Thelma and Louise Page #6

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


EXT. MOTEL POOL - DAY

Thelma at pool basking in the sun.

INT. MOTEL ROOM - DAY

JIMMY (V.O.)

(on phone)

Where'd y'all go?

LOUISE:

Fishing. Look, Jimmy... I need you

to help me. This is serious. I'm

in trouble and I need you to help

me. Can you do that?

INT. JIMMY'S APARTMENT - DAY

Jimmy is shocked by the gravity of her tone of voice. He

realizes this is very serious.

JIMMY:

Yes, yes, darlin'. I can help you.

Tell me where you are.

INT. MOTEL ROOM - DAY

Louise covers the mouthpiece with her hand. She is trying

very hard not to cry.

LOUISE:

I have a savings account with about

sixty-seven hundred dollars in it.

Now I know you won't be able to get

it out, but I'm good for it. I need

that money. Can you wire me the

sixty-seven hundred dollars and I'll

pay you back? Please, I'm desperate.

JIMMY (V.O.)

What the f*** is going on?

LOUISE:

Something real bad has happened and

I can't tell you what, just that

it's bad and I did it and I can't

undo it. Can you help me?

JIMMY (V.O.)

Of course. Of course! Where? Can't

I bring it to you? For God's sake,

baby, please, just tell me what's

happened, what could possibly be so

bad?

Louise sits on the edge of the bed. She is looking at her

hand.

LOUISE:

Jimmy?

She takes the ring that she wears on her left hand and turns

it around backwards to make it look like a wedding band.

LOUISE:

Do you love me?

JIMMY (V.O.)

Christ, sure... yes!

LOUISE:

Wire it to the Western Union in

Oklahoma City,

INT. JIMMY'S APARTMENT - DAY

JIMMY:

You're in Oklahoma?!

LOUISE (V.O.)

Not yet.

JIMMY:

Louise, let me call you back after I

wire it, so you'll know which office

to go to.

LOUISE (V.O.)

Can't it go to any office?

JIMMY:

No, for that much money I have to

tell them exactly which office. I

know, I've had to have money wired

to me on the road. And there has to

be a code word or they won't give it

to you. I'll have to tell you the

code.

INT. MOTEL ROOM - DAY

LOUISE:

Tell me now.

JIMMY (V.O.)

Call me back.

LOUISE:

Okay. I'll call you back. In an

hour. Don't tell Darryl.

JIMMY (V.O.)

I know. Call me back. Louise, I

love you, okay?

LOUISE:

Okay.

EXT. MOTEL POOL - DAY

Thelma by the pool. A car SCREECHES, a loud horn HONKS.

LOUISE:

(bellowing)

Come on, Thelma! Get in the car!

Thelma bolts upright and grabs her sundress and dashes to

the car. She jumps in over the door. She's in a mild state

of shock.

THELMA:

Did you finish thinking?

LOUISE:

I think better when I drive.

Louise PEELS OUT of the parking lot.

INT. POLICE STATION - MAJOR'S OFFICE - DAY

Hal is in the office talking to his superior. He stands in

front of the desk with his hands in his pockets while his

MAJOR sits behind the desk looking troubled.

HAL:

All we know is there were two women

in a green T-Bird convertible that

turned left out of the parking lot,

going real fast. We're trying to

get a make on the car, but nothin'

yet. So far, we got nothin'.

MAJOR:

Well, you'd best get something.

Even if they didn't do it, it times

out that they most likely witnessed

it. I want somebody to at least

talk to 'em. Put out an APB with a

description and see what we get back.

HAL:

Alright.

MAJOR:

Is there any reason to believe they've

left the state?

HAL:

That's certainly possible.

MAJOR:

Why don't we go ahead and let the

bureau in on this.

HAL:

I have no problem with that.

MAJOR:

Somebody's butt is gonna bar-b-que.

