Thelma and Louise Page #5

Synopsis: Meek housewife Thelma (Geena Davis) joins her friend Louise (Susan Sarandon), an independent waitress, on a short fishing trip. However, their trip becomes a flight from the law when Louise shoots and kills a man who tries to rape Thelma at a bar. Louise decides to flee to Mexico, and Thelma joins her. On the way, Thelma falls for sexy young thief J.D. (Brad Pitt) and the sympathetic Detective Slocumb (Harvey Keitel) tries to convince the two women to surrender before their fates are sealed.
Genre: Action, Short
Director(s): Chris Mack
Year:
2015
1,442 Views


LENA:

It's a nightclub, not a drive-in,

Hal. I don't follow the customers

to the parking lot.

HAL:

Alright, Lena. Go on home. We might

have to call you in for some more

questioning.

Lena gets out of the back of the car.

LENA:

Those girls are not the murderous

type.

INT. PAY PHONE - NIGHT

Outside the bathroom there is a pay phone. Thelma picks it

up and dials.

THELMA:

(into phone)

Collect from Thelma.

There is no answer.

INT. THELMA'S HOUSE - NIGHT

Phone RINGS.

VARIOUS SHOTS of the interior of the empty Dickinson house:

THE BEDROOM:

exactly as Thelma left it. The drawer of the nightstand

still open.

THE NOTE TO DARRYL

taped to the refrigerator. The interior of the microwave

with a now completely thawed microwave dinner still in the

package in a little puddle.

INT. TRUCK STOP - NIGHT

THELMA:

Thanks. I'll try later.

She hangs up and goes into the bathroom. As the door closes

behind her, Louise comes up with a handful of change and

starts putting it into the phone. She dials a number. It

RINGS for a long time. She hangs up and goes into the

bathroom. She looks at herself in the mirror.

She notices a tiny speck on her cheek. She takes a paper

towel and wets it and rubs the spot. She looks at the towel

and there is a bright red streak.

LOUISE:

Thelma... Come on, Thelma!

The door of the stall flies open and Thelma comes charging

out and heads straight for the door, without even looking at

Louise. Louise charges out after her. They head out of the

restaurant and, THROUGH THE WINDOW, we see them get into the

car and drive away.

EXT. CAR - DRIVING SHOT - DAWN

The T-Bird barrels down a fairly empty four-lane highway.

A truck passes going the other way.

INT. CAR - DAWN

The top is down on the car, and Thelma is slouched on the

seat, her hair blowing wildly.

LOUISE:

We're gonna go to the next town and

stop. We'll get a motel room. I

can rest for a while and then figure

out how to get some money. We're

gonna need money. Thelma. How much

money do you have with you?

THELMA:

What? Oh, I don't know. Let me

look.

Thelma is rummaging through her purse. She finds her wallet

and takes it out. Thelma finds some bills stuffed in the

change compartment and takes them out. She straightens the

money out.

THELMA:

Sixty-four dollars.

As she is counting it, one of the bills flies out of her

hands. Thelma's not that good at handling money.

THELMA:

Umm. Sh*t. Forty-four dollars.

Louise has not noticed any of this. She is so intent on her

driving.

THELMA:

I'm cash poor.

LOUISE:

Hmmm. We gotta get some money.

EXT. MOTEL - ESTABLISHING SHOT - DAY

The motel is near farms and agricultural areas with crops.

INT. MOTEL ROOM - DAY (6 A.M.)

The curtains are open and we can see the car parked right

outside the room. Thelma is lying on the bed staring up at

the ceiling. Louise is bustling around the room, putting

things in drawers.

THELMA:

Why are you unpacking? You said we

were just gonna take a nap.

Louise did not realize she was doing it.

LOUISE:

Oh, I don't know. I'm just nervous.

I gotta figure out what to do.

THELMA:

Well, when you figure it out, wake

me up.

LOUISE:

Just what the hell is wrong with

you?

Louise slams the closet door. Thelma jumps.

THELMA:

What do you mean?

LOUISE:

Why are you actin' like this?

