Point Blank Page #2

Synopsis: Mal Reese is in a real bind - owing a good deal of money to his organized crime bosses - and gets his friend Walker to join him in a heist. It goes off without a hitch but when Reese realizes the take isn't as large as he had hoped, he kills Walker - or so he thinks. Some time later, Walker decides the time has come get his share of the money and starts with his ex-wife Lynne who took up with Reese after the shooting. That leads him on a trail - to his wife's sister Chris, to Reese himself, then onto Big Stegmam, then Frederick Carter and on and up the line of gangsters all in an effort to get money from people who simply won't acknowledge that he's owed anything.
Genre: Crime, Thriller
Director(s): John Boorman
Production: MGM Home Entertainment
  1 win.
 
IMDB:
7.4
Rotten Tomatoes:
97%
NOT RATED
Year:
1967
92 min
663 Views


Take a look right up that line.

Picture yourself behind that wheel.

Mind if I hear my commercial?

No, go right ahead.

- Stereo. Pretty good, huh?

- Yeah.

How's the power steering work?

Get it over.

Are you crazy?

- Where can I find Reese?

- What's he got to do with this?

What're you doing to my car?

What I did to your delivery boy.

- What are you talking about?

- You know. Tell me!

I can't tell you!

Stop it.

Who the hell are you, anyway?

My name's Walker. Where do I find Reese?

I've got nothing to do with Reese!

I know about you, Walker.

How's your wife?

- She's dead.

- And her sister?

Chris? What about her?

She's with Reese now!

He nailed both sisters.

How does that grab you?

Where's Reese?

Big John loves cars. Come on in.

Pay us a visit.

Get up.

... four-door sedan and only...

Where's Chris?

She runs a club.

A place called the Movie House.

You'll love my guarantee.

Come on in to Big John's Car Lot.

Remember, Big John loves cars.

You'll love my guarantee.

You'll love my cars at Big John's.

Did I exaggerate?

- He did that, huh?

- With me in it.

- You sure it was him?

- It was him.

- Tall? Big man?

- I know him, Mal.

- You didn't tell him anything?

- I didn't tell him anything.

Would I tell him anything?

You're sure you told him nothing?

This says I didn't.

- Then why didn't he kill you?

- He killed the car.

You didn't give him something?

- A name?

- I told him you were in Frisco.

Smart boy.

Just don't hold out on me.

You can trust me, Mal.

You had him and you let him go.

Find him again.

- Find him?

- I don't care how you do it. Just do it.

- Mal, come on.

- Shut up.

Now, you find him.

And you finish him.

How are you, Sandy?

Walker, are you still alive?

Are you?

Where's Chris?

She's off tonight.

Write down her address for me, huh?

Thought I'd see you.

Why?

Some guy. Asking for you.

Is there another way out of this joint?

Back of the stage.

Sandra, see you around, huh?

Do come.

Walker?

Where's Reese?

You're supposed to be dead.

Lynne said so.

She's dead.

Lynne?

- You?

- No. Her.

- Those.

- I'm not sleeping.

I heard you're running with Reese.

Well, you heard wrong.

Does he want you?

- Sure he does.

- Do you want him?

He makes my flesh crawl.

I want him.

You were always the best thing

about Lynne.

Why don't you want him?

I don't want any of them.

I was going with a guy.

Owned a club, jazz club...

Yeah, the Movie House.

It was different then.

It was a good jazz club.

The Organization wanted to...

become his partner.

- And?

- And, he...

killed him.

I run it. I run the club now.

Oh, boy! Do I pay.

You know, I loved him.

Why?

Pay?

Got to make a living.

The Organization?

And Mal Reese.

What do you want from me?

Reese.

He owes me money.

Lynne and money.

You fix your face.

I've got an extra room,

you can stay here if you want to.

Reese.

I'll get him for you.

- Well?

- Nothing.

I got guys out all night looking for him.

Not a sign of him.

Everything humanly possible, Mal.

- See you at noon.

- You...

Don't get lost.

