Blood Simple Page #6

Ray breaks into a strained half-smile.

Marty grins humorlessly back, mimicking Ray's smile.

MARTY:

What're you smiling at--I'm a funny

guy, right, I'm an a**hole? No, no,

that's not what's funny. What's funny

is her. What's funny is that I had

you two followed because, if it isn't

you, she's been sleeping with someone

else...

He grabs a knee in each hand and leans forward, still looking

at Ray. He is becoming only slightly more animated.

MARTY:

...What's really going to be funny

is when she gives you that innocent

look and says, What're you talking

about, Ray, I haven't done anything

funny...

He leans back again.

MARTY:

...But the funniest thing to me right

now is that you think she came back

here for you--*that's* what's funny.

Ray moves forward and Marty's eyes follow him as he

approaches. Marty's smile abruptly turns to a look of

apprehension. Ray enters frame and brushes past Marty as he

walks up the stoop, and crosses the back office toward the

bar.

Marty relaxes, and his gaze returns to the furnace.

MARTY:

...Come on this property again and

I'll be forced to shoot you...

Ray opens the door to the bar and shuts it softly behind

him.

MARTY:

...Fair notice.

MARTY'S OFFICE LATER

CLOSE SHOT CEILING FAN

At the cut the music and all other bar noise drops out. We

hear only the rhythmic whir of the fan. We tilt down from

the ceiling fan to frame Marty, tilted back in his desk chair,

staring up at the fan.

MEURICE (O.S.)

Marty...

WIDE SHOT THE OFFICE

Meurice is standing in the door to the bar. Far behind him

we can see Debra waiting in the dimly lit, deserted bar.

MEURICE:

...I thought you were dead. Going

home?

MARTY:

No. I think I'll stay right here in

hell.

MEURICE:

(turning to leave)

Kind of a bleak point of view there,

isn't it Marty?

MARTY:

Meurice...

Meurice pauses in the doorway.

MARTY:

...I don't want that a**hole near my

money. I don't even want him in the

bar.

MEURICE:

We get a lot of a**holes in here,

Marty.

Meurice and Debra can be heard leaving the bar. Marty looks

down at the telephone in front of him on the desk, then picks

up the receiver and dials. He tilts back in the chair and

stares back up at the ceiling.

MARTY'S POV

The ceiling fan, turning slowly.

EXT. RAY'S BUNGALOW FROM INSIDE RAY'S CAR

In the foreground Ray sits behind the wheel of his parked

car, slumped back against the seat. He is staring at his one-

story bungalow, in which a couple of lights are burning.

Inside we can faintly hear his telephone ringing.

It rings for a long time.

RAY'S LIVING ROOM

CLOSE SHOT THE RINGING TELEPHONE

Abby's hand enters frame, hesitates, then after another ring

picks up.

ABBY:

Hello?

The is no answer. From the other end we hear only the rhythmic

whir of a ceiling fan.

MARTY'S OFFICE

Marty listens. He says nothing, still tilted back in his

chair, staring at the ceiling.

RAY'S LIVING ROOM

Abby listens. She shifts the phone to her other ear, listening

hard to the sound of the fan. There is another long pause.

ABBY:

...Marty?

The phone goes dead just as we hear the front door opening.

Abby looks up as she cradles the phone.

Ray is standing in the doorway.

RAY:

Who was it?

ABBY:

What?

RAY:

On the phone. Was it for you?

ABBY:

I don't know, he didn't say anything.

RAY:

Uh-huh. So how do you know it was a

he?

ABBY:

(smiling)

You got a girl--am I screwing

something up by being here?

Ray leans against the door and folds his arms, watching Abby.

RAY:

No, am I?

Abby looks at him, puzzled. After an uncomfortable pause:

ABBY:

...I can find a place tomorrow, then

I'll be outta your hair.

RAY:

If that's what you want to do, then

you oughta do it. You, uh... you

want the bed or the couch?

Abby shifts uneasily, looking at Ray.

ABBY:

Well... the couch would be all

right...

RAY:

You can sleep on the bed if you want.

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