POINT BLANK! A JUDD RERNARD-ZRWIN WINKLER PRODUCTION Producers: Judd Bernard and Robert Chartoff From the following writer: Alex Jacobs February 13, 1967 With changes through April 17, 1967 Previous writera: Rafe and David Newhousechgs. 4-6-57 BL. POINT BLANK! FADE IN: EXT. STREET - NIGHT 1 REESE I'LL level with you, Walker. I need your help. f owe a bundle fo some guys and I know where I'can get it. WALKER, Go get it then. REESE (who {5 ecting desperate) Look here's enough in it for both of us.” You Gan use extra poney. pal "(Ee shakes Walker on the shoulder) Ikmow Lynne cans WALKER What's the deal? REESE We take it. We take it from Ehese guys gut tn the Bay. Look, we've killed before. It's simple, we just tap then on the head. WALKER If ie's so simple, why me? ‘The alcohol and the night air are making Reese more panicky and Walker nore cynical.” Reese grabs jalker's arm. REESE Look, I'11 level with you... WALKER Again? Reese puts his arm around Walker's shoulder. REESE I won't live long if 1 don't pay-..They'll kill me, Walker, Shey Kitt me.Potnt Blank! chgs- 46-67 B.2 He grabs Walker's Lapel. L 8 * Eowry REESE @) You're ay friend aren't You're ay last. ch: © make {eon ey owns frust Walker, trust ae, we'll be rich. WALKER And Live happily ever after? REESE Sure we will, Walker. We'll live Forever: They embrace, happily drunk. Walker {s weakening. REESE (cont'd) Just trust me, Trust me. SLOW DISSOLVE BACK 70 INT, & EXT, ALCATRAZ - DAY - (UNDER TITLES) 2 LYME oN STEPS REESE & WALKER ON CATWALK DOWN LENGTH OF CATWALK - SHE SAUNTERS TOWARD PE EXERCISE YARD - THEY PLAN ~ LYNN WALKS IN UP ANGLE - TO CELL BLOCK - REESE BRINGS THEM UP ‘STAIRS WALKER WITH LYNNE- HE WANDERS INTO CELLS ~ WIDE - DOORS CLOSE oN HIM REESE OPENS IT AGAIN WALKER EXITS SHOT SHE IN YARD TRIO ON BRIDGE ABOVE EXERCISE YARD TRANSITION SHOT: ZOOM - LYNN F.G. - MEN ABOVE Ox BRIDGEPoint Blank! ches. 46-67 B.3 EXT. ALCATRAZ - EXERCISE YARD - A YEAR EARLIER ~ 3 EVENING Walker and Reese wait in the shadows of the high walled exercise yard. They watch as two men appear carrying a heavy box between them. The men set the box down only a few feet ftom where Walker and Reese are hiding. Walker is calm and alert, Reese exhilarated. One of the men runs up a flight of steps leading to a catwatk overlooking che yard. Walker watches ag the man rushes across the rusty catwalk co an ‘observation tower. He enters in and almost inmediately a spotlight goes on, throwing a pool of light into the center of the yard. Reese ts startled. He grips his gun and stares to move. Walker restrains him and they press themselves back’ into the shadows... The SOUND of an approaching helicopter reaches then. The san in che observation cover hurries down to jotn his companion. The helicopter lands neatly in the high-walled exercise yard, guided by the beam of light. A valise ts handed to the two men, The ‘copter rises immediately and fades into the dark sky. ‘The two sen run back with the valise the way they came, making straight for the entrance where Reese and Walker are hidden. Walker prepares to slug them as they pass. Before he can do so, Reese jumps forward and shoots them both. ‘The two men jerk convulsively as the STREAM OF BULLETS tears into then at point blank range. The Ronentum of their running carries the two dead dedies crashing inte Walker and Reese. ‘The Living are tangled with the dead. For Walker it {s suddenly a grotesque nightmare. Enraged, he grabs Reese by the throat. WALKER (shrieks) Hey! Reese is sobered by Walker's intensity. He tries co struggle free.Point Blank! chgs. 426-67 Bh. REESE 3 iets wy show = Walker. We made ic. Cowr'p @) Walker gets himself under control. He thrusts Reese away from hia and gets up. Me goes over to the cool, gray wall and stares at its blank face. Walker's ’old affection for Reese restrains the rage and regret that he feels. Suddenly Lynne is at hs side. She takes his hand and whispers to him. They exit. Reese has already opened the suitcase and {s examining the money. INT, WARDEN'S OFFICE - ALCATRAZ + ONE YEAR EARLIER 4 + EVENING The heist money has been split. Reese and Lynn by desk, Walker in b.g- between them by file. REESE That's what I had before. All Fight - again the tens... Lyne Ten 1000's in tens.. + 15 - 2000's in 10's. Reese $40,000 - How many 20's? Lyne 24 = 2000's in 20's. REESE 48,000... WALKER Lat's get Out of here... (Scares ott) REESE Shut up, Walker - I'm trying co count... 7 snc fou coming. Lynne? the exits) REESE The boat won't be here for an hour. u WALKER (pausing slightly) yane, ihe goes on out)Point Blank! thes: seer Bas Reese yaums and atretches elaborately. 4 oe REESE rela not as mich as T thought == unwe Te it less than you need? REESE, You better take care of your husband. Lynne exits. Reese ponders. cur To: INT. CELL BLOCK - ALCATRAZ - A YEAR EARLIER - NIGHT 5 Walker crosses in thru passageway. and down corridor. Lynne venders down grimy stanch{oned corridor. She looks round her, fascinated by the grim suc~ cession of cells, Walker enters cell, Lynne walks back to cell, enters. INT. CELL ALCATRAZ - 4 YEAR EARLIER - NIGHT 6 Walker enters cell - Iles down on cot. Lynne enters, sits. She leans over hin. INT. WARDEN'S OFFICE - ALCATRAZ - ONE YEAR EARLIER 7 > NicHT Reese puts money in valise. He paces back to file > thinks = exits into corridor. INT. CELL - ALCATRAZ - ONE YEAR EARLIER ~ NIGHT 8 Walker on cot - Lynne leaning over him and kissing him, Walker does not respond. Lynne slaps him ~ slides her head down...Point Blank! Chgs. 496-67 P LYNNE 8 Walker... ‘Come on, baby ~~ it's ‘conr'D not 80 bad... Q) INTERCUT REESE IN CORRIDOR. ‘TIGHT TWO - WALKER & LYNNE Walker's jacket unzipped - presumably during cutaway. lynne Lies on his chest - hums to him. LYNNE How did we get into this mess? WALKER I don't know == ghe starts to hum again - sits up at end hearing INT. CORRIDOR + ALCATRAZ ~ ONE YEAR EARLIER - 9 RIGHT Reese crosses forvard down corridor and 0.8. INT, CELL - ALCATRAZ ~ NIGHT 10 Seve egp instinct of canger prickles into che Spf Sap SETGE.CE AUTLTEEESE 255 3% yea REESSISVEPPSSES GEL TESAgGY REESE Lynne -- (she Looks at him) ctmere == lynne crosses to him. He holds her to him - shoots at Walker. Lynne crosses Co right. Reese fires jalker balances against the vall, falls in Dust falls - he looks up at 0.5. ceiling. lynne Walker, ‘the faithless wife, and Mal Reese, who shot him, are framed in the doorvay of the cell. tak LYNNE Gone exits)”Point Blank! ches 46-67 PA? WALKER ton. lying in comer of cell, unconsetous. INT, ALCATRAZ - A YEAR EARLIER ~ DAUM nu Pata from his wounds forces Walker to his knees {n the gray corridor, but Re cravis on- The prison cell-blocks are now clearly revealed as hs progeeate figure painfully cages diong tee cor to: UP-ANGLE PAN - THRU GRILL = WALKER 1a etouches dowa in pain, then Lies down on grill. EXT, ALCATRAZ = A YEAR EARLIER = DAWN 2 Ta‘parkea"etze, he recchings bent Mikes ts Fevived by 2 fresh breeze. He pears slowly at the Lightening sky, searching. ‘The SOUNDS of the SEA are faintly heard. EXT. JETTY = ALCATRAZ - ONE YEAR EARLIER ~ DAN 1 Walker wades into water - starts swimming. EXE. JETTY = ALCATRAZ ~ Dal “ Walker's determination to survive 4s clear in his palncatricken face 1s-20x2 out EXT. ALCATRAZ = DAY 23 It ts twelve months later. A tourist boat chugs towards the island from the etty.Point Blank! Chg. 496-67 PB The commentary from the boat's guide wafts across 23 the water, distorted, metallic, Cour GUIDE (v.0.) Beginning an, introduction to Asland, its history, usage, stories, and legends. ‘The boat starts to circle the island, at the point where Walker plunged into the sea. cur To: ‘TOURIST BOAT - SAN FRANCISCO BAY + DAY 23x In the stern of the boat stands Walker, gazing at Alcatraz, remote, renembering, white-hatred. MOVING PO? ~ ALCATRAZ 23x1A, Rocks, bay- GUIDE (v.0.) Some relevant lines that no inmate ever escaped from Alcatra: the nanes of the criminals incar- cerated there; its abandonment as @ prison in 1963. Yost 23x18 watching Walker from the bow. He begins threading his, way unhurriedly towards him, gauging the moment of contact. vost A lot of guys gave up hope in there. ¥p hep Pov 2axic ‘The island slipping past: catwalks, guntovers, barbed-wire.Potnt Blank! Chgs. 496-67 INT. TOP DECK = ToUR BOAT - DAY = YOST AND WALKER 23x10 by window. Golden Cate Bridge seen in b.g. Tourists seen outside on deck, The spiel of the guide drones on, fading in and out. but the only word that is clear is Alcatraz. Alcatraz. ..Aleatraz. Yost (Leaning againec vall) sssuaing the Rock for a dfopees Walker, still faraway, doesn't acknowledge Yost or his proffered hand shake. WALKER (disinterestedly) Fusz. Yost (challengingly) I'm Yost. Fo nods at the island, veiled eyes implying a seeret knowledge. WALKER You making a charge? Silence. In it another aspect of the {sland passes: the concrete block houses of the prison. Yost No -+ no... 1 want something else. MULTIPLE POV'S = ALCATRAZ, WATER, ETC. 23x1E WIDE ANGLE - GROUP OF TOURISTS 23KLF seated on top deck + San Francisco b.g. (TRANSITION SHOT) “Silence again. The island again. The guide's voice again: Alcatraz...Alcacraz...Aleatraz. WIDE ANGLE - CLOSE ON YOST AND WALKER IN F.G. 23x16 Yost moves behind Walker, his bulky back making an intimate secluded corner of the stern, cuteing off the rest of the passengers. Only the water and the island is before them. Yost I want the Organization,Point Blank! ches. 46-67 Pe10-23 Walker's eyes flicker with interest. 23x16 cout" Yost (cont'd) Q) Your friend Reese Digtine now. Suita w=) He bought his we with the money he stole from you. cur To: INT. BELOW DECKS - DAY - WALRER AND YOST 23x by window. The boat is passing Alcatraz. Yost $93,000, Walker... WALKER 93... vost 93 == You want Reese -- I want the organization. You understand? I'm going to help you and you're going to help me. (bolds paper up) ‘That's your wife's address in Los Angeles. Reese lives there, too... Walker takes paper from him and exits. The tourist boat has completed its circuit of the island and leaves at the point where Walker entered the water. The guide's vot finishing the history of the island, wats again: ‘distorted, metallic. cur To:Point Blank! ches. 4-17-67 INT. = LYNNE'S BEDROOM Lynne ie getting out of bed. Her face ts otly with night creaa. IME, ~ PEDESTRIAN TUNNEL - L.A. AIRPORT - FULL SHOT = WALKER as he moves down the cold, bare tunnel, INT. = LYNNE'S BATHROCH Lynne's eyes peer through a mask of white crear {hee a aivror™ INT. = L.A. AIRPORT - TUNNEL - TRACKING SHOT OF WALKER INT. - BEAUTY SALON Lynne has a hair dryer over her head and steam towels over her neck and face. Ner image 1s re- flected into mirrors into infinicy. INT. = CAR Walker drives on the freeway. EXT. - LYWWE'S HOUSE Lynne climbs steps towards her front door. EXT. STREET BY LYWNE'S HOUSE Walker watches the Sunset Scrip and a panorama of the ity behind him. Lynne enters her front door. Pala 24-25 our 25x. 26 our 26x2 27 ovr 27K. 27x2 28 our 28x1, 29 our 29x1 29x2Point Blank! Chgs. 4-17-67 P15 EXT. DOORWAY - LYNNE'S HOUSE - LOS ANGELES - DAY 30 Walker 1s right behind her as she crosses the threshold. He clamps his hand over her south and breathes in her ear as he force marches her inside. cur To: INT. LYWNE'S LIVING ROOM - LOS ANGELES > DAY Se WALKER (grity) It's me, baby. Back fron the dead. Ag the SOUND of his VOICE, Lynne’s terrified eyes flicker for a moment before she faints and hangs Like 4 sack in Walter's arms. He shakes her ‘savagely. WALKER Where's Rease «.. 