Bonnie and Clyde Page #7

Angle at BONNIE. She has been watching the movie; is now

disturbed by the noise. She turns back to CLYDE from her

seat on the aisle.

BONNIE:

Ssshh! If you boys want to talk

why don't you go outside?

She smiles at her joke and turns back to the screen to the

movie which she is obviously enjoying enormously.

32.

INT. CHEAP MOTEL BATHROOM. CLOSE-UP BONNIE. DAY.

On the right of the screen, f.g., BONNIE stands at the sink

fixing her make-up in the mirror. The make-up has become

more conservative. On the left, further back, is a bathtub

and in it sits C.W. His head and knees peek over the gray,

soapy water. He is engaged with his usual single-minded

concentration, in washing himself, carefully scrubbing his

arms, not a thought in his head. BONNIE finishes her makeup

and regards herself quizzically, tilting her head to look

at herself at different angles. She is smoking a cigarette,

and really, studying herself.

BONNIE:

What do you think of me, C.W.?

C.W.

Uh...well, you're just fine, I

guess. Uh, well, course you're a

real good shot...and...uh...well,

sometimes you look pretty as a

painting.

Camera stays with BONNIE during all this, watching her look

at herself as she listens to C.W.'s evaluation. She has a

narcissistic concern at the moment and as she hears him

enumerate her values, she thinks about each in turn and

decides yes, that's true.

C.W.

Hey, uh, Bonnie...could you get me

that washrag there?

Responding automatically, BONNIE turns and walks to a towel

rack, pulls the washcloth off and starts toward C.W. when

suddenly she stops with a smile on her face and a sudden

motion. Teasingly, she holds the washcloth out at arm's

length.

BONNIE:

(coyly)

Why'nt you come get it?

C.W.

(not even realizing

what's on her mind)

Huh?

BONNIE:

(wiggling the

washcloth like a

bull-fighter's cape)

Whyn't you come get it, C.W.?

33.

Suddenly C.W. looks mortally embarrassed as he realizes what

that would entail.

C.W.

Aw, Bonnie, come on, gimme it.

BONNIE tries another tack. She begins sauntering over

slowly, teasingly, still holding out the treasured washcloth.

BONNIE:

(pertly)

All right, I'll bring it myself.

As she moves closer to the tub, C.W. realizes that she will

be able to peer down into the tub and see him and he

frantically reaches up with one hand and yanks the washcloth

into the tub, causing a great splash. BONNIE, somewhat the

victim of the splash, jumps back and away. Recovering her

composure, she looks at C.W. who is slunk down in the tub

like a gross September Morn. She has tried him and he has

failed; she realizes now that he was no choice for her; no

real man, even if he might perform sexually. He is a lump.

This irritates her; his very presence is demeaning to

herself and CLYDE.

BONNIE:

(irritated with

herself for even

thinking of such a thing)

You simpleton, what would you do if

we just pulled out some night while

you was asleep?

C.W.

(trying to give the

right answer, but

obviously faking it)

Oh, I wouldn't know what to do.

But you wouldn't do that. You

couldn't now.

BONNIE realizes, with some weariness, the inevitable truth

of what he's said; thus resigned, she says patronizingly:

BONNIE:

That's right, C.W. We'll always be

around to take care of you.

Pointedly, she throws her cigarette in his bath-water,

"Sssssssssss." She turns and leaves the bathroom, slamming

the door behind her.

34.

INT. BEDROOM.

Camera goes with her into the connecting bedroom. CLYDE is

sitting on the edge of the bed cleaning the guns and oiling

them. He is quiet and preoccupied and takes no note of

BONNIE's present condition. The moment she enters, he looks

up.

CLYDE:

(quietly)

Bonnie, I want to talk to you. Sit

down.

BONNIE sits, a little taken off balance by his serious

manner. But she listens quietly.

CLYDE:

(continuing)

This afternoon we killed a man and

we were seen. Now nobody knows who

you are yet, but they're going to

be after me and anybody who's

runnin' with me. Now that's murder

now and it's gonna get rough.

(BONNIE nods. CLYDE

continues speaking

carefully and gently.)

Look, I can't get out, but right

now you still can. You say the

word and I'll put you on the bus to

go back to your Mother. 'Cause you

mean a lot to me, honey, and I

ain't going to make you run with me.

So if you want, you say the word.

BONNIE, moved by his offer, has tears in her eyes.

CLYDE:

(as he pauses)

Why? We ain't gonna have a minute's

peace.

BONNIE doesn't like him in this mood. She tries to josh him

out of it.

BONNIE:

Oh, pshaw.

CLYDE:

(trying to make her

see the seriousness

of it)

Bonnie, we could get killed.

35.

BONNIE:

(death has no reality

for her)

Who'd wanna kill a sweet young

thing like me?

CLYDE:

(amused in spite of himself)

I ain't no sweet young thing.

BONNIE:

Oh, Clyde, I can't picture you with

a halo, and if you went to the

other place you'd rob the Devil

blind, so he'd kick you right back

to me.

Close-up. CLYDE--touched deeply, realizes that this was a

lovely thing to say to him.

INT. MOTEL BEDROOM.

They kiss. They are near the bed on which are some guns

that CLYDE has been cleaning. The kiss moves toward real

love making. They are on the bed and push the guns aside.

Some fall to the floor. CLYDE breaks the embrace after it

has reached a high pitch. He moves away from the bed toward

the window. BONNIE follows him and embraces him from the

rear. They are miserable. BONNIE frees him and returns to

the bed. She falls on it face down. A gun presses into her

face. CLYDE sits in the window, the light silhouettes him.

He turns his face toward the glass and rests his head on the

window pane. BONNIE turns to him from bed. She smiles a

comforting smile at him. She rolls over onto her back. The

gun is now under her head and moves it. She sits up and

gestures to CLYDE. He remains at the window. She stares at

him. She looks toward the bathroom. She looks back at

CLYDE. She is moved and pained for him. She touches her

cheek with the gun and waits for him to be able to look at

her. Finally he does. Her look eases him and he almost

smiles.

INT. BUCK'S CAR. DAY.

Shot of little fuzzy doll tied by a white shoestring to the

rear-view mirror of a car. The car is moving; the doll is

bouncing up and down. In the front seat are BUCK and

BLANCHE BARROW. BUCK is a jovial, simple, big-hearted man.

A little chubby, given to raucous jokes, knee-slapping and

broad reactions. He is, in many ways, the emotional opposite

of his brother. It doesn't take much to make him happy.

BLANCHE, his wife, is the direct opposite of BONNIE.

36.

She is a housefrau, no more and no less, not terribly

bright, not very ambitious, cuddly, simpering, madly in love

with BUCK and desirous of keeping their lives on the straight

and narrow. As the scene begins we hear and then see BUCK,

driving, singing "The Great Speckled Bird." BLANCHE is

sitting next to him looking at a movie magazine, appearing

fairly miserable.

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