Blood Simple Page #5

EXTREME CLOSE SHOT PHOTO DETAIL

Of Marty's face. He is staring into the camera, at whoever

took the picture. His head is thrown back slightly; he is

laughing.

From offscreen in the quiet room we hear a static hum and

then Abby's voice over an intercom.

ABBY'S VOICE

Ray...?

BACK TO RAY:

He turns from the photograph and walks to an intercom speaker

next to the mounted moose's head. He presses the speaker

button.

RAY:

Yeah...

He idly takes his unlit cigarette and sticks it in the moose's

mouth.

RAY:

...You get what you wanted?

ABBY'S VOICE

Yeah. Let's get out of here.

MARTY'S FRONT FOYER

We are looking across a dark, high-ceilinged foyer toward

the front door. Ray leans against the doorjamb, in silhouette

in the open doorway. He is facing a curved staircase that

descends into the foyer. Abby appears at the second-floor

landing and starts down the stairs.

RAY:

Why d'you wanna leave all this?

ABBY:

You kidding? I don't wanna leave all

this, I just wanna leave Marty...

As she reaches the bottom of the stairs:

ABBY:

...Drive me to a motel?

RAY:

You can stay at my place, I'll drop

you there.

ABBY:

Where... where you going?

RAY:

See a guy.

ABBY:

(nervously)

Don't go to the bar, Ray. I know

him, that ain't a good idea.

RAY:

I just gotta see a guy.

MARTY'S BAR

The crowd has thinned out. Meurice and Debra are in the

foreground.

Ray enters from the street and makes his way over to them.

MEURICE:

Howdy stranger.

RAY:

Meurice. Sorry I didn't show last

night.

MEURICE:

Wasn't too busy. You missed a good

one, though. This white guy walks in

about one o'clock, asks if we have a

discount for alcoholics... I tell

him to get lost, but Marty's sitting

here listening and I can tell he's

thinking that maybe it ain't such a

bad idea...

He pours Debra another drink and starts to set one up for

Ray.

MEURICE:

...Ray, this is Debra. She's a

geologist. That's the theory of rocks.

Ray nods at Debra.

RAY:

Is Marty here?

MEURICE:

Not here tonight. Wasn't here last

night. He's especially not back in

his office.

RAY:

(leaving)

Thanks Meurice.

MEURICE:

For what?

EXT. BACK OF MARTY'S BAR

Marty is sitting on the stoop that descends from his back

office to a graveled back parking lot; he is framed in the

open doorway of his brightly lit office. He stares fixedly

at something offscreen.

MARTY'S POV

In the middle distance a huge incinerator operates full blast.

Orange flames lick out the sides; white smoke billows out

the top. Two figures in silhouette are chucking garbage in

through a large gate.

BACK TO MARTY:

Behind him, in the office, we see the door from the bar open,

and Ray entering.

RAY:

Marty?

Marty looks over his shoulder, then back toward the furnace.

Ray descends the stoop and stands in front of him.

RAY:

...Well...? What?

Marty stares past Ray across the parking lot.

MARTY:

What "what"?

RAY:

Am I fired? You wanna hit me? What?

MARTY:

I don't particularly want to talk to

you.

RAY:

Well... if you're not gonna fire me

I might as well quit.

MARTY:

Fine. Suit yourself.

(still staring fixedly

at the furnace)

...Having a good time?

Ray tenses. There is a pause.

RAY:

...I don't like this kind of talk.

Marty still stares at the furnace.

MARTY:

Then what'd you come here for?

RAY:

(no more conciliation)

You owe me for two weeks.

Marty shakes his head.

MARTY:

Nope. She's an expensive piece of

ass...

He finally looks up at Ray.

MARTY:

...You get a refund though, if you

tell me who else she's been sluicing.

RAY:

I want that money. If you wanna tell

me something, fine--

MARTY:

What're you, a f***ing marriage

counselor?

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