15 he here? He shakes her back into consciousness.2-13-67 P16 She tums and stares up at his in shocked disbelief, 31 unable £0 speak and still sagging in Ais arms. cowr'p (2) WALKER Well, ts he?... Lynne shakes her head dumbly, still in anguish, Walker releases her and she slithers to the floor, supporting herself by a low cofiee table. He prowls the open-plan living room in search, swinging open the doors co the kitchen and the bedroom but finda no Reese. WALKER You live alone? LYNNE (set11 in disbelief) Walker... I thought... WALKER Who's picking up the tab - Reese? LYNNE Yes. He continues to search drawers and closets for evidence of a man. He scatters dresses, a kewpie doll, old holiday postcards and a framed photo of Lynne and Walker, Smiling. Long-dead days. WALKER (sharply) wy? veply’ Lynne jumps violently. Lye What? I don't... don't know what you pean... Walker looks at the framed photo and drops it con- temptuously onto the coffee table, WALKER ‘The rent. Lane Ob... (she brings her hands up to her face ina hopeless gesture) sea payoff, I guess.2-13-67 P17 Walker has found a golden bracelet, clustered wich 31 charms. He jiggles it in his hands Goerra A look of memory sparks between them. WALKER Woere is he? LMME (shaking her head) Gone. Hoved out. WALKER Where? He drops the bracelet on the photo. His restless searchings continue. thering possession after possession into er of che room = not only her belongings But the keepsakes and objects of their life to- + AE Che bottom of a cleset he finds a small eof clothes, He pulls it out. It consises of odd places of men's Clothing. Walker, opens tt ups A hairbrush, a shaving beg, aad a photograph of Mal Reese spiil out onto the floor. LYNNE I don't know. Honest. WALKER When? LYNNE Three months ago. Walker looks down at the photograph of them. The frony of it {s not lost on him, He picks up Reese's pietuce and throws tt next to the other one. WALKER Yeah. LYNNE Walker, I'm glad you aren't dead. Isn't thac stupid? WALKER Yeah. Lynne You got a right to hate me.213-67 WALRER Yea. LYNNE (hopeless) You ought to kill me. WALKER Uh = huh, He goes to the window and gazes out. Lynne rests wearily against the coffee table with its messy, crumpled pile. LYNNE I don't sleep. I keep taking pills. I think about you, WALEER You do? LYNNE How you're dead...and now I wish it was me. WALKER (hard) Well! LYNNE Tcan't. I'm too scared to die and I don't want to live. WALEEX That's your problem. LYNNE Ie was teo much with you, Walker - ever... I just coulda‘e cut i! (She searches for words) With Mal.,.it was...fun and games... That night in Alcatraz when Mal cane for you I wanted to warn you... T sereaned, but nothing came out... Lynne buries her head in her arms and rests against the coftee table. she sobs quietly. ‘The laughing photograph by her looms large. Her sobs over it accompany the SOUNDS of Walker, still gathering trinkets and mementos of their Life together. LYNNE (mffled) What are you going co do, Walker? P.l8 a1 conr'p @)2-13-67 P19 Walker stops to gaze down at her again, 31. cond WALKER 3) Ha gotng to sake hin pay Ais How do you get your money? LYNNE A guy brings it over. The first ofvevery month. WALKER How much? LYNNE A thousand. WALKER (Laughs harshly) You got paid well to finger me... ‘Lynne shrugs despondently. WALKER sesWho's your bagnan? LYNNE It's always a different guy. WALKER Sure. Nobody crusts a fink. Thres days. vom now you're play- ing the fink again. ye oe LMWE (urgently) No... I couudn'ty Malker, Not again. WALKER Yes you will. Lynne weartly drags herself upright. At the bedroom door, she looks back at Walker. Something of her old appeal, a tinorous defiance, alnost pathetic, flickers {A the enbers between them. LYNNE (whispering) Walker... WALKER That tree is dead for you, baby. She winces as she puts the bedroom door between thea, cur To:2-13-67 INT. BEDROOM = LYNNE'S HOUSE = DAY Slipping off the blouse and skirt, Lynne slumps across the bed, utterly defeated.” Herlong blonde hair falls 1iké a curtain across her face and over the pillow. cur to: INT. LYNNE'S LIVING ROOM ~ DAY Walker has settled himself as comfortably as he can ona hard, brocaded chaise longue, and drifts into a fitful Sleep. He dreans: His low, forced breathing 1s the only accompaniment. Ag Walker drifes between layers of sleep, his eyes flicker, the body arches occasionally, and he shifts reatleasly on the uncomfortable perch. EXT, MARINA - DAY Walker {s at work on a snall crutser in a dry dock. He watches Lynne who is with a party of four or five people who are buying a boat. Walker catches her eye. She has wandered off on her own amongst the hulls and timber. Walker catches up with her. They speak but their voices are not heard. She is amused, then interested, Then she becomes embar- raased by his interest, his total obsession with her. He is relentless and ner face finally regis- ters submission, He puts his hand across her shoulders and they move away. INT. VETERAN'S CLUB - NIGHT It ts sone kind of veteran's reunion, The men all looks the same, except that some of then ace in uniform. It ts very crowded. They are snoking and drinking, absorbed in aninated reminiscences. Walker sees Mal Reese across the room. Reese looks up and sees Walker, They struggle through the dense crowd towards each other. They shake hands and grip each other's shoulders. Their long-ago Etiendship stands between them. There ts nothing they can say Co each other. They embrace. P.20 32 33K. 33x2Point Blank: 1-13-67, ‘Tha dream changes: INT. = CAR - DAY Walker, Lynne and Reese sit side by side. Reese has a new pair of sunglasses which he is trying on. He offers then to Lynne who tries then on. They offer the glasses to Walker, but he ts driving, and waves them avay. Lynne is stimulated by Reese, and flattered by his attentions. The saze series of locks run across her face as uhen Walker courted her on the motor- cycle. Walker stirs in his sleep: ERT. = OCEAN - DAY Walker is body-surfing. Lynne Ls with hin. He rides a wave in, and Lynne disappears. His head turns, searching for her, anxious. INT, - LYNNE'S HOUSE - DAY once agats, Lynne opens the door of her house, and Walker seizes her fvom behind, placing his hand over her south. But this tine te is slow motion making che sane move becone a tender enbrace, As he releases her Eynne siides to the floor with infinite slomess. cur To: INT, LYWNE'S LIVING ROOM - LOS ANGELES - NIGHT The sane sense of foreboding that had warned about Reese's double-crose jerks Walker avake. Sensing danger, he locks around him before concen- trating on Lynne's bedreom door. Alerted, he inches {t open, but there ts no attack. P,21 33x2 @ 33x3 33K: 33x2-13-67 P22 Lynne Lies in the precise position she had caken 34 When: Leaving hin, Plier, tong blonde hase scsi oxen Grapes the Gace and pillows Her Slack aiip ts @) uorumpled, the white sheets alxost uncreased, the low, pale, rectangular room, cold and neat. Walker cannot shake off the sense of danger. Some- how the Fixed white stillness of the room has the aura of death. He bends aver the unnoving form of his wife. In the hand folded under her body 1s an empty sottle of sleeping pills. Lynne has taken an overdose. Expresstonlessly, he turns the body over, 1{stens tor a heartbeat, then slips his heavy gold wedding ring onto her white finger berore folding her hands over her breasts. He leaves her be. cur 70: INT. LIVING ROOM’ LYNNE'S HOUSE - MpRNING 35 From the window Walker gazes out at the panorama of Los Angeles below him. ‘The Strip ts alight. Beneath it, other boulevards and avenues glitter. He empties che remains of a Vodka bottle and Leaves it onthe window sill. Through the curved glass, a distorted Loa Angeles can still be seen. Watker drinks steadily for the next three days. It ts a wake, the ancient rite of oarking a death: a final requien from the. living for the dead. And a period for Walker to strip forever all that he and Lynne had built together. ‘The mass of trinkets and clothes deposited on the coffee table vanish; dresses are packed and go. He Savors the perfune of one, the perfume of her, the onan who had double-crosied their life, It is an e The SOUNDS of furntcure being moved accompany the Browth of Vodka bottles on the window sili. Sunrise sparkles above thea; a sunset 1s distorted by yet another empty bottle:2-13-67 P23 At the window, Walker watches a day die, and Yost 3s watching hin. coxa ‘The picture of Lynne and Walker on the coffee table disappears, shelves grow bare and Walker's FOOT> STEPS begia Co ECHO Shrough the empty rooms. Lynne's body has gone, too. Walker has grown shaggy, unkempt, creased. But a mourning mst pass and by the third day Walker is shaving, cleaning up, ready and expectant for Reese's messenger to call. ‘The RNOCK comes as Walker finishes. MESSENGER (0.5., suggestively) Hello there. with your bre ruthless movement, Walker opens che door, yanks’the messenger inside, cases the passageway, and smashes the door closed again. ‘The messenger is a teen-ager who thinks he has the World taped = especially women. Good-Looking in a tlred way, the eyes and south, are already dis~ ‘The stripped apartment bewilders him. WALKER The dough... The messenger tries to brazen it out. MESSENGER Miss ... Walker. I've gotta see... WALKER I'm her husband. MESSENGER Gro-n-ly Miss Walker, chey satd. WALKER who said? MESSENGER (now pecrtfted) TivePoint Blank! Correction 2-16-67 WALKER It's ay route now ... give me the Loot. Walker's free hand reaches inside the messcnger's Jacket and takes out a bulky envelope which he throws aside. ‘The messenger tries to escape, Walker chops him down, alnost before the messenger has moved. Leaving his zoaning on the floor, Walker returns im an instane to tie him hand and foot with kitchen twine. The messenger is now wide-eyed with fear. Walker stands astride Aim, enormous and vengeful. MESSENGER (strangulated) HessesesLeeepe Walker stomps on the tied ankles without pity. The messenger shrieks in pain. WALKER It'll be your head nex, Who gave you the loot? MESSENGER T can't. WALKER You'd better. MESSENGER They'll kill me... They!L1 kilt ne. WALKER. IL ktLL you. So worry about ne. The messenger is now in total panic. Walker's foot rises over the suest-streaked face of the messenger, whose neat. features and careful hair are completely disheveled. MESSENGER (screaming. sStegman .., John Stegnan Big John's Gar Loc, Stegman’ Don't, please ... Stegnan.Foine Blank! Correction 2-16-67 P.25 EXT. BIG JOHN'S CAR LOT - LOS ANGELES ~ DAY 36 The scream of the messenger carries over to identify JOHN STEGMAN, a sharp, tense man of thirty, who sits in a'trailer