Bonnie and Clyde (1967)

BONNIE AND CLYDE (1967)
an original screenplay by
David Newman & Robert Benton

FADE IN
1 INT. BEDROOM. CLOSE-UP OF BONNIE PARKER. DAY
Blonde, somewhat fragile, intelligent in expression. She is

putting on make-up with intense concentration and
appreciation, applying lipstick and eye make-up. As the
camera slowly pulls back from the closeup we see that we
have been looking into a mirror. She is standing before the
full-length mirror in her bedroom doing her make-up. She
overdoes it in the style of the time: rosebud mouth and so
forth. As the film progresses her make-up will be refined
until, at the end, there is none.
The camera pulls back and continues to move very slowly

throughout the first part of this scene. As the camera
continues to move away, we see, by degrees, that BONNIE is
naked. Her nudity is never blatantly revealed to the
audience, but implied. That is, she should be "covered" in
various ways from the camera's P.O.V., but the audience must
be aware of her exposure to CLYDE later in the scene. This
is the only time in the film that she will ever be this
exposed, in all senses of the word, to the audience. Her
attitude and appraisal of herself here are touched with
narcissism.
The bedroom itself is a second-story bedroom in a lower-

class frame house in West Dallas, Texas. The neighborhood
is low income. Though the room reveals its shabby
surroundings, it also reveals an attempt by BONNIE to fix it
up. Small and corny objets d'art are all over the tops of
the bureaus, vanity tables, etc. (Little glass figurines and
porcelain statuettes and the like.)
BONNIE finishes admiring herself. She walks from the mirror

and moves slowly across the room, the camera moving with
her, until she reaches the screened window on the opposite
wall. The shade is up. There are no curtains. She looks
out the window, looking down, and the camera looks down with
her.
2 EXT. BEDROOM. BONNIE'S P.O.V. DAY.
Over her shoulder, we see the driveway leading to the garage

connected to the house. There is an old car parked in the
driveway, its windows open. We see a man walking up the
driveway, somewhat furtively. He is a rather dapper fellow,
dressed in a dark suit with a vest, a white collar, and a
straw boater. It is CLYDE BARROW. Obviously, he is about
to steal the car. He looks it over, checking around him to
make sure no passers-by are coming. He peers inside the
front window to see if the keys are in the ignition. He
studies the dashboard. BONNIE continues watching, silently.
Finally she calls out.

2.
BONNIE
Hey, boy! What you doin' with my
mama's car?
3 EXT. DRIVEWAY. DAY.
CLYDE, startled, jumps and looks to see who has caught him.
Obviously frightened, he looks up and his face freezes at

what he sees.
4 EXT. WINDOW. CLYDE'S P.O.V. DAY.
We now see what he is looking at: at the open window, revealed

from the waist up, is the naked BONNIE. She looks down, an
impudent half-smile on her face. She doesn't move or make
any attempt to cover herself.
5 EXT. CLOSE-UP OF CLYDE - DAY -
-- whose face changes from astonishment to an answering smile

of impudence. (Seeing what he has, he realizes that this
girl is clearly not going to scream for the police.
Already they are in a little game instigated by BONNIE, sizing

each other up, competing in a kind of playful arrogance.
Before they speak, they have become co-conspirators.)
Close-up of BONNIE, still smiling. Finally she speaks.
BONNIE
Wait there!
6 INT. BEDROOM. DAY.
Running from the window, she flings open a closet and grabs
a dress, and shoes. She slips on the shoes, and flings the
dress on, running out the door as she does. The camera tracks
with her, moving as fast. As she runs down the stairs she
buttons up the dress.
7 EXT. DRIVEWAY. DAY.
She flies out the door, slamming it behind her, runs off the
porch (all this has been one continuous movement since she
left the window, in great haste) and continues quickly into
the driveway. Four feet away from CLYDE, she stops on a
dime. They stand there, looking at each other, smiling the
same challenge. For a few seconds, no one speaks, then:
BONNIE (CONT'D)
(putting her on)
Ain't you ashamed? Tryin' to steal
an old lady's automobile.
3.
CLYDE
(with the same put-on)
I been thinkin' about buyin' me one.
BONNIE
Bull. You ain't got money for dinner,
let alone buy no car.
CLYDE
(still the battle of
wits going on)
Now I got enough money for cokes,
and since it don't look like you're
gonna invite me inside--
BONNIE
You'd steal the dining room table if
I did.
CLYDE
(he moves from his
spot)
Come to town with me, then. How'd
that be?
BONNIE
(starting to walk
onto the sidewalk)
Goin' to work anyway.
8 EXT. STREET. MOVING SHOT. DAY.
The camera tracks. It is a hot Texas afternoon, all white

light and glare. As they walk the block to town in this
scene, their manner of mutual impudence is still pervading.
CLYDE
Goin' to work, huh? What do you do?
BONNIE
None of your business.
CLYDE
(pretending to give
it serious thought)
I bet you're a... movie star!
(thinks)
No... A lady mechanic?... No... A
Maid?--
BONNIE
(really offended by
that)
What do you think I am?
4.
CLYDE
(right on the nose)
A waitress.
BONNIE
(slightly startled by
his accuracy, anxious
to get back now that
he is temporarily
one-up)
What line of work are you in? When
you're not stealin' cars?
CLYDE
(mysteriously)
I tell you, I'm lookin' for suitable
employment right at the moment.
BONNIE
What did you do before?
CLYDE
(coolly, knowing its
effect)
I was in State Prison.
BONNIE
State Prison?
(she shows her surprise)
CLYDE
Yeah.
BONNIE
(herself again)
Guess some little old lady wasn't so
nice.
CLYDE
(tough)
It was armed robbery.
BONNIE
(sarcastically)
My, my, the things that turn up in
the driveway these days.
They reach the corner and turn. They are on:
9 EXT. MAIN STREET. DAY.
--a small-town street of barber shops, cafes, groceries,

etc.
5.
At the moment, it is deserted. They continue walking down

the empty street. CLYDE looks the place over. Tracking.
CLYDE
What do y'all do for a good time
around here, listen to the grass
grow?
BONNIE
Guess you had a lot more fun up at
State Prison, huh?
CLYDE laughs, enjoying her repartee. They continue walking.
At a hydrant, CLYDE stops.
CLYDE
(showing off, but
seriously)
See this foot?
(pointing at his right
foot)
I chopped two toes off of it. With
an axe.
BONNIE
(shocked)
What? Why?
CLYDE
To get off the damn work detail,
that's why.
(stopping)
Want to see?
BONNIE
(a lady of some
sensitivity)
No!...
(turning a cute)
I surely don't intend to stand here
and look at your dirty feet in the
middle of Main Street.
They continue walking in silence past a few stores, each

planning what next to say.
BONNIE (CONT'D)
Boy, did you really do that?
CLYDE
Yeah.
6.
BONNIE
You must be crazy.
DISSOLVE TO:
10 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 (CONT'D)
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.
11 EXT. STREET. DAY.
The camera pulls back to show BONNIE looking at it with

fascination. The weapon has an immediate effect on her.
7.
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.
CLYDE
(picking up the
challenge, proving
himself)
You just keep your eyes open.
12 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.
13 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:
8.
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.
BONNIE
(loud, to make herself
heard over the gunning
motor)
Hi, I'm Bonnie Parker. Please to
meet you.
14 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.
15 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.
16 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.
17 INT. CAR. BONNIE AND CLYDE. DAY.
BONNIE grabs the wheel and turns it sharply.
18 EXT. CAR. DAY.
It hairpins off the road onto a shoulder beneath some trees.

9.
19 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.
BONNIE (CONT'D)
(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 (CONT'D)
(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-one-year-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.
10.
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. 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?
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!
11.
This stops her. Now CLYDE pours it on, with an almost

maniacal exuberance that becomes more controlled as he gets
control of BONNIE.
CLYDE (CONT'D)
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!
BONNIE
(turning, intrigued)
Why?
CLYDE
Why? Because you're different!
You're like me and you want
Different things.
BONNIE is hooked now.
CLYDE (CONT'D)
(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?
12.
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:
20 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 (CONT'D)
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.
(MORE)
13.
CLYDE (CONT'D)
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--
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 (CONT'D)
(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.
14.
CLYDE (CONT'D)
God, you're a knockout.
21 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.
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.
22 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 (CONT'D)
(continuing)
Clyde...
At another window CLYDE appears.
CLYDE
Hey, lady.
BONNIE
(chagrined at her
fear)
Where you been keeping yourself?
15.
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.
23 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 (CONT'D)
Set her spinnin'.
BONNIE fires. She misses.
CLYDE (CONT'D)
Again. Come down slow with it...
16.
BONNIE fires again and hits the tire. She smiles and blows
the smoke from the barrel in pride and self-mockery.
CLYDE (CONT'D)
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.
FARMER
Heighdo.
CLYDE whirls at the sound. He grabs gun from BONNIE because

his is empty. He aims at FARMER.
FARMER (CONT'D)
(frightened)
No sir... no sir. You all go right
ahead.
CLYDE watches him warily.
FARMER (CONT'D)
(continuing)
Used to be my place. Not any more.
Bank took it.
CLYDE and BONNIE start to move toward the farmer. All three
move around to the front of the building. At a distance we
see an Okie car loaded with belongings. A WOMAN with a BABY
in arms sits in front. A smaller BOY stands outside the
car.
FARMER (CONT'D)
Yessir, moved us off. Now it belongs
to them.
(He points at the
foreclosure sign.)
BONNIE
Well, that's a pitiful shame.
CLYDE shakes his head sympathetically. He loads the empty

gun.
FARMER
(bitterly)
You're damned right, ma'm.
17.
He looks up to see an OLD NEGRO who has come from a distance

shack and now stands near CLYDE's car.
FARMER (CONT'D)
(nodding toward Negro)
Me and him put in the years here.
Yessir. So you all go right ahead.
We just come by for a last look.
He stands a moment looking at the house and then turns around

toward his family in the car. CLYDE and BONNIE look after
him. CLYDE spins and fires three fast shots into the fore-
closure sign. The FARMER stops and turns, looking at CLYDE.
CLYDE offers the gun to the farmer. He looks at it, then
accepts it. He slowly takes aim at the sign and fires.
It pleases him. He looks at CLYDE and BONNIE who smile.
FARMER (CONT'D)
You all mind?
BONNIE and CLYDE are puzzled.
FARMER (CONT'D)
Hey, Davis! Come on over here.
The NEGRO moves toward them. Now BONNIE understands. She

takes the second gun from CLYDE and hands it to DAVIS.
DAVIS looks from BONNIE to the FARMER and toward the house.
The FARMER fires again. This time at a window. He nods to

DAVIS. DAVIS slowly raises the gun and fires at another
window. It shatters and they can't keep from laughing. The
FARMER returns the gun as does DAVIS.
FARMER (CONT'D)
(continuing)
Much obliged.
He extends his hand. CLYDE shakes it.
FARMER (CONT'D)
Otis Harrison. And this here's Davis.
We worked this place.
CLYDE
(formally)
Miss Bonnie Parker. And I'm Clyde
Barrow.
Across farmer's car. Wide shot. Day.
The FARMER turns and moves toward his people. DAVIS moves
toward his shack.
18.
CLYDE and BONNIE in the b.g.
Close angle. BONNIE and CLYDE.
CLYDE (CONT'D)
(continuing)
We rob banks.
BONNIE turns quickly to look at CLYDE. He smiles and nods.
FADE OUT.
FADE IN.
24 EXT. A LONG, COUNTRY ROAD. DAY.
A car is driving down it. It is the next day. BONNIE is

driving, CLYDE beside her.
25 INT. CAR. DAY.
CLYDE (CONT'D)
You just stay in the car and watch
and be ready.
(he is playing it
cool, knowing she is
scared. He thinks
he's James Cagney)
Okay now?
(he hands her a gun
from the glove
compartment)
You just be ready if I need you.
BONNIE's hands are tense on the wheel. Her face shows how
nervous she is now that the time has come.
CLYDE (CONT'D)
Scared?
BONNIE
No.
They drive in silence.
CLYDE
What are you thinkin' about?
BONNIE
Nothin'.
26 EXT. BUSINESS STREET OF A LITTLE TOWN. DAY.
We are still in the car. BONNIE pulls over and stops by the
bank. CLYDE is frozen in his seat.
19.
We can see that, for all his talk, he is scared, too.
BONNIE (CONT'D)
What are you waitin' for?
That gets him. CLYDE throws the door open and jumps,
practically dives out the door. The camera follows his motion
right inside the bank, tracking very fast.
27 INT. BANK #1. DAY.
Something is very screwy here. The bank is dark, the TELLER

is half asleep over his books. CLYDE approaches, thrusts
the gun at him.
CLYDE
(with a swagger)
This is a stickup. Just take it
easy and nothin' will happen to you.
Gimme the money.
TELLER
(looking up with no
fear, his voice calm
and conversational)
Heighdy.
CLYDE
(nonplussed at this)
Gimme the money!
TELLER
What money? There ain't no money
here, mister.
CLYDE
(totally befuddled at
the turn of events)
What do you mean there ain't no money?
This here is a bank, ain't it?
The camera pans around the bank. We see that it is empty,

dusty and shuttered.
TELLER
This was a bank. We failed three
weeks ago.
CLYDE
(furious)
What? What??
In a rage, he goes behind the partition, grabs the teller

and pushes him ahead with the gun. CLYDE is fuming.
20.
He forces the teller out the front door.
28 EXT. BANK #1. DAY.
--showing BONNIE in the car. She is terrified as she sees

CLYDE and the TELLER coming at her. She doesn't understand
what is happening.
CLYDE (CONT'D)
(shoving the teller
forward)
Tell her! Tell her!
TELLER
(acting like a man
who has had his sleep
interrupted by
lunatics)
As I was tellin' this gentleman, our
bank failed last month and ain't no
money in it. I sure am sorry.
BONNIE's reaction is one of hysterical relief and appreciation

of what's funny in the situation. She laughs uproariously,
she can't stop laughing. This makes CLYDE madder than ever.
He shoves the teller to the ground.
29 INT. CAR. DAY.
Completely humiliated, CLYDE gets in the car, shoving BONNIE

over. She is still laughing. BONNIE starts the car. CLYDE
points his gun out the window.
Close shot. Bank window--whereon is lettered: ASSETS-$70,000.
30 INT. CAR. CLYDE AND BONNIE. DAY.
Angle to include bank window. CLYDE aims and puts a bullet

through each of the zeros. We see each zero shot through.
Then the entire window hangs there for a second and suddenly
crashes. On the soundtrack, BONNIE's laughter.
CUT TO:
31 INT. CAR. DAY.
--still driving. BONNIE has still not fully recovered from

her mirth, but is quieting down because she sees that CLYDE
is really mad and can't be pushed too far.
CLYDE
(steaming)
We got $1.98 and you're laughin'.
21.
She tries to stop.
The car pulls down another street of shops in another little

hick town. A grocery store ahead.
33 INT. CAR.
CLYDE (CONT'D)
Keep it running.
34 INT. GROCERY STORE. DAY.
There is an old CLERK behind the counter, and standing in

the b.g., almost out of our vision, is a BUTCHER--an enormous
giant of a man. CLYDE steps up to the counter.
CLYDE (CONT'D)
Give me a loaf of bread, a dozen
eggs and a quart of milk.
The CLERK gets the order and puts it in a bag. He rings

open the cash register preparatory to asking CLYDE for the
money. CLYDE pulls his gun.
CLYDE (CONT'D)
This is a stickup. I'll take all
the money in that drawer now.
He reaches over the counter into the cash drawer and grabs
the bills. He smiles. Suddenly looming beside CLYDE is the
BUTCHER, brandishing a meat cleaver. Camera looks up at
this formidable sight as the cleaver comes crashing down,
missing CLYDE and sticking in the wooden counter. He grabs
CLYDE around the chest in a bear hug and actually lifts him
off the ground. The struggle is in silence. CLYDE is
terrified, fighting wildly to get free. The gun in CLYDE's
hand is pinned, because the man has CLYDE's arm pinned to
his thigh. CLYDE tries to raise the barrel at an upward
angle to shoot, finally he is able to do so. He fires. The
bullet enters the BUTCHER's stomach. The BUTCHER screams,
but reacts like a wounded animal, more furious than ever.
He still holds CLYDE in a fierce hug, staggering around the

