Bonnie and Clyde Page #14

Synopsis: Bonnie and Clyde is a 1967 American biographical crime film directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the title characters Clyde Barrow and Bonnie Parker. The film features Michael J. Pollard, Gene Hackman, and Estelle Parsons, with Denver Pyle, Dub Taylor, Gene Wilder, Evans Evans, and Mabel Cavitt in supporting roles. The screenplay was written by David Newman and Robert Benton. Robert Towne and Beatty provided uncredited contributions to the script; Beatty also produced the film. The soundtrack was composed by Charles Strouse.
Production: Warner Brothers/Seven Arts
  Won 2 Oscars. Another 20 wins & 27 nominations.
 
IMDB:
7.9
Metacritic:
81
Rotten Tomatoes:
89%
R
Year:
1967
111 min
856,329 Views


CLYDE:

Bonnie?

No answer.

CLYDE:

(a little defensive)

Look, Bonnie, I've said it and I

guess I'll keep sayin' it before

we're thru--Blanche is Buck's wife

and Buck is family.

He waits expectantly.

BONNIE:

(finally, utterly

without malice)

--she's such a silly-Billy...

BONNIE looks plaintively to CLYDE.

BONNIE:

My family could use some of that

money.

69.

CLYDE:

Them laws have been hangin' round

your mamas house 'til all hours,

Bonnie. It's just too risky to go

there.

BONNIE:

(exploding)

Well, where can we go? We rob the

damn banks, what else do we do?

CLYDE cannot really answer. Suddenly C.W. starts yelling:

C.W.

CLYDE! CLYDE! CLYDE!

CLYDE flinches at the sound. C.W. comes bounding over, as

rude an assault on their sensibilities as he can be.

CLYDE:

(wincing as they are

nose to nose)

I hear you, C.W.

C.W.

This ol' heap's gushin' oil! We

got to swipe us another set of

wheels right away, or we won't get

anywhere. Look here.

He reaches down under the pan of the car and scoops a gooey

handful of slick black oil which he holds before their faces.

C.W.

See?

CLYDE nods slowly. He looks back to BONNIE. He sees.

DISSOLVE:

EXT. SUBURBAN STREET.

A residential neighborhood on a suburban street. A rather

well-to-do neighborhood. The camera is up on a porch of a

white frame house, looking toward the street. On the porch,

sitting in the swing in the left f.g. are a MAN and a WOMAN.

She is about twenty-nine, he is about thirty-six. He is

sitting with his back to us, embracing the WOMAN. They are

spooning, making low, loving murmurs.

WOMAN:

Oh, now...now, dear...

70.

MAN:

Mmmm...sweet thing...

We see in the distance two cars parked in front of the house.

His and hers. Suddenly we see another car drive up (BONNIE

and CLYDE) and somebody gets out. Then the whole gang gets

out, ditches the one car and gets in one of the parked cars.

All the while the couple on the porch is busy spooning. The

car begins to roll slowly into the street. The WOMAN notices.

WOMAN:

Say, isn't that your car, Eugene?

MAN:

(still nuzzling her)

Mmmmmm...huh?

(he looks, leaps from

the swing)

That's my car! Hey!

The MAN and WOMAN run down the front steps and front walk to

the second car. They jump in and take off, giving chase.

INT. CAR. DAY.

The WOMAN is driving (it's her car). The MAN is furious.

EUGENE:

I'll tear 'em apart! Those punks!

Steal a man's car right out from

under him! Wait till I get my

hands on those kids, Velma, I'll

show 'em!

They continue driving, furious, the man cursing and muttering.

We see through their windshield the other car way in the

distance.

VELMA:

What if they have guns, Eugene?

EUGENE:

(realizing the

possibility, he

suddenly stops being

mad and turns chicken)

We'd better get the police and let

them handle this.

VELMA:

Right.

71.

EUGENE:

Turn around and let's get back to

town. We'll go get the sheriff.

They are by now on a narrow dirt road and the WOMAN has to

execute a U-turn. It takes her about seven cuts to turn the

car around in the narrow space. They start back to town.

CUT TO:

INT. BONNIE AND CLYDE'S CAR.

BUCK looks out the rear window.

BUCK:

They stopped chasin' us. They

turned around.

Close-up. CLYDE grinning mischievously.

CLYDE:

Let's take 'em.