with another salesman. The car lot has a large stock. It is a well- orgentzed, prosperous-looking concern. Walker {a neatly and inconspicuously dressed. He loo Pitpe ses" for cone, friend Jeoiet PE tates fe ert et, THE RTE poUSE cum = wIaHT a CHRIS'S face {s wet with sea spray, Wind cears at her hair. A red pigment appears around her head and sees, imvards converging in Liquid veins fovards’the center, gradually obliterating her features. Walker has entered the club and is edging towards a dimly discernible table. His eyes are fixed on the strange image of Chris, which is projected onto a gurved screen of gauze. He sits dowm and takes in the scene. Around him are crowded tables, curving around a raised stage. Under the stage is 2 dar with a line of men slumped on stools, their mostly bald heads catching che spilled Light from the stage as they crane up co watch the show. The gauze sereen 1s on the right of the stage. Chris's face and body are gubjected to weird effects both violent and erotic in this attempt fo similate a psychedelic exoerience. To the right Of the screen, a scantily clad dancer gyrates in @ spotlight. ‘The left-hand side of the stage ts occupied by a Negro quarcet. They are dressed in black. Only their inserments are lit == plano keys, saxophone, the skins of the drums, the base. Downstage a Negro singer 1s doing a "Shout" act and is moving to the tempo of the projected images. His shouts and screams punctuate the music and aceonpany the images on the screen. Occastonally a stroboscopic light flashes on, transfaming hls sinuous movements into jeriy eonvulsions. A fleshy but attractive waitress in tasselled panties and bra approaches Walker's table.2-13-67 P32. WAITRESS aL Hello, Walker, Back from the conr'D dead? @) WALKER (he nods around at the scene) How'd you know? The Negro's counting screams pierce the gaps in thetr conversation. Walker fixes her with an wagelenting! stare as she clears glasses froa hia table. WALKER, How are you, Angie? WAITRESS Cold and tired of men con- templating ay navel. Walker has been contemplating it himself since te ia only inches from his faces WALKER Where's chris? He nods up to her image on the screen. WAITRESS: She's off Conight. user Give ae her address, Angie Write it down. we She writes it down on her pad, tears off the slip and hands tt to Walker. WAITRESS Funny ching, Walker. In a whole year,'no word of you. Then tonight a guy comes in asking for you. WALKER, What'd he look Itke? WAITRESS I didn't know whesher to give hia a drink or a banana. WALKER, (stiffens) Is he geiil here?Point Blank! Correction 2-14-67 WAITRESS I guess so. Two schtarkers ave with hin. WALKER You got another way out here? WAITRESS Sure. Hack of the stage. Walker's eyes thank her for her discretion. He gets up and cwns back the vay he cane: A Little Way off, a young guy like a football player rises with him and saunters across, too casually, to Dlock the entrance. Behind Walker, in the far dark corner of the club, Stegnan watches. Walker vums and moves suiftly towards the stage. Chris's face loons over hin. He goes up the steps and alips bebind the screen by che side of the dancer.” Behind him, the football player hurries ‘song the tables in’ pursuit. INT. REAR OF STAGE ~ NIGHT The prosectorcLight, ptercing the gauze, flickers over the scene illuminating it ficfully. Another man guards the exit door. He tenses as Walker appears. INT, MOVIE HOUSE CLUB - NIGHT The football player pushes past the dancer, following Walkers The Negro shouter has now moved out among the audience and is inviting them to scream into the microphone. Behind the gauze are the shadows of Walker and the two men. INT. REAR OF STAGE - NIGHT ‘The two men move in on Walker and a fight begins. Fingers of light from the screen stab at then. The screams of the singer and fis audience accompany the blows. Walker takes s lot of punishment but the two men wilt before the power and rage in Walker's face. He strikes out with speed and without mercy. P33 4a Cont @) 42 43 4419-67 P36 INT. MOVIE HOUSE CLUB - NIGHT 45 ‘The dancer has a view of the fight. She screams out. “Her cries join those of the singer and his audience and Chris's face screans silently from the screen. The dancer clinbs down from her perch and hurries off hysterically. The £1im ends and the club "blacks-gut", “The stroboscopic, Light flashes on where the dancer used to be, it lights up Walker's bruised and bleeding gace, as he leaves the rear of the stage. EXT, CHRIS'S HOUSE - NIGHT 46 A romantic, wooden house rambling up a slope on the edge of the Pacific Ocean in Santa Monica. Across the road, Walker gets out of his car, stretch- ng hie sttit aching body; Ne crosses. co the house in gaps between the headiights ef the streaning trakfic. There 12 some outdoor floodlighting, but the windows are dark. He climbs up the steps and moves around the side of the house, examining the windows. He takes a gun out of his pocket. INT. CHRIS'S BEDROOM - NIGHT ar Walker slides back the window and climbs swiftly through it. ‘Two humped figures Le under the bedclothes. Noiselessly, Walker crosses to the bed and looms over ic like an executioner. tn one moment he Flicks on che light and rips the bedclothes. What he thought was Reese is only a pillow, Beside ic, the heavily sleeping figure of Chris does not move. She lies in a similar way to that of her dead sister, The thought jolts Walker, He shakes her. She does not stir, He shakes her again more savagely, She moves sluggishly. CHRIS (thickly) Walker!.., You can'e bese. WALKER Where's Reese?2-13-67 P.35, Chris turns on her back, opens her eyes still heavy 47 with sleep, conr'D curs Youtze supposed co be dead... Lynne said so. WALKER (gratingly) She's dead. CHRIS (questtoningly) Dead!... You? WALKER Wosssher...thoae- He points co the bottle of sleeping pills on a nearby table. crats Ieee Tees Him not sleeping. WALKER (grimly) She t2. Chris settles herself more comfortably. Her face, though still suffused with sleep, is open and warm! the Tine of her body beneath the’ nightgown has sensuality. WALKER I heard you're with Rease? curs You heard wrong... WALKER Is he after you? cHRIS All che time... WALKER Do you vant him? curs He makes my flesh crawl. WALKER T wast him. CHRIS You were always the best thing about Lynne.2-13-67 P36 WALKER 47 Why don't you want hin? cory cHRIS E don't want any of them, Walker. I was going with a guy who owned a club. WALKER ‘The Movie House? curss Ie was different then. A jazz club. The Organization wanted to become his partner, Me wouldn't buy it: WALKER, And? CHRIS They just... Killed him, She says it incredulously, as though she still does not believe it, cHars I run the place now... And I pay. WALKER ‘The Organization? Chris nods. CHRIS (bitterly) That's where Mal cones into che picture. WALKER You're full of hate. CHRIS (yawns) Not any more. It's £00 tiring, I seem to have come co the end of things. ‘The faint, sympathetic intimacy between them, the bed- room and the lateness of the night is suggestive. Chris looks at the man above her; Walker meets her stare. CHRIS (simply) What do you vant fron me..- Walker?2-13-67 P37 Walker tries to shut Chris and her problems out of 47. his mind. He stards motionless, looking avay cowt’D from her. @) WALKER (softly) I want...I want Reese. He oves me money. Chris climbs out of bed and puts on a dressing gown. currs Lynne and money. $he,cones up behind Watker. she sees his bruised races cars Let me fix up your face. I've got an extra room, You can stay here if you itke. WALKER (in a strangled voice) Reese cums (softly) I'LL get his for you, EXT. OFFICE BUILDING - LOS ANGLELES - DAY 48 Mal Reese hurries across the street toward a tall, white office building, As he reaches the glass entrance doors, Stegnan is waiting for him. Reese acknowleges him curiously. REESE well? Stegman pushes open the door for Reese to pase Ghraugh and shakes his head. “His face is Full of failure. INT. FOYER OFFICE BUILDING = DAY 49 Reese strides toward the elevators. Stegnan hurries along by his side. STEGHAN I had guys out alt night, Mal. There's no sign of hia.19-67 P38 Roese steps into an elevator and stares icily at 49 Stegnan who is left nervous and defeated in the coxr'D foyer as the elevator doors close. @) INT. LIVING ROOM = CHRIS'S HOUSE - DAY 50 ‘There are modern paintings on the wall and in the center of the room a piece of modern sculture made up entirely of mirrors. Chris is dressed up and Preparing ta leave. Walker is drinking coffee in clothes crumpled from Sleeping. He watches her across the room and the mirrors fragment and distort her. Sometimes he catches a reflection of himself alongside her. She comes over to him, cyars s++See you at noon. Walker has been carefully assessing her character. Weighing up in his mind whether or not he can trust her. Now, he locks hard into her face. WALKER Just play it straight, ckay? Chris stares back at him and she flushes with anger. There are no barriers naw. They look flercely into each other's eyes. Neither will give way. Her Book ts/as serong’and hard as hiss She tlrns and As the door SIANS, Walker goes to che window. He watches Chris go down che long flight of stairs to her car, He looks out at che ocean and up at che morning sun. He screws his face up, perhaps from the glare of che Son, perhaps from the sting of Chris's reproach. INT. RECEPTION AREA = CARTER'S GROUP OF OFFICES - 3. DAY’ The walls carry photographs of Carter's various enterprises. the atmosphere is chat of a quietly efficient business corporation. Reese is waiting anxiously, A receptionist ts talieing on_an inter-office phone. She smiles across to Reese.1-9-6739 RECEPTIONIST. SL. You may go in now, Mr. Reese. Sern Reese enters the door behind her. INT. ANTE ROOM - CARTER'S OFFICE = DAY 52 A tall, brawny MAN in an inconspicuous grey busi- ness suit receives Reese, MAN (polite, assured, insulting) The usual formalities, Mr. Reese... nice and high... theré you go. Reese dutifully raises his arms and the man pro- ceeds to frisk him expertly. It,is all routine to Reese, too. ‘The man has no respect for persons and gives Reese a vigorous and thorough search. MAN O.Kese. Mr. Carter will see you He presses a buzzer beneath his desic, a door opens Yeading 9 Carter's sanctum, and Reese passes, through. cur To: INT, CARTER'S SANCTUN - DAY 33 ‘The room is modern and austere. Carter has ceiling £0 floor windows behind him. the glare from thes dazzles Reese as he addresses Carter. CARTER has been dictating to a dignified middle-aged secretary. He neds for her to go and she exits by a door on the Opposice side from where Reese cane in. As soon as she goes, Carter's composure drops and he turns angrily én Reese. CARTER What the hell are you fooling around with now, Reese? You know what is at stake!2-13-67 Carter gets up from behind hia desk and scands against the window, ‘He is the personification of every distinguished business executive. REESE. I realize that, Me. Carter... That's why I came to you, ‘That's why Imust havess. CARTER: (cutting him off) Must?... There's