THELMA:

Actin' like what?! How am I supposed

to act? 'Scuse me for not knowing

what to do after you blow somebody's

head off!

They are silent for a moment.

LOUISE:

You could help me try and figure it

out! I gotta figure out what to do,

and you could try and help me.

THELMA:

I suggested we go to the police, but

you didn't like that; so, frankly,

Louise, I'm all out of ideas.

LOUISE:

Well, what's the big rush, Thelma?

If we just give 'em some time, they'll

come to us...! Oh Christ. I'm just

not ready to go to jail yet. Why

don't you go out to the pool or

something and I'll figure it out...

THELMA:

Give me the keys.

LOUISE:

You're not touchin' that car.

THELMA:

My stuff's in the trunk! God! You

care more about that car than you do

about most people.

LOUISE:

Most people just cause me trouble,

but that car always gets me out of

it.

INT. POLICE GARAGE - DAY

Hal is at the police station where they're dusting the car

with Harlan all over it for prints. Hal looks closely at

the back of the car. He holds his hands over two sets of

hand prints. He moves his hands to the outside of the prints

so as not to smear them, and puts his hands on the car. His

face is one inch away from the trunk. He sees a very clear

drop of blood. It's different than any of the other blood

splatters on the car. He calls the identification technician

over and points it out.

HAL:

(pointing)

What's that?

The I.D. TECH comes over and looks and shrugs his shoulders.

I.D. TECH

Blood?

HAL:

Whose?

I.D. TECH

His, I guess...

Hal makes a face like he suddenly felt a slight toothache.

He stares at the guy.

HAL:

You guess?

Hal takes out a black sharpie and draws a circle around the

area of the black smudge and the drop of blood. He shakes

his head slightly.

EXT. MOTEL - DAY

Thelma comes out of the room and walks towards the pool.

She stops, then decides to go on to the pool. She lies down

in a lounge chair facing the road.

INT. MOTEL ROOM - DAY

Louise in the motel room. She's looking at the phone. She

picks it up and dials it and watches herself in the mirror.

She stares as if she's trying to see into herself, see through

herself.

EXT. MOTEL POOL - DAY

Thelma arranges herself in a lounge chair, trying desperately

to feel like she's on vacation.

INT. MOTEL ROOM - DAY

ANSWERING MACHINE (V.O.)

Hi. This is Jimmy. I'm not here

right now...

A VOICE interrupts the message:

JIMMY (V.O.)

Hello! I'm here. Hang on a minute!

The machine switches OFF.

INT. JIMMY'S APARTMENT - DAY

JIMMY, mid-30's, musician, is standing in the kitchen on the

phone. He's not the type you'd expect Louise to like, not

quite straight-looking enough.

LOUISE (V.O.)

(on phone)

Jimmy...

INT. MOTEL ROOM - DAY

Louise is looking at herself on the phone in the mirror.

She is very choked up.

JIMMY (V.O.)

(on phone)

Louise! Where are you? Are you

alright? Honey...

LOUISE:

Hi. I'm okay. How are you? Long

time no see.

JIMMY (V.O.)

Louise, honey... Where are you? You

sound funny.

Louise is still looking at herself in the mirror, as if she's

never seen herself before.

LOUISE:

I am funny. I'm real funny.

JIMMY (V.O.)

Are you in town? This sounds long

distance.

LOUISE:

No, I'm out of town. I'm in... I'm

in real deep sh*t, Jimmy. Deep sh*t

Arkansas.

JIMMY (V.O.)

Louise, just tell me what the hell

is going on here! I come back, nobody

knows where you are. Is Thelma with

you? Darryl's been callin' here

every half-hour sayin' he's gonna

kill you both when you get back,

he's goin' nuts. I don't envy her

if she is.

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Callie Khouri

Carolyn Ann "Callie" Khouri (born November 27, 1957) is a Lebanese American film and television screenwriter, producer, feminist, and director. In 1992 she won the Academy Award for Best Screenplay Written Directly for the Screen for the film Thelma & Louise, which was controversial upon its release because of its progressive representation of gender politics, but which subsequently became a classic. more…

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