Point Blank Page #3

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
654 Views


- Tell him.

Who died? Who was attacked?

- Mike.

- Yeah?

- A couple of clowns got held up.

- Is that all?

Mal, could we close the curtains?

Sure.

It's a great view from up here.

Get up!

You okay, Mal?

Yeah.

- What're you going to do?

- I want you to come with me.

- What for?

- I want my $93,000.

You don't stand a chance.

Wake up.

Wake up. Don't go to sleep. Come on.

On your feet. Let's go.

- Let me get dressed.

- I want you this way.

- My money.

- I've given it all to the Organization.

- Who has it?

- There's no one man.

If you go high, there's always one man.

No, it's not like that. It's a big operation!

Names, Mal.

Fairfax.

Brewster.

Carter. Come on, kill me.

Who do you work for?

Carter. Come on, Walker, kill me.

Where do I find him?

It won't do you any good.

He's got protection.

Where do I find him?

- I can't remember.

- What do you mean?

- I remember now.

- Where?

Stuart Building.

He's got offices there.

It's called the Multiplex Company.

On the 12th floor.

What's to keep me from getting him?

No one gets in there

without being searched.

Stop worrying about me.

Worry about yourself.

I'll tell you what I'll do. I'll get it for you.

But you've got to trust me.

Trust me, Walker. Trust me!

You...

You're my friend, Walker.

You're my last chance.

I'm taking you to Carter.

We're going to do this one together.

Sure we will, Walker! We'll live forever!

Mal?

Drop it!

Don't shoot!

Save me!

Don't shoot us!

What's the trouble here?

Who are you trying to kill?

My leg! My knee! Stop!

Take it easy!

My knee!

What's happened?

Come on.

I saw it, the ambulance, and everything.

Yeah, he fell.

You let him fall? You should've killed him.

You owe it to yourself.

This money belonged to your sister.

You'd better take it.

You died at Alcatraz, all right.

- Goodbye, Walker.

- Yeah, goodbye, Chris.

Yes, I'd like the number

of the Multiplex Products Company.

That's in Los Angeles.

If you're looking for Carter,

I might be able to help you.

Fred? Helen?

- Did I interrupt you? I'm so sorry.

- Fred? Excellent.

Mr. Carter, I want something from you.

- What's that?

- My $93,000.

- Yeah?

- Yeah, it's my money.

- Fred, call me in the morning.

- Yes, you bet.

I haven't got time to turn around.

Luncheons, dinners.

I'm getting fat as a pig.

Reese owed us a sum, he paid it back.

Any debt he has to you is his problem.

It's your problem now.

Why don't you move over?

- You don't own the place, you know.

- I'm sorry.

Over here.

Don't monopolize him.

- Let me tell you about Reese.

- Reese is dead.

They're scraping his body up

off the sidewalk in front of the Huntley.

- Then his debt died with him, I'm afraid.

- Wrong. It passed on to you.

No business corporation in the world

would acknowledge a debt like that.

If you don't, I'll kill you.

...one jump ahead of these

foreign designers.

You must be stark, staring mad.

- You don't know who you're dealing with.

- Listen to me.

I want my money in 12 hours.

I'll tell you where to make the drop.

If you don't, you are dead.

I said nobody was to go up there!

He could've done without a girl

for one night.

- Mal told us to let her through.

- Did he?

Is that what I should tell our friends?

You know what this is gonna cost me

to cover up?

That girl was Walker's sister-in-law!

We didn't know that.

Well, he did. How the hell did he know?

- She was the Trojan horse.

- What did you say?

I said she was the Trojan horse.

Trojan horse.

You're a smart boy, Stegman.

Come on, I wanna talk to you.

- Get rid of them and bring the stuff.

- Right.

The door is this way.

Do you know

what I'm gonna do about Walker?

You're going to have him...

- Wrong.

- Wrong?

Killing Walker is no longer

an economic proposition.

What about the principle?

Profit is the only principle. Come in.

What are you gonna to do?

Nothing. You're gonna do it.

You're gonna pay Walker off.

Is this money?

Ever been so close to so much?

I made an agreement with Walker

last night.

The storm drain here.

An open storm drain.

You go down and wait. Walker will collect.

- But why?

- Why what?

- Why me?

- 'Cause you know what he looks like.

Sure.

When do you want me to go?

Now, Stegman.

- Use that door.

- Sure.

- Stegman.

- Yes?

You will give Walker his money,

won't you?

Yes.

Good. You wouldn't try what Reese did,

would you?

Can I help you?

- Which door is he?

- Behind me.

Okay, the buzzer.

What are you doing in here?

- What do you want?

- I want my money.

I don't understand.

It's all arranged as you wanted.

You're crazy, Walker.

How can this help you?

Let's go.

Because I want you to pay me personally.

You can't take me out of here in daylight.

Things aren't done this way.

Let's be reasonable.

It's a setup.

- I assure you, I always...

- Don't.

- Can you authorize the payoff?

- Yeah.

- Then you're the top man.

- Right.

- What about Brewster?

- How do you know...

Reese talked!

Two of us run things, Brewster and I.

- Nobody else?

- Right.

Nobody?

- There's a money man.

- What's his name?

- Makes no difference.

- His name!

Fairfax!

I'm a businessman. A man of my word.

Stegman's got your money, go get it.

You go get it for me.

No, it's all right!

It's all right, it's Carter!

- With that little thing?

- It's high-velocity. He was a good shot.

Carter, Brewster, Fairfax.

- Brewster's next.

- Where do I find him?

- He's out of town.

- When will he be back?

- Tomorrow morning, he's got a meeting.

- I want him alone.

We can fix that.

- Where's the meeting?

- At his house.

Where's his house?

We're here. This is it.

I said alone.

Take it easy. You'll last longer.

Hello, Walker.

They really got to you, huh?

I got well paid for fingering Reese.

The place is like a morgue.

I should've moved months ago.

This guy you were going around with,

did he...

spend some time here?

Yes.

A lot of this stuff was his.

What're you going to do now?

I don't know. What about you?

Are you asking me out?

Walker?

Come on in.

Whose is it?

Brewster's. It belongs to the Organization.

They use it for meetings.

Nobody lives in it, that's for sure.

Brewster? How do you know

he won't show up?

He will, that's why we're here.

I'm waiting for him.

What am I doing here?

I thought you'd be safer with me

than you would be by yourself.

And when do we expect our host?

Anytime. Maybe not until morning.

You'll ask him for the money,

he'll say no, and you'll kill him.

Something like that.

What did you think this was, a pitch?

- Forget it.

- You forget it.

Good morning, Stevey.

It wasn't Lois'idea, or Mrs. Jenkins'.

It was yours.

What am I supposed to do?

Get real flattered...

and be grateful to you

for the rest of my life?

You figure this will get me over

my neurotic inertia or something?

- Get out of here.

- You know what?

The most fabulous things happen

to a girl...

when she tries Pond's

seven-day beauty plan.

Rate this script:0.0 / 0 votes

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…

All Alexander Jacobs scripts | Alexander Jacobs Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Point Blank" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/point_blank_16018>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Point Blank

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what does the term "spec script" mean?
    A A script written specifically for television
    B A script that includes special effects
    C A script based on a specific genre
    D A script written on speculation without a contract