store, knocking into shelves and spilling cans. CLYDE is
hysterical with fear. He shoots the BUTCHER again. The
BUTCHER falls to his knees, but still he doesn't release
CLYDE. In a panic, CLYDE drags the man to the door, trying
to get out.
35 EXT. GROCERY STORE. DAY.
BONNIE sees CLYDE and the BUTCHER holding his legs. She is
terrified. CLYDE drags him out on the street.
22.
The BUTCHER won't let go. CLYDE, in real panic, aims the
gun at his head and fires. Click. Out of bullets. In blind
fury, he pistol-whips the BUTCHER's head with two terrific
swipes.
Finally the BUTCHER lets go. Hysterical, CLYDE jumps away

and leaps into the car on the other side. BONNIE still at
the wheel.
CLYDE (CONT'D)
Get the hell out of here!
They drive-off at top speed.
36 INT. CAR. DAY.
CLYDE is shaken. He speaks haltingly, panting; trying to

get control of himself.
CLYDE (CONT'D)
Damn him, that big son of a bitch...
He tried to kill me... I ain't got
eyes in back of my head... I didn't
want to hurt him. It wasn't a real
robbery... Some food and a little
bit of dough. I'm not against him.
Damn!
37 EXT. SPEEDING CAR. DAY.
The car is speeding down an open road. Suddenly it begins

to buck and cough. There is something wrong with the motor.
CLOSE SHOT. C.W. MOSS.
38 EXT. FILLING STATION.
His cherubic cheeks are puffed up as he blows into the fuel

lines of CLYDE's car. There is a distinctly flat sound.
Reaction: CLYDE and BONNIE. CLYDE stands by the hood.
BONNIE remains seated in the car. CLYDE is covered with

sweat and grease--clearly he has gotten in his licks on the
engine without success. Neither he nor BONNIE seems impressed
by the noise C.W. is making.
Another angle. C.W.--as he screws back the fuel line and

moves between BONNIE and CLYDE to the ignition, turning the
engine over. It purrs beautifully. CLYDE is astonished.
CLYDE (CONT'D)
What was wrong, anyway?
23.
C.W.
(moving back to screw
on gas cap)
Air bubble--clogged the fuel line.
C.W. now stands between BONNIE and CLYDE.
C.W.
(continuing)
I just blowed her away.
CLYDE still can't get over it.
CLYDE
You just blowed it away.
C.W. belches. He is embarrassed before BONNIE.
C.W.
'Scuse me, ma'm... Anythin' else I
can do for you?
CLYDE nods vigorously, looking across C.W.'s back to BONNIE.
BONNIE gets the message.
BONNIE
Well...I'm not sure...
(she looks around)
Say, them little red things there
stickin' up? Are they gas pumps?
C.W.
(he's not too bright)
Sure.
BONNIE (CONT'D)
Isn't that interesting? How does
that there gasoline get in my little
old car?
C.W.
(trying to be helpful)
Well, y'see, there's this tank
underground, and the gas comes up
this tube into the pump and into
your car, M'am.
BONNIE (CONT'D)
My, you're a smart fellow. You sure
know a lot about automobiles, don't
you?
24.
C.W.
(He has no idea he's
being toyed with)
Yeah, I do.
BONNIE
Well, would you know what kind of a
car this is?
C.W.
(touching it)
Yeah, it's a Chevrolet 8-cylinder
coupe.
BONNIE
No, no.
C.W.
Sure it is.
BONNIE (CONT'D)
No, this is a stolen Chevrolet 8-
Cylinder coupe.
C.W. jerks his hand off it as if he touched a hot stove.
CLYDE
(getting in the
conversation)
You ain't scared, are you?
(to Bonnie)
I believe he is. What a pity. We
sure coulda used a smart boy who
knows such a great deal about
automobiles.
(Suddenly business-
like, to C.W.)
You a good driver, boy?
C.W.
(getting quite confused)
I guess so.
CLYDE
(pretending to cool
on him)
No, I don't think so. He's better
off here...
BONNIE
What's your name, boy?
C.W.
C.W. Moss.
25.
BONNIE (CONT'D)
What's the C.W. for?
C.W.
(reluctantly)
Clarence Wallace.
BONNIE
I'm Miss Bonnie Parker and this is
Mr. Clyde Barrow. We... rob...
banks.
(C.W. reacts with
wide eyes)
CLYDE
(swiftly, testing his
mettle)
Ain't nothing wrong with that, is
there, boy?
C.W.
(nervously)
Uh, nope--
BONNIE
(with a put-on sigh)
No, he ain't the one.
CLYDE
Unless, Boy, you think you got enough
guts for our line of work?
C.W.
(affronted in his
dumb way)
What do you mean? I served a year
in the reform school.
BONNIE
Oh, a man with a record!
CLYDE
(laughs)
Now look here, I know you got the
nerve to short-change old ladies who
come in for gas, but what I'm askin'
you is have you got what it takes to
pull bank jobs with us?
BONNIE
Mr. C.W. Moss?
26.
C.W.
(anxious to prove
himself)
Sure, I could. Sure I could. I
ain't scared, if that's what you
think.
CLYDE
Prove it.
C.W. walks away from the car. Camera remains where it was.
We see him walk inside the gas station office, open the cash
drawer, close it and come out. He emerges with a fistful of
money. He walks over to BONNIE's window, sticks his hand
inside and drops the money on her lap. We see the bills
flutter down. Not a word is spoken. BONNIE moves over into
the middle. C.W. opens the door and gets in behind the wheel.
For a moment we see them all sitting there, each smiling
their little smile. CLYDE starts to hum a hillbilly tune
quietly. The sound track picks it up (banjo and violin,
etc.) and as the music swells, they drive off down the road.
39 INT. HOSPITAL ROOM. DAY.
A small room with a bed. On it, covered by a sheet which

humps like a mountain over his enormous stomach, is the
BUTCHER. His head is propped up on a pillow and he sips a
liquid through a bent glass straw. Camera is on the left
side of the head of the bed, seeing the BUTCHER in a three-
quarter profile. On the opposite side of the bed stands a
uniformed patrolman who is in the act of flashing mug-shot
photos for the BUTCHER to identify his assailant. The lawman
holds a stack of them in front of them, swiftly changing the
cards like a grade-school teacher with her flash cards. At
each picture, the BUTCHER grunts negatively and goes on
sipping from his glass straw. One picture, two, three go
by. The fourth picture is a mug shot of CLYDE.
Again the BUTCHER grunts 'no,' without hesitation. As the

next picture comes into view, we
DISSOLVE TO:
40 EXT. MOTEL. NIGHT.
--on a painted wooden sign, lit by one attached light, which

reads: "MOTOR COURT".
41 INT. ROOM IN MOTOR COURT. NIGHT.
--in darkness. Camera is close on BONNIE. She is awake and

restless. O.S. comes the measured snoring that we will think
comes from CLYDE. BONNIE raises up and kneels over Clyde.
She needs him. Clyde seems to snore on.
27.
Camera drops between them and we see that the snoring actually
comes from C.W. BONNIE drops back on her pillow. We cut
close on CLYDE. He is awake.
42 INT. CAFE. DAY.
BONNIE, CLYDE and C.W. seated in a booth in a cafe. The

Waitress brings the food and serves everybody. We see C.W.
With great concentration, as he does everything by relating

to the immediate action he happens to be involved with, he
takes the sugar shaker and begins methodically sprinkling
sugar over all his food. He sugars the meat, the beans, and
the beets. BONNIE and CLYDE watch this performance with
first, amazement and second, disgust. They can't believe
what they see.
BONNIE
(incredulously)
C.W., what are you doing? Why do
you do that?
C.W.
(beginning to eat it)
Why not?
BONNIE
It's just disgusting, that's why.
C.W.
(chewing)
Not to me it ain't.
BONNIE
But...but it makes everything sweet!
C.W.
Yeah, I know.
With a resigned expression, BONNIE turns away and begins to

eat. Suddenly a look of consternation crosses C.W.'s face.
C.W.
Damn! No mayonnaise!
He gets up and goes down to the counter on the other end of

the restaurant, out of our vision, apparently planning to
put mayonnaise over the sugar. The minute he is out of
earshot, BONNIE gets CLYDE's attention.
BONNIE (CONT'D)
Clyde, why does he have to stay in
the same room as us?
28.
CLYDE seems not to have heard the question. He takes up the

sugar shaker and spreads a thin field of sugar on the dark
table surface. He will sketch his plan in the sugar.
CLYDE
Lemme show you about tomorrow.
BONNIE
Why?
CLYDE
Now C.W.'ll be waitin' right outside
in the car. Here is the teller's
cage. Four of them and over here
the desks and what have you...
BONNIE
Why, Clyde...
CLYDE
Hmmm??
BONNIE
In the same room with us?
CLYDE
Hell, where else? Ain't gonna spread
out all over the state...
The harshness of his tone concerns him and he recovers with

a smile.
CLYDE (CONT'D)
(continuing)
Not yet, anyway. Now, the door to
the bank is here now. You cover me
from there.
BONNIE
(takes his hand to
her face)
Just that I love you so much.
CLYDE
You're the best damn girl in Texas.
C.W. comes back with the mayonnaise; looks at the table.
C.W.
Hey, you spilled the sugar.
Three shot.
29.
CLYDE (CONT'D)
(eating)
The layout for tomorrow up in Mineola.
C.W.
Mineola? Gosh, that's four, five
hundred miles from here!
CLYDE (CONT'D)
So what? We take U.S. 85 to Willis
Point, don't you know, and cut over
on State Highway 28 at Kaufman,
keep on goin' till we hit the farm-
To-market road that connects to 105
and that's right up by Mineola. On
a Saturday afternoon...
43 EXT. SMALL KANSAS TOWN.
The car driving into a small Kansas town. It is Saturday

afternoon, sunny. The streets are filled with people, cars,
wagons. C.W. is driving, BONNIE is in front with him, CLYDE
is in the back. C.W. looks scared to death at the idea of
robbing a bank. The car pulls up in front of the bank, double-
parked.
BONNIE and CLYDE get out.
44 EXT. CAR. DAY.
CLYDE
Keep it running.
BONNIE and CLYDE enter bank.
Cut to the interior of the bank. BONNIE and CLYDE come in,
assume the class positions--she at the door where she can
cover the bank, CLYDE at the first teller's cage.
CLYDE (CONT'D)
(in a very quiet voice)
This is a stickup.
TELLER
What?
CLYDE
This is a stickup.
This time everyone in the bank hears it. The people gasp
and pull back. CLYDE slowly edges toward the door and prods
BONNIE forward. She carries a paper sack. CLYDE motions
her to go from cage to cage and get all of the money.
30.
BONNIE begins doing so, while CLYDE keeps his gun trained on
everybody. We see BONNIE get the money from the first teller,
the second teller, then...
46 EXT. SMALL TOWN STREET. DAY.
A car parked in a tight spot has just pulled out.
Close-up C.W. Day--who suddenly looks delighted to see a

parking space.
47 EXT. CAR - STREET. DAY.
Immediately he methodically begins to back in. It's a tight

spot and he has to cut the wheel, pull forward, cut some
more, pull back and so on. The scene, for the audience,
should be nervous and funny.
CUT TO:
Inside the bank, BONNIE and CLYDE have filled the sack.
They run out the door, the camera tracks with them.
49 EXT. SMALL TOWN STREET. DAY.
They run for where the car was, but it isn't there. Then
they see C.W. has parked it.
50 INT. CAR. DAY.
CLYDE (CONT'D)
Let's go! Let's go!
C.W. suddenly realizes what a stupid thing he's done.
51 EXT. CAR. STREET. DAY.
C.W. tries to shoot out of the parking spot, but he can't.
He has to go through the business of backing up, cutting the

wheel and all of it. The scene is one of pure pandemonium
and chaos.
52 INT. CAR.
CLYDE (CONT'D)
Come on! Get it out!
53 EXT. CAR. DAY.
A policeman arrives and begins firing at car. C.W. gets the

car halfway out of the spot, scraping fenders in the process,
31.
and the car is almost out when suddenly a face looms up at

the window--a dignified, white-haired, celluloid-collared
man, obviously a bank official who has leaped onto the running
board. His screaming can barely by distinguished from all
the noise.
MAN
Stop!
CLYDE fires through the window.
Close-up (special effects). The face of the man explodes in

blood. Then he drops out of sight.
54 EXT. CAR. DAY.
The car shoots off down the road, doing ninety. Police are
firing at the escaping car; BONNIE and CLYDE are shooting
out the back window; C.W. is almost having a nervous breakdown
at the wheel.
55 EXT. STREET. A MOVIE HOUSE. DAY.
A police car that had been chasing CLYDE and BONNIE's car
comes down the street. It is obvious that the cops have
lost them. They are searching the street for a sign of
CLYDE's car. They pass a movie house whose marquee reads:
"GOLDDIGGERS OF 1933."
They slow for a moment, decide that is not a probable place

to look. They drive off.
56 INT. MOVIE HOUSE. WIDE ACROSS AUDIENCE AT SCREEN.
The opening musical sequence of "Golddiggers" is on the

screen. Ginger Rogers sings "We're In The Money." Among
the audience we cannot make out our three people. It is a
small audience and thinly dispersed.
Tight shot at audience. Camera pans the audience while on

the track we hear the music of the song. First of our group
who becomes visible is C.W. He is staring at the screen and
eating bites from a candy bar in each hand. Camera pans
further and we see that CLYDE is in the row behind C.W. and
a few seats to one side. CLYDE is nervous and keeps watching
the entrance doors. He is in a rage. He shifts in his seat.
CLYDE
Boy, you gotta be poor in the head.
You...! Count of you I killed a
man. Murder... you too.
Shot from behind CLYDE. Shooting toward screen.

32.
CLYDE (CONT'D)
(continuing)
Dumb ass stupid.
C.W. turns to CLYDE and nods agreement. This infuriates

CLYDE even more. He slaps the back of C.W.'s head.
CLYDE (CONT'D)
Ever do a dumb thing like that again,
I'll kill you boy!
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.
57 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
58 ARMS, NOT A THOUGHT IN HIS HEAD. BONNIE FINISHES HER MAKE-
up 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?
33.
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 (CONT'D)
(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.?
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 (CONT'D)
(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?
34.
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.
59 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 (CONT'D)
(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.

