Blood Simple Page #13

His eyes are now shut. Otherwise he hasn't moved. A blood

stain is growing on the front of his shirt.

WIDE SHOT THE OFFICE

The two face each other across the desk. Visser's gun is

still trained on Marty.

After a moment Visser starts fanning himself again with his

cowboy hat. The only movement in the frame is the slow back-

and-forth of the yellow hat, rhythmically in and out of shadow

as it catches and loses the light from the desk lamp. There

is a long pause.

Finally one of Marty's feet slips from the desk and hits the

floor with a THUD.

Visser lays the gun on the desk.

CLOSE SHOT VISSER

As he reaches into his breast pocket and withdraws a

handkerchief. He wipes his forehead, then picks up the gun

and wipes it off. He leans down with the gun.

CLOSE SHOT THE GUN

As Visser places it deliberately on the floor near the desk.

It is Abby's pearl-handled revolver.

THE DESKTOP FROM DESK LEVEL

As Visser straightens up in the foreground. From our head-on

angle shooting across the desk we can see the bright metallic

glint of Visser's cigarette lighter underneath the dead fish.

Visser's hands move over the near part of the desk, picking

up the money and the 9 x 12 picture envelope.

EXTREME HIGH SHOT THE OFFICE

As Visser turns from the desk and walks across the room out

of frame. We hear the back door opening.

VISSER:

Who looks stupid now.

The door slams shut.

The only sound is the whir of the fan. A pause. The camera

tracks slowly forward, tilting down to keep Marty and the

desktop centered in frame. As the camera moves the noise of

the fan grows louder. When Marty's body and the desk are

directly beneath us, the blades of the ceiling fan cut across

the immediate foreground and effect a:

WIPE TO:

MARTY'S BAR LATER

It is completely still. We are looking from the bar, across

the dark empty floor, toward the pebbled windows at the front

of the building that catch a hard blue light from the

streetlamps outside. The jukebox in the middle distance glows

in the darkness.

A pair of headlights catches the pebbled glass and grows

brighter as we hear a car pull up to the bar and stop. We

hear a car door open and shut, then the sound of feet on

gravel. A huge shadow appears on the pebbled glass as the

figure crosses in front of the headlights. The man tries the

door, finds it locked, and walks back in front of the

headlights to cup his hands at a window. He walks back to

the door, and a moment later it swings open--framing him in

the doorway in silhouette.

We follow him as he moves across the floor, behind the bar

and up to the cash register. He switches on a small

fluorescent light clamped to the top of the cash register.

It is Ray.

He punches a key and the register rings open. He lifts up

the empty cash drawer and takes some papers from underneath

it.

RAY'S POV

As he flips through the papers; bills, receipts, no money.

BACK TO RAY:

As he finishes flipping through the papers.

RAY:

(muttering)

Damn...

He slips them back under the cash drawer and slams the

register shut. Turning from the register he glances around

the bar, the pauses, noticing something.

RAY'S POV

Light is spilling out from under the door to Marty's office.

BACK TO RAY:

As he starts across the floor to Marty's office.

RAY:

Marty...

He reaches the door and knocks sharply. No answer. He turns

the knob.

RAY:

Marty...

The door is locked. We hear the muffled whir of the ceiling

fan inside.

A pause. Ray withdraws a ring of keys from his pocket and

uses one on the door. The door swings open.

Over his shoulder we see Marty, still at his desk, his back

to us. On foot is still propped on the desk.

RAY:

What's the matter, you deaf?

No answer.

Ray stumbles toward Marty.

He stumbles slightly and we hear the sharp blast of a gun

and the sound of something metallic skating across the floor.

Ray, startled, steadies himself against the desk, then studies

Marty.

RAY'S POV

There is a dark pool of blood under Marty's chair.

BACK TO RAY:

He looks back up at Marty, then walks behind his chair and

throws a wall switch. The room is bathed in light. His eyes

still on Marty, Ray crosses behind the desk.

RAY'S POV TRACKING SHOT

The camera moves in a slow arc around the back of Marty's

motionless head.

BACK TO RAY:

Still moving. He looks away from Marty, scans the floor. He

gets down on his hands and knees and peers under the safe.

RAY'S POV

There is a glinting silver circle in the darkness under the

safe. It is the business end of the revolver that Ray half-

stumbled over, half-kicked.

BACK TO RAY:

Still on his hands and knees. He reaches in and we hear a

rattle as he gropes under the safe. He withdraws the gun,

looks at it.

THE GUN:

It is Abby's revolver.

BACK TO RAY:

For a long moment he doesn't move. Then, slowly, he starts

to get up.

WIDER:

The desk, Marty behind it, Ray straightening behind him. Ray

looks from the gun to Marty, slowly sets the gun down on the

desk. A pause. He begins to hoist Marty from the chair.

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