Plot
In Seattle, Washington 1974, law student Ted Bundy (Michael Reilly Burke) appears to be the typical friendly guy-next-door, but underneath this gentle facade lies a beast. After he had first watched young women through their windows while masturbating, he finally commits his first murder. From there, he always manages to lure a young woman to his car by faking a broken arm or an illness then asking for help or by disguising himself as a police officer. Then he knocks her unconscious with a tool, ties her up and drives her to an arranged location where he rapes and murders her. Driving his yellow VW Beetle, he leaves a bloody trail through the USA. The police are left in the dark, for no-one suspects the model student and politically active man.
In 1975, one of his victims, Tina Gabler, escapes him when she throws herself from his moving car. Based on her description of his car Bundy is stopped by a police officer and arrested. In his trunk, the officers found pantyhose masks, a hand saw, a crowbar, knives, ropes and handcuffs. Even though he is identified by Tina Gabler in a lineup, he denies ever having seen the woman. When he is visited by his girlfriend at the Colorado State Prison, he admits to her that charges were brought against him for multiple murders, but stresses the fact that there was no evidence, however, and that one could never convict him; at this point she distanced herself from him. Due to his wish to defend himself, he is granted access to the law library, from which he escapes out of an upper story window. He is jailed again after an auto theft, but manages to escape again months later. This time he overpowers four women in their home and brutally beats them. After the murder of a little girl he becomes heavily intoxicated and is recognized by a police officer and arrested after a short chase. At court the judge decides that Ted will be executed by a current of electricity. After a brief chat on the phone, he makes a final statement before dying.
Read more about this topic: Ted Bundy (film)
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“Those blessed structures, plot and rhyme—
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I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)