35.
CLYDE (CONT'D)
(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.
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.
60 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.
36.
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.
61 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.
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.
BUCK
(singing)
"What a beautiful thought I am
thinking Concernin' that great
speckled bird, Remember his name is
recorded on the pages of God's Holy
word..."
BLANCHE
All right, now you did foolish things
as a young man, honey-love, but you
went and paid your debt to society
and that was right. But now you
just gettin' back in with the criminal
element.
BUCK
Criminal element! This is my brother,
darlin'. Shoot, he ain't no more
criminal than you are, Blanche.
BLANCHE
Well, that ain't what I heard.
BUCK
Now word of mouth just don't go,
darlin', you gotta have the facts.
37.
Shoot. Why he and me growed up together, slept and worked

side by side.
(laughing)
God, what a boy he was!
BLANCHE
He's a crook.
BUCK
(chidingly)
Now you stop bad-mouthin' him,
Blanche. We're just gonna have us a
little family visit for a few weeks
and then we'll go back to Dallas and
I'll get me a job somewheres. I
just ain't gonna work in your Daddy's
church--That's final.
(laughing it off,
singing)
"What a beautiful thought I am
thinking Concernin' that great
speckled bird..."
CUT TO:
62 EXT. CABIN. THE FRONT OF THE MOTEL. DAY.
BUCK's car drives up to the cabin, honking the horn wildly.
The door of the cabin opens and CLYDE comes running out. He
is overjoyed to see his brother. BUCK jumps out of the car,
equally delighted. They hug each other.
CLYDE
(hugging him)
Buck!
BUCK
Clyde! You son of a bitch!
They laugh happily and begin sparring with each other, faking
punches and blocking punches--an old childhood ritual.
There is a great feeling of warmth between the two brothers.
CLYDE is more outgoing than we have ever seen him before.
CLYDE
How's ma? How's sister?
BUCK
Just fine, just fine. Send their
best to you.
38.
CLYDE
(patting Buck's stomach)
Hey, you're fillin' out there.
Must be that prison food.
BUCK
Hell no!
(laughing)
It's married life. You know what
they say, it's the face powder that
gets a man interested, but it's the
baking powder that keeps him at home.
(he explodes with
laughter and so does
Clyde, who loves
Buck's jokes)
Hey! you gotta meet my wife. Hey,
honey, c'mon out here now and meet
my baby brother.
Camera swings to car. We see BLANCHE still sitting there,

her face obscured by the glint of sun on the windshield.
Slowly, she gets out of the car, still carrying the movie
magazine.
BLANCHE
(suspiciously, quite
the grand lady)
Howdy-do.
CLYDE
(shaking her hand)
Howdy-do. It's real nice to know
you.
BUCK beams with pleasure, thinking they must like each other.
BONNIE comes out of the cabin, standing on the steps. The

screen door slams behind her.
Close-up. BONNIE. Day--expressionless, looking it all over.
63 EXT. CABIN.
BUCK and CLYDE notice nothing of this. BUCK bounds over to

BONNIE, all jollity.
BUCK
(grabbing her)
Well! You must be Bonnie! Now I
hear you been takin' good care of
the baby in the family.
(MORE)
39.
BUCK (CONT'D)
Well sis, I'm real glad to meet you!
(he hugs her; BONNIE
just lets herself be
hugged)
Say...
(breaking the hug)
I'd like you to meet my wife, Blanche.
BONNIE
(stiffly)
Hello.
BLANCHE
(stiffly)
Hello.
There is an awkward pause. Suddenly the screen door opens

and C.W. comes out, dressed in his long underwear. BLANCHE
can hardly stand it.
CLYDE
Everybody, this is C.W. Moss.
C.W., my brother Buck and his wife, Blanche.
C.W.
(friendly)
Heighdy, y'all.
He pumps BUCK's hand vigorously and then goes to BLANCHE.
With his characteristic one-track intensity, he decides to

act just as friendly as he can with BLANCHE, ignoring the
fact that he's standing there in his underwear. BLANCHE,
however, is not ignoring it.
C.W.
Well how do, Mrs. Barrow. Or can I
call you Blanch? I sure am pleased
to meet you.
(Shaking her hand;
Blanche is slowly
going crazy with
mortification)
Did you have a hard time findin' us
here in this neck of the woods?
Well, you sure picked a good day for
it. Say, you got a Screenland there!
Any new photos of Myrna Loy?
She's my favorite picture star.
BLANCHE is starting to edge over to BUCK in sheer panic at

this strange, young man in his BVD's but C.W. takes no notice
of it.
40.
BLANCHE finally grabs BUCK's arm. BONNIE watches it all,

smirking.
BUCK
Hey, lemme get the Kodak!
BUCK goes to his car and gets a folding Brownie camera.
CLYDE
(lighting up a cigar)
Hey, C.W., go put your pants on.
We're gonna take some pictures.
BUCK
Y'all hear about the guy who thought
Western Union was a cowboy's
underwear?
BUCK and CLYDE and C.W. laugh heartily. C.W. goes into the
cabin. BUCK pushes BLANCHE and CLYDE together, posing them
for a picture.
BONNIE
Lemme get one of my bride and my
brother.
BLANCHE
(getting kittenish,
and overdoing it)
Buck! Don't take my picture now.
I'm just a mess from driving all
day.
BUCK
Oh honey, now you look real fine.
BONNIE watches BLANCHE's behavior with hardly-veiled disgust.
BUCK snaps the picture as BLANCHE is just about to move out

of it.
BLANCHE
(with unbecoming
girlish outrage)
Did you take my picture? Oh Buck!
I declare--
BUCK laughs and goes to BONNIE, takes her by the arm and
moves her next to CLYDE and BLANCHE. He lines them up, steps
back and takes their picture. CLYDE is the only one smiling.
41.
CLYDE
(pulling out his gun
and posing like a
movie tough)
Hey, Buck, get one of this.
BUCK does.
BUCK
(giving Clyde the
camera)
Clyde, you do one of me and my missus.
He puts his arm around BLANCHE. CLYDE takes the picture.
CLYDE
(throwing her a
challenge)
Let me take on of Bonnie.
BONNIE grins at him and responds with amused arrogance.
BONNIE
(she yanks the cigar
from Clyde's mouth,
smokes it and poses)
Okay.
CLYDE snaps the picture. Everyone but BLANCHE laughs. C.W.

comes out dressed.
BUCK
(drawing Clyde aside)
Hey, brother, let's you and me do a
little talkin'.
CLYDE
(handing C.W. the
camera)
Here, C.W., take the girls' picture.
64 INT. CABIN. DAY.
They walk into the cabin. Camera goes with them. Bedroom
is dark, shades pulled down. There is an aura of boys'
clubhouse secret camaraderie in the following scene:
BUCK
(as soon as the door
is shut;
conspiratorially)
It was you or him, wasn't it?
CLYDE
Huh?
42.
BUCK
That guy you killed. You had to,
didn't ya?
CLYDE
(they are protecting
each other)
Yeah, he put me in a spot, so I had
to. He didn't have a Chinaman's
chance.
BUCK
But you had to--
CLYDE
Yeah. I had to.
BUCK
(like two kids keeping
a secret from Mom)
Don't say nothin' to Blanche about
it.
CLYDE
Hey, that time you broke out of jail,
she talk you into goin' back?
BUCK
(it is obvious he had
hoped Clyde hadn't
known about it)
Yeah, you hear about that?
CLYDE
I won't say nothin' to Bonnie about
it.
BUCK
I appreciate it.
CLYDE
Yeah...say, what d'ya think of Bonnie?
BUCK
She's a real peach.
There is now a long pause--a lull in the conversation, as if

they asked each other all the questions and are now out of
things to say. It is too much for BUCK, the natural enemy
of silence, who suddenly claps his hands together and bursts
out animatedly:
BUCK (CONT'D)
Boy, are we gonna have us a good
time!
43.
CLYDE
(matching his merriment)
We surely are!
BUCK
Yessir!
(a pause, then:)
What are we gonna do?
CLYDE
Well, how's this--I thought we'd all
go to Missouri. They ain't lookin'
for me there. We'll hole up someplace
and have us a regular vacation. All
right?
BUCK
No trouble, now?
CLYDE
No trouble. I ain't lookin' to go
back to prison.
BUCK
Hey, what's this I hear about you
cuttin' up your toes, boy?
CLYDE
(ironically)
That ain't but half of it. I did
it so I could get off work detail--
breakin' those damned rocks with a
hammer day and night. Sure enough,
next week I got paroled. I walked
out of that god-forsaken jail on
crutches.
BUCK
Shoot--
CLYDE
Ain't life grand?
65 EXT. ROAD. DAY.
We see the two cars, one behind the other, driving down a
main road.
66 INT. FIRST CAR. DAY.
CLYDE is driving. BUCK sits next to him. No one else is in

the car.
44.
BUCK
And the doc, he takes him aside,
says, "Son, your old mama just gettin'
weak and sickly layin' there. I
want you to persuade her to take a
little Brandy, y'know, to pick her
spirits up." "Why, doc," he says,
"you know my mamma is a teetotaler.
She wouldn't touch a drop." "Well, I
tell you what," the doc says, "why
don't you bring her a fresh quart of
milk every day from your farm, 'cept
you fix it up so half of it's Brandy
and don't let on!" So he does that,
doctors it up with Brandy, and his
mamma drinks some of it. And the
next day he brings it again and she
drinks some more--and she keeps it
up every day. Finally, one week
later, he brings her the milk and
don't you know she just shallows it
all down, and looks at her bag and
says, "Son, whatever you do, don't
sell that cow!"
CLYDE and BUCK explode in laughter.
67 INT. SECOND CAR. DAY.
At the top of the laugh, cut to the int. of the second car,
riding right in back of them. The atmosphere is completely
unlike the cozy and jolly scene preceding. We have dead
silence. BONNIE is driving, smoking a cigarette, grim.
BLANCHE--seated as far away as she can get from BONNIE without

falling out of the car--makes a face at the cigarette smoke,
rolls down the window for air. C.W.'s in the back seat,
just staring.
CUT TO:
68 EXT. GARAGE APARTMENT. DAY.
A residential street in Joplin, Missouri, showing a garage

apartment above a double garage. Camera sees BUCK talking
to a dapper gent with keys in his hand. BUCK pays him. The
man tips his hat and walks off. BUCK gestures and Clyde
drives a car into the driveway. C.W. follows, driving BUCK's
car with BLANCHE. CLYDE stops beside BUCK. BUCK leans into
CLYDE's car and says:
BUCK (CONT'D)
I give him a month's rent in advance.
We're all set. Let's get inside.
45.
CLYDE calls back to C.W. in the following car.
CLYDE
Pull up and unload the stuff.
BUCK
(on the running board
of moving car)
Honey-love, I'm taking you into our
first home.
BLANCHE giggles. The two cars pull up before the garage and
the people start to descend.
69 INT. GARAGE APARTMENT. DAY.
A winded BUCK enters and puts down BLANCHE. As others behind

him carry in their things and disperse throughout apartment.
BLANCHE
Oh look, it's so clean, Buck. And a
Frigidaire...not an icebox!
BUCK
He give me the grocery number.
He goes to the phone.
BUCK (CONT'D)
(continuing)
Lemme see, eh 4337... Operator...
please ma'm, may I have 4337... if
you please?
BLANCHE
Oh... they got linoleum on the
counter. Ain't that clever!
BUCK
Hello, Smitty's grocery... I'd like
to order a mess of groceries. Oh
yeah... he 143 Hillsdale Street.
Lessee, about 8 pounds of porkchops,
4 pounds of red beans... a can of
Chase and Sandborn... uh.
BLANCHE
Oh, isn't this something, Daddy!
BUCK
Sshh. Uh... quart of milk... uh 8
bottles of Dr. Pepper and that's it,
I guess. No... no.
(MORE)
46.
BUCK (CONT'D)
Uh... a box of Rice Krispies... Bye
now.
CUT TO:
70 INT. LIVING ROOM. DAY.
Open on BONNIE and CLYDE. He is cleaning guns. She is

watching something off screen. We hear a clicking sound.
BLANCHE (O.S.)
My, you need a haircut, Daddy. You
look like a hillbilly boy.
A look of disgust crosses BONNIE's face. CLYDE, who has

been watching her, smiles. The clicking sound increases
suddenly.
BUCK (O.S.)
Gotcha!
BLANCHE whoops. Camera cuts to see that BUCK and C.W. are
playing checkers and BUCK has just beaten him.
C.W.
Again.
BUCK (CONT'D)
Boy, you ain't never gonna beat me
but you keep tryin' now.
He starts to set up the game again.
BLANCHE
Jest like an ol' man. Plays checkers
all the time and doesn't pay any
attention to his poor lonely wife.
She ruffles his hair again.
BUCK
Cut it out now, honey. I'm gonna
teach this boy a lesson he'll never
forget.
Camera cuts to BONNIE, watching with disgust. Then slowly,

a wicked little smile edges across her face. She watches
for a moment more, then she rises and with the most ingenuous
look she can muster up, beckons to CLYDE to follow her into
the bedroom. A little puzzled, CLYDE follows.
71 INT. BEDROOM.
BONNIE closes the door and immediately begins fussing with

47.
CLYDE's hair, doing a scathing imitation of BLANCHE. Though

her miming expresses her irritation at being closeted with
the Barrow menage, it is also a peach doing an imitation of
a lemon--and it is disarmingly sensual... Indeed the mimicry
allows BONNIE to be physically freer with CLYDE, and allows
CLYDE to respond without anxiety, without self-consciousness.
We should have the distinct--if momentary--feeling that CLYDE

could suddenly make it with BONNIE.
BONNIE
(doing an unmerciful
imitation)
Oh, Daddy, you shore need a haircut.
You look just like a little old
hillbilly boy, I do declare.
(She has her other
hand toying with the
buttons on his shirt,
her hand slipping
under, fluttering
across his bare chest)
Oh mercy me, oh my stars!
CLYDE laughs, and BONNIE tugs at the shirt--she kneels on

the bed over CLYDE, who quite easily drapes across it.
BONNIE (CONT'D)
(a little louder)
Oh, Daddy! Yore such a slowpoke!
She's letting her hair fall loose, its golden ends brushing
up and down CLYDE's body.
CLYDE
(amused, but cautionary)
Hush up a little. They're in the
next room.
BONNIE
(a mock-pout, but
with an edge to it)
Shoot, there's always somebody in
this room, the next room and ever'
other kind of room.
CLYDE has his arm around BONNIE, and she's almost draped
across him--but in the direction of the length of the bed,
so their bodies almost form a crooked cross. She digs an
elbow into his stomach.
CLYDE
Oof!... now that ain't no nice way
to talk about my brother.
48.
BONNIE
(imitating Blanche
again with baby talk)
I ain't talking about your brother.
Suddenly BONNIE straightens up to a kneeling position again,

and cocks her head. When she speaks now it is with a simple
plaintiveness.
BONNIE (CONT'D)
Honey, do you ever just want to be
alone with Me?
(sensing Clyde's
sensitivity to the
sexual implication)
I don't just mean like that... I
mean do you ever have the notion of
us bein' out together and alone,
like at some fancy ball, or, I don't
know, where we walk in all dressed
and they announce us and it's fancy
and in public, but we're alone
somehow. We're separate from
everybody else, and they know it.
CLYDE looks up to BONNIE, affectionately. He runs his hand

carelessly down her body.
CLYDE
I always feel like we're separate
from everybody else.
BONNIE
(it's terribly
important to her)
Do you, baby?
Suddenly there is a ring at the door. BONNIE and CLYDE

freeze.
72 INT. LIVING ROOM.
BONNIE and CLYDE run out into the living room, camera going
with them.
BONNIE (CONT'D)
(to all)
Quiet! I'll get it.
BONNIE goes down the stairs and reaches the front door.
BONNIE (CONT'D)
Who is it?
49.
VOICE
Groceries, M'am.
73 EXT. GARAGE APARTMENT.
She opens the door. A young man is there with the two big
sacks of groceries.
BONNIE
How much?
YOUNG MAN
Six dollars and forty-three cents.
BONNIE pays him and goes to take the bags from him.
YOUNG MAN (CONT'D)

Here, M'am, them bags is heavy.
Let me carry 'em up for you.
BONNIE
(curtly)
No thanks, I'll take 'em.
She takes the heavy bags and hefts them up and turns and
walks up the stairs. They are obviously very heavy for her.
Closeup the delivery boy's face, looking puzzled at this

behavior. BONNIE reaches the top steps, and voices are heard.
BUCK'S VOICE
What was it?
CLYDE'S VOICE
Quiet. Open the door.
BONNIE
C'mon, c'mon...
Close-up. The DELIVERY BOY. A look of suspicion comes across

his face.
DISSOLVE TO:
74 INT. GARAGE APARTMENT.
Close-up of BONNIE--seated in the living room.
BONNIE (CONT'D)
(reading from a pad;
in a recital voice)
It's called "The Ballad of Suicide
Sal."
(MORE)
50.
BONNIE (CONT'D)
(she pauses for effect;
then begins:)
"We each of us have a good alibi For
being down here in the 'joint'; But
few of them really are justified If
you get right down to the point.
You've heard of a woman's glory Being
spent on a downright cur'."
BUCK'S VOICE (O.S.)