no must about it! REESE I certainly would apprectate anything you can do. Carter looks at him with distaste, cant, Youtre trouble, Reese, tive always Thought so. I’vas against taki gu back in. I was ‘Sver-raled, = rrever you go, trouble Finds you out. REESE (hurriediy) I'd be grateful for anything you can do, Mr. Carter... CARTER What's his name? REESE Walker. CARTER (fronting) What's his first nene? REESE He never called Muself anything but that. I've known him for years even his wife... CARTER (cutting him off) And does his wife have something te do wick his grudge? Reese nods. CARTER, I thought so. P.40Point Blank! chgs. 220067 PAL. CARTER (cont'd) 33 The one atstake you made cost us conn a hundred thousand dollars. @) That's what Walker is here for, ton't it? The hundred chousand you paid us back. Reese nods. Carter pours himself a drink. Reese looks as if he could do with one, He doesn't get it. CARTER, Where did you get the money, Reese? «The Aleatvaz Tun... the one i brought inco che Organization. CARTER And Walker waa one of the men you held up? REESE No, he was with me. CARTER You took his share too, {s that it? REESE E needed. all of tt to pay you back... CARTER, So you left with Walker's share and his wife. ‘(Wal nods) sees she seil] with you? REESE Walker killed her. Carter is unmoved, uninterested. He looks out of ‘is window at the traffic far below. CARTER Doe's he know where you are?Chgs. 2-17-67 P42 REESE (uneasily) 33 Nen-o. But he's looking... I know Conta him. ‘He's very persistent. @) CARTER Fine - U'11 tel2 you what we'll do - We'lt ec him know here you are - He'll come for you = (gating) + wontt he? 54 our EXT. SANTA: MOUEGA PUBLIC CAR PARK - "AY sexn There ts a plastic mountain, dummies to stab, rub- ber faces to punch. Te is full of chéléren absorbed in the pleasures of violence. Walker has his head inside a giant lion's mouth. He is drinking from a water fountain. He stands up and wipes his mouth as Chris approaches through che Park. He looks at her quescioningly. cERIS Reese's at che Huntley, Walker... WALKER What's chat? cis Ie's a place run by the Organization... WALKER, That figures. Where ts ic? cHRIS It's acrap. They'll be waiting for you. They're spreading the word now. They want you to try and get him. sees from his face that Walker will pursie wherever he is, whatever the Jeopardy involved. at he has Reese in his sights’ the tension goes oUt of him. He looks relaxed, gentle even. Chris has a sudden revelation about him. Xe 11; oars Af jou really Won't care Af you dte, oo you?Point Blank! Seene # Chg. 2-17-67 P43 Walker looks around {ntently at the children sax in their play, seeing then for the first tine, Gost trying to fix’ then {a his mind. Q) WALKER (gently) This {sa good place, Chris. She looks up, It {s the first time he has said her name. CHRIS (sighs) IE there vere any justice, they would have us shot, people like you and me. They ought to put. Us out of our misery. WALKER T won't tell anyone {f you won't. ‘This makes Chris laugh. Chris ts @ person uho Lmugha with her whole body. Walker is a little disconcerted.. WALKER The Huntley, you satd. INT. CAR + HUNTLEY APARTMENTS - DAY 35. Walker 1s crutsing around the block, Looking out at the tall apartment hotel. WALKER Where would he be? curs ALL the way up: The penthouse. He aluays uses tt. WALKER What's it Liki CHRIS (resignedly) Fort Knox.++ WALKER Been upstairs? CHRIS (nodding) I went there once to see Lynne.2-13-67 Pad, P.0.V. FROM THE CAR - DAY 56 Walker drives slowly by the lobby which ts at the narrow end of the butlding.. Next co it is an cut- side elevator. INT. caR = DAY 7 Walker nods towards the elevator. WALKER Does that go up to the penthouse? Chris nods. CHRIS Pretty exposed, isn't it? Walker swings the car into a side street, getting another view onte the Huntley. cuRIS Inside the lobby is another elevator. That goes up to che other penthouse. WALKER They got two? chris nods. WALKER What about che roof? cHRIS Flat nd opens... (desperately) ass There'll be men everyuhere. You'll have no trouble gecting in, but you'll never come out~ Walker swings the car around and crutses back along the other side of the street, still seeking the solution. He notes an older buliding facing the Wentworth entrance. He scrutintzes the parking ramp at the side of the building. They pass the Lobby again. There ts a midget bellhop standing by the doors. He stares straight into Walker's eyes.Point Blank! ches. 217-67 PaiSee A VIEW THROUGH BINOCULARS - HUNTLEY VIEWPOINT - DAY S7XL The two glass-walled penthouses are evident. 58 our EXT, PALISADES + DAY S8X1 Walker lowers the binoculars, He and Chris are on a rooftop far away from the Huntley. There seens no answer to Walker's problen. CHRIS (sighs) I guess he has to come out some time. WALKER I can't wait. Walker gives Chris a long, calculating look. WALKER How bad does Reese want you? crRrs Pretty bad... T guess, had enough te enough to. Let you ghrough -- inte the Huntley? you shrews} Chris slovly absorbs the Laport of Walker's words. She shudders, but ts clearly now under the influence of Walker's personality. CHRIS (astonished) You want me to ++, Chris is at a loss for words but then her face hardens into a resolve, CHRIS Let's see what he says s+. She turns and walks to phone. TRANSITION SHOT 59 ‘The distant view of the Huntley changes from day to night. cur To:213-67 P46 EXT. FRONT OF THE HUNTLEY APARTMENTS - NIGHT 60 The harmless-looking bullding by day has taken on a Egrinore menacing aspect that ntght as Chris approaches the building. She talks to a strong-arm man pretending to be a janitor. He nods, smiles indulgently, and allows her to pass into the lobby. He exchanges a knowing look with another gangster leaning nonchalantly against a taxi which ts not for hire. cur To: INT. APARTMENT = NIGHT 6 Walker watches Chris enter the Huntley from the Second-story window of an apartment opposite. Two carefully cumed-out young men lie crussed and gagged on a double bed. cur To: INT. HUSTEEY“APARMEENTS - NICHT ea Inside, more gangsters, strategically placed, watt for Walker. Chris walks past them and takes the elevator to the penthouse. cur to: INT. APARTMENT - NIGHT 63 Walker watches from the window as Chris appears in the brightly-1ie, outside elevator. Like a fly in amber, she rises up co the face of the building. INT. PENTHOUSE - NICHT 6, Another bodyguard receives Chris at the elevator entrance and appraises her as she mounts the spiral Staircase to the roof level and Reese's sitting room. ‘The penthouse is a luxurious corner of Light against the Starlight sky. Its four walls are entirely of glass.Point Blank! Chgs. 2526-67 P47 Outside, a bodyguard paces a beat around it. 6h Another’leans over the parapet of the roof. Cown'D (2) A similar penthouse, dark, wmoccupied, ts in the Atagonally opposite sida of the root. cur tos TNT. REESE'S SITTING ROOM - PENTHOUSE - NIGHT 6 Reese emerges from the shower, drying himself, confident but edgy. REESE Hello, Cinderella. T vas beginning to think you'd never come for your ‘shoo. Then suddenly I get your calls (suspietousty) What made you change your mind? CHRIS ‘That's « wouan's prerogative. ALL good things come to those who wait. REESE Than I win first prize. Reese has a suspicious look in his eye. Chris 1s not sure how much he knows. He circles round her and takes hold of her arns, He grips her fiercely. mis It look 1ike today isn't visitors! day == I'll see you some other tine. But Reese now has the smell and feel’ of Chris. His gesire lulls his fears. Fis hands run up and down her body as he whispers in her ear. REESE Do you know how long I've been watting for you ... The first time T sav you it'was goodbye Lynne! INT, APARTIENT - NIGET 66 Walker 13 watching and waiting. He goes over to the telephone and puts his hand on the receiver. He does not lift it, He will carefully choose his moment.2-13-67 P.A8 INT. SITTING ROOM - PENTHOUSE ~ NIGHT 67 REESE I've got some business to settle, then We'll go to New York. You take empty bags ~~ omIs Sure - Mal. Is the business - outside? She nods to the watching gunmen outside the window, REESE It's nothing serious. Just some Jerk stepping out of line. cur To: INT. APARTMENT ~ NIGHT 68 The two men lie, still trussed and helpless. Walker has telethoned che police. He puts the phone in the face of one of the two men. WALKER Talk, friend. 2ND MAN (strengulated) Help ... I have been attacked «.. Lease ... Ferguson 2291 « second floor ... opposite the Huntley ... for God's sake... help. ‘Tne two men are convinced now that the events are a nightmare. CUT To: INT. SITTING ROOM - PENTHOUSE -NIGHT 69 Chris and Reese have drinks. He is relaxed now, in charge of the situation. REESE (casually probing) Have you seen Lynne lately cuRrs You know the scene with her and Dees2-43-67, REESE (grtaning at-a shared secret) You kids ought to kiss and make Pees cHRIs, T haven't seen her since ++. you and her .. REESE (cutting her off) Did you ever meet Welker? cHRIS A couple of times. Didn't he die or something? REESE (coldly) ss about a year ag0- EXT. HUNTLEY APARTMENTS - NIGHT The yall of police SIRENS getting steadily nearer alerts everybody in the office block: The one visitor they don't want 1s a policenan. From a shadowed doorvay, Walker watches their reactions. cur To: INT. HUNTLEY APARTMENTS - NIGHT ‘The guards on the various floors sneak looks out of windows at the police arrival. our To: EXT. PENTHOUSE ROOF - NIGHT On, the penthouse, roof one of the guards shouts reassuringly to Reese. Something pine, on across the street, Mal ... Reese nods his thanks through the glass- cuT To: #49 63 Cowr'D, @) n n2-13-67 P50 EXT. HUNTLEY APARTMENTS - NIGHT 3 With SIRENS still SCREAMING the police hurry up to the apartment block. The fake janttor and phoney taxt driver melt into, the shadows as another police car begins to pacrol the growing crowd of the curious drawn by the dying sirens. ‘Taking advantage of the diversion he has created, Walker is around the Huntley and goes down the parking raup before the sirens have stopped. INT. UNDERGROUND CARPARK % Walker goes down the ramp and across to the elevator. He presses a call buttons INT. LOBBY - HUNTLEY 75 As the guards discreetly watch the police activity in the foad they fail to see the elevator rise fron the carpark besement- cur To: INT, SITTING ROOM = PENTHOUSE - NIGHT 78 Chris looks with distaste at the two guards watching her through the glass walls. Reese sits wrapped in a huge bath towel, sipping a drink, waiting, savouring his. conquest. cunts Mal, can ue pull the blinds? REESE Of course ... Make yourself confortable see Why don't you take a shower? He presses a switch and the curtains begin to close electrically, He goes into the bedrcom. The guards retire to the darkness beyond.1-967 PSL Under the pretext of arranging the blinds, chris 76 slips a window catch before following Reese. soerra cur To: INT. SECOND PENTHOUSE = NIGHT 7 From his hiding place in the other penthouse, Walker waits for the curtains to close before stepping out Into the darkness of the