Blood Simple Page #23

RAY'S POV

Green fog floats past the green light.

BACK TO RAY:

His face frozen. He turns slowly to look behind.

RAY'S POV

The other car is still motionless. We hear the muted rumble

of its engine.

BACK TO RAY:

His eyes shift back to the mirror. He gropes for his window

handle and slowly rolls it down. He sticks out his left arm,

eyes still on the rearview mirror, and waves for the other

car to go around him.

RAY'S POV

The other car remains still for a moment. White fog floats

up beyond the red fog created by Ray's brake lights.

Finally the car pulls out slowly to the left to pass.

BACK TO RAY:

Watching the car pass.

RAY'S POV

As the car pulls out into the light from the intersection

and Ray's headlights, we see that it is a battered green

Volkswagon. First the car itself, and then its red tail

lights, disappear into the fog.

BACK TO RAY:

Watching, for a long moment.

Finally he takes his foot off the brake, turns the steering

wheel hard left and hangs a U-turn.

MARTY'S LIVING ROOM WIDE

A light is switched on in the expensively appointed room.

Meurice enters, walking silently on the carpet, looking around

the room. He throws the light off at the far end and leaves.

MARTY'S BEDROOM WIDE

The door swings open. Meurice throws the switch near the

door and the room is bathed in light. We are once again in

the bedroom where we earlier saw Abby looking through her

purses.

We start to hear the faint buzzing of a fly.

Meurice glances around, throws off the light, and shuts the

door. Black.

MARTY'S OFFICE

Somewhere offscreen a light is switched on and we are looking

in close shot at the dead fish.

The sound of the fly is louder with the cut.

CLOSE SHOT RAY:

Standing in the doorway from the bar, staring down at the

fish.

WIDE SHOT THE OFFICE

Ray glances around at the broken glass lying on the floor.

His gaze shifts to the safe and the hammer in front of it.

He walks over to the safe and stoops down.

CLOSE SHOT RAY AT SAFE

He works its battered dial and it swings open. He shuffles

through the contents and brings out a small pile of

photographs.

RAY'S POV

As he flips through the photographs. The first four are Ray

and Abby in the motel room bed. The last is a mounted 8 x

10:
Abby and Marty on a Gulf beach.

BACK TO RAY:

Looking.

HIS POV PICTURE DETAIL

Marty is still laughing.

BACK TO RAY:

He scowls at the shots Visser took, then puts them back in

the safe. When his hand comes out he is holding another

photograph--this one folded twice. He unfolds it.

RAY'S POV

His and Abby's corpses.

BACK TO RAY FROM ACROSS THE DESK

As he straightens slowly from the safe in the background.

At desk level, we again see the glint of Visser's lighter

under the dead fish.

Ray crosses slowly around the desk into the foreground and

lays the picture flat on the desktop. For a moment he stares

down at it, then wheels abruptly and leaves frame.

INT. RAY'S CAR

CLOSE SHOT RAY:

Driving. He glances up in the rearview mirror.

MARTY'S KITCHEN

As Meurice enters and throws an overhead light. The white

room is bathed in bright, shadowless light. As Meurice steps

into the kitchen his foot strikes something on the floor

below frame, which clatters hollowly away.

CLOSE SHOT PLASTIC DOG-FOOD BOWL

The empty bowl skids into a wall, bounces back, and wobbles,

spinning on its bottom rim.

MARTY'S BILLIARD ROOM

DUTCH-TILT

TRACKING SHOT TOWARD MOUNTED MOOSE HEAD

On a low skewed axis the camera is tracking in toward the

impassive trophy head on Marty's billiard-room wall.

The moose still has Ray's cigarette protruding from its mouth.

REVERSE TRACKING SHOT MEURICE

As he walks toward the moose, head cocked to one side,

frowning quizzically up.

He hears something, and looks through the door to his left.

MEURICE'S POV

The long shadowy hall. We hear panting.

CLOSE SHOT MEURICE

Squinting.

MEURICE:

...Opal?

THE HALLWAY:

A form starts to materialize in the shadows.

MEURICE:

Taking a step back.

HIS POV:

The dog bounding down the hallway. Its panting has become a

low growl.

FROM BEHIND MEURICE

He wrenches a cue stick from the rack and squares.

HIS POV:

Opal snarling, leaping.

INT. MEURICE'S APARTMENT

CLOSE SHOT TOP OF A COFFEE TABLE

The splintered top half of the pool cue is slammed down to

rest on top of the coffee table.

MEURICE (O.S.)

Even the f***ing dog's gone crazy...

MED SHOT ABBY:

Sitting on the sofa, looking down out of frame. Behind her

Meurice agitatedly paces back and forth, waving the splintered

bottom half of the cue stick. His voice is unnaturally loud.

MEURICE:

...Something pretty f***ing weird is

going on. Put your coat on and I'll

drop you at home. But don't talk to

either of 'em until I do. And don't

worry. Believe me. These things always

have a logical explanation. Usually.

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