You write that all by yourself?
BONNIE
You want to hear this or not?
As she reads, the camera pans around the room picking out
everyone's reaction. CLYDE is looking and listening
seriously. BUCK is grinning. C.W. is blank. BLANCHE is in

the kitchen cooking.
BONNIE (CONT'D)
"Still you can't always judge the
story As true, being told by her.
Now 'Sal' was a gal of rare beauty,
Though her features were coarse and
tough--"
BUCK
Yeah, I knew her. She was cockeyed
and had a hare-lip and no teeth!
BONNIE flashes him a look that could kill. He shuts up fast.
SHE CONTINUES:
BONNIE
"Now 'Sal' was a gal of rare beauty,
Though her features were coarse and
tough; She never once faltered from
duty To play on the 'up and up'."
Still listening, CLYDE gets up from his chair and walks slowly
past the living room windows. The camera angled slightly
above him, sees down the street. We see two police cars
quietly pulling up. One of them parks sideways in the
driveway to block escape from the garage, the other stays on
the street. CLYDE turns and looks out the window.
51.
BONNIE (CONT'D)
(o.s. as we see out
the window)
"Sal told me this tale on the evening
Before she was turned out free, And
I'll do my best to relate it Just as
she told it to me--"
CLYDE
(seeing it)
It's the law.
As soon as CLYDE calls out, BLANCHE drops the frying pan on

the floor and begins screaming. Camera cuts back to the
living room. Everyone else leaps into action. Guns begin
blazing from everywhere; we rarely see who is shooting at
whom.
The police, down the stairs into the garage--we follow them
with a hand-held camera tracking rapidly.
BLANCHE, however, in utter panic, just runs right out the

front door, and begins running down the quiet residential
street, going nowhere, anywhere.
BUCK, crouching, shooting with one hand, gets the garage

door open. A policeman fires. BUCK fires back and the cop
falls dead in the street. BUCK, firing, dashes to the police
car blocking their escape and releases the hand brake.
CLYDE, BONNIE and C.W. leap into their car, gun the motor,
still shooting madly. Two more police fall dead or wounded.
One policeman is hurled through a fence by the blast of a

sawed-off shotgun. BUCK jumps into the car with the others.
They now begin to bump the police car with their car. The
police car picks up speed as they push it and it tears into
the street right at the group of firing police. The gang's
car turns into the street toward the running BLANCHE.
BONNIE and CLYDE are in front; BUCK and C.W. in the back
seat firing back at police. The car pulls alongside the

wildly running BLANCHE; the back door is flung open and in
almost the style of a cartoon, two hands reach out and lift
her off her feet and pull her into the car. They speed away.
CUT TO:
52.
78 INT. CAR. DAY.
The inside of the car, still speeding. BLANCHE is hysterical.
C.W. is still firing out the window. The pursuing police

car's driver is shot and the car crashes into a tree. The
gang is not being pursued now, but CLYDE is driving at 90.
BLANCHE is moaning and crying. BONNIE, in front, turns around

furiously.
BONNIE
Dammit, you almost got us killed!
BLANCHE
(crying)
What did I do wrong? I s'pose you'd
be happier if I got shot.
BONNIE
(at her bitchiest)
Yeah, it would of saved us all a lot
of trouble.
BLANCHE
Buck, don't let that woman talk to
me like that!
BUCK
(caught in the middle
of a bad situation,
knowing Blanche is
wrong, but trying to
soothe her)
You shouldn't have done it, Blanche.
(quietly, cont.)
It was a dumb thing to do.
BLANCHE
(switching tactics)
Please, Buck, I didn't marry you to
see you shot up! Please, let's go!
Let's get out of here and leave.
Make him stop the car and let us out!
BUCK
(still quietly)
Can't. I killed a man. We're in
this now.
BLANCHE
(loud and shrill)
Please! Please!
53.
BONNIE
(exploding)
Shut up! Just shut up your big mouth!
At least do that, will ya, just shut
up.
CLYDE
Cut it out, Bonnie.
BONNIE is affronted. BLANCHE continues sobbing.
BONNIE
(curtly)
Stop the car. I want to talk to
you.
Without a word, CLYDE stops the car.
79 EXT. ROADSIDE. DAY.
BONNIE and CLYDE get out and walk fifteen feet away from the
car. Both are irritated and touchy. Camera follows them.
CLYDE
(coldly)
What is it?
BONNIE
Get rid of her.
CLYDE
Can't do that. She's Buck's wife.
BONNIE
(snapping her words)
Get rid of both of them then.
CLYDE
Why? What's the matter with you
anyway?
BONNIE
She's what's the matter with me, a
damn stupid back country hick without
a brain in her head.
(contemptuously)
She ain't nothin' but prunes and
proverbs.
CLYDE
(really pissed-off at
Bonnie)
What makes you any better? What
makes you so damn special?
(MORE)
54.
CLYDE (CONT'D)
You're just a West Dallas waitress
who spent half your time pickin' up
truck drivers!
This hits home with BONNIE. He has said the unforgivable.
BONNIE
(raising her voice)
You talk to me like that! Big Clyde
Barrow, just the same as your brother,
an ignorant uneducated hillbilly.
(with deadly archness)
Only special thing about you is your
peculiar ideas about lovemakin'--
which is no love makin' at all.
CLYDE stiffens. The two of them stand silent and tense,

almost quivering with anger. They have stripped each other
raw. CLYDE turns and looks back at the car. Everyone is
waiting, watching them. He breathes a deep sigh, like a man
counting to 10 to hold his temper.
CLYDE
Look, Bonnie--
He can't finish.
Close. BONNIE. She drops her head into her hand for a
moment, comes up a little more relaxed. She looks at CLYDE
and her eyes reflect the realization of the pain she has
inflicted on him. She softens.
BONNIE
Clyde... honey... I didn't mean all
that, honey. Blame it on all that
shootin', I just felt so bad... sure
enough... Clyde?
CLYDE
Okay... Okay, hon... let's get
movin'...
He turns and begins walking back to the car. BONNIE walks

alongside him. On the few steps back, she regains all her
dignity and acts aloof from the others waiting for her. She
reaches the car. CLYDE opens her door for her and she gets
in like a great lady. He walks around to his side, gets in,
and they drive off.
80 WIDE SHOT. EXT. CAR. DAY.
A very wide shot. We see CLYDE's car driving along a wooded

road.
55.
For a moment that is all we see, then we should become aware

that far in the distance another car is following CLYDE's.
Close. Rural mail box. On the opposite side of the road,

CLYDE's car swings across the road and CLYDE, who is driving,
snatches a newspaper which protrudes from the box and hands
it into the car. They drive out of the shot. Camera holds
and soon the following car enters the shot. The man driving
is a Texas ranger. He drives slowly. He drives out of the

shot.
81 INT. CLYDE'S CAR.
BUCK is reading from the paper.
BUCK
(jubilantly)
Hey, y'all, listen to this here:
Law enforcement officers throughout the Southwest are frankly

amazed at the way in which will-of-the-wisp bandit Clyde
Barrow and his yellow-haired companion, Bonnie Parker,
continue to elude their would-be captors. Since engaging
the police in a gun battle on the streets of Joplin Missouri
and slaying three of their number...
BLANCHE
Oh, Lord...
We notice CLYDE is wincing.
BUCK
...the Barrow gang has been reported
as far West as White City, New Mexico,
and as far north as Chicago.
They have been credited with robbing the Mesquite Bank in

the aforementioned White City, the J.J. Landry Oil Refinery
in Arp, Texas, the Sanger City National Bank in Denton, Texas
on three different occasions. In addition to these robberies,
the fast travelling Barrows have been rumored to have had a
hand in the robbing of two Piggly Wiggly stores in Texas,
and one A&P store in Missouri, though Chief Percy Hammond,
who first identified Clyde Barrow's brother, Buck, as a member
of the gang, expressed some doubt that these last robberies
were committed by the Barrow Gang alone.
BONNIE
Go on.
56.
C.W.
(finally)
Clyde, we ain't goin' to see a
restroom for another thirty miles.
Why don't you just stop here?
CLYDE looks relieved.
82 EXT. WOODED AREA. DAY.
He pulls the car to a stop, gets out and goes off into the
woods. We watch him vanish behind the trees.
83 INT. CAR.
BUCK still scanning the newspaper.
BUCK
(with a laugh)
Hey now, here's something! Listen
here: Lone Cop Arrests Two Officers
In Hunt For Barrow. Police Officer
Howard Anderson's heart turned faster
than his motorcycle when he forced
to the side of the road a roaring
black V-8 sedan in which were three
men and a blondheaded woman yesterday
afternoon.
Everybody laughs. As BUCK continues to read, his voice

remaining on the soundtrack.
84 EXT. CAR.
The camera goes outside the car and pulls back, way back, to
reveal a police car quietly driving up behind the car. The
car stops a good distance away and one man gets out, the
only occupant of the car. He is tall, dressed in the uniform
of the Texas Ranger. He draws his gun and slowly approaches
the car from the rear. On the soundtrack BUCK's voice
continues; as we see all this taking place.
BUCK
When he saw several machine guns in
the car he was certain he'd caught
Clyde Barrow, Bonnie Parker, and
maybe Buck Barrow and the third
unidentified member of the gang.
It took a lot of telephoning and
explaining to convince the motorcycle
cop that his captives were two highway
patrolmen and a blonde-haired
stenographer from the Highway Patrol--
Haw! Haw!
(MORE)
57.
BUCK (CONT'D)
(everybody busts up
with laughter)
In the meantime, on screen, the lawman
is slowly approaching the back of
the car. Suddenly, cut to shot of
CLYDE coming out of the woods, behind
the lawman. His gun is tucked in
his pants. In a second, he sees
what is happening.
BUCK's voice is continuing:
BUCK (CONT'D)
Anderson was held up as an example
for every other Texas peace officer
today. "That was a mighty brave
thing," explained Highway Patrol
Chief L.C. Winston.
CLYDE whips out his gun. The following scene is played

exactly like a classic fast-draw in an heroic Western.
CLYDE
Sheriff!
BRYCE spins around. Both men fire instantaneously, but CLYDE

has the draw on him, and the aim. The gun goes flying from
the SHERIFF's hand. A really razzle-dazzle display of
grandstand marksmanship from Clyde.
Immediately the gang leaps from the car and surrounds the
man, guns drawn.
C.W.
Boy! What a shot, Clyde!
BUCK
Sweet Jesus, I never seen shootin'
like that!
The gang grabs the man and takes his handcuffs from his belt.
CLYDE makes him lean on the car's hood, arms extended, legs
spread, while he frisks him. In general, everyone is excited
over the capture. BONNIE takes the sheriff's gun and
delicately places it on the radiator grill like an object
d'art.
CLYDE
(examining the man's
wallet, really
surprised)
Well, now, getta load of this.
(MORE)
58.
CLYDE (CONT'D)
I want y'all to know we are in the
custody of Cap'n Frank Bryce, and
Frank here is a Texas Ranger.
Rev. angle across hood--so BRYCE's face, not visible to CLYDE

or anyone else behind him, is in foreground. His gnarled,
powerful hands tremble slightly on the hood, as tho they
might crinkle the metal like so much tissue paper. His eyes
stare toward camera relentlessly, unblinking, but without
passion. They are shark's eyes. They have witnessed much
carnage, devoured it, and are still wide open for more.
C.W.
Sure 'nough, Clyde?
BUCK
Say there, peacemaker. I believe
you got your spurs all tangled up.
You're in Missouri, you know that?
CLYDE has been going thru the man's credentials. Not so

pleasantly:
CLYDE
You didn't know you was in Missouri?
C.W.
He's lost, this here Texas Ranger.
CLYDE claps BRYCE's hands behind his back, handcuffs him,

spins him around.
CLYDE (CONT'D)
(a little pissed)
--he ain't lost...them banks are
offerin' extra reward money fer us,
and Frank figured on easy pickin's,
didn't you?
(he suddenly knocks
Bryce's hat off)
Didn't you?
BRYCE flinches involuntarily. BUCK suddenly grows wary at

CLYDE's mood. CLYDE leans into BRYCE, looking up.
CLYDE (CONT'D)
--Now you ain't hardly doin' your
job, Texas Ranger. You oughta be
home lookin' after the rights of
poor folks, not out chasin' after
us.
He suddenly hefts BRYCE's huge bulk onto the fender.

59.
BUCK
(trying to be casual)
Easy there, Clyde. Why take is so
personal.
CLYDE
(to Bryce)
Reg'lar laws is one thing. But this
here bounty hunting, we got to
discourage that.
BLANCHE looks very uncomfortable. She starts to say

something, but BUCK intervenes.
BUCK
Like how, Clyde?--
A tense moment. CLYDE can't think of anything right away.
C.W.
(trying to be helpful)
Shoot him.
BONNIE shoots C.W. an angry glance--it's just what the gang

doesn't want.
C.W.
(trying again)
...hang him?...
Reaction--BONNIE carefully gauging the moment to intervene.
BONNIE
(suddenly)
--uh-uh. Take his picture.
CLYDE's not sure he's heard right. Neither is C.W.
C.W.
Take his picture?
BONNIE
(pointedly ignoring
C.W., brightly)
Then we'll let the newspapers have
it--so's everyone can see Captain
Frank Bryce of the Texas Rangers
With the Barrow gang--
(moving demurely to
Bryce)
--and all bein' just as friendly as
pie.
60.
BUCK
(grasping possibilities
immediately)
...yeah, yeah...
BONNIE
(continuing right on,
coyly picking up
Bryce's gun from
grill)
--why we 'bout the friendliest folks
in the world. Texas Ranger waves
his big ol' gun at us, and we just
welcome him like he's one of our
own.
CLYDE
(grinning widely)
Buck, get the Kodak!
BUCK
(relieved and excited)
Hot dog!
CLYDE
(to Bryce)
We're mighty proud to have a Texas
Ranger in the family.
BRYCE is obviously not pleased with this turn of events.
Following dialogue is overlapped, ad-libbed, etc. A sense

of mounting glee at the kind of vengeance they are going to
exact.
New angle. BUCK is fiddling with the camera, setting up the

shot with CLYDE. BUCK's following speech should be heard,
b.g., to CLYDE's speech below it.
BUCK
...keep him set on the hood,
there...more to the sun, like
that...yeah...when all his ranger
Friends see this...I bet he's gonna
wish he was dead!
CLYDE
(to Bryce)
...see what come o' your
mischief?...not doin' your job?
Down in Duncanville last year poor farmers kepts the laws

away from us with shot guns...you're s'posed to be protectin'
them from us, and they're protectin' us from you.
61.
(giggling)
--don't make sense, do it?
BUCK
C'mon, now, Clyde, you and Bonnie
first. Move into him, right close,
right friendly.
CLYDE
All righty
(to Bryce, whose hands
are tied, hemmed in
by them both)
Don't move, now, hear?
CLYDE grandly puts an arm on BRYCE's shoulder, BONNIE, looking

up admiringly from the other side. BUCK takes the picture.
BONNIE immediately hops onto the hood, next to BRYCE.
BONNIE
How's this? "Captain Bryce and new
found friend."
She coyly loosens his tie, tousles his hair, and plants a
big kiss on him while still ogling camera.
CLYDE
...yeah, yeah... quick, Buck, get
it...
BUCK
...I'm gettin' it, I'm gettin' it.
Quite suddenly BRYCE, whose simmering intensity we should be

more sensitive to than the gang is, spits on Bonnie. BONNIE
half-screams in disgust, but CLYDE is on top of BRYCE in a
flash, half-strangling on his own fury. He pulls BRYCE off
the fender by the handcuffs, spinning him around crazily
like a lasso. BRYCE is literally ricocheted off the car by
the force, and, with CLYDE hanging on by the cuffs, plummets
down the embankment to the sandy beach below, both men
falling, spinning. BRYCE rises shakily. He tries to walk
away. CLYDE grabs him again by the handcuffs and hurls him
out into the water. BRYCE smacks into a tree stump poking
out of the shallows and goes down. CLYDE is on top of him.
Meanwhile, BUCK has rushed down into the water, tries to

pull CLYDE off BRYCE.
BUCK (CONT'D)
(frantic)
I got the picture. I got the
picture...
62.
CLYDE
(oblivious)
Lemme be, lemme be...
BRYCE reaches the surface and CLYDE tries to throw him into
deeper water. He hitches BRYCE over a moldy skiff, knocking
aside one of the oars. BUCK upends BRYCE into the skiff and
kicks it spinning. CLYDE picks up an oar and hurls it like
a boomerang, ass over end at the skiff. It kicks up a spray.
BUCK
(holding tightly to
Clyde, yelling)
I got the PICTURE!
Reaction. CLYDE waist deep, breathing heavily.
CLYDE
...All right, all right...
(to Bryce, yelling)
WE GOT YOU...HEAR?... REMEMBER...
YOU... YOUR FACE...WE GOT IT...WE
GOT YOU...WE GOT YOU...WE GOT YOU...
BRYCE, battered and handcuffed, stares back with mindless

malice from the lazily spinning skiff to the hysterical
spectre of CLYDE, screaming his madness across the water.
DISSOLVE:
85 INT. BANK.
Inside the bank. In contrast to the previous inept bank

robbery scene, this one goes admirably well, the gang
performing slickly and without a hitch. As they enter,
dripping wet, CLYDE makes a general announcement to everyone
to the bank.
CLYDE
This is the Barrow gang.
(the people turn and
freeze)
Everybody just take it easy and nobody
will get hurt.
CLYDE covers the door. BONNIE and BUCK go to the tellers'

cages and get money. BUCK goes inside, emptying out the
cash drawers. Cut to BONNIE filling the sack.
Cut to a close-up of a burglar alarm button. Slowly a hand

crawls up the wall and a finger slowly moves to push the
button. When the finger is about one inch away, suddenly a
gun appears in the frame and gently taps the hand away. The
camera pulls back to reveal BUCK smiling at a lady teller.
63.
BUCK
Don't do nothin' silly now.
Cut to CLYDE standing near the door, training his guns on

