Bonnie and Clyde Page #19

INT. THE CAR SWERVING MADLY.

CLYDE manages to keep it on the road. They drive away.

EXT. STREET.

The police run back to their cars to give chase, calling out

to each other, unable to believe that the gang could possibly

have gotten away.

INT. CAR. NIGHT.

as it is speeding down the highway. Crazy, mad hillbilly

music on the soundtrack. Packed inside this car right now

is more sheer human misery and horror than could be believed.

It is hell in there, hell and suffering and pain. The car

is a complete mess. C.W. is sobbing. Everyone is hysterical.

BLANCHE is shrieking with pain and concern for BUCK. BUCK

is alternating between groaning and passing out completely.

BONNIE is yelling at everybody to shut up.

94.

Only CLYDE, driving with both hands clenched on the wheel,

is silent. The car is doing 90.

EXT. SUBURBAN STREET. NIGHT.

The car from the outside, a half hour later. They have

eluded the police. They are barreling down the road at top

speed on a nice suburban street with proper homes. It is

the middle of the night, utter silence. CLYDE stops the

car, points to ca car in a driveway--it is a beautiful,

shiny new and expensive automobile. C.W. runs out, runs up

the driveway, peers inside, gets in, quietly backs it down

the driveway and pulls behind the gang's bullet-riddled

getaway car. Suddenly they both zoom off down the road

together.

INT. OF THE NEW CAR. NIGHT.

C.W. driving alone. He is crying, mumbling, wiping his eyes

and nose with one hand while he controls the wheel with the

other.

EXT. RING OF FIRS. NIGHT.

A wide field in the country. This is Dexter, Iowa. It is

quiet. We see, in a long shot that takes in everything,

that this is a meadow surrounded by a ring of trees, a dense

forest that circles them. The meadow, however, is large.

The two cars drive into the middle of the field, headlights

on. They stop and the Barrow gang gets out. They are in

horrible shape--we can finally have a look at them. Half-

dressed in their pajamas, bloody, dirty, in tatters. Those

that can stagger out do so, others are carried. A far shot

of all this.

Closer shot. Moving closer to them, we see CLYDE and C.W.

lay BUCK down on the ground. CLYDE begins to administer to

his wounds as best he can, mostly just wiping him off. BUCK

is semi-conscious. All are in a semi-daze. BLANCHE falls

to her knees, still clutching her eyes. She is totally

hysterical.

BLANCHE:

Oh, God, please help us! Dear

Father in Heaven, get us out of

this and Buck will never do another

bad thing in his life!

(she continues

moaning, praying, sobbing)

BONNIE walks over to the group, looking at BUCK, C.W. goes

over to her. Two shot--BONNIE and C.W.

95.

C.W.

He ain't got a chance. Half his

head blown off.

Camera pulls back to take in BLANCHE.

BLANCHE:

My eyes!

(she SCREAMS)

God, I think I'm blind.

(in the headlights)

...light hurts so bad...

BONNIE walks over to the car and comes back with the

sunglasses BUCK had given BLANCHE. Moving her out of the

glare, she helps BLANCHE put them on. BONNIE now has an arm

around BLANCHE, and BLANCHE shivers into BONNIE gracefully.

BONNIE is a little repelled by BLANCHE, but comforts her out

of genuine feeling for her.

BLANCHE:

(clinging)

Please, please get us to a doctor!

Tell Clyde to get us to a doctor.

We'll die here.

BONNIE:

(helping with glasses)

--here, hon'.

BONNIE looks silently up to CLYDE. CLYDE is looking dumbly

down at his mangled brother.

BLANCHE:

(going on)

Clyde, Clyde, please get us to a

doctor.

Though BLANCHE cannot see it, CLYDE has knelt down to the

side of BUCK, taking BUCK's hand and with his other hand has

begun smoothing BUCK's hair back, away from the wound.

BLANCHE:

He's your brother!

BONNIE:

(gently, knowing

CLYDE will not and

cannot answer BLANCHE)

Buck can't be moved, now, hon'.

BLANCHE's answer to this is hysterical sobbing, burying

herself into BONNIE, mumbling half-coherent, muffled prayers

between the sobs.

96.

With BUCK and CLYDE.

BUCK:

(weakly)

Clyde?...Clyde?...

CLYDE:

Right here, boy.

BUCK:

I believe I lost my shoes...maybe

the dog hid 'em...

(he lapses into

unconsciousness again)

CLYDE has begun to cry a little, continues to smooth back

BUCK's hair with ritualistic regularity.

Wide angle. Night. Camera pulls away, way back to wide

shot of the entire field, showing the group in the center of

the darkness, lit by the headlights.

Match dissolve into early dawn, camera still on the wide

shot. The field is lighter, though the trees still loom

blackly around it. The two cars, one almost a shattered

wreck, the other bright and shiny and new, are parked in the

center. The sky is light, but the trees cast a dark shadow

on the field. The gang is just sitting around. BLANCHE

weeping next to BUCK, C.W. sitting on the running board of a

car, staring. BONNIE standing and smoking. CLYDE still

with BUCK.

All is quiet.

EXT. WOODS. DAY.

From the edge of the woods, a man in a white shirt emerges

from behind a tree. The camera swings abruptly to get him.

He calls out to the gang.

MAN:

Surrender!

It is a total surprise. BONNIE, CLYDE and C.W. all grab

their guns and fire several shots; they are not firing the

big guns now, but the pistols. The man lingers there for a

moment--he looks strange, white, luminous, like an

apparition--and then he vanishes into the woods. Silence,

long enough to make you think it was perhaps an illusion.

Then there is a volley of gunfire--a noise so large as to be

almost an impossible sound--coming from the woods, all

around, everywhere.

97.

A ring of little white puffs of smoke emerge from the woods;

from every tree a puff of smoke. The camera pans in a

circle. Behind every tree is a man with a gun. There are

at least 150 people out there--peace officers, farmers with

hunting rifles, kids with squirrel guns, everyone who wanted

to come along and catch BONNIE and CLYDE. Their number is

so large because this time they want no possibility of the

gang making what seemed by them supernatural escapes.

From this point on, the sound of guns is unnaturally muffled

on the sound track. We hardly hear them at all..it is like

a dream.

Without a word, all of the gang including the half-dead BUCK

making his final effort, scramble for the nearest car. They

run, throughout this battle, crouched, like animals--their

only thought, to get away, to escape. To fight it out would

be ludicrous.

From the moment the Barrows start in motion, there is

shooting again from the edge of the woods. We see them

scrambling towards the car, in an extreme long shot,

surrounded by the ring of smoke.

CUT TO:

INT. OF THE CAR.

All of them inside. CLYDE is at the wheel.

CUT TO:

EXT. CAR.

Med. Long shot of the car moving. The sound track goes to

complete silence. We see the car looking for an avenue of

escape. It veers towards a tree, a man steps out from

behind the tree and fires, the car jerks and veers toward

another tree, again a man steps out and fires and so on.

The car performs its eccentric dance, all in utter silence

(no sound of the motor, nothing). The film should have the

feeling of slow motion, as the car swerves and loops along

the edge of the woods. Not once do any of the Barrows fire

back. Another man steps out and aims.

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