roof. cur To: EXT. PENTHOUSE ROOF - NIGHT 78 The eyo gangsters are stilt intent on making ous what ts happening at street level. Walker's attack 12 swift and stlent; che two men fall like sacks and are bound and gagged with Ewine and rags Walker had brought. He lays chen in. shadow. The window catch to Reese's penthouse ylelds and Walker is inside. cur 10: INT, REESE'S PENTHOUSE - NICHT 79 Gun ready, Walker gets his bearings from the sitting réom, then makes for the open door of Reese's bedroon. cur To: INT, BEDROOM = REESE'S PENTHOUSE - NIGHT 30 Two forms lie close on the bed. Walker advances softly, implacably, sets himself, tears back the covers and jans his’ gun into Reese's fleshy buttocks. WALKER (menacingly) Get up ~ lover!2-13-67 Reese lies cerrorvstricken. A face of fright. Sweat shines on his back. CHRIS (thankfully) see Walleer s+ WALKER, Beat ie: Chris has begun to shudder with revulaton, she cannot stop shaking. His authority sobers her. She slips from the bed and begins dressing, knock~ ing over a lamp as she does so. ‘The NOISE alerts the men on the floor below. GuaRD (o.s.) You all right, Mal? Walker's jabbing gun and ferocious expression are enough. REESE Sure ... fine. I knocked over a lamp’:.. that's all. He subsides back on the bed. INT, PENTHOUSE - NIGHT Below, the two guards grin. FIRST GUARD He goes pretty good, doesn't he? SECOND GUARD Yeah ... I bet he ain't worrying about ‘that walker now! cut To: INT. BEDROOM - PENTHOUSE - NIGHT REESE, (croaking) What ace you going to doy Walker? P.52 80 cont Q) 82WALKER Get my ninety-chree grand. REESE You don't stand a chance... WALKER (dangerously quiet) Smut up and get up! Winding a sheet around his waist, Reese Chris is dressed and about to Ieave. 2-13-67 does so. Walker checks her, his expression questioning. He has remembered his own xeactions in Alcatraz. Chris leaves without another word. INT. PENTHOUSE - NIGHT oT To: The gangsters on the lover level go in after Chris as she disappears into the elevator. INT. BEDROOM - PENTHOUSE - NIGHT cur To: Locking Reese's hand cruelly betiné his back, Walker propels hin across the bedroom towards the open door leading into the living room. Walker can barely restrain che raging animal within himself which wants to tear this man to Reese groans with pain and clutches the around him with Ais free hand. ‘REESE For God's sake... let me get dressed. WALKER. You're better this way ... pieces. sheet wr To: P.53 82 cont’ D @) 83 85 ov2-13-67 P54 INT. LIVING ROOM ~ NIGHT asx Walker half pushes, half drags Reese through the room. WALKER My money, Mal. REESE LT haven't got it -.. I owed the Grgantzation a hundred and fifty thousand. I gave it all to then. WALKER, Who's got it, Mal? REESE There's no'one man... WALKER IE you go high enough there's always one guy- REESE not Like that... ‘big operation «+. REESE They'll kill me, Walker. WALKER Not if you're already dead. Reese stops thetr progress. He can stand no more, REESE Fairfax ... Brewster ... Carter. WALKER, Who do you work for? REESE ; Carter ... Carter runs things here. WALKER Where do I'find him?Point Blank! Chgse 2-13-67 P55 asx coNt'D @) the yellow pages and ali chat... Let's aske a deal e+ Walker squeezes hard on Reese's neck. WaLKTR, Carter...Mai...where do I find Bin? Reese arches his aching neck. REESE The Stuart Building... he has offices there ... it's called Mulespiex Products Company «- seventh floor «+. WALKER Fine.... Now what's to stop me getting to hin? REESE (despairingly) Het got protection... no one gets through that isn't searched WALKER Stop worrying about me -- start worrying about yourself! EXT. PENTHOUSE ROOF - NIGHT 5x2 REESE (pleadingly) Look, Watker, you've got te trust ne. FLASH CUT To: EXT, STREET - NIGHT 83x3, REESE Trust ne, Walker, crust me. cur BACK TO:Point Blank Adds 2-14-67 EXT. ROOF - NIGHT WALKER You +.. you vere ay ++ FLASH CUT BACK TO: vee ., HEE ourze ay HES, aren'e you? FLASH cUT To: EXT. ROOF - NIGHT WALKER We're going together, to Carter. FLASH CUT BACK To: EXT, STREET - NIGHT REESE Sure we will, Walker. We'll live forever! FLASH CUT TO: EXT. ROOF - NIGHT The Lights of the penthouse go on behind them. Reese wrenches free of Walker's grasp. Walker grabs the sheet. It suddenly gives, and Reese Plunges off the parapet. He falls ten stories to Ehe ground below, leaving Walker with the sheet in bis hand. Walker watches intently as Reese's body smashes onto the sidewalk. The man who had broken his ge now Iles broken. He quickly makes for the elevator of the second penthouse. cur To: P56 5x4 asxs asxs asx7 85xaFoint Blank! Chgs. 2-16-67 P.57 INT. HUNTLEY APARTMENTS - NIGHT as ‘The police are still on hand from their dealings in the aparenent block opposire. They run out into the street and across into the lobby of the Huntley. The guards are helpless and confused. INT. UNDERCROUND CARPARK - NIGHT a7 Walker emerges from the elevator and hurries up the ramp toward the exit. A guard, having seen Reese's body, returns to take up his post and spots Walker- He looks at Walker with'a mixture of fear and panic. He pulls a gun and PIRES at Walker, who takes cover behind a concrete support. As the guard FIRES a Second time, two policemen appear at the entrance to the carpark: They can not see Walker, only che guard. They call out. The man spins’ around goa ia hand. The policenen pull their revolvers. The man throws up his hands in surrender. Walker walks up the raup and out of the building. cur To: EXT. HUNTLEY APARTMENTS - NIGHT 38 A considerable crowd has gathered outside the Huntley. Police are holding back onlookers to allow an ambulance to back in to the point where Reese lies. Walker edges through the crowd. He suddenly sees the midget bellhop watching hin. He looks away and catches a glimpse of Reese's body covered in blankets as it is lifted onto a stretcher. His face £41ls with revulsion and self-disgust. He pushes his way out of che crowd and vanishes. UT To: YOST, WHO STANDS AT THE EDGE OF THE CROWD a9 watches him deparc, jr to:Point Blank! Chess 2-17-67 P58. 90 our INT. MOTEL - SANTA MONICA ~ SIGHT 1 Walker glances at Chris, goes diractly to the bathroom and begins washing his hands. Ghris is still now, watching him. CHRIS (quietty) Weld... what happened? WALKER He's dead... cunts Good... How? WALKER Off the roof. cHRrs Did you do it? WALKER He fell. Chris stigfens. She gets up from the bed and goes over to the window. Outside the motel floodlights pick out the surf a3 the waves break on the beach. cunts Kid have cut his heart out. Walker stratghtens up, reaching for a towel, WALKER Look, I went to see him to get uy money, not to kil him.2-14-67 P59 Chris curns on Walker, her face blazing with anger. 91 coxr'D cunts, (Aneredutousty) Q) Your money.++- You nade me go to Bim juse €o gee your money? WALKER He's splattered all over the side~ walk. What do you went me to do? Ghria's outburst has left her Limp. CHRIS (flatly) You made a big mistake, Walker .. You owed it to yourself - and to Lynne - and £0 me. You should have Killed him. You cheated all of us. Walker throws the towel aside. For him this ts a new Chris. She walks back and slumps down onto the bed. CHRIS (atsntssively) You're finished now «+ nathing left ~ Can't you see that? Walker stands motionless in the middle of the room. He wrestles to hold down his mixed and rising emotions. WALKER (thickly) Just my money .. that's what's lest. He goes co the phone and searches for a mumber tn the telephone book, rifgling che pages with un~ necessary violence: curs You'd becter hold on to it. It's all you've got. You know someching? You're dead! You died at Alcatraz, after all. Walker has found his number and dialed while Chris was talking. He gives her a glance but no more as his call answers. WALKER Can I speak with Mr. Frederick Carter <-. This is a business associate . Yes, I'm €rom Me. Brewster -.- Do Aave any idea where Mr. Carter can be contacted? ,.. Is he? Thanks, I'11 get him there.2-14-67 P60 Walker replaces the receiver and locks back at 31. Chris. coxrro 3 She had risen from the bed, turned on the shower and now stands undressing with her back towards hin. Walker's apparent indifference to her ordeal with Reese, his obsessive single-mindedness and her own delayad reactions to ubat she bas been through have merged into near hysteria for Chris. The shower hisses in the silence betueen then. Walker goes towards her. He grabs her by che shoulders and shakes het. She breaks free. Chris turns her head to him. He stares at her intently, caught in cross-currants of anger, desire and self “disgust. CHRIS (spitting) Donte... couch «2, ne = don't Get your hands off ne. Your worse than him s+ oF worse than him! we (ahe turns aay with dtscaste) His hands... all over «+. me Like a sitay’ snake. She begins to cry. The sobs hit Walker like bullets. WALKER (shouting) Shut up - Lynne. CHRIS (turning to him as she walks towards the bachroom) sesChris?... Remember? ... Christ Walker doesn't move but watches her disappear behind the glaes partition. He takes fron his pocket the package of money, | that the messenger had delivered for Lynne. Staves at it fos ponent then leaves Le for Chita on the bureau. He goes. cur To:Point Blank! Name cha. 2-17-67 Pe, INT. CONCOURSE - COLLEGE CAMPUS - LOS ANGELES - 92 NIGHT A-gathering of substantial citizens, students and gouned acadenics, stream into the concourse from @ Lecture hall beyond. They are celebrating the successful conclusion of a find-ralsing campaign for a new sports stadium. Banners and posters everywhere are evidence of their efforts. a Small groups gather; there {s mich hacd-shaking and back-slapping and mutual congratulations. Garter and his wife are the focus of a strean of well-wishers. Mes. Carter 1g a well-dressed, rigid-Looking woman. Very formal, she is yet auare of her husband's activities and wants nothing to disrupt their way of life. MS. CARTER a lovely speech. Dear, ‘Leave before Dr. Hallerby gets you in his clutch As she moves avay from her husband, she ts button- holed by a well-dressed woman, completely oblivious £0 everyone except herself. She gushes at Mes. Garter. owe: Tante Freda wonder. Where does he get tne time co do all the Nore? [e"se ussn'c for him, we ould never pave gotten the’ nov fagium off the grounds Someta beat) RE, Lucite, how's Bexe?... Believe me,'with all these charities, I haven't got tine to furn-arcund ~~ Luncheons, dieners SSirm getting as fat as'a pigs ie haven'e got 3 free eventhg for two months.” Somebody sught to give a'dinner for us, bo’ thetpoor people now how hard it te dor ste. Nello Charies..:Dry figilerby.” Wasn't {fa cerrific evening? (continued)Point Blank! Chas. 2-21-67 P62 WOMAN (continued) 92 (beat) own You know, Dr. Hallerby, Twas @ telling Helen Carter there're times I wish I could get a atght or day off from ali che Luncheons, But\when I hear about the poor unfortunates...I realize we've got to drive and drive and drive ouselves. Tive talked to sone of the girls from the Anerican League and they've promised €o leave off potatoes and Searches from ele Luncheon. sae that marvelous? Now, if wa could gee. the other groups to do tE... Helto, Helen. .shelio, Phil. Have you nade your reservations for the Daughters of Washington dinner? I understand (t's formal. T hope sot Yan't £e nice to dress up? Ido wish they'd make up their minds about the new styles ~~ skirts are Upessenext they've down,” Honestly, Sooetines I feel like Tim on an elevator. I was calling —da Mae, that's ny maid, chat you have co’ keep one step ahced’ of chose foreign designers - You know sonetimes you'd Shink Le was a ploe’on chair pare. to shake us up vith che styles changing. You know sonething? Te could bea gigantic conspiracy co undermine our Why not, Task you, Women are the power behind the throne. What Lf group (getcing more excited) Yes, what if chose people decided to break our morale by geceing the women confused on the Length o£ skirts. UN Titele thing like that could really Shake up our country. You know some= thing? re's just possible. I'm go Eonfused about hen lengehs ‘chat t's Gs grumpy as anvold bear.” what do jou think chat does to my husband. fe'gets mean as sin and Cakes if out on everyone else, the more I think about ie, Lin sure Lt's a plot. Those foreigners are preety sharp. Teva people iike use.sssche Fesponsible enbers of the community who they're (continued)Point Blank! Chgse 2-21-67 P62 WoHAN (continued) 92 after, Do you kiow what. they're ere doing? 