the entire bank. A farmer stands a few feet away, some bills
clutched in his hand.
CLYDE
That your money or the bank's?
FARMER
Mine.
CLYDE
Keep it, then.
Across the floor, the bank guard in the corner takes advantage
of CLYDE's distraction to go for his gun. CLYDE spots it
and fires a shot that just knocks the bank guard's hat off
without harming him.
CLYDE (CONT'D)
(to the guard, who
has practically frozen
in fear)
Next time I'll aim a little lower.
They finish robbing the bank. They start to exit. Near the
door stands a guard with his hands raised. He wears sun
glasses of the period. As they leave BUCK snatches the sun
glasses from the guard's head.
BUCK
Get a good look at us! We're the
Barrow boys.
86 EXT. BANK. DAY.
The gang runs wildly into the street where the car waits,
motor running. As they leap into car, BUCK throws the sun
glasses into BLANCHE's lap.
BUCK (CONT'D)
Happy birthday.
They zoom off. Shots are heard. BONNIE, BUCK and CLYDE
begin firing at the bank guards who are pursuing them. The
guards fire back.
Close-up. BLANCHE sitting in the back seat with her fingers

stuck tightly in her ears, eyes shut, trying to overcome her
panic. A funny image, but one that also awakens pity. The
next sequence is carried out in cross-cutting.
CUT TO:
64.
The street in front of the bank. Police car pulls up and

the excited crowd gestures in the direction of the departed
gang. The siren starts.
CUT TO:
87 INT. GANG CAR. DAY.
The siren heard now in the far distance.
BUCK (CONT'D)
(to C.W. at the wheel)
Kick it in the pants, C.W.
CLYDE
We got to make that state line!
C.W.
(Driving like a wild
man, but adlibing
loudly)
Can't get more'n this out of a
Plymouth!
CUT TO:
88 INT. BANK.
The gang has left a legacy of celebrity behind. We see the

bank guard whose hat was shot off being interviewed by a
reporter. He is seated in a chair, his shirt open at the
collar and a woman teller is fanning him.
BANK GUARD
(enjoying the limelight)
Then he saw me goin' for my gun.
Clyde Barrow himself, I mean. And
suddenly I was starin' into the face of death!
WOMAN TELLER
Tsk, tsk.
A photographer steps in.
PHOTOGRAPHER
Just look this way, Mr. Hawkins.
The bank guard hurriedly buttons up his collar and smiles as

the flashbulb goes off.
CUT TO:
65.
89 EXT. GANG CAR.
Still speeding along, the siren more distant.
CUT TO:
90 INT. BANK.
The bank president and a policeman are posing for that classic
picture where both stand flanking a bullet hole in the wall
and point proudly at it. The flashbulb goes off.
CUT TO:
91 INT. POLICE CAR.
Two men in police uniforms following BONNIE and CLYDE.
FIRST POLICEMAN
Step on it, Randolph. We gotta catch
'em 'fore they reach the state line!
CUT TO:
92 INT. BANK.
FARMER is describing BONNIE and CLYDE to passersby who dote

on him as though he'd just had contact with a portion of the
true cross. FARMER is aware of his position.
FARMER
Clyde?...he looked like, well he
looked real...clean...and Bonnie,
she's too much a lady ever to be
caught with a cigar in her mouth...I
don't care what you heard before.
I saw 'em right here, not twenty
minutes ago...
(gravely)
--and all's I can say is, they did
right by me, and I'm bringin' me a
mess of flowers to their funeral.
CUT TO:
93 INT. GANG'S CAR.
Car slows up perceptibly as CLYDE says:
CLYDE
Okay, relax. We're in Oklahoma now.
Slow down.
CUT TO:
66.
94 INT. POLICE CAR.
FIRST POLICEMAN
Turn around. Don't waste no more
gas.
SECOND POLICEMAN
(a young eager beaver
type)
Ain't we gone to catch 'em?
FIRST POLICEMAN
Hell, they're over the State line.
That's out of our jurisdiction.
SECOND POLICEMAN
Why don't we get 'em anyway?
FIRST POLICEMAN
I ain't gone to risk my life in
Oklahoma. That's their problem.
CUT TO:
95 EXT. CAR.
Now the gang's car is seen traveling down a long, narrow

country road surrounded by cornfields.
CUT TO:
96 EXT. ROADSIDE BY WOODS. DAY.
They get out, taking the various bags of money with them,
and dump the lot on the hood. There is not an impressive
amount of money.
CLYDE
(disappointed)
Hell. That ain't much, is it?
BUCK
(commiseratingly)
Times is hard,
CLYDE
Well, let's get to it.
He begins dealing and splitting the money out on the hood of

the car, as they gather around.
CLYDE (CONT'D)
This is Clyde Barrow.
(MORE)
67.
CLYDE (CONT'D)
(lays down a bill)
Buck Barrow...
(lays down a bill)
Bonnie Parker...C.W.
(goes back to the
first again and lays
out another round)
Clyde, Buck...Bonnie...C.W. Clyde,
Clyde again...Buck...Bonnie...C.W.
BUCK and BLANCHE stand watching. BLANCHE looks fretful.
She nudges BUCK and whispers to him.
BUCK whispers something back to her. Meanwhile, CLYDE's

counting still goes on.
CLYDE (CONT'D)
Bonnie... C.S.... Clyde...
BUCK
(very ill at least in
this position he has
been forced into)
Um... he... Clyde?
CLYDE
Hah?
BUCK is clearly embarrassed.
BUCK
Uh, Clyde... well... what about
Blanche?
Everyone reacts with stunned amazement at BLANCHE's nerve in

wanting to get her cut.
BONNIE
(incredulous)
WHAT?
BLANCHE sees she has to rise to her own defense, and she
rises to the occasion with spirit and verve.
BLANCHE
Well, why not? Say I earned my share!
Same as everybody. I coulda got
killed same as everybody, and I'm
wanted by the law same as everybody.
Besides I coulda got snake bit
sleepin' in them woods every night!
(MORE)
68.
BLANCHE (CONT'D)
(building it up)
I'm just a nervous wreck and that's
the truth. And I have to listen to
sass from Miss Bonnie Parker all the
time. I deserve mine!
Close. BUCK. Day--looking at CLYDE, his face full of weak

smiles and embarrassment at his wife.
CLYDE
(with a sigh)
Okay... okay... hold your horses,
Blanche. You'll get your share.
BONNIE is livid but says nothing. CLYDE, the leader has

decided. C.W. looks indignant, like a hog who's just been
given a bath. CLYDE begins counting all over again in near
silence.
BUCK
Married a preacher's daughter and
she still thinks she's takin' the
collection.
Everyone now laughs, but BLANCHE. CLYDE continues counting.
BUCK (CONT'D)
(to Blanche)
Well, don't spend it all in one place
now, hear?
BONNIE
She'll be doin' right well to spend
it at all.
BONNIE turns and ambles away from the car. After a moment
CLYDE stops counting and moves after her. He's prepared for
a fight, stands behind BONNIE's arched back trying to gauge
the degree of hostility there.
CLYDE
Bonnie?
No answer.
CLYDE (CONT'D)
(a little defensive)
Look, Bonnie, I've said it and I
guess I'll keep sayin' it before
we're thru--Blanche is Buck's wife
and Buck is family.
He waits expectantly.
69.
BONNIE
(finally, utterly
without malice)
--she's such a silly-Billy...
BONNIE looks plaintively to CLYDE.
BONNIE (CONT'D)
My family could use some of that
money.
CLYDE
Them laws have been hangin' round
your mamas house 'til all hours,
Bonnie. It's just too risky to go
there.
BONNIE
(exploding)
Well, where can we go? We rob the
damn banks, what else do we do?
CLYDE cannot really answer. Suddenly C.W. starts yelling:
C.W.
CLYDE! CLYDE! CLYDE!
CLYDE flinches at the sound. C.W. comes bounding over, as

rude an assault on their sensibilities as he can be.
CLYDE
(wincing as they are
nose to nose)
I hear you, C.W.
C.W.
This ol' heap's gushin' oil! We got
to swipe us another set of wheels
right away, or we won't get anywhere.
Look here.
He reaches down under the pan of the car and scoops a gooey
handful of slick black oil which he holds before their faces.
C.W.
See?
CLYDE nods slowly. He looks back to BONNIE. He sees.
DISSOLVE:
97 EXT. SUBURBAN STREET.
A residential neighborhood on a suburban street. A rather

well-to-do neighborhood.
70.
The camera is up on a porch of a white frame house, looking

toward the street. On the porch, sitting in the swing in
the left f.g. are a MAN and a WOMAN.
She is about twenty-nine, he is about thirty-six. He is

sitting with his back to us, embracing the WOMAN. They are
spooning, making low, loving murmurs.
WOMAN
Oh, now... now, dear...
MAN
Mmmm... sweet thing...
We see in the distance two cars parked in front of the house.
His and hers. Suddenly we see another car drive up (BONNIE

and CLYDE) and somebody gets out. Then the whole gang gets
out, ditches the one car and gets in one of the parked cars.
All the while the couple on the porch is busy spooning. The
car begins to roll slowly into the street. The WOMAN notices.
WOMAN
Say, isn't that your car, Eugene?
MAN
(still nuzzling her)
Mmmmmm...huh?
(he looks, leaps from
the swing)
That's my car! Hey!
The MAN and WOMAN run down the front steps and front walk to
the second car. They jump in and take off, giving chase.
98 INT. CAR. DAY.
The WOMAN is driving (it's her car). The MAN is furious.
EUGENE
I'll tear 'em apart! Those punks!
Steal a man's car right out from under him! Wait till I get
my hands on those kids, Velma, I'll show 'em!
They continue driving, furious, the man cursing and muttering.
We see through their windshield the other car way in the

distance.
VELMA
What if they have guns, Eugene?
71.
EUGENE
(realizing the
possibility, he
suddenly stops being
mad and turns chicken)
We'd better get the police and let
them handle this.
VELMA
Right.
EUGENE
Turn around and let's get back to
town. We'll go get the sheriff.
They are by now on a narrow dirt road and the WOMAN has to
execute a U-turn. It takes her about seven cuts to turn the
car around in the narrow space. They start back to town.
CUT TO:
99 INT. BONNIE AND CLYDE'S CAR.
BUCK looks out the rear window.
BUCK
They stopped chasin' us. They turned
around.
Close-up. CLYDE grinning mischievously.
CLYDE
Let's take 'em.
BUCK and C.W. laugh appreciatively at the reversal. CLYDE

turns the car around. He performs the U-turn in the same
narrow space in one, swift, smooth, beautiful turn.
CUT TO:
100 INT. THE OTHER CAR.
VELMA looks in the rear view mirror and sees that now she is
being chased.
VELMA
Oh, my Lord, they're comin' after
us.
EUGENE
(in a panic)
Step on it, Velma, step on it!
Close-up. Accelerator. VELMA jams it down to the floor.

72.
The car speeds.
101 EXT. ROAD. THE CHASE. DAY.
BONNIE and CLYDE's car gaining on them, gaining on them,

gaining on them and finally overtaking them, coming up and
ahead, forcing them to the side of the road.
Med. shot. The MAN and WOMAN's car. Terrified, they roll
up their windows, lock their doors and huddle together.
102 EXT. ROAD.
The Barrow gang piles out of their car and walks over, having
a merry time. They surround the car and press their faces
against the window, flattening their features, making menacing
gestures at the shaking pair inside. We see this from the
point of view of the MAN and WOMAN inside the car.
CLYDE pulls out a gun, makes as if to shoot, but he is

kidding. They all laugh uproariously, especially BUCK who
is delighted with CLYDE's prank. All of this we see in
pantomime from inside the trapped car.
103 EXT. CAR.
CLYDE
C'mon, get out! Get out of there, I
said.
They come out, hands held high, shaking with fear. They
have practically turned to jelly.
CLYDE (CONT'D)
(ordering them into
the other car)
Get in here.
104 INT. OTHER CAR. DAY.
They get in and the gang gets in. Seven people are now jammed
inside. CLYDE drives, BONNIE next to him, C.W. next to her.
In back, BLANCHE, then EUGENE with VELMA (of necessity)
sitting on his lap, and then BUCK. As will be seen, the
reason the Barrows have kidnapped the couple is simply that
they wanted company. Living as they do, seeing only each
other day after day, they long for diversion and new faces.
So the atmosphere in the car will shortly change to one of
friendliness and jollity, and it will get progressively more
so in the series of cuts which advance the time. As the car
starts up at the beginning, however, the MAN and WOMAN are
terrified.
BUCK
What's your name?
73.
EUGENE
(hesitantly)
I'm Eugene Grizzard.
VELMA
I'm Velma Davis.
BUCK
(just as friendly as
he can be)
Well, howdy! We're the Barrow gang.
That there is Clyde drivin' and I'm Buck.
The MAN and WOMAN almost faint from fear; clutch at each
other. The gang all laugh at this. VELMA and EUGENE begin
to realize that they are not going to get hurt and that the
Barrows are friendly to them.
BONNIE
Look, don't be scared, folks. It
ain't like you was the law. You're
just folks like us.
EUGENE
(agreeing over-
enthusiastically)
Yeah, yeah, that's the truth.
CLYDE
I expect you been readin' about us.
The MAN and the WOMAN answer simultaneously with what they
think is the right thing to say under the circumstances.
EUGENE
Yes.
VELMA
No.
They glare at each other.
EUGENE
(meaningfully)
Yes, Velma, we have too.
BONNIE
(laughing at the
contretemps)
Well, you two must be in love, I
bet.
EUGENE and VELMA blush, get shy for a second. BONNIE smiles.
74.
BUCK
(gleefully, clapping
his hands)
Well, when you gonna marry the girl,
boy?
Everyone chuckles heartily.
CUT TO:
105 INT. CAR. LATER.
--still driving, same positions, but some time has elapsed.
The atmosphere is now completely convivial and the captives

are enjoying their new friends. As the scene starts, BUCK
is finishing his joke.
BONNIE
So then she drinks her milk down
again, every drop. And she looks
over at her son and says, "Son,
whatever you do, don't sell that
cow!"
The couple laughs with great amusement, but everyone else in

the car doesn't laugh--this is the tenth time they've heard
the joke.
CUT TO:
106 INT. OF CAR.
--getting on toward evening. All are thoroughly relaxes and

chatting.
BONNIE (CONT'D)
(to Velma)
How old are you, honey?
VELMA
Thirty-three.
A sudden look of surprise registers on EUGENE's face.
107 INT. OF CAR. NIGHT.
It is now night. Everyone inside the car is eating.
Apparently they stopped somewhere along the way for food.
In the crowded interior, it is like a party--food is being

passed back and forth, laughter and gaiety, increasing warmth
between the couple and the Barrows.
75.
The car has become a little society on wheels, dashing through

the black night down the highway. Inside there is a small
world of happiness and fun.
BUCK is unpacking the food and passing sandwiches and drinks

around the car.
VELMA (CONT'D)
Now I ordered some French fries,
didn't I?
BUCK
(passing her some)
Yeah, here you go.
CLYDE
Take it easy on those French fries,
Velma. Ain't that right, Eugene?
EUGENE
(studying his hamburger)
This isn't mine. I ordered mine
well done. Who's got the other
hamburger?
Close-up. C.W. who has already taken a bite of the other

one.
C.W.
Oh, is this supposed to be yours?
He extends the bitten burger out to EUGENE.
Full shot.
EUGENE (CONT'D)
That's okay, forget it.
CLYDE laughs at this.
BUCK
(chewing)
Haw! I sure am havin' a good time!
How 'bout you folks? Ain't you glad we picked you up?
CLYDE
(laughing)
Hey, maybe y'all ought to join up
with us.
That idea strikes everyone as being very amusing.

