Blow Out Page #5

Synopsis: This stylish Brian De Palma thriller plays off the theme of the unsuspecting witness who discovers a crime and is thereby put in grave danger, but with a novel twist. Jack Terry is a master sound recordist who works on grade-B horror movies. Late one evening, he is recording sounds for use in his movies when he hears something unexpected through his sound equipment and records it. Curiosity gets the better of him when the media become involved, and he begins to unravel the pieces of a nefarious conspiracy. As he struggles to survive against his shadowy enemies and expose the truth, he does not know whom he can trust.
Genre: Mystery, Thriller
Director(s): Brian De Palma
Production: Filmways Pictures
  2 nominations.
 
IMDB:
7.4
Metacritic:
85
Rotten Tomatoes:
87%
R
Year:
1981
107 min
Website
2,363 Views


for the first reel!

Yes!

Why don't you answer your phone?

It's the police.

- Who's been in here today?

- Some guy...

- What guy?!

- I don't think I like your tone of voice.

- Yes?

- What is wrong with you?

- What?

- Your f***in' tape had nothin' on it.

All my tapes are blank.

I don't get you. First you feed me

all this nutty assassination sh*t.

Then you give me a blank tape. What for?

Because somebody erased it!

They've erased all my tapes!

Oh. Oh, yeah. "They" -

they erased your tapes.

Are they gonna be tryin' to kill you next?

You're f***in' nuts.

Sally? It's Jack.

Listen to me. I have to show you

that film that I made.

So just stay there. I'm coming right over.

- Is Jack Terry here?

- Sure.

- Frank Donahue. Channel...

- Debby.

- There he is now.

- Jack! How are you? I'm Frank Donahue.

- Eye on the City News.

- Oh, yes. Yes.

- Could I talk to you?

- No. Not right now.

Come on. Two minutes. That's all I need.

I came all the way here. Two minutes.

- What do you wanna talk about?

- It's sort of private.

Can we go back here and talk?

- Uh... yeah.

- Great, great.

So you make movies here, huh? I think

I'm a frustrated actor myself, Jack.

What do you want?

You told the police that someone

shot out the tyre on McRyan's car.

- Who told you that? Who told you?

- Jack, that's not important.

I'm a reporter. I've got my sources.

Why would a guy like you be interested in

some kind of assassination nut like me?

Jack, I don't think...

- Can we talk in here?

- No. No, no, no. Over here.

What do you mean, a nut?

I don't think you're a nut.

That's why I'm here.

I've looked into this thing,

and a helluva lot of things don't add up

about this... what are the cops

calling it-a freak accident?

I mean, that girl-everyone's pretending

she wasn't in the car. You saw her.

What else did your source say?

Well, among other things,

that you recorded that gunshot.

Great work, Jack.

I'd sure like to hear the tape.

- I could've made it in a recording studio.

- Well, you could have but...

I don't think you did.

I think you got a tape, Jack,

and I think it's the real thing.

Let me put you on the air. Tell everybody

what you saw that night, what you heard.

And then-boom! We play that tape.

It's a great story. What do you think?

- It's bullshit. Nobody'd believe it.

- Hey! Frank Donahue believes it.

And he's got eight million people

every night that watch him.

Go along with me. I guarantee you,

by 8.30 tomorrow night,

every one of those eight million sons of

b*tches will believe Jack Terry's story.

Yeah, that's what I heard.

Just before the tyre blew out.

You're right. It was a shot.

- You took this to the police, huh?

- Yes. I gave them a copy.

They sent it to the lab and it was blank.

- So somebody's erased it.

- Are you sure?

I transferred it myself, I played it back and

now it's blank, like the rest of my tapes!

OK! Calm down. The sound is very clear.

It's the picture that's a little fuzzy.

Sh*t. They'd say I made it up in the lab,

and they'd be right.

Whoever's in on this has contacts with

the police. They want McRyan to vanish.

They don't wanna hear about my gunshot.

- Gee, what are you gonna do?

- What?

- What are you gonna do?

- You mean, what are we gonna do?

- What do I have to do with this?

- Cut the sh*t, Sally.

- I know what you were doin' in that car.

- What do you know?

You and Karp were settin' up

McRyan for blackmail,

gettin' scummy pictures of him

gettin' laid after the Liberty Ball.