EXT. CAR - FARMLAND - DRIVING SHOT - DAY

INT. CAR - DAY

THELMA:

Don't get mad, Louise, but where are

we going?

LOUISE:

Oklahoma City. Jimmy's gonna wire

me some money, and then...

THELMA:

You talked to him?! Is he mad? Did

you tell him?

LOUISE:

No, I didn't tell him. And that's

something we gotta get straight.

Darryl's been callin', mad as a

hornet, makin' all kinds of noise.

When you talk to him, you cannot say

anything about this. You gotta make

sure everything sounds normal.

THELMA:

I called the a**hole at 4:00 in the

morning and he wasn't even home. I

don't know what he's got to be mad

about. I'm the one who should be

mad.

LOUISE:

I've been tellin' you that for the

last ten years.

THELMA:

Do you think Darryl's having an

affair?

LOUISE:

I don't think Darryl is mature enough

to conduct an affair.

THELMA:

But you think he fools around.

LOUISE:

Thelma, I'm going to Mexico. I think

I can make it in two and a half days,

but I'm going to have to haul ass.

Are you up to this? I mean, I have

to know. This isn't a game. I'm in

deep sh*t. I gotta know what you're

gonna do.

THELMA:

I... I don't know. I don't know

what you're askin' me.

LOUISE:

Don't you fall apart on me.

Goddamnit, Thelma. Every time we

get in trouble, you go blank or plead

insanity or some such sh*t, and this

time... Not this time. Everything's

changed now... Now you can do whatever

you want, but I'm going to Mexico.

I'm going. Are you coming with me?

Thelma is staring down the road. She does not answer. Then:

THELMA:

I think he does. Fool around.

EXT. CAR - FARMLAND - DRIVING SHOT - DAY

INT. POLICE STATION - INTERROGATION ROOM - DAY

TIGHT SHOT of an "indent-a-kit" likeness of Louise. On a

table nearby lies a drawing strongly resembling Thelma.

Lena, the waitress, sits next to the plain-clothes cop who

holds the indent-a-kit. Hal picks up the drawing and studies

it closely.

EXT. SMALL COUNTRY TOWN - DAY

The T-Bird rolls into town.

EXT. COUNTRY STORE - DAY

Louise and Thelma pull up in front of an old store, the kind

with a wooden front porch, the kind that sells bait and

flannel shirts. They enter the store and see an OLD MAN

behind the counter.

LOUISE:

Do you have a pay phone?

OLD MAN:

'Round the side, by the restrooms.

Louise gets change while Thelma strolls around looking at

rubber worms and pickled pigs' feet. Louise goes out to the

phone.

EXT. PAY PHONE - DAY

Louise dropping change into the phone. It RINGS and Jimmy

answers.

INT. JIMMY'S APARTMENT - DAY

JIMMY:

Louise!

EXT. PAY PHONE - DAY

LOUISE:

Is that how you answer the phone?

JIMMY (V.O.)

(on phone)

I got it. I was afraid I'd missed

you. I almost couldn't get a check

cashed. It's Saturday.

LOUISE:

Who did it?

JIMMY (V.O.)

Friend of mine, owns a club. Dickie

Randall. You'd know him if you saw

him. His brother was in your class.

Terry.

LOUISE:

You didn't say what it was for, did

you?

JIMMY (V.O.)

(on phone)

No, honey. I told him I was buyin'

a car. What is it for?

LOUISE:

(not responding to

the question)

Good. That was good. Where do I

go?

JIMMY (V.O.)

(on phone)

It's a place called Shaw's Siesta

Motel. The address is 1921 North

East 23. It's under your name.

LOUISE:

And what's the mysterious code word?

JIMMY (V.O.)

(on phone)

Peaches.

LOUISE:

What?

JIMMY (V.O.)

That's the code word. I miss you,

peaches.

Louise rolls her eyes and tries not to melt.

LOUISE:

Okay, Jimmy. Thanks.

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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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    "Thelma and Louise" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/thelma_and_louise_172>.

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