76.
EUGENE
(laughing)
Ha! Wouldn't they be surprised back
home to hear that?
VELMA
Yeah. What would Martha and Bill
say if they heard that?
(she roars with
laughter)
Lordy! They'd throw a fit!
(roars with laughter)
BONNIE
(laughing)
What do you do, anyway?
EUGENE
(as his laugh begins
to fade)
I'm an undertaker.
Suddenly everyone freezes. A shudder, as if the cold hand

of death had suddenly touched the occupants of the car. The
atmosphere changes to cold, deadly, fearful silence in exactly
one second. It is a premonition of death for the Barrows,
and they react accordingly, BONNIE especially.
Close-up. BONNIE.
BONNIE
(tautly, in a flat
voice)
Get them out of here.
108 EXT. ROAD. NIGHT.
The car brakes to a sudden stop. The rear down is opened,

the MAN and WOMAN flung out into the darkness. The car drives
off into the lonely night.
From this point on, the audience should realize that death
is inevitable for the Barrow gang, that it follows them
always, that it waits anywhere. It is no longer a question
of whether death will come, but when it will.
109 EXT. WOODS. MORNING.
Moving with CLYDE he tears through the brush, snagging his

clothes, calling BONNIE's name. CLYDE's search is so
desperate here that for a moment we might think he is fleeing
from something rather than looking for something.
77.
In a moment he emerges onto the road. The car, with C.W.

driving, and BUCK and BLANCHE beside him, is patrolling slowly
up ahead of him.
CLYDE spots it and runs toward it. Hold on this angle until
he catches up with it and leaps onto the running board.
Moving shot. Car. Morning. CLYDE, now on the running board,

his head poked into the car, his face apple red and sweating.
CLYDE
(breathing heavily)
...see anythin', Buck?
BUCK is shocked at his brother's desperation, but makes no

overt comment on it.
BUCK
--not yet, boy.
CLYDE
(with an edge of
paranoia, as if the
three of them might
be withholding
something from him)
--and nobody saw her leave, or heard
anythin'
(almost a threat)
...C.W....?
110 EXT. CAR. MOVING SHOT. DAY.
CLYDE gets the point. For the very first time we see CLYDe,
the leader, helpless as he hangs onto the running board.
CLYDE (CONT'D)
(lamely)
...Well, where do you think she
could've gone?...Buck?...Buck?
BUCK
(amazed and a little
frightened)
Jesus, I don't know...
CLYDE looks helplessly at his brother, then drops off the

running board and continues on foot, running along, scanning
the fields--the car keeping up beside him as he runs and we
truck before both car and CLYDE.
Angle on car through windshield. Reaction shot. Day.
BUCK turning to BLANCHE, shrugging his shoulders, speechless.

78.
Reverse angle through the windshield. Day
--at CLYDE, who has suddenly seen something begins

gesticulating wildly, almost--from car's POV, a little
comically.
CLYDE
There! There! There!
He starts running off into a cornfield.
Another angle--picking up CLYDE as he kicks his way into the

cornfield, knees pumping high, knocking down the stalks. He
stops and picks up the stocking he had spotted, takes it and
moves on.
Still another angle as CLYDE has picked up a freshly beaten

trail through the cornfield. He picks up one of BONNIE's
scarves, now. As he runs on, he clears a knoll and BONNIE,
her yellow hair unmistakable even at this distance, comes
into view. She's far off in the cornfield, stalking off,
looking neither to right nor left, carrying a brown paper
sack that has split, from which she has occasionally lost
clothing. CLYDE screams, "BONNIE." She apparently doesn't
hear.
Angle on cornfield. Day.
As CLYDE gets closer. BONNIE herself suddenly breaks into

flight, the paper bag splitting completely, the remaining
clothes spilling out. There is a real chase where they each
try to get the advantage. CLYDE is so exhausted from his
run that he has real trouble cornering her as they maneuver
up and down the rows of corn.
Finally CLYDE catches up.
Extreme close-up. BONNIE & CLYDE. Day. As they tumble

into the stalks of corn, mowing them down.
BONNIE
Leave me alone! Leave me alone!
CLYDE
(holding her, kissing
her frantically)
Hey...hey, hey, baby, hey, Bonnie,
hey baby...
(calming her down)
...Hey, hey now...just where did you
think you were goin'?...
BONNIE doesn't answer.
Up angle. POV CLYDE.

79.
As he's momentarily distracted by BUCK's laughter as he's in

the cornfield picking up BONNIE's clothing. CLYDE waves an
impatient it's all-right-wave. He turns back to BONNIE who
he still holds tightly.
CLYDE (CONT'D)
(still frantic)
--Huh. Bonnie? Where? Where?
BONNIE
I don't know! You're hurting me, I
was just scared is all...and my mama's
been on my mind, and she's gettin'
so old...
BONNIE hesitates, beginning to feel a little foolish now.
CLYDE
Boy, don't ever leave without sayin'
somethin'. You really scared me,
Bonnie.
BONNIE
But I mean it, though. I want to
See my mama. Please, Clyde.
Two shot. BONNIE and CLYDE. Day.
CLYDE
(enormously relieved,
kissing her)
Okay, sweetheart.
DISSOLVE TO:
111 EXT. SIDE OF A ROAD. VERY LONG SHOT. DAY
--of three or four cars parked on the side of a road in Texas.

A light rain is falling. There are a lot of people gathered
around, but the sound is an indistinct mixture of talk,
laughter, etc.
There follows a quick montage of cuts which isolate specific

moments in the family reunion, thereby implying the entire
tone of the proceedings. The sense of family pervades.
Montage. BONNIE and MOTHER. BONNIE's mother, an old woman,

grabs her and hugs her and cries.
Montage. BONNIE, CLYDE, MAN. A man, an uncle perhaps, stands

with BONNIE and CLYDE, arms around them both, hugging them
to his sides tightly.
Montage. BONNIE and sister. BONNIE's sister hands them a

scrapbook of clippings.
80.
SISTER
Here you are, we been cuttin' and
pastin' everything we could find
about you in the papers.
CLYDE, BONNIE, BUCK and BLANCHE all look at the scrapbook.
We see a page of it, showing newspaper articles with the

photographs the gang took back at the motel.
BUCK
Hey look, here's that one I took of
you, Clyde. That came out just fine!
Montage. BONNIE, CLYDE, MAN. BONNIE and CLYDE are posing

for a comic snapshot. A silly looking male relative is
posing, pointing a gun at them. They have their hands in
the air and are grinning broadly. (The effect should be
funny and simultaneously frightening.)
Montage BUCK, SMALL BOY. BUCK is sitting with a little four-

year-old on his knee, bouncing him up and down and singing.
Both are having a fine time.
BUCK (CONT'D)
(singing)
Oh, Horsey! keep your tail up, keep
yer tail up, keep yer tail up, Oh,
Horsey! keep yer tail up, Why don't
you make it rise.
Montage--C.W. A hand off camera thrusts a sandwich at C.W.
He opens the bread to see what's inside it, then eats it.
Montage--BONNIE & SISTER. BONNIE sits stock-still while her

sister gives her a permanent in the back seat of a car. He
sister pauses, setting down the curling iron. She strokes
BONNIE's yellow head with her hand, as though she were a
wild animal that had paused long enough to be petted.
BONNIE turns to see her sister's expression. They embrace.
Montage--Family picnic--Favoring CLYDE, MOTHER & BONNIE.
CLYDE, in his best theatrical manner has been playing host

in the sand pile, perhaps using some sort of towel across
the arm or around the middle. The party is beginning to
break up now as used paper plates and crumpled napkins are
blowing across the sand and the group is finishing up on

Eskimo pie.
81.
BONNIE'S UNCLE
(rising)
Where y'all headed from here?
CLYDE
(right back)
I don't know, what y'all got in mind?
At this point we ain't headin' to
anywhere, we're just runnin' from.
CLYDE laughs, in fine spirits.
Reaction--BONNIE. She doesn't.
BONNIE'S SISTER'S VOICE

C'mon, down, Litte Tom! We're goin'
home. Little Tom? Mathew, fetch
Little Tom.
BONNIE
Don't go yet, Mama.
UNCLE'S VOICE
(cutting in)
C'mere, c'mere you little corn roller.
Wide angle. As Uncle sweeps up the laughing little Tom.
Reaction--BONNIE. BONNIE turns with increased urgency to

her MOTHER, who, having been hefted to her feet by BONNIE's
sister, has turned to CLYDE, who gives her a big, boyish
hug.
MOTHER
...you know, Clyde, I read about
y'all in the papers and I'm jes'
scared.
BONNIE
(to Clyde)
Sugar, make mama stay a while yet.
CLYDE
(Ignoring Bonnie, as
does Mother,
ebulliently, even
joshing)
Now Mrs. Parker, don't y'all believe
what you read in the papers!
That's the law talking there. They
want us to look big so's they'll
look big when they catch us.
He knows he's stumbled onto the wrong thing, but he bounces

right along--it's his style.
82.
CLYDE (CONT'D)
--and they can't do that. Why, I'm
even better at runnin' than robbin'
banks--aw shoot, if we done half the
stuff they said we did, we'd be
millionaires, wouldn't we, old sugar.
(he turns to Bonnie
who continues to
stare at her Mother)
And I wouldn't risk Bonnie here just
to make money, uncertain as times
are. Why one time I knowed of a job
where we could of make $2000 easy,
but I saw the law outside and I said
to myself, why Bonnie could get hurt
here. So I just drove right on and
let that money lay.
He waits for a response, as does BONNIE. BONNIE's MOTHER

smiles, a little abstractedly.
MOTHER
...Maybe you know the way with her,
then. I'm just an old woman and I
don't know nothin...
She trails off, looking nowhere in particular. CLYDE takes

her reaction to mean that he's overwhelming her with his
confidence, and continues to pour it on.
CLYDE
We'll be quittin' this just as soon
as the hard times is over, Mother
Parker, I can tell you that. Why me
and Bonnie were just talkin' the
other day and we talked about when
we'd settle down and get us a home,
and Bonnie said, "I couldn't bear to
live morn'n three miles from my
precious mother." Now how'd you like
that, Mother Parker?
BONNIE's MOTHER has undergone a funny sort of transformation

during CLYDE's speech--as if something had suddenly come
into focus before the old woman's eyes.
MOTHER
Don't believe I would. I surely
don't.
(to Bonnie)
You try to live three miles from me
and you won't live long, honey.
(MORE)
83.
MOTHER (CONT'D)
(to Clyde)
You'd best keep runnin' and you know
it, Clyde Barrow.
(matter of fact)
Bye, baby.
She hugs BONNIE who can barely respond. We move in for a

closeup of BONNIE as her various relatives, young and old
come by to squeeze, kiss and hug her with a chirpy little
chorus of Bye, Bonnie! Bye, Bonnie, bye, bye, bye.
DISSOLVE:
112 EXT. PLATTE CITY MOTEL. PLATTE CITY, IOWA. DAY.
Hold on the outside long enough to see the unusual structures:

two little motel cabins connected by two identical garages,
an entirely symmetrical structure.
113 INT. PLATTE CITY MOTEL BEDROOM. WITH BONNIE. DAY.
--as she tries, against heavy odds, to file and trim her
nails in a corner of the room. The odds are; CLYDE on a
uke, b.g., BUCK, and BLANCHE--gathered around C.W. who sits
in the only stuffed chair in the room. Their o.s.
raucousness is clearly shattering to BONNIE who, at a key
moment in the scene, ends up spearing her cuticle with a
file, spurting a little board and a lot of temper.
Other angle. CLYDE--BUCK--BLANCHE--C.W. Day. A naked

lightbulb (the lampshade has been removed) glares down on
C.W.'s chest--where a pair of bluebirds have been tattooed
with a rocco flourish. BUCK and BLANCHE are vastly amused--
rather BLANCHE takes delight in BUCK's delight.
BUCK
How long have ya had it?
C.W.
(Like some docile
animal submitting to
inspection)
--just got it.
BUCK
(to Blanche, who stares
fascinated as one of
C.W.'s pectoral
muscles contracts
and the wings flutter)
Touch it, honey! Go on!
BLANCHE squeals with amusement. BUCK takes BLANCHE's hand

and places it on the bluebirds.
84.
BLANCHE
(titillated with
delight)
Oh, no, Daddy! No!
Reaction BONNIE. Day--as the file digs into her cuticle on

BLANCHE's squeal. With barely controlled rage:
BONNIE
What are you all doin'?
114 INT. MOTEL BEDROOM. GROUP SHOT. FAV. BONNIE. DAY.
C.W.
(Insensitive to
Bonnie's stare)
Playin' with my tattoo, Bonnie.
BONNIE
Well, why don't you all go play with
it somewhere else?
New angle. Motel bedroom. Day.
BLANCHE
What's bothering her?
CLYDE
(sees something coming)
Not now, Blanche.
BUCK
(who doesn't want to
be victimized by
Bonnie's temperament)
What's bothering her, Clyde?
BONNIE
(exploding)
I said go somewhere else!
She picks up the first three objects she can find on the
dresser and hurls them--an ashtray, a Gideon Bible, and a
flower pot--at the little group. The pot goes shattering
into the wall. Everyone ducks.
CLYDE
(straightening up,
matter-of-fact)
Bonnie's hungry, C.W. I saw a chicken
place a few miles back.
Who all wants to go get some food?

85.
115 INT. MOTEL BEDROOM. GROUP SHOT. DAY.
BLANCHE
(rising from her chair,
a little shaken at
Bonnie's outburst)
I sure do. I'm plenty tired of
sittin' around here anyway.
BUCK
(not making a move to
get up)
You can't drive, honeylove.
C.W.
(reluctantly)
I'll go.
CLYDE makes a face to BONNIE pretending there's something

going on between C.W. and BLANCHE. BONNIE tries to keep
from being amused. C.W. moves out with BLANCHE. BUCK rises
to go next door.
C.W.
What's everybody want?
CLYDE
Just five chicken dinners, and get
somethin' for dessert.
BUCK
See if they got peach ice cream.
(he grins and pats
his stomach)
All finally exit, leaving BONNIE and
CLYDE alone.
116 EXT. CAR AND STREET. DUSK.
C.W. and BLANCHE go out. We go with them. They get in the

car and drive off. BUCK enters his cabin.
117 INT. MOTEL BEDROOM. BONNIE AND CLYDE. DUSK.
CLYDE reaches her, and for a moment both stare with fanatic
intensity at each other, BONNIE trying desperately to keep a
straight face. They are nose to nose, unblinking. CLYDE
gives her a big raspberry, waggling his fingers in his ears
like a kid. She laughs.
BONNIE
I hate you all.
CLYDE
I hate y'all, too.
86.
BONNIE
no, I really hate you.
She turns away from him, wilts onto the bed.
BONNIE (CONT'D)
(eyes brimming)
Oh, baby, I've got the blues so bad...
CLYDE moves behind her, begins to massage her back. There

is something very delicate about the way he touches her; it
suggests CLYDE's sensitivity to her mood rather than any
degree of physical intimacy.
CLYDE
Bonnie?...is it your mama, what your
mama said?
BONNIE
What mama?...she's just an old woman
now...I have no mama...
BONNIE rolls over on her back, stares up at CLYDE, tears

splaying across her face from the move.
BONNIE (CONT'D)
(quietly)
...so funny...I thought when we first
went out, we were really
goin' somewhere...but this is it--
we're just goin', huh?
She has addressed this last directly to CLYDE, but there is

nothing rhetorical about it--it is a real question. CLYDE
doesn't answer for a moment. Then:
CLYDE
Do you care about where we're goin'?
BONNIE clearly finds this hard to say:
BONNIE
Not as long as you care about me.
CLYDE
(quite simply)
Why I love you, sugar.
It's the first time he's said it to her, and BONNIE is

overwhelmed. She wraps her arms around CLYDE's middle, and
snuggles into him, like a child. Neither we nor CLYDE can
see BONNIE's face now, and her voice is muffled by his chest.
87.
BONNIE'S VOICE
--enough to die with me, baby?...
'cause I think that's where we're
goin'...I surely do.
CLYDE is both touched and amused by the plea. He strokes

her head lightly. Really meaning it.
CLYDE
--wherever.
DISSOLVE:
118 INT. CAR.
BLANCHE, her tense and agitated self growing increasingly

more so lately, lights a fresh cigarette off the butt of the
one she has been smoking.
C.W.
(conversationally)
You sure smokin' all the time lately.
BLANCHE
(quick to take offense,
snaps)
So what?
C.W.
Nothin'.
BLANCHE, sick of it all, drops her head in her hand with a

sigh.
BLANCHE (CONT'D)
Oh, God...
C.W. looks at her, finally decides to say something that

occurs to him.
C.W.
Whyn't you go back home to your papa?
BLANCHE (CONT'D)
(it's been her dream)
Oh, if I could! If I could just do
that one thing! Oh, there's no
tellin' why this all happened. I
was a preacher's daughter.
C.W.
What church is your pa affiliated
with?
88.
BLANCHE (CONT'D)
(much more interested
in talking about
herself)
Baptist... oh, and he thought the
world of Buck, my daddy did, even
knowing that Buck was serving time
in jail. He forgave him for that
'cause he paid his debt to society.
C.W.
We were Disciples of Christ.
119 INT. FRIED CHICKEN CAFE.
The camera remains stationary in this scene, in this position.
A lunch counter sweeps down the center of the screen. We