BUCK and C.W. laugh appreciatively at the reversal. CLYDE

turns the car around. He performs the U-turn in the same

narrow space in one, swift, smooth, beautiful turn.

CUT TO:

INT. THE OTHER CAR.

VELMA looks in the rear view mirror and sees that now she is

being chased.

VELMA:

Oh, my Lord, they're comin' after us.

EUGENE:

(in a panic)

Step on it, Velma, step on it!

Close-up. Accelerator. VELMA jams it down to the floor.

The car speeds.

EXT. ROAD. THE CHASE. DAY.

BONNIE and CLYDE's car gaining on them, gaining on them,

gaining on them and finally overtaking them, coming up and

ahead, forcing them to the side of the road.

Med. shot. The MAN and WOMAN's car. Terrified, they roll

up their windows, lock their doors and huddle together.

72.

EXT. ROAD.

The Barrow gang piles out of their car and walks over,

having a merry time. They surround the car and press their

faces against the window, flattening their features, making

menacing gestures at the shaking pair inside. We see this

from the point of view of the MAN and WOMAN inside the car.

CLYDE pulls out a gun, makes as if to shoot, but he is

kidding. They all laugh uproariously, especially BUCK who

is delighted with CLYDE's prank. All of this we see in

pantomime from inside the trapped car.

EXT. CAR.

CLYDE:

C'mon, get out! Get out of there,

I said.

They come out, hands held high, shaking with fear. They

have practically turned to jelly.

CLYDE:

(ordering them into

the other car)

Get in here.

INT. OTHER CAR. DAY.

They get in and the gang gets in. Seven people are now

jammed inside. CLYDE drives, BONNIE next to him, C.W. next

to her. In back, BLANCHE, then EUGENE with VELMA (of

necessity) sitting on his lap, and then BUCK. As will be

seen, the reason the Barrows have kidnapped the couple is

simply that they wanted company. Living as they do, seeing

only each other day after day, they long for diversion and

new faces. So the atmosphere in the car will shortly change

to one of friendliness and jollity, and it will get

progressively more so in the series of cuts which advance

the time. As the car starts up at the beginning, however,

the MAN and WOMAN are terrified.

BUCK:

What's your name?

EUGENE:

(hesitantly)

I'm Eugene Grizzard.

VELMA:

I'm Velma Davis.

73.

BUCK:

(just as friendly as

he can be)

Well, howdy! We're the Barrow gang.

That there is Clyde drivin' and I'm

Buck.

The MAN and WOMAN almost faint from fear; clutch at each

other. The gang all laugh at this. VELMA and EUGENE begin

to realize that they are not going to get hurt and that the

Barrows are friendly to them.

BONNIE:

Look, don't be scared, folks. It

ain't like you was the law. You're

just folks like us.

EUGENE:

(agreeing over-enthusiastically)

Yeah, yeah, that's the truth.

CLYDE:

I expect you been readin' about us.

The MAN and the WOMAN answer simultaneously with what they

think is the right thing to say under the circumstances.

EUGENE:

Yes.

VELMA:

No.

They glare at each other.

EUGENE:

(meaningfully)

Yes, Velma, we have too.

BONNIE:

(laughing at the contretemps)

Well, you two must be in love, I bet.

EUGENE and VELMA blush, get shy for a second. BONNIE smiles.

BUCK:

(gleefully, clapping

his hands)

Well, when you gonna marry the

girl, boy?

Everyone chuckles heartily.

CUT TO:

74.

INT. CAR. LATER.

--still driving, same positions, but some time has elapsed.

The atmosphere is now completely convivial and the captives

are enjoying their new friends. As the scene starts, BUCK

is finishing his joke.

Rate this script:1.7 / 6 votes

David Newman

David Newman (February 4, 1937 – June 27, 2003) was an American screenwriter. From the late 1960s through the early 1980s he frequently collaborated with Robert Benton. He was married to fellow writer Leslie Newman, with whom he had two children, until the time of his death. He died in 2003 of conditions from a stroke. more…

All David Newman scripts | David Newman Scripts

0 fans

Submitted by acronimous on March 27, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Bonnie and Clyde" Scripts.com. STANDS4 LLC, 2024. Web. 23 Nov. 2024. <https://www.scripts.com/script/bonnie_and_clyde_67>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Bonnie and Clyde

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "A/B story" refer to in screenwriting?
    A Two different genres in the same screenplay
    B The main plot and a subplot
    C Two different endings
    D Two main characters