rear pocket when she died. He asks Anderson to be by his phone at 3:00 p.m., and hangs up. Anderson speaks with police detective Ray Martinez, asking if something was found in the victim’s right back pocket. When prompted, he admits that he spoke to a man claiming to be the killer and offers a trade: if the police tell him what was in Sarah’s pocket, he will tell them when the killer will call again. Reluctantly, Ray admits there was a note, which read “Number 1.” At the newspaper office, shortly after 3:00 p.m., with Anderson’s phone wired to record the conversation, the killer calls. He says there will be five more victims, three women and two men, but he has not yet chosen them. Afterward, at a meeting with the newspaper’s executives and publisher, Anderson and Nolan discuss the pros and cons of printing the story. Anderson argues they have an obligation to warn the public of the killer’s intentions. A cooperative agreement with the police is worked out: the paper will not turn over Anderson’s notes, but they will turn over recordings of his conversations with the alleged killer; in turn, the police will give the paper “an exclusive” on developments related to the case. Ray Martinez plays a tape recording of the killer’s call for a psychiatrist, hoping to secure a profile of the suspect, but the doctor cannot tell much from one recording, and suggests that Anderson be patient and non-judgmental in dealing with the killer. When the story of the killer’s conversations with Anderson breaks, the reporter is sought after by other journalists, but he avoids answering their questions. Soon, the killer calls and directs Anderson to 651 Nautilus, where two murder victims are found. When questioned by reporters, Anderson tells them he is on deadline and that everything he knows will be in tomorrow’s Miami Journal . The killer calls Anderson’s unlisted home number, and admits to stealing his mail. When Anderson asks if he has any friends, the killer replies that he had one before the automobile plant closed, but the man lost his hand in an accident. Anderson inquires whether or not they are still in touch, and the killer accuses him of trying to suss out his identity. He would rather talk about his latest victims, whom he murdered because they were alone and unattached. After killing them, he says he walked the streets covered in blood, and nobody noticed or cared. Anderson continues writing stories about the murderer, and his coverage makes national news. One night, Anderson and Christine argue over dinner. He tells her he cannot quit his job before the assignment is finished, and she wonders if he is reporting or participating in the news. In the morning, the phone rings at Anderson’s home, and Christine picks up. Realizing it is the killer, she tries to stop Anderson from taking the phone, but he wrests it from her. The killer tells him of a fourth victim. When he hangs up, Christine accuses Anderson of collaborating with a murderer. Anderson and the police arrive at the scene, where they find a mother slain, but her young daughter spared. Anderson is interviewed on television. Afterward, the killer calls to complain that he is doing all the work, but Anderson is getting the attention. When he plays a tape recording of the conversation for police, Ray Martinez tells him they have checked all the major automobile assembly plants in the country, and there is no record of an accident like the killer described. Anderson arrives home to find his door wide open and thinks he sees a stalker in the garden. He nearly smashes the man in the head with a baseball bat, but it is a newspaper deliveryman. At the police station, Anderson says he is tired of being the contact man. Later, he and his photographer go through letters from readers. One says that the description of the killer as an autoworker reminds the writer of someone he met in Kenosha, Wisconsin. Anderson goes to the trailer park address of the letter writer, who tells him about Albert O’Shaughnessy, an American Motors auto assembly line worker who was depressed because he lost his mother, father, wife, sister-in-law and teenaged daughter, all of whom were supposedly shot by O’Shaughnessy’s brother. The letter writer identifies himself as Michael Wilson, and says he was discharged from the Army on April 1, 1971. Anderson’s latest story goes to press before Nolan discovers that American Motors never employed an Albert O’Shaughnessy, and no one named Wilson was discharged from the Army on April 1, 1971. Anderson realizes that Wilson’s story was an April Fools joke. When he and the cops arrive at Wilson’s trailer, they find a tape recording in which the informant reveals himself to be the killer. Back at the paper, another call arrives. Anderson tells the killer he wants no more part in the story, but is told that no one is safe. The killer alludes to Christine and hangs up. Anderson races out of the office. Meanwhile, Christine’s car will not start in the school parking lot. Posing as a substitute teacher, the killer offers help. Anderson arrives to find Christine’s car parked, and empty. In the Everglades, the killer explains his motives to the captive Christine. He feels invisible and believes if someone lives a good life, no one will take note. At the Miami Journal office, a new informant arrives, identifying himself as the real Albert O’Shaughnessy. The man saw his name in Anderson’s story and was reminded of a similar series of murders in Chicago, Illinois. There, a man named Alan Delour came to the halfway house where O’Shaughnessy worked and confessed to the murders, but the cops dismissed it as a false confession by someone who just wanted attention. A police SWAT team surrounds Delour’s residence, but no one is home. However, the killer has left another tape recording, apologizing for harming Christine, but arguing that Anderson must have realized there would be a price to pay. Later, Anderson receives another call from the killer, who offers to take him in exchange for Christine. He directs the reporter to a spot in the Everglades, but warns him not to bring police. Anderson arrives by propeller boat with Ray and the SWAT team. The killer shoots, cursing Anderson for ruining everything. Anderson chases him into the brush, hears a gunshot, and finds the body of a man with his face shot off. The cops catch up and inform Anderson that Christine is safe. Back at home, Anderson and Christine attempt to forget recent events, when a storm hits. The killer breaks in, and accuses Anderson of “becoming the story.” The lights go out, and Anderson attempts to calm the killer by saying he will videotape his story for television. He finds a flashlight and shines it in the killer’s face, and in the ensuing fight, the murderer drops his gun. Anderson points it at the killer, who observes that Anderson will not dare pull the trigger because they need each other. At Christine’s urging, Anderson shoots him. Sometime later, as he writes his final story for the Miami Journal , Christine points out that he has not signed his name. He types in: “Malcolm Anderson, Managing Editor, Greeley Tribune.