are at one end of the counter. In the f.g., a DEPUTY sits
drinking coffee, absorbed in his cup. In the b.g., at the

other end of the counter, by the Exit door, BLANCHE and C.W.
are being handed their order by the counterman.
BLANCHE (CONT'D)
Hey, C.W., I ain't got my money.
Give me some, will you?
The DEPUTY turns his head and looks over there. C.W. opens
his jacket to reach in his pocket for money. As he opens
his coat, his gun is clearly seen tucked in his pants.
Camera zooms in to tight close-up of gun.
Close shot. DEPUTY--his face tense. Sound of door closing

shut, as C.W. and BLANCHE leave.
DEPUTY
(to counterman)
Get Sheriff Smoot on the phone.
DISSOLVE TO:
120 INT. PLATTE CITY MOTEL ROOM - NIGHT.
On C.W.'s moonlit chest and face, tattooed bluebirds heaving

and occasionally snoring in the night. Behind him the room
is dimly lit by flickering candles that are placed out of
sight on the floor. The shapes in the room--the bed is gutted
and only the box mattress remains--dresser, lamp shades,
etc., are grotesque in the flickering light. O.s. sounds
of BONNIE and CLYDE, BONNIE giggling and CLYDE whispering
something we can't quite hear.
89.
Move across the room toward the gutted bed. Move giggling
from the floor beneath the box mattress--for a moment it
should appear as if something perversely sexual may be going
on between BONNIE and CLYDE.
BONNIE'S VOICE
Ready?
CLYDE'S VOICE
(a little embarrassed)
Aw Bonnie--
BONNIE'S VOICE
(coaxing)
C'mon!
CLYDE's arm wielding a Tommy gun, clears the bed. With the
muzzle, CLYDE knocks the swivel mirror on the dresser
overhead, bringing BONNIE and CLYDE into view.
Closer angle mirror--BONNIE and CLYDE. Night. BONNIE lies

stiff as a statue on the white mattress, impeccably dressed
for her funeral. Candelabras made of empty beer bottles lie
at her head and feet. BONNIE's hands and face are powdered
and painted a waxen white. She wears a garish silk bow in
her hair which it, for this occasion, curled like a little
girl's.
CLYDE sits up, beer bottle in one hand, Tommy gun in the
other, derby hat cocked--and just a little unsure of the
whole thing. He takes a swig--BONNIE stops him, trying
terribly hard not to change her position.
BONNIE
Lie down now, honey.
CLYDE
I've done enough!
Angle on mirror--BONNIE and CLYDE. Night.
BONNIE
(with patience, to a
child)
You have to lie down...it's the only
way we can tell what we'll look kike
together.
She giggles again, more than a little gassed herself. CLYDE

clamps a big cigar between his teeth and abruptly lies down
beside her. CLYDE is both amused and annoyed.
90.
CLYDE
(staring up at himself
talking with cigar
clenched between his
teeth)
Whatta you think?
BONNIE
(it suddenly strikes
her)
That's not the right tie!
CLYDE
What?
BONNIE
(rising, weaving a
little)
You can't wear polka-dots on an
occasion like this.
CLYDE
Well what--
BONNIE
Stripes. Don't go away now.
She weaves her way over to the dresser, takes a swig from a
bottle there herself, checks her makeup, and returns with
the tie. Holding against his chest to try it out she almost
falls into him. CLYDE steadies her.
BONNIE (CONT'D)
Perfect.
She tries to tie it for him, and clearly has trouble with
the knot.
CLYDE
OK, o.k. If we're gonna do this, at
least I can tie it myself. Lie down
before you fall down.
INT. MOTEL BEDROOM--BONNIE AND CLYDE. NIGHT.
She does, with some play-acting, exaggerated obeisance to

CLYDE's command--reaching up at the last moment like a
zombie and snatching an artificial flower from BLANCHE's hat

which still lies on the dresser. CLYDE lies down now. They
look into the mirror again.
CLYDE (CONT'D)
(grudgingly)
Better?
91.
BONNIE
Much.
This tickles CLYDE despite himself and he laughs--BONNIE

begins to sing to him--performing for both CLYDe and her own
image in the mirror--like some hoydenish vaudevillian.
During the course of the song she will rise and take CLYDE
with her who finally joins in when they tip-toe over and
begin to serenade C.W.
BONNIE & CLYDE

(to the lugubrious
strains of the Death
March)
"Did you ever think when a hearse
went by, That somebody you or I may
die?
They'll wrap you up in a big white sheet and bury you down
just about six feet, The worms crawl in, the worms crawl
out, The worms play penuckle on your snout.
Your eyes fall in, your teeth fall out, Your face turns green
and the pus runs out.
During this last they have been hovering over C.W.'s twitching
face, like a couple of tipsy ghouls, whisper-singing into
his ears. C.W. finally blinks, doesn't even bother to look
at them.
C.W.
I'm gonna die if I don't get some
sleep. Quit singing that.
Reaction--BONNIE and CLYDE. Night. They smile, go back and

lie down. Looking at their images:
BONNIE
All right, shut your eyes now.
CLYDE
(playing along with
her)
No, you first.
BONNIE
One for the money.
CLYDE
Two for the show.
BONNIE
Three to get ready--
92.
CLYDE & BONNIE

Four to Go.
As they approach four we should feel that somehow when they

shut their eyes, they really will die. They shut them on
GO, and screen goes black.
121 EXT. PLATTE CITY MOTEL. NIGHT.
Ranged across the lawn are six police cars, loaded with peace
officers. Four men come out and, guns drawn, walk cautiously
over to the room on the right--BUCK and BLANCHE's.
122 INT. PLATTE CITY MOTEL. BUCK'S CABIN. NIGHT.
There is a knock on the door. They sit bolt upright in bed.
Before BUCK can say anything, BLANCHE puts her hand over his
mouth to shut him up.
BLANCHE
(calling out)
The men are on the other side.
123 EXT. PLATTE CITY MOTEL. NIGHT.
The four lawmen, among them the DEPUTY from the cafe, edge
their way across the lawn, past the first garage, past the
second. Before they reach the door of BONNIE and CLYDE's
cabin, the window smashes and there are blasts of gunfire.
One cop is hit and falls, the others run back to the cars
for cover. BONNIE and C.W. are at the window, firing
steadily.
CLYDE--running into the garage to get the car. They must

escape. All they can do is escape, and all they have is
that one car in the closed garage.
Outside. Two of the lawmen fall to the ground, shot. As

the remaining two run back for cover, we see a blinding light
rolling up in a space between the six cars. It is an armored
truck, with mounted guns and and spotlight, advancing toward
the cabin.
Inside the armored truck. Two men in the seat. Sounds of

gunshots coming from everywhere, piercing light. From inside
the truck, we suddenly see the windshield shattered from
bullets fired by BONNIE and C.W. The driver is hit, and he
slumps over the wheel. His body hits the horn, which starts
blasting and continues throughout the battle. The other
man, quickly, ducks under the dashboard for protection.
Inside the garage. CLYDE standing by the car. He holds the

Browning Automatic.
93.
The garage door is shaking from the impact of bullets,

shattering. His gun already firing (automatic clip) before
he gets there. CLYDE in a crouch runs to the garage door,
flings it up, and runs back inside the car. Now the door is
open and he can get the car out.
One hand on the wheel, one hand shooting, he rolls the car
out onto the driveway. The battle is raging from all sides.
124 EXT. STREET.
The car stops. CLYDE keeps shooting. The door of the cabin
flies open and BONNIE and C.W. come charging out, guns blazing
away. C.W. fires the Thompson sub-machine gun, BONNIE fires
two pistols with automatic clips. They run in a crouch,
trying to get inside the car in front of their door.
They make it.
Camera pans across the motel to the other door. It opens,

BUCK and BLANCHE come out, holding a double bed mattress in
front of them for protection. This makes their running
awkward--the mattress is heavy. BLANCHE carries the front
end, BUCK the back with one hand, the other firing his gun.
They get halfway to the car and then BUCK is hit, shot in
the head. He falls to the ground; BLANCHE and the mattress
fall too since she has lost balance. Both are under the
mattress.
CLYDE dashes out of the car and drags BUCK into the back
seat. BLANCHE follows, hysterical. All guns on all sides
are still firing. They fling themselves into the car and
from a standing start, the car starts out at 60 mph down the
driveway. One of the lawmen stands blocking the way with a
double-barrele rifle, but the car keeps coming, about to run
him down. He jumps out of the way and fires at the side.
The glass cracks and we see BLANCHE fling a hand to her face,
which is bloody. A piece of glass has lodged in her eye.
We hear her scream. The horn is still blasting.
125 INT. THE CAR SWERVING MADLY.
CLYDE manages to keep it on the road. They drive away.
126 EXT. STREET.
The police run back to their cars to give chase, calling out
to each other, unable to believe that the gang could possibly
have gotten away.
94.
127 INT. CAR. NIGHT.
as it is speeding down the highway. Crazy, mad hillbilly

music on the soundtrack. Packed inside this car right now
is more sheer human misery and horror than could be believed.
It is hell in there, hell and suffering and pain. The car

is a complete mess. C.W. is sobbing. Everyone is hysterical.
BLANCHE is shrieking with pain and concern for BUCK. BUCK

is alternating between groaning and passing out completely.
BONNIE is yelling at everybody to shut up.
Only CLYDE, driving with both hands clenched on the wheel,

is silent. The car is doing 90.
128 EXT. SUBURBAN STREET. NIGHT.
The car from the outside, a half hour later. They have eluded
the police. They are barreling down the road at top speed
on a nice suburban street with proper homes. It is the middle
of the night, utter silence. CLYDE stops the car, points to
ca car in a driveway--it is a beautiful, shiny new and
expensive automobile. C.W. runs out, runs up the driveway,
peers inside, gets in, quietly backs it down the driveway
and pulls behind the gang's bullet-riddled getaway car.
Suddenly they both zoom off down the road together.
129 INT. OF THE NEW CAR. NIGHT.
C.W. driving alone. He is crying, mumbling, wiping his eyes

and nose with one hand while he controls the wheel with the
other.
130 EXT. RING OF FIRS. NIGHT.
A wide field in the country. This is Dexter, Iowa. It is

quiet. We see, in a long shot that takes in everything,
that this is a meadow surrounded by a ring of trees, a dense
forest that circles them. The meadow, however, is large.
The two cars drive into the middle of the field, headlights
on. They stop and the Barrow gang gets out. They are in
horrible shape--we can finally have a look at them. Half-
dressed in their pajamas, bloody, dirty, in tatters. Those
that can stagger out do so, others are carried. A far shot
of all this.
Closer shot. Moving closer to them, we see CLYDE and C.W.

lay BUCK down on the ground. CLYDE begins to administer to
his wounds as best he can, mostly just wiping him off. BUCK
is semi-conscious. All are in a semi-daze. BLANCHE falls
to her knees, still clutching her eyes. She is totally
hysterical.
95.
BLANCHE
Oh, God, please help us! Dear Father
in Heaven, get us out of this and
Buck will never do another bad thing
in his life!
(she continues
moaning, praying, sobbing)
BONNIE walks over to the group, looking at BUCK, C.W. goes

over to her. Two shot--BONNIE and C.W.
C.W.
He ain't got a chance. Half his
head blown off.
Camera pulls back to take in BLANCHE.
BLANCHE
My eyes!
(she SCREAMS)
God, I think I'm blind.
(in the headlights)
...light hurts so bad...
BONNIE walks over to the car and comes back with the
sunglasses BUCK had given BLANCHE. Moving her out of the
glare, she helps BLANCHE put them on. BONNIE now has an arm
around BLANCHE, and BLANCHE shivers into BONNIE gracefully.
BONNIE is a little repelled by BLANCHE, but comforts her out

of genuine feeling for her.
BLANCHE (CONT'D)
(clinging)
Please, please get us to a doctor!
Tell Clyde to get us to a doctor.
We'll die here.
BONNIE
(helping with glasses)
--here, hon'.
BONNIE looks silently up to CLYDE. CLYDE is looking dumbly

down at his mangled brother.
BLANCHE
(going on)
Clyde, Clyde, please get us to a
doctor.
Though BLANCHE cannot see it, CLYDE has knelt down to the
side of BUCK, taking BUCK's hand and with his other hand has
begun smoothing BUCK's hair back, away from the wound.
96.
BLANCHE (CONT'D)
He's your brother!
BONNIE
(gently, knowing CLYDE
will not and cannot
answer BLANCHE)
Buck can't be moved, now, hon'.
BLANCHE's answer to this is hysterical sobbing, burying

herself into BONNIE, mumbling half-coherent, muffled prayers
between the sobs.
With BUCK and CLYDE.
BUCK
(weakly)
Clyde?... Clyde?...
CLYDE
Right here, boy.
BUCK
I believe I lost my shoes... maybe
the dog hid 'em...
(he lapses into
unconsciousness again)
CLYDE has begun to cry a little,
continues to smooth back BUCK's hair
with ritualistic regularity.
Wide angle. Night. Camera pulls away, way back to wide

shot of the entire field, showing the group in the center of
the darkness, lit by the headlights.
Match dissolve into early dawn, camera still on the wide

shot. The field is lighter, though the trees still loom
blackly around it. The two cars, one almost a shattered
wreck, the other bright and shiny and new, are parked in the
center. The sky is light, but the trees cast a dark shadow
on the field. The gang is just sitting around. BLANCHE
weeping next to BUCK, C.W. sitting on the running board of a
car, staring. BONNIE standing and smoking. CLYDE still
with BUCK.
All is quiet.
131 EXT. WOODS. DAY.
From the edge of the woods, a man in a white shirt emerges

from behind a tree. The camera swings abruptly to get him.
He calls out to the gang.

97.
MAN
Surrender!
It is a total surprise. BONNIE, CLYDE and C.W. all grab

their guns and fire several shots; they are not firing the
big guns now, but the pistols. The man lingers there for a
moment--he looks strange, white, luminous, like an apparition--
and then he vanishes into the woods. Silence, long enough
to make you think it was perhaps an illusion.
Then there is a volley of gunfire--a noise so large as to be

almost an impossible sound--coming from the woods, all around,
everywhere.
A ring of little white puffs of smoke emerge from the woods;

from every tree a puff of smoke. The camera pans in a circle.
Behind every tree is a man with a gun. There are at least
150 people out there--peace officers, farmers with hunting
rifles, kids with squirrel guns, everyone who wanted to come
along and catch BONNIE and CLYDE. Their number is so large
because this time they want no possibility of the gang making
what seemed by them supernatural escapes.
From this point on, the sound of guns is unnaturally muffled

on the sound track. We hardly hear them at all..it is like
a dream.
Without a word, all of the gang including the half-dead BUCK

making his final effort, scramble for the nearest car. They
run, throughout this battle, crouched, like animals--their
only thought, to get away, to escape. To fight it out would
be ludicrous.
From the moment the Barrows start in motion, there is shooting

again from the edge of the woods. We see them scrambling
towards the car, in an extreme long shot, surrounded by the
ring of smoke.
CUT TO:
132 INT. OF THE CAR.
All of them inside. CLYDE is at the wheel.
CUT TO:
133 EXT. CAR.
Med. Long shot of the car moving. The sound track goes to
complete silence. We see the car looking for an avenue of
escape. It veers towards a tree, a man steps out from behind
the tree and fires, the car jerks and veers toward another
tree, again a man steps out and fires and so on.
The car performs its eccentric dance, all in utter silence