1112 tell you ehey 2a) purposely have chet ‘agents infiltrate our luncheons and dinners and make sure we're served fattening foods, potatoes, gravies, sauces, Honestly, can'é you see what they're dothg, We'll be fat as blimps and chen chey'll strike. I'm telling you, Lucille, it's horrible. Suddenly Carter's hand is shaken by Walker. Despite the ailiing crow, Carter feels alone, facing Walker. WALKER While youtre in the giving mood, Mr. Carter we. CARTER Is there something you want from me 2.2? WALKER My ninety-¢hree thousand dollars ... Eiense tace thelr leave. His wite, a few yards off, Looks across arudously a8 she recognizes the Baraly concealed anciety 14 her Ausband’s faces Re eries co reassure Ror witha look. CARTER You can't be Serious +++ WALKER It's my money see CARTER (viciously friendly) Reese owed us a certain sum. He patd ic. Any debt to you ts his problem ... not ours. WALKER It's yours now +++2-14-67 P63 CARTER 92. Lim trytng to tell you for your cowr'D gun good... Mr se er wee Live @) forgotten your name ... Reese did tell ne... Walker cannot be dismissed. aciMtRER (hare) Reese's dead, they're. scra him off the atdevalk tn Front of the funeley. Carter's attempts at supertority vanish. CARTER Dead? ... Then his debt died with hin I'm afraid. WALKER Wrong ... ir passed on to you. CARTER No, business corporation would acknowledge a debt of that kind. So why should we? He still keeps his suppressed undertone as other committeemen say goodnight. WALRER A simple reason TE you don't, see DLL RALD ye CARTER (Lneredulous) You must be stark, staring mad. Diyou realize who you're dealing woth? (he snaps his fingers) sss We can blow you out like @ Sandie. Walker grips Carter's hand again, painfully vise~ Like. ® WALKER You'd better take a big breath! Carter's soctal face grimaces with pain. He tries desperately to maintain his bland smile. WALKER (menacingly) Listen ... I want ay money in twelve hours s-. you make che drop where I Say ++. oF you're dead! cur To:2516-67 PL 6A NT. ANTEROOM ~ CARTER'S OFFICE - MORNING 93 The bland and dapper Carter of che fund-ratsing the previous night is now a raging executive of the Organization, berating his team for allowing Reese's death. ‘The bodyguards of the Huntley failure shuffle uneasily. Stegman sits apart, excluded from Carter's anger. ‘CARTER I said nobody was to go up there +ssnobody -.. he could have done without a gitl for one night .. BODYGUARD Mai told us to let her through ... CARTER Did he? ... Ia chat what I cell the peopie downtown? Do you know whae te will cost me in kickbacks to keep this clean... The girl waa Walker's sister-in-law! BODYGUARD (shaken) We didn't know that ... CARTER (pointing to Stegnan) He did’... an outsider had to STEGMAN She was the Trojan Horse ... coneR You're a snare boy, Stegnan ... A regular Greek scholar + Cone fnihepe sac . ; idéing to the sanctun ses The rest o£ you leave! With a withering glance at his henchmen, Carter goes through to his private cftice, followed by tegnan. cur To:21467 PES INT. CARTER'S SANCTUM - DAY 34 Girter appraises Stegnan shrewdly. He notes the greedy but servite anbition and manner. CARTER You know what Ila going to do about Walker? STEQAN Have him taken care of...1 CARTER, Wrong! STEGMAN (jolted) 2 Wrong, CARTER Killing Walker ts no longer an economic proposition. STEQMAN What about the principle? CARTER Profit {s the only principle. STE@UAN What are you going to do? CARTER Nothing. You're gotng to do it. Twant you to pay Walker off. The startled Stegman stares at Carter. Carter opens a draver, takes out a large wrapped package and tosses it into Stegnan's hands. CARTER Walker and I came to an agreement last night. There's an empty storm drain that runs under the San Diego Freeway just north of the airport. Go down there and wait, Walker will collect. STEGAN Why me, Mr. Carter...? CARTER You know him ... you know what he Looks like.Point Blank! Ses Correction 2-15-67 P.66 STEQAN 94 Sure...oh, sure... When do you cont’ want me to go? (2) CARTER Now... Ulysses... now! He busies himself reading a letter. Stegman takes the dismissal: a small man trapped by his ambicion. As he reaches the door Carter Leoks up. canter You'll give “atker his money. won't you,Seeqnan? “don't t what Reese did... a The threat 4s clear enough. EXT. OFFICE BUILDING - Day 95 Walker watches Steonan carefully place the package in a car and drive off. does not follow him but watches him drive fe, hen enters the office building and makes ‘levator. ur To: TYE, RECEPTION AREA - CARTFR'S OFFICE - DAY 9sxa up in alam as he leans over and whispers in her ear. His hand reaches under her desk and wrenches out the telephone cables. Her face registers terror. Her hand moves over and presses the buzzer which teleases the door to Carter's office. Walker goes chrough the door. INT. CARTER'S OFFICE - DAY 96 Walker enters, but almost inmediately the bodyguard appears from the anteroom.2-14-67 P.67 MAN 36 can I help you? conr'D @) WALKER, I've come about Stegnan's funeral arrangements... He raises his hands high, inviting a frisking. The bodyguard looks undectded. Walker looks at him calmly. MAN I'm sorry. I don't know what you're taiking about. WALKER He does! The bodyguard Eénds to frisk him. Walker's raised hands chop down with savage force. The guard drops. Walker deftly extracts a .J2 from the fallen man's hip pocket. As he cones round, Walker jabs the gun in him and indicates that he be taken through to Carter's sanctum. cur To: TNT. CARTER'S SANCTUM - DAY 7 Carter sees the bodyguard forced ahead of Walker and Teaches into a drawer. WALKER Close tt. Garter looks at the crestfallen guard and does so. He winces at the thunp of Walker slugging him unconsefous. CARTER What do you want from me? WALKER My money. Walker grabs Carter and jolts him into the anteroom. He follows Carter in, shistcing the door behind him.2-14-67 P.68 INT. ANTEROOM + DAY 98 CARTER I don't understand... {t's all arranged, as you asked. Walker says nothing. but thrusts Carter to the fire exit door at the corner of the room. He opens tt, Te leads out onto an enclosed stone staircase. INT. STONE STAIRCASE - DAY 99 Walker forces Carter ahead of him and they start to descend, CARTER, You're crazy, Walker. How can thts help you? WALKER T want you £0 pay me personally. CARTER You can't take me out of here in broad daylight. WALKER Don't make book on tet EXT. STORM DRAIN - DAY 100 The enpty drainage canal runs tn 4 curve across an induserial waseeland in domtom tos Angeles. TE tsa deep, wide, white concrete channel gouged cut of the earth. A freeway arches over it at one poine. Stegnan's car pulls up ina deserted open fece of land at the side of the storm drain. afer hes’ chosen a Location thae has almast no Gover. "Stegman takes the package of money 3 walks in the direction of the dain. EXT. CARTER'S OFFICE BUILDING - DAY 101 Walker pushes Carter across the road towards his parked car. CARTER Things aren't done this way any more, Walker. Let's be reasonable.2-24-67 2.69 WALKER 101 ‘The payoffs a setup, isn't it? coxteo CARTER I can agsure you... WALKER Don't... Did you bug the packsge? CARTER This..., You can't be serious... WALKER Stop playing games... You never were going to pay You agreed too quickly! CARTER (blustering) Stegman fs on his way at this very... WALKER Tete a ftxl CARTER I swear...Stegnan... ‘They reach the car, Walker mikes Carter sit in the ériver's seat, He’climbs in alongside him, cur to: 102 ovr EXT. STORM DRAIN = DAY 1o2x1 Stegaen locks around nervously, A train goes past. cur 10: IVT, TUNEL - DAY o2K2 Walker and Carter walk through the dark tunnel approaching the starm drain. WALKER Whose idea was the payoff... yours?! t CARTER (slumping) WALKER You're the cop man then!Potnt Blank! Chea. 2-20-67 P.70 CARTER (deflated) 2o2x2. Two of us run things ~ Srewster cont'd and I... @) WALKER Nobody else? CARTER (reluctantly) We have a money mines WALKER, What's his name? CARTER s+slets not relevant. WALKER (shouting) His name! CARTER (ratsing his voice) His name is Fairfax, As they upproach the mouth of the tunnel Carter begins to crack, He desperately tries to reassume fis role of cool executive, but his panic is too complete. CARTER (shouting) Look, Walker, I'm a business~ man.’ Let's sit down,..talk business. WALKER (roaring) Business? “What's your business? CARTER My word...my word. Redeem it. Redeem it. CARTER I've got securities. WALKER Paper. You're nade of paper. CARTER I'LL stgn. No question. WALKER It's time to pay.Point Blank! chgs. 2-15-67 PTL EXT, DRAINAGE CANAL - DUSK 103 Thetr voices echo and roar out of the black mouth of the tunnel. Carter hurties out into ehe sun= Shine. He staggers down the elope coward the astounded Stegman. STEGMAN (shouting) Walker! Walkeri Carter acranbles to his feet desperately, turning upwards fo the freevay above. CARTER Nows.nd... It's all right... ttia Carter. Stop....! A man with a high-powered rifle on the freeway itself fires twice, killing Carcer and the stupefied Stegnan.' He walks to his stalled car. Walker smiles grimly under the shelter of the arch. The marksmen no Longer reeds hig pretense of having broken down on the bridge. Swiftly, but unhurriedly, he lowers the hood and drives off. Walker waits for a long, long moment before jumpt Lightly to che floor of the canal seine He walks slowly and reflectively towards the two bodies. Squateing anoothly beside Stegnan he delicately tnties the brow paper. package whtcn Carter fad Prepared. Ineice are foldec newspapers. Walker's Suspicions of the set-up are conéimmed. He walks over to Carter, spravled in a grotesque posture, the expensive suit, brightly polishes Shoes and clean white shirt now smeared with dirt and blood. He squats again by the dead body and goes through its pockets, From an inside one he extracts a lim address book, enbossed with Carter's initials; in te is Breuster's address. He climbs out of the canal, stands reflectively for a few moments with the flashing landing Lights of the airport behind him, then walks towards chen.Point Blank! Adda 2-15-67 P72 EXT. BREWSTER'S HOUSE - LOS ANGELES - DAY 104, ‘The Lights of Los Angeles twinkle far below che hillside down which Walker is traversing carefully. Set into ic is an expensive modern home, jutting gut, fron the steep, Serubby slope. It isin Walker approaches it from tha rear, cautious and alert. He leaps lightly onto the roof. Gat-like he crouches there, Listening for any movement. ‘There is none. Smoothly he lowers himself to the ground and investigates windows and doors. By the pool he identifies a neatly labeled Light panel. Aa he examines {t, he HEARS FOOTSTEPS. Walker stiffens and waits. The shadowy figure of a man walks around the house to the pool and stands looking down at. the glittering city below. Walker punches on underwater Lights which {1luminate the pool and man in shades of blue-green. WALKER ‘Turn around. vost You're getting careless -- barging down the mountainside. WALKER You nearly got knocked off yourself. Yost So did you. What was it? WALKER Small calibre. High velocity. He was a good shot. Yost is amused. He nods in the direction of the house.2-15-67 P.73 YOST (gentally) 104 Te looks like Brewster {sn't hone. contr @ WALKER (grimly), Then I'll wait. Yost holds out his hand. Yost The book. Walker locks closely at Yost. WALKER (cutting im off) Book? Yost The book of names, Carter's book. T told you. WALKER Don't you get paid for working overtine? “i'tl give you a break. Brewster's got a'cecting conorrey moring vith these three guys. Che tears a page out t of Carter's Rotebook) n wm going to be at that meetin tut Puane him alone. * Yost takes tt. Walker studies Yost further. WALKER I£ I were you, I'd pick them up tonight. Yost You've got yourself a deal. WALKER See you around. Yost Take s¢ easy. (patting hts arm) You'll live Longer.2-15-67 P74 He watches Yost disappear before curning back 104 fo look at the Lights of the city below. gore 3 INT. CAR - NIGHT 105 Waller drives through the city. We 4s caught in the rush hour traffic. The atop- © driving heightens his ow restlessness and frustration. He jabs at the radto vhich spews out time, temperatures, traffic conditions and pop music. ahead of him, containing his ‘The traffic continues bumper to bumper. EXT. CHRIS'S HOUSE - NIGHT 106 Walker approaches the front door uncertainly. He raises his hand to press the bell, then notices that the door is ajar. He pushes it open and goes inside. INT. CHRIS'S HOUSE - NIGHT 107 Walker moves cautiously into the Living room. A single Light 1s burning. The room ts a total Wreck, the furniture smashed, clothes torn and strewn about the floor. On the walls, pictures have been slashed, mirrors shattered. CHRIS (0-8.) Hello, Walker. She comes out of the bedroom which ts in the sane derelict state. She (3 not in a state of shock, dust resigned and remote.2-15-67 PA75 As they speak, Chris goes around picking up 107 articles and putting them into a suitcase. Saurea WALKER They fixed you up good. CHRIS (shrugs) E,got well paid for Eingering ese. Walker ts stunned by the reference to Lynne's money and by the menory of his ow words to his wife. Chets goes on vumaging in the debris. currs The place is Like a sorgie. T Should have moved out months ago. WALKER ‘This guy you ere going with? You lived here wich hin? cers Yes. This was all his, She gestures around the room, chen Looks at him through the gap in a torn drass sha has picked up. WALKER What are you going to do? cHRIs T don't know. What about you? Walker stands there, He has no idea how to say sorry. WALKER Well ... if you've got nothing on... Chris ts amused at his dilemma. ‘CHRIS Ave you asking me out? Walker doesn't know how to take this. Chris begins to laugh. Little by little, as though it was for the first time, Walker laughs too.2-15-67 P76 EXT. BREWSTER'S HOUSE - NIGHT 108 Walker and Chris stand outside the front door of Brewster's house, Chris is bewildered. CHRIS (whispering) Walker... where are we? WALKER Don't move .. He disappears around the side of the, house. Chris shrugs and looks around her. ‘The narrow road up which they have driven reveals nothing. ‘There are no other houses in sight. No movements, no sounds. Chris spins around as the front door opens behind her. Walker is framed in the doorway, enjoying her surprise, WALKER Don't just stand there ... cone on in. Chris 4s totetly at a loss, She steps over the threshold. INT, BREWSTER 'S HOUSE - NIGHT 109 Without explanation Walker leads her chrough a darkened nalivay. we Stopping by an opened fuse box he replaces the aain fuse, A large contemporary open-plan is revealed, Luxurfously but conservatively furnished. "He switches on a single lamp which dimly lights che curis Whose ts it? WALKER Brewster's. It belongs to the organization. They use it for meecings. CHRIS Yel, nobody Lives tn it, that's2-15-67 P77 She shudders at ‘the unlived-in, impersonal 109 quality of che furnishings, goers crs How do you know: ha won't be back? “WALKER, He'll be back, That's why we're here, I'm waiting for him. Chet ts shocked. Once again Walker has maneuvered her into a compromising situation. CHRIS (angrily) And vhat am I doing here? MALKER You're safer with me then on your own. CHRIS (sarcastically) And when do you expect our host? WALKER Any time. “Maybe not till tomorrow, He haa a dace here at ten. cHRIS And you'll ask him for the money, hettl say no, and you'll kill hia? WALKER Could be... What did you think this was, a pitch or something? ‘Chris 1s now shaking with anger. She stands trembling in front of him, She hits him hard in che face. Walker stares at her. WALKER Forget it. ‘Me ‘turns his back on her, Chris lunges forward jehing at his head and neck. He does not respond. She"seops, trying 0 control herself. Walker turns and faces her in the center of the room. Chris approaches hin. She hits him again. He does ‘not move. CHRIS (exploding) You forget ith Pe Walker does not reply. Chris ts determined to break down this wall of indifference. She attacks him again ~ Kicking, biting, scratching. Walker pushes her off, brushes her away = refusing even to burt or hit her.2-15-67 P78 Finally she is exhausted, She slides onto the floor 109 in a corner of the room. She lies in a heap, cont’ silent sobs shaking her body. Q) Walker picks up a remote-control switch for the television and goes over to a couch. He lies down and starts flicking channels. Chris gets up shakily and goes over to the bar. She pours herself a large scotch. The anger has left her bedy but still burns in her face. Walker lights a cigarette, apparently absorbed tn a television progranne. Cheis moves around che room, drinieing and exploring. She Eurns on sone Lanps, chen goes into the kitchen. As she disappears, Walker turns to see what she is Up to. NOISES come out of the kitchen. She emerges again, rerfills her glass and then goes out through another door. ‘As soon as she has gone Walker jumps up, curns off the lamps and goes into the kithen which is still transmitting mechanical noises. INT. KITCHEN - NIGHT uo ‘The cold, clinical kitchen {ts buzzing with activity. Chris has turned everything on > dishwasher, mixer, grinder, waste-disposer, air-extractor, ete: Walker switches it all off. As he finishes this, a BLAST OF MUSIC hits him from behind. He spins round, identifying a speaker on the ceiling. He goes quickly back into the living room. INT. LIVING ROOM - NIGHT un Chris 1s swaying gently to the muste. Walker Looks round’for the source of it, which ts not in the room, INT. HALLMAY - NIGHT 12 Walker strides down the long hallvay, violently throwing open the aany doors that lead off it, seavehing for the record-player~2015067 P79 INT. HI-FI SUITE - NIGHT 13 Walker bursts into a small music room, It has recordevs and record-players, susical instruments and shelves of records and tapes. He turns off every switch he can see, but the music goes on Playing, | Finally he locates the right one, “The Busic stops. INT. LIVING ROOM ~ NIGHT 1s As Walker returns to the Living room he is astonished to see the garden Floodlights and the pool brightly Hltuninateds "He runs out through the'open glass windows. EXT. FOOL AREA NICHT 1s Chris 1s nowhere to be seen. He hurries over to the panel of switches and turns them all off. He goes back into the house. INT. LIVING ROOM ~ NIGHT 16 As he enters, Chris's votce comes from an inter com wall-speaker. CHRIS (v.0.) I'm going to louse you up, Walker. Are you worried about Brewster? You better be .., Before I'm through IM11 have the Aeighbors, the police, the fire department and’the seventh cavalry ., all ringing the bell. INT. HALLWAY - NIGHT u7 Walker ts enraged. Chris's voice reaches him from other speakers as he searches the house for her. CHRIS (v.0.) Listen to this, Walker. (over the speaker ‘2 GUN-SEOT rings out) This house has everyehing.2-15-67 P.80 INT, GANES ROOM - NIGHT ue Walker throws open the doce. Chris {s holding a +22 repeater rifle. The room has a minfacure range, pin-tables, fruit machines and a pool Chris'hae switched on alt the iughte, "she deems surprisingly cold and self-controlled. Walker stands framed in the doorway, watching her. cuts You're not afraid of being hit, are you? She ftreg in his direction and shatters a lamp~ stand a fost to his right. As she pumps the gun to re-load, Walker 13 upon her. He wrenches the rifle from’her and throws tf aside. Chris breaks away and Walker goes after her, cornering her by the pool table, She fights and leks, but he gradually pins her arns, forcing her Sack onto the table, his own ange matching hers. ORRIS (defiant) What ere you going to do, kill me? Walker pushes her back onto the green baize. The coloured balls cannon off in all directions. He pins nex body with his. The acruggle, the violence, goes on but imperceptibly changes in nature - from anger to anguish to desire. Ie is as though they Were raping each other She scratches and claws at his clothing, he at hers. They may be tearing each other Co pieces or making love. cur To: INT. BEDROOM - NIGHT us It is a continuation, except that they are undressed and in bed, The tension in Chris's facs has turned fo tenderndss. But Walker is troubled. Suddenly. ie is Lynne he ts holding in his arms. Then Reese has taken his place and lies laughing in Lynne's arms. Now Lynne becomes Chris again and Reese's Walker wakes up with a start and a cry on his lips. Chris stirs, drifting between sleeping and waking, Walker looks at his watch, listens for any sounds downstairs, chen gets quickly out of bed.2-15-67 P81 CHRIS (sleepily) 119 Don't go, Walker. Goxnr 2) Walker {s rapidly dressing. There is a great tenderness between then. WALKER (trontcally) You know. CHRIS (smiles) T know. WALKER, I've been this route before. CHRIS (grimly) Not only you. WALKER Reese, too. CHRIS (quietly) Maybe you just broke the pattern. She lies languidly in the bed. He stands over her. WALKER You think $0? Doesn't this remind you of anything? He picks up his gun from the bedside and puts te in BisPpockee: “Le {sa replica of thelr first seating tn’ chris's house. CHRIS (smiles) You're right. This {s how you found me = ia bed. She watches his every movement as he dresses. curs (softly) Is it full ‘eirele? WALKER t can only see around the next It ts a declaration of love. cHRrs ‘That's more than most people can see.2-15-67 P82 EXT, CLOVERDALE FIELD - SANTA MONICA = EARLY MORNING 120 A large car cruises slowly between parked lines of private aircraft. ” pe Algeady other snall planes are taxiing ond takin Off with the casualnese of sereet erafeics A helicopter rises and flaps away over the large car as it parks in a bay at the end of the runvay. The hired gun who ktlled Carter and Stegnan steps from it and watches the smooth landing of @ small executive jet. Like the professional he ts, he continually scans the lie of the land around him, sizing up people, inetdents and possibilities of danger- The Jet stops within a few yards of the waiting gun- Two men alight. One {s BREWSTER, a burly man in his early fifties, in a black sult which matches his tenper. His bodyguard carries two suitcases, ‘The gunaan meets then. The pilot taxis the plane away. As the three men walk toward the car, Brewster lashes angry questions at the hired gua. BREWSTER Who killed Carter? HIRED GUN I dia. BREWSTER You what? HIRED GUN (calmly) Carter set it up but he was where Walker should have been. BREWSTER What about this punk Stegman? HIRED GUN He was the bait... BREWSTER And Walker? HIRED GUN Sti11 around.Point Blank! ches. 46-67 P83 BREWSTER (explosively) 120 How can some cheap helster walk Coxr'p im and smash an operation Like @) ours? ‘They have reached the car. Brewster climbs in the back while che bodyguard packs the luggage. The gunman leans through the open window of the car door. He doesn't close it. AIRED GUN (Levelt: I'LL tell you uhy, Brewster Your operation's abby. 7 yy Walker has torn it apart. Aota"a pro. iie's got backing. Last night he marked up three of your boys - no fuss, no muss .. Your ship's sinking’... the rats are running... you're up the creck ‘and Walker's got the paddle! BREWSTER (sourly) Gee in. The hived gun shakes his head. HIRED CUN This 1s where I get off - it's getting hard co stay alive around here. I'll wait for Palrfax - he hired me. He closes the car door. BREWSTER Suit yourself. He presses a button and che door window rises, separating the two men. ‘The bodyguard behind che wheel drives off. The hired gun watches chem go, still scrutinizing every inch of cover for some sign of Walker. cur To: INT. BREWSTER BEDROOM - DAY 120K, Walker at window, watches Chris emerge from bath- room - sit on bed - he crosses to door. currs What's my last name?Potnt Blank! Chgs, | 4=6-67 WALKER What's ay first name - He exits. EXT, BREWSTER'S HOUSE - EARLY MORNING Brewster's car winds up the steep hill co his house and halts outside it, The road ends in a cul-de-sac, a high point over- looking the city.Point Blank! ches. 3-28-67 P84 Brewster gets out and walks suiftly to his front aay. door, followed by the bodyguard carrying the two conr'p suitcases. (2) cur to: INT. BREWSTER HOUSE - EARLY MORNING 122 Brewster lets hinself in and, still followed by the bodyguard, strides into the living room. He stops in his tracks tn astonishment. Walker 19 covering him with a gun and the bodyguard ia caught flae-fooced with a sditcase in each hands bodyguard) Turn arousd and hold on to that base ‘The bodyguard turns. Being a professional tco he knows what's coming and tenses hinself. Brewster reacts as Walker slugs the henchman with the gun butt. BREWSTER Walker! You've got to stop this! You're very destructive. ‘why are you going around doing things Like this? What do you went? WALKER I want my money! BREWSTER Ninety-three thousand dollars! You mean you're doing this for ninety- three thousand dollars? What do you really want? WALKER I really want my money! 1 BREWSTER 'm not going to give you money. Nobody 1s! Done you understand that? WALKER, Who runs things?Point Blank! Chea. 3-28-87 P.85 BREWSTER 122 Garter and I run things.. Well, I conr'p run things. (2) WALKER What about Fairfax - will he pay me? BREWSTER He Just signs the checks. WALKER I want cash. BREWSTER aah sachecis. You're not going to et. a ‘tom Fairfax. “He's Hinushea. lets deed, He’ doesn't know it yet, but he's deeds WALKER Well, somebody's got to pay me. Call’him anyway. BREWSTER It's a waste of tine. (gets cigar) Itm just getcing a cigar out of heres That's all- (sits and diats phone) Cash. I suppose you expect me to go to a hole in the wall and pull out ninety-three thousand dollars and peel it off for you? ... This is Brewster...Los Angeles... Get me Fairfax, please. FERATOR (0-.) One minute,..I'l1 connect you. BREWSTER Let me tell you something sbout corporations. This ts a corpor- ation. I'm an officer in the corporation. We deal in millions, But we don't carry any cash. I've got eleven dollars in my pocket. FAIRFAX (0.8.) How are you? BREUSTER Fine... just fine. Just got in.Potat Blank! ches. 3-28-67 P86 FAIRFAX (0-8-) 122 How's the weather? corn @) BREWSTER It's all right. Bried the garden up a bit. A ccuple of things. I've got a man here named Walker. Says We owe hia ninety-three thousand dollars...You gonna say anything? FAIRFAX (0.84) What's your problen? BREWSTER, He says he's going to shoot me walese 1 give hin ninety-three thousand dollars. FAIRFAX (0.3.) You do have a problen. BREWSTER WALKER How mich 1s Brewster worth to you? BREWSTER He's getting ready to fire the gun. WALKER ‘Yes or no? FAIRFAX (0.8.) Not WALKER Listen to this, Fairfax. BREWSTER Walker, don't do that! Walker FIRES gun. BREWSTER (continued) (over the noise) oat 4 foolish destructive, ching co What a silly thing. What's ii 'thts coe? chris enters. cHRIs Oh no! What's the matter? What have you done to him?Point Blank! chgs. 4-6-67 BREWSTER Not a thing - He fired Wait a minuce - are you cxars Yes I an. BREWSTER Don't get excited. cuars What's the matter with BREWSTER I said don't get excite talk to Aim..wWell, Wall occurred to me that we able to help you. get you that cash that gun. with Aim? hin? J. Let me kar, if just might be jg Angeles. We do have one secup we sYou remember that, itis still going on..cevery week... once a week. WALKER Alcatraz... BREWSTER Well, the drop haa chang: ttts’che same run. Cone make a trip to San Francised. How about 1c. Huh? INT. COURTYARD = FORT POINT ~=wtG! Walker, away, Ft BREWSTER There's supposed to be aT a Light on that landing where you are. I don't know exactly were it ts, but ie's up there. eas to switch on lights. ddles with jc. BREWSTER Ta thar tre Gighés go on) Goods. « Grarts forward) He puts gun P.87 123-126 ov 127Point Blank! ches. 4-667 P 88-884 WALKER 127 dust stay in the Light. Sourea BREWSTER What do you mean? WALRER Nothing's gonna happen, is it? (exits) BREWSTER (his look following o.s. Walker) Of course not. Nothing's gonna happen. We're gonna make the ex- change, and you're gonna get your money. Brewster stands t1lum{nated in che center of the courtyard, straining co discern Walker who is searching the catacombed corridors of the court= yard. Walker strides on through the catacombed arches, seemingly oblivious. Brewster peers after him trying to follow his Progress. BREWSTER ‘The thing is just routine... Walker, now high above the isolated figure of Browster, appears and disappears behind the shadowed columns of the corridor. BREWSTER What're you looking for -- There's nobody else here. ‘Gooks around) Walker? Walker has vanished, There is no one in stght on the roof =~ byidge.Point Blank! Chgs- BREWSTER I'm just wondering what the hell 2, goy ske Jou Se gonna do with $93,900 == Walker = you think that Little lady in bet she's got some idea: let me give you some advi Bt your soney in the banke -- Wa Hear Piears' helicopter) Walker, on the roof, pauses, looks down. Watker appears at the head of statre, He ceiiete obecetieceyeectte sous oF fe ERTUESSELS“BERUE"Eptowt Fe BREWSTER (relieved) wateer Re RES Fete" coning.* your soney ==" 2ase Bs he ehares, WALKER (descending) What about your friend, Fairfax? ‘BREWSTER Did you say Fairfax? Fairfax is dead = or he will be tomorrow. WALKER This ts tomorrow. BREWSTER Gonna help me with that box? WALKER Nowe ‘They walk away from each other, INT. FORT POINT - PRE-DAWY A helicopter flutters towards the moonlit 4-6-67 P89 ble to handle it == Wait the Ll tell ya = as a business~ ker? He exits. ‘approaching 128-131 our 132 courtyard of Fort Polat Like some multi-winged dragonfly. Ilhwnated in the center of the courtyard Lies a Tong wooden box similar to the drop ac Alcatraz. Waiting in che shadows of the cataconbed walls are Walker and Brewster. Walker doesn't react, doesn’t hear Brewste: complaints. The helicopter and his own wariness make him oblivious, He looks down at the heavyPoint Blank! chgs- 476-87 black Magnam, lytfig in his hand. Ite muzzle points at his stomach. Wich it, he wryly rubs Fhe wounds from Reese's bullecs’all chat time ago. Brewster makes the same exchange with the heli- copter as Alcatraz, and watches it rosr off into a sky streaking with'dawn light. Unhurriedly, he takes out a large packet from the valise, wrapped in a San Francisco newspaper. He squats, co untie it. The rustling wrapping is che only sound in the silence following the 'copter's deparcure. Watker still waits. Stlence. EXT. FORT POINT - NIGHT - MED. SHOT Brewster pucs dowm package of money. BREWSTER Walker += here it is <> (be {s shot - falls) Walker-..what did you do that for? Yost Walker didn't shoot you. BREWSTER Fafrfax. This is Fairfax, Walker... Kill hia, kill him. Yost You should've stayed an accountant. BREWSTER, Yeah ~~ you're right. (he dies) Yost Gur deal's done, Walker. Brewster's the last one. He thought he could take over from me... (exits) Yost circles around, calling to 0.s. Walker. vost Hey Walker... Cone in with me = T've been looking years for someone Like yous... Well cone and get vour (continued) 132x1,Point Blank! Chas. 4-6-67 —P.91-96 Yost (continued) 132x1 money => Come on and get it... Cont'd T pay my debts. WALKER -» WALKERI!!? @) Only the wind and the ‘sound of the sea can be heard. Then footsteps. Into the center of the courtyard walks the Hired Gun. Yost and he exchange glances and shrugs. Yost Well? Walker - this te the last time... There is no reply. Yost (bemused) How do you like that? HIRED GUN (blandly) 1 like te. ‘The two men walk slowly from the center of the courtyard leaving the packet of money behind them. A faint breeze stirs the dirt of Fort Point, blowing dust over the package wrapped in mundane newspaper. ALTERNATE VERSION: Hired Gun starts to get money. ‘Yost Leave it! HIGH ANGLE - 200M = SHOOTING DOWN ON BREWSTER'S 132K2 BODY Tilt up and pan to see panorama of San Francisco skyline. 200M IN on Aleatraz. ‘THE END