You tell him running water

under a well-lit bridge gets you hot?

- Who told you that?

- I saw your motel candid-camera shots.

You got nice tits. Who was paying you

to flash 'em for McRyan?

I wasn't in the car.

Or haven't you read the papers?

Henry's cover-up won't last. I just talked

to a reporter who knows everything.

They have erased my tapes, they've made

you disappear, and next it's gonna be me.

- But I'm not disappearin'.

- Yeah? I am.

- It could be permanent.

- What do you mean?

- We did meet in a car wreck under water.

- But that was an accident.

- Manny wouldn't get me hurt.

- Didn't he get you into the car?

- Yeah, but he didn't know...

- He didn't know the tyre'd be shot out.

- He couldn't have.

- Come on, Sally!

If I hadn't been there to pull you out of the

river, you'd be dead now! Don't you get it?

Sit down. Come on.

I wanna hear everything.

Just start right from the top. Come on.

It was just a job, like all the others. I'd get

'em into bed and Manny'd get it on film.

Them. Who's "them"?

Husbands, city officials,

mostly small-town guys.

Why?

- The money.

- Oh, you need the money that bad?

Come on. You know where I work.

I get paid to smile my ass off and show

the 27 different lipsticks they're pushin'.

You know how much I make?

Sh*t is what I make. And I can't type.

So it doesn't leave

a helluva lot, you know?

So I did it.

I didn't really have to

do anything like screw 'em.

- Just make it embarrassing. I know.

- Yeah, right.

Manny said if a guy stuck his hand in the

cookie jar, he deserves to get it cut off.

Can't cheat an honest man, right?

I guess I wanted to believe it.

It just made it easier.

- OK. McRyan. What about him?

- Manny got me into the Liberty Ball.

I went over to McRyan, told him how great

he was, and he was very hot to show me.

So we slipped out the back

and took off in his car.

- Who hired Manny to take these pictures?

- I don't know.

Don't you think Manny knew that his

client was planning to shoot out the tyre?

No.

- It wouldn't pay to tell you, would it?

- Manny wouldn't do that.

- Didn't he wanna make an extra buck?

- Yeah.

Cos he's makin' big bucks now.

What's your cut?

- I got paid.

- Underpaid, probably.

- What do you care?

- I'm sick of bein' f***ed by these guys!

First Henry gets me to shut up to preserve

the reputation of the great governor.

Then I find instead of gettin' laid he gets

murdered, and nobody wants to know.

Nobody wants to know about conspiracy!

I don't get it!

Let me tell you somethin'.

I know what I heard and what I saw.

I'll make sure everyone in this

f***in' country hears and sees it too.

And you're gonna help me. You find

your pal Karp and get that original film.

This isn't any good. I need the original.

Cos if we don't get this on television for

everybody to see, they'll close the book.

And any loose ends, like you or me,

are gonna be cut right off.

You got your choice:

you can be crazy or dead. Either will do.

All right. I'll try and get the film. Then will

you just leave me alone about all this?

I wish I was the only one

you had to worry about!

- You're doin' a good job of scarin' me.

- I'm tryin' to save our asses!

I'll look after my own ass, thank you.

- Things aren't adding up, Manny.

- Yeah? Like what?

- There you go.

- How did I end up in that car?

Come on, sit down. Have a seat.

How did I end up in that car

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Brian De Palma

Brian Russell De Palma (born September 11, 1940) is an American film director and screenwriter. In a career spanning over 50 years, he is best known for his work in genres such as suspense, psychological thriller, and crime drama. His prominent films include mainstream box office hits such as Carrie (1976), Dressed to Kill (1980), Scarface (1983), The Untouchables (1987), and Mission: Impossible (1996), as well as cult favorites such as Sisters (1973), Blow Out (1981), Body Double (1984), Carlito's Way (1993), Femme Fatale (2002) and Redacted (2007).De Palma is often cited as a leading member of the New Hollywood generation of film directors. His directing style often makes use of quotations from other films or cinematic styles, and bears the influence of filmmakers such as Alfred Hitchcock and Jean-Luc Godard. His films have frequently garnered controversy for their violence and sexual content, but have also been championed by prominent critics such as Roger Ebert and Pauline Kael. more…

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Submitted on August 05, 2018

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