Yes, Mr. Carter.

You can go in now, Mr. Reese.

The usual formalities, Mr. Reese.

Nice and high.

There you go.

Three copies to them

and two up to Santa Barbara.

Three copies to Santa Barbara?

I said two.

What the hell

are you fooling around with now?

There's a lot at stake, Mr. Carter.

That's why I came to you.

- That's why I must...

- Must? There's no must about it.

I'd be grateful for anything you could do.

You're trouble. I've always thought so.

I was against taking you back in,

but I was overruled.

Wherever you go, trouble finds you out.

I certainly would appreciate

anything you could do for me.

What's his name?

Walker.

What's his first name?

He never called himself anything but that.

I've known him for years.

Not even his wife.

Wife have something to do

with his grudge?

Yeah.

Figures.

You know, that mess you got us into

last year cost us $150,000.

That's what Walker's here for, isn't it?

The money you paid us back.

Only $93,000 belonged to him.

Only $93,000?

What's the story?

A job, Mr. Carter.

You remember the Alcatraz run?

The one I brought into the Organization.

Walker was one of the men you held up?

No, he was with me.

You took his share, too, is that it?

I needed all of it to pay you back.

You left with Walker's share and his wife.

- She still with you?

- He killed her.

You shouldn't have left him alive.

Does he know where you are?

No, but he's looking.

Fine. I'll tell you what we'll do.

We'll let him know where you are.

He'll come for you, won't he?

They're waiting.

It's a setup.

They're spreading the word now.

They want you to try and get him.

Where is he?

The Huntley.

A place run by the Organization.

- Where would he be?

- All the way up. The penthouse.

He always uses it.

What's it like?

Fort Knox.

You've been there?

Once. To see Lynne.

- What's that? An apartment house?

- Yeah.

Residential.

That goes up to the top?

There's another elevator inside the lobby.

It goes up to the other penthouse.

They got two?

- What's the roof like?

- Flat, open.

Look at it. Men everywhere.

You're going to have a lot of trouble

getting in...

but you'll never get out.

- He has to come out sometime.

- Yeah.

How bad does he want you, Chris?

I don't know.

- Who knows?

- Yeah, you know. How bad?

Pretty bad, I guess.

Bad enough to let you through,

into the Huntley?

Why should I?

It's up to you.

- Mr. Reese, please.

- Right over there.

This way to Heaven.

We have a saying in Brazil.

He says to go on up.

It says...

Which means, ''God is Brazilian.''

So you see,

we have no worry in the world.

- Of course, you have to worry some.

- Why?

That's the way of life.

Hello, Mal.

Go on in, honey.

Are these all right?

Yeah, that'll do fine.

Now, tie yourselves up.

No, not individually, together.

Well, Cinderella...

I was beginning to think

you'd never come for you shoe.

Here I am.

What made you change your mind?

It's a woman's privilege.

All good things come to those who wait.

Then, I win first prize.

Scotch?

Scotch is fine.

Do you know how long

I've been hung up on you?

The first time I saw you with Lynne.

I've some business to settle here first.

Then we'll go to New York.

- You take empty bags.

- Sure, Mal.

Operator? Give me the police.

This is an emergency.

Wait till they answer.

Sir, help me, please. I'm being attacked.

Ferguson, yes. 2291, Western.

Across from the Huntley. Second floor.

Please, for God's sakes hurry up!

- Is that all right?

- That was fine, thank you.

Have you seen Lynne lately?

You know about her and me.

You girls ought to kiss and make up.

I haven't seen her.

Not since the two of you...

You ever meet Walker?

A couple of times.

Didn't he die or something?

About a year ago.

- What's going on?

- It's okay, Mal.

It's across the way.

- What goes?

- It's across the street.

It's all right!

- What do we do?

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Alexander Jacobs

Alexander Jacobs (1927–26 October 1979) was a screenwriter best known for his work in the action field. His writing style for Point Blank was very influential on Walter Hill. more…

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Submitted on August 05, 2018

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