Bonnie and Clyde Page #2

DISSOLVE TO:

6.

EXT. GAS STATION. DAY.

Gas station up the block. BONNIE and CLYDE are seen leaning

against the soft drink chest, their profiles silhouetted by

the bright sun. They are drinking cokes. As they begin to

talk, the camera moves in closer to them. CLYDE takes off

his hat and rubs the cold coke bottle across his forehead.

BONNIE watches him.

BONNIE:

What's it like?

CLYDE:

Prison?

BONNIE:

(very interested)

No, armed robbery.

CLYDE:

(he thinks it a silly question)

It's...I don't know...it isn't like

anything.

BONNIE:

(thinking she's heard

proof that he's a liar)

Hah! I knew you never robbed bo

place, you faker.

CLYDE:

(challenged)

Oh, yeah?

(studies her, then

makes up his mind to

show her)

Close-up. Gun. Day. He reaches in his jacket and pulls

out a gun. The camera moves to a closeup of the gun,

glinting in the sunlight.

EXT. STREET. DAY.

The camera pulls back to show BONNIE looking at it with

fascination. The weapon has an immediate effect on her.

She touches it in a manner almost sexual, full of repressed

excitement.

BONNIE:

(goading him on)

Yeah, well you got one all right, I

guess...but you wouldn't have the

gumption to use it.

7.

CLYDE:

(picking up the

challenge, proving himself)

You just keep your eyes open.

EXT. LITTLE GROCERY STORE ACROSS THE STREET. DAY.

The camera remains just behind BONNIE's shoulder so that

throughout the following scene we have BONNIE in the picture,

looking at what we look at.

CLYDE goes into the little store. We remain outside with

BONNIE watching. For a minute nothing happens. We can

barely see what is going on in the store. Then CLYDE comes

out, walking slowly. In one hand he holds the gun, in the

other a fistful of money. He gets halfway, to BONNIE and

smiles broadly at her, a smile of charm and personality.

She smiles back. The moment is intense, as if a spark has

jumped from one to the other. Their relationship, which

began the minute BONNIE spotted him in the driveway, has now

really begun. CLYDE has shown his stuff and BONNIE is

"turned on."

Suddenly the old man who runs the grocery store comes

running out into the street, completely dumbfounded. He

stands there and says nothing, yet his mouth moves in silent

protest. CLYDE points the gun above him and fires. It is

the first loud noise in the film thus far and it should be a

shock. The old man, terrified, runs back into the store as

fast as he can, CLYDE quickly grabs BONNIE's hand. The

camera swings with them as they turn and begin to run down

the street. A few yards and the stores disappear entirely.

The landscape turns into that arid, flat and unrelieved

western plain that begins where the town ends.

EXT. STORE. AT THE EDGE OF TOWN. DAY.

A car is parked at the back of the store. As soon as they

reach it, CLYDE motions and BONNIE gets in. CLYDE runs to

the front, lifts up the hood and crosses the wires to make

it start. As he stands back, BONNIE calls to him:

BONNIE:

Hey, what's your name, anyway?

CLYDE:

(he slams the hood)

Clyde Barrow.

He runs over to the door, opens it, shoves her over, and

starts up the engine. The entire sequence is played at an

incredible rapid pace.

8.

BONNIE:

(loud, to make

herself heard over

the gunning motor)

Hi, I'm Bonnie Parker. Please to

meet you.

EXT. ROAD. DAY.

VROOM! The car zooms off down the road, doing 90. The fast

country breakdown music starts up on the sound track, going

just as fast as the car.

EXT. CAR. DAY.

The car, still speeding, further down the road. We zoom

down and look in the rear window. CLYDE is driving, we see

from behind. BONNIE is all over him, biting his ear,

ruffling his hair, running her hands all over him--in short,

making passionate love to him while he drives. The thrill

of the robbery and the escape has turned her on sexually.

EXT. CAR. ANOTHER ANGLE. DAY.

The camera pulls back and above the car. The car starts to

go crazy in a comical fashion, manifesting to the audience

just what is happening to the driver controlling it. The

car swerves all over the road. The car comes to a sudden

halt. The car starts again. It swerves this time almost

right off the road before it straightens out. It jumps and

jerks. Another car comes down the road the other way and

CLYDE's car swerves so much as to make the other guy drive

right off the road into the dirt. It is almost Mack Sennett

stuff, but not quite that much.

INT. CAR. BONNIE AND CLYDE. DAY.

BONNIE grabs the wheel and turns it sharply.

EXT. CAR. DAY.

It hairpins off the road onto a shoulder beneath some trees.

INT. CAR. BONNIE AND CLYDE. DAY.

--still settling to a stop. BONNIE and CLYDE appear to be

necking heavily now, punctuated by BONNIE's squeals of

passion as she squirms and hops about like a flea, trying to

get to CLYDE. The floor gear-shift is keeping their bodies

apart, however. In exasperation, BONNIE takes the gear

shift and shoves it forward out of their way. She plunges

onto CLYDE, burying him from view.

9.

BONNIE:

(kissing, biting)

...You ready?...

CLYDE:

(muffled, laughing)

...Hey, wait...

BONNIE:

(giggling herself)

Aren't you ready? Well, get ready!

BONNIE has obviously touched him. With savage coquetry she

tears into her clothes and his.

BONNIE:

(muffled)

C'mon, honey, c'mon, boy...let's

go...let's...

CLYDE:

(muffled)

Hey...hey, wait a minute...quit

that now, cut it out.

(sharply)

I said, cut it out!

He shoves her rudely away, slamming her into the far car

door. Suddenly it looks as if they've been fighting. Both

unbuttoned and unglued, they stare silently at one another,

breathing heavily. CLYDE gets out of the car, clearly

shaken. Despite the fact that he may have encountered this

situation many times before, it's one that no twenty-oneyear-

old boy in 1932 is sophisticated enough to dismiss

easily with bravado.

BONNIE remains seated in the car. She seems terribly

vulnerable. She fumbles about for a cigarette, too confused

to figure out what didn't happen. CLYDE turns back and

reaches through the car window from the driver's side,

lighting it for her. BONNIE casts CLYDE a fishy stare, then

accepts the light.

CLYDE:

(trying to be casual,

even insouciant)

Look, I don't do that. It's not

that I can't-

(his voice cracks,

the match burns his

fingers, and he bangs

his head onto roof of

car, and he goes

right on)

--it's just that I don't see no

percentage in it.

(MORE)

10.

CLYDE (CONT'D)

I mean there's nothin' wrong with

me, I don't like boys.

BONNIE doesn't know what she thinks, and CLYDE is trying to

gauge her reaction--whether she feels rejected or repelled.

In fact, it's both--along with a little latent fascination.

BONNIE:

(finally, spitting

out smoke)

Boy...boy...boy...

CLYDE:

(a little annoyed)

Boy, what?

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