Bonnie and Clyde Page #3

BONNIE:

Your advertising is dandy. Folks'd

just never guess you don't have a

thing to sell.

(a little afraid)

You better take me home, now.

CLYDE:

(getting back into car)

Wait!

BONNIE:

Don't touch me!

She gets out of car, leaving CLYDE draped across the front

seat, reaching after her.

CLYDE:

(almost shouting)

If all you want's stud service,

then get on back to West Dallas and

stay there the rest of your life!

This stops her. Now CLYDE pours it on, with an almost

maniacal exuberance that becomes more controlled as he gets

control of BONNIE.

CLYDE:

But you're worth more'n that, a lot

more, and you know it, and that's

why you come along with me. You

could find a lover boy on every

corner in town and it doesn't make

a damn to them whether you're

waiting on tables or picking

cotton, so long as you cooperate.

But it does make a damn to me!

11.

BONNIE:

(turning, intrigued)

Why?

CLYDE:

Why? Because you're different!

You're like me and you want

different things.

BONNIE is hooked now.

CLYDE:

(continuing)

You and me travelin' together, we

could cut clean acrost this state,

and Kansas, too, and maybe dip into

Oklahoma, and Missouri or whatnot,

and catch ourselves highpockets and

a highheeled ol' time. We can be

somethin' we could never be alone.

I'll show you...when we walk into

the Adolphus Hotel in San Antone',

you wearin' a silk dress, they'll

be waitin' on you and believe me,

sugar, they're gonna know your last

name.

He stops, having begun to woo her to something more intense

than a casual, physical coupling.

BONNIE:

When'd you figure that all out?

CLYDE:

First time I saw you.

BONNIE:

How come?

CLYDE:

(intensely, with real honesty)

'Cause you may be the best damn

girl in Texas.

Close-up. BONNIE.

BONNIE:

Who are you, anyway?

CUT TO:

12.

INT. ROADSIDE CAFE. BONNIE AND CLYDE. DAY.

BONNIE and CLYDE seated in booth, now C.U. CLYDE. The sound

track bridges the scene: the question that BONNIE has just

asked is now suddenly rebutted by CLYDE, as he points a

finger at her.

CLYDE:

(not answering her,

preferring to lead

the conversation)

I'll tell you about you.

He loves doing this and he does it well. The more he

envisions BONNIE's life, the more instinctively accurate he

becomes. She grows more and more fascinated, like a child

watching a mind reader.

CLYDE:

Lessee...You were born somewheres

around East Texas...got a big old

family, right?...You went to

school, of course, but you didn't

take to it much 'cause you was a

lot smarter than everybody else

anyway. So you just quit. Now...

(thinking, playing it

for all it's worth)

...When you were sixteen...no,

seventeen, there was a guy who

worked in...uh...

Pull back taking in BONNIE, favoring CLYDE.

BONNIE:

(fascinated)

Cement plant-

CLYDE:

Right. Cement plant. And you

liked him 'cause he thought you was

just as nice as you could be. You

almost married that guy, but

then...you thought, no, you didn't

think you would. So you got your

job in the cafe...

(getting closer to

home now, hitting

them right in there)

And every morning you wake up and

you hate it. You just hate it.

And you get down there and you put

on your white uniform-

13.

BONNIE:

(enthralled)

Pink.

CLYDE:

And the truck drivers come in to

eat greasy burgers and they kid you

and you kid them back, but they're

stupid and dumb, boys with big

tattoos all over 'em, and you don't

like it...And they ask you for

dates and sometimes you go...but

you mostly don't, and all they ever

try is to get into your pants

whether you want to or not...and

you go home and sit in your room

and think, when and how will I ever

get away from this?...And now you

know.

BONNIE is half-mesmerized by his talk. A waitress comes

with their food. A cheap, gaudy dame, she has spit curls on

each temple in the style of the times. CLYDE looks at her

and at BONNIE, who also wears spit curls. As soon as the

waitress leaves:

CLYDE:

(pointing at her hair)

Change that. I don't like it.

Without a word of protest, BONNIE immediately reaches in her

bag and takes out a mirror. She holds it up and with the

other hand, brushes back her spit curls into her hair. She

never again wears them. When she has pushed them back she

looks at CLYDE for his approval. He nods his okay. She

smiles, puts back her mirror and begins to eat her food.

She's ravenously hungry and eats with total concentration on

her plate. CLYDE doesn't touch his food, just watches

BONNIE eat for a minute.

CLYDE:

God, you're a knockout.

EXT. ROADSIDE CAFE. DAY FOR DUSK.

CLYDE and BONNIE emerge from the cafe into the early evening.

They move toward the car they have stolen. Just beyond sits

a newer model car. BONNIE is surprised to see CLYDE head

toward the newer car.

BONNIE:

Hey, that ain't ours.

14.

CLYDE:

Sure it is.

BONNIE:

But we came in this one.

CLYDE:

Don't mean we have to go home in it.

She walks amazed around the new car and gets in beside him.

He turns the key and they pull away from the cafe.

INT. ABANDONED FARM HOUSE. A WIDE SHOT OF THE PARLOR LIVING

ROOM. DAY.

The room is bare. In the middle BONNIE is waking, having

slept on a couple of car seats covered with an old piece of

tattered blanket. There are windows behind her. She looks

about bewildered.

BONNIE:

Clyde...

She starts to panic and runs to the window.

BONNIE:

(continuing)

Clyde...

At another window CLYDE appears.

CLYDE:

Hey, lady.

BONNIE:

(chagrined at her fear)

Where you been keeping yourself?

CLYDE:

Slept out by the car.

BONNIE:

Oh...These accommodations ain't

particularly deluxe.

CLYDE:

No...If they're after us, I want

the first shot. Come on, you got

some work to do.

BONNIE moves to the door and out of the house.

15.

EXT. FARM HOUSE. FRONT YARD. DAY.

On the door is a sign which reads:

INSERT:

PROPERTY OF MIDLOTHIAN CITIZENS BANK --TRESPASSERS WILL BE

PROSECUTED.

Wide angle. Across fence. Day. On the dilapidated picket

fence six old bottles have been placed. As BONNIE joins

CLYDE he turns and fires six quick shots. The bottles

disappear.

BONNIE:

You're good.

CLYDE:

The best.

BONNIE:

And modest...

CLYDE:

Come on. Got you all set up over

here.

Wider angle. They move around to the side of the building

where CLYDE points to a tire hanging by a rope from a tree.

He means that to be BONNIE's target. He hands her a gun.

CLYDE:

Set her spinnin'.

BONNIE fires. She misses.

CLYDE:

Again. Come down slow with it...

BONNIE fires again and hits the tire. She smiles and blows

the smoke from the barrel in pride and self-mockery.

CLYDE:

Ain't you something? I tell you

I'm going to get you a Smith and

Wesson, it'll be easier in your

hand. Now try it again once...

BONNIE sights. As she is about to fire, a man appears

around the corner of the building. A FARMER. She fires and

hits the tire.

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