98.
(no sound of the motor, nothing). The film should have the
feeling of slow motion, as the car swerves and loops along
the edge of the woods. Not once do any of the Barrows fire
back. Another man steps out and aims.
134 INT. CAR.
Close-up. CLYDE. At the wheel-shot in the arm. He grabs

his arm in pain, loses control of the wheel.
CUT TO:
135 EXT. CAR.
--out of control (still silent). It smashes into a tree

stump. The picture stops, freezes for three beats. We hold
the image of the moment of crash, with pieces of metal
crumpling and flying into the air, suspended there by the
stop-film.
CUT TO:
136 INT. CAR.
Sound partly up again, but never at its realistic volume.
From inside the smashed car, we peer out the window across
the field and see the other car. The thought strikes the
audience at the same time it strikes the gang--they must get
to that car.
Med. shot of the second car, sitting in the field, shining

in the sun. The lawmen also realize what must be done--cut
off this escape. Though BONNIE, CLYDE and the others are
heading toward it, they suddenly train all their fire on the
car rather than the gang.
The car fills the frame of the screen. Bullets begin to hit
it. It starts to quiver under the impact. For the next
minute, we see the car die in front of our eyes. We see the
beautiful machine fall to pieces--windows smash, tires torn
apart, body riddled. The death of the car is as painful to
watch as the willful death of a human being. The execution
is paced deliberately to show the ritualistic tempo of the
destruction.
137 EXT. WOODS.
The camera pulls back, way back and slightly above everything
to reveal the entire field. On the left of the screen,
BONNIE, CLYDE and C.W. are scrambling toward the edge of the
woods. In the center BUCK and BLANCHE have taken cover behind
a fallen log. In the foreground, police begin to emerge
from the woods. The camera zooms rapidly in with them toward
BUCK. BLANCHE is screaming.
99.
BLANCHE
Don't kill him! Don't kill him!
He's dying!
BUCK is making a last feeble attempt. The zoom continues

past BUCK until it comes tight on his hand, a lawman's foot
steps on his hand. BUCK falls over. He dies. BLANCHE
screams.
BLANCHE (CONT'D)
Don't die, Daddy. Don't die!
She goes berserk. Five men, one hardly a teen-ager, grab

her and hold her as she writhes and cries. She is still
wearing the sunglasses.
CUT TO:
138 EXT. WOODS AND STREAM. BONNIE, CLYDE, AND C.W. DAY.
They have reached the edge of the woods. Camera tracks with
them as they run. From all around come the sounds of the
posse. The three get in through the pines and come finally
to a deep stream. They jump in and start across, running
awkwardly in chest-deep water. They are half way across
when the police appear on the bank behind them, shooting.
Close-up. BONNIE. Day--as she is struggling through the

water. A bullet hits her in the shoulder. We must see this
bullet clearly, we must see it go in her flesh so that we
can feel it.
Tight close-up of BONNIE's face as she screams. It is the

first time she has been hurt, and the scream is pure animal
pain. She cries out.
139 EXT. STREAM AND CORNFIELD. DAY.
CLYDE, who has almost reached the other side, comes back and
gets her. He drags her out of the water and into a cornfield
that starts growing on the opposite bank, C.W. helping. He
half-carries half-runs with her into the cornfield, as the
field gets deeper and thicker.
They stop for a second.
CLYDE
(panting, to Bonnie)
Saw...saw a farm...up ahead...gotta
get...a car...
He starts to give over the wounded BONNIE to C.W.
BONNIE
Baby, no...
100.
But CLYDE has not heard this last. Working on pure adrenaline
now, he struggles onward. Camera tilts up slightly so we
can see CLYDE as he essays his way toward a farmhouse with a
car in the distance. After a few moments he disappears and
we can hear only the cracking of the stalks as that sound
too diminishes,
Full shot. Cornfield. Day. Silence.
Close. C.W. and BONNIE. Obviously some time later. They

both lie prostrate in the field, listening. C.W. licks his
lips.
C.W.
Maybe--
BONNIE (CONT'D)
Shhh!
They wait for another long moment, picking up only the tiniest
sounds.
BONNIE (CONT'D)
(finally)
Oh, no.
C.W.
(nervously)
What? What?
BONNIE
(as though it were
the most logical
thing in the world)
I can't die without Clyde. I just
can't.
C.W. looks at her as if she's gone crazy. After another

moment the corn begins to tremble, and we hear the o.s.
sound of an approaching car.
With C.W. Day--tentatively lifting his head up to clear the

corn stalks. With him we see the car looming larger, bearing
down on us, splitting the corn stalks. The car finally comes
to a stop a few feet in front of C.W. BONNIE is on her feet,
and CLYDE tumbles out of the car, practically before it's
stopped, sweeping BONNIE into him. For a moment both are in
their knees a few feet from the running board of the car,
simply holding onto each other and not moving.
101.
C.W.
(tugging at both of
them frantically)
C'mon! C'mon! C'mon!
ABRUPT CUT:
140 INT. CAR. ABOUT A HALF HOUR LATER. DAY.
They have gotten away, but are still escaping. C.W. is

driving. He is bare-chested. CLYDE is beside him in front,
his arm bleeding. He falls in and out of consciousness.
BONNIE is stretched out in back.
Her shoulder has been bandaged with C.W.'s shirt. She is

unconscious.
141 INT. CAR. LATE DAY.
CLYDE comes half-awake and looks over at C.W.
CLYDE
Head out, C.W.
C.W.
(determinedly)
I'm goin' home to my daddy's farm.
DISSOLVE TO:
142 EXT. ROAD WITH CAMPSITE. THE SAME EVENING.
C.W. is driving down the road, hell for leather. Nearing a

campsite, where there are about six Okie cars and pick-up
trucks all loaded down, with a number of poor families seated
around a campfire, cooking. C.W. jams on the brakes.
He gets out, looking totally exhausted.
Reaction shot. The faces of the Okies, looking at this sudden

presence in their midst.
Back to C.W.
C.W.
(about to drop)
Can y'all spare me a little water?
143 EXT. CAMPSITE. FULL SHOT.
One man, the leader of the group, dips a cup of water and
approaches C.W. suspiciously. He comes close enough to make
C.W. reach out for the water, but withholds it from him.
102.
MAN
Who are you, boy?
C.W.
Name's Moss.
This seems to be enough for the man, who gives him the water.
As C.W. gulps it down, the man begins to circle the car,

peering into it suspiciously. Suddenly he starts and his
eyes open wide.
MAN (CONT'D)
(in really hushed and
reverent tones)
It's Bonnie Parker and Clyde Barrow.
He stands there struck dumb, staring. Those of the others

who have heard him begin to come over. Without a word they
move quietly to the car and stare in.
144 INT. CAR.
BONNIE is out in the back seat; CLYDE is semi-conscious in

the front seat. He looks up through half-closed eyes.
145 EXT. CAR.
We see a woman pour a bowl of soup at the campfire and bring

it to C.W. He accepts it.
A man rolls a cigarette and lights it. Then, very gingerly,

as if afraid to really touch him, he reaches through the
window and places it in CLYDE's lips. It hangs there, CLYDE
unable to drag on it or remove it.
Children peer through the back window.
C.W. finishes his cup of soup. He hands it and the cup of

water back to a woman in the crowd.
Quietly, moving together, the Okies step back. C.W. walks

to the driver's seat, gets in and shuts the door. He starts
up the car.
The people push a bit closer for a last look. CLYDE, unable
to do more, nods his head in a barely perceptive gesture by
way of saying "thank you" t ot the people. The cigarette is
still dangling from his lips.
The car moves off. A YOUNG BOY pulls on his FATHER's shirt.
BOY
Who was they, Pa?
103.
MAN
That was Bonnie and Clyde, the bank
robbers.
A woman, nearby, smiles sweetly.
DISSOLVE TO:
146 EXT. MOSS FARM. MIDDLE OF THE NIGHT.
The car pulls up outside the slightly ramshackle farm of

MALCOLM MOSS, C.W.'s father, in Arcadia, Louisiana. It sits,
for a moment, in the dark. Then C.W. honks the horn.
A few seconds pass, and the porch light comes on. OLD MAN
MOSS comes out in his pajamas and peers into the darkness.
He is a fat man with gray hair.
MALCOLM
Who's there?
C.W.
(calling back)
Daddy?
MALCOLM
Who's there? Who is it?
C.W.
It's C.W. It's Clarence.
MALCOLM (CONT'D)
Clarence!
He runs down the steps, down the path to his son. They greet
each other, hugging for a second, looking each other over.
MALCOLM (CONT'D)
God, it's good to see you, boy!
He holds C.W. at arm's length to study him, and suddenly he

scowls at something he sees by the light of the porch.
MALCOLM (CONT'D)
What's that on your chest?
C.W.
(puzzled)
Huh?
(realizing what he
means)
It's a tattoo... I'm in trouble.
I'll tell you about it later.
(MORE)
104.
C.W. (CONT'D)
My friends are hurt. Help me get
'em in.
MALCOLM goes to car and looks inside for a moment. He walks

back to C.W.
MALCOLM
Jesus, what happened to them? You
in trouble, son?
C.W.
Yeah. That's Clyde Barrow and Bonnie
Parker.
(reaction from Malcolm)

We been shot. Help me get 'em inside.
We gotta help 'em.
They go to the car and drag the unconscious BONNIE out and
begin carrying her up to the house.
MALCOLM
Why'd you get yourself marked up?
A tattoo! What in hell made you do
a damn fool thing like that?
They reach the house.
C.W.
C'mon, Pa, open the door.
147 INT. SHERIFF'S OFFICE IN DEXTER. DAY.
Although the scene begins with a full-screen close-up of a

newspaper clipping with a photo, it is just a blurry-gray,
crowded scene of BLANCHE's capture. Really impossible to
make anybody out in the crowd. Camera stays on photo as we
hear voice over of two men talking: a sheriff and his deputy.
BILLY
I was in the bunch that took 'er.
See here? Can you make me out?
Here I am, see here, right behind
Joe Boyd here.
PETE
Sure enough, Billy, is that your
head there?
Camera pulls away, BILLY, a young deputy--cold, intense,

humorless and square, carefully folds up the clipping and
puts it in his wallet.
105.
BILLY
Still can't figure how we let them
other two get away.
PETE
(an older, more genial
type)
Yeah, seems as how nobody can get
'em somehow.
BILLY
(sullen)
Yeah... well, maybe this boy'll be
the one to do it, this Hamer guy.
Boy if he can't do it, Sheriff, ain't
nobody but the whole U.S. Army can
do it.
PETE
(with a new note of
enthusiasm, gets up
and walks to the
window--turning to
Billy)
You hear he quit the Rangers on
account of Texas got that woman
governor. Said he wouldn't work
under no woman.
BILLY
(respectfully)
Yeah, that's somethin' all right.
Say, how many they say he shot anyway
in his day?
PETE
Sixty-five they say.
BILLY
Son of a sea-cook!
The door opens. We see, full shot and then fast close-up
FRANK HAMER. It should be a complete shock to the audience--
this is the man kidnapped by the gang earlier and partially
destroyed by BONNIE.
HAMER is dressed in his Ranger outfit and hat, and again he

has that quality of sinister frenzy beneath his calm manner.
His attitude toward these lawmen is sheer condescension,

friendly only out of convention, really superior and
contemptuous of lesser workers in his field.
106.
HAMER
(with politeness
arising from
condescension)
Excuse me, am I in the right place?
Is this Sheriff Smoot?
PETE and BILLY jump up from the chairs and walk over to HAMER,
hands extended. They are quite impressed by meeting in the
flesh.
PETE
(mispronouncing his
name)
Frank Hammer. I sure am pleased to
meet you!
(shakes his hand)
HAMER
Hamer.
148 EXT. MOSS FARM. CLOSE SHOT NEWSPAPER. DAY.
A coil of rope snaps into and through the paper, splitting

it and revealing C.W.'s startled face. CLYDE strides the
porch angrily, snapping the rope.
BONNIE and MALCOLM are seated along with C.W. Through BONNIE
has her arm supported by a sling and CLYDE has his shoulder
bandagedm it is evident by CLYDE's heady indignation and
BONNIE's attentiveness that both are well on the way to
recovery.
CLYDE
(still snapping rope)
FLED? What do they mean, fled?
How in the nama God could I leave my brother to die when he

was already dead when I left him?
(livid)
He was shot in too many pieces to
pick off the ground! Fled...what do
they know, the papers or the
police?...
Suddenly he moves upon MALCOLM with enormous intent, as if

by pounding the point home to the one relative stranger among
them, he will justify it all. MALCOLM momentarily flinches,
then listens with intense deference.
CLYDE
Why, while we were all lyin' around
here, near dead, they had us holdin'
(MORE)
107.
CLYDE (CONT'D)
up the Grand Prairie National Bank!
They hung that one on us just for
luck, I guess.
CLYDE shakes his head, still thinking this over. Abruptly,

to BONNIE, with deadly seriousness:
CLYDE (CONT'D)
Tell you what. Soon's we get well,
we're gonna take that bank!
He breaks into a wicked grin, but then reels, catching himself

on the porch railing. He's obviously dizzy from exertion
and anger. BONNIE starts--then sees CLYDE is in control.
CLYDE (CONT'D)
(remarking on his own
dizziness)
Whooooooo, boy...
(kneeling, to Bonnie)
They don't know nothin'--do they,
sugar?
BONNIE
(assuring him)
You did all you could, hon'.
Nobody coulda done more.
C.W. has been studying hard on the torn paper, b.g. Suddenly:
C.W.
Hey. How come I'm always called the
"Un-identified sus-spect?"
Group shot. Porch. C.W. has trouble with this last phrase.
BONNIE laughs. This picks up CLYDE's spirits once more.
CLYDE
(to C.W.)
You can just thank your lucky stars
that's all you are. So long's they
don't have your last name, you're
home safe.
MALCOLM
(toadying to Clyde,
talking to Clarence)
Mr. Barrow's lookin' out for your
interests, boy.
108.
C.W.
(impressed)
Oh... Hey, Pa, how you like havin' a
coupla big deals stayin' with you?
MALCOLM
(friendly as can be)
Ain't that somethin' for me?
CLYDE
(back in good mood,
expansive)
Well now, you been real nice to us,
and I tell you what, let us pay you
forty dollars for your hospitality,
what do you say?
MALCOLM
(protesting vehemently)
No, no, no. I don't want your money.
I'm just pleased to have your company.
Any friend of my boy's...
C.W.
(abruptly)
Hey, Pa, let's have supper. I'm
hungry.
MALCOLM
(smiling)
Yeah...okay, Clarence...
(to Clyde)
You're welcome here, now you know
that.
149 INT. MOSS HOUSE.
They go into the house. Camera goes with them. As soon as

they are out of earshot from BONNIE and CLYDE, MALCOLM turns
on C.W. displaying an entirely different demeanor from the
one he presented outside.
MALCOLM (CONT'D)
(indicating tatto
which flutters through
C.W.'s open shirt)
You look like trash, boy, marked up
like that. Cheap trash.
C.W.
(protesting)
Bonnie says it looks good.
109.
MALCOLM
Bonnie, what does she know. She's
just cheap trash herself. Look what
they do to you, and you don't even
get your name in the paper--just
pictures put on your skin, by
"Bonnie and Clyde"--
(more to himself)
--why they're a coupla kids.
C.W.
But, Daddy--
MALCOLM
I'm just glad your ma ain't alive to
see that thing.
C.W. peeks at it, peering down at his chest, trying to bring

the bluebirds into focus, puzzled.
C.W.
I don't see what's so bad about it...
150 INT. HOSPITAL. MED. SHOT OF THE ROOM.
Seated in a soft chair, looking directly at us, is BLANCHE

BARROW. Her eyes are completely covered with a white bandage.
She wears a hospital gown. The room is white and bright.
Med. shot. HAMER in the doorway. The nurse leaves. He

reaches in his pocket and pulls out a white handkerchief.
He puts it over his mouth to disguise his voice, afraid she

will remember it from the kidnap. Quietly, almost on tiptoes,
HAMER walks over to BLANCHE. He gets inches away from her
face. She still doesn't know he is there.
HAMER
(quietly, but suddenly,
his voice muffled by
the handkerchief)
Blanche Barrow.
She starts to her feet, then adjusts to his presence. She

is a bit panicked. BLANCHE is now a defeated human being.
Her voice and manner bespeak great weariness, sorrow and

still a touch of her old high-strung hysteria. But most of
that is gone now, like everything else that was really vital
in her life.
BLANCHE
What? What? Who is it?
110.
HAMER
(in a monotone, a
relentless questioner)
You know your husband's dead.
BLANCHE
(her voice flat and
expressionless)
I know.
HAMER
You're going to prison.
BLANCHE
I know it.
HAMER
Where's the rest of 'em?
BLANCHE
I don't know.
HAMER
Where's the rest of 'em?
BLANCHE
I just don't know. I don't know.
HAMER
How'd you get in with them?
BLANCHE
(Starting slow, but
warming up to the
subject, she begins
to talk and talk for
the sake of airing
her troubles)
I didn't mean to. I didn't. Buck
said we was just goin' to visit, we
wouldn't be doin' no robbin' and
stealin', and then we went to Joplin
and all of a sudden they started
shootin'.
(hysteria begins to
creep into her voice
as she relives it
all)
And we run off, God, I was scared.
And then it was run all the time,
and I wanted to go, I begged to go,
but Clyde and Bonnie and C.W.--
111.
HAMER
(seizing on it)
C.W. C.W. who?
BLANCHE
C.W. Moss.
FADE OUT:
FADE IN:
151 EXT. CAR ON THE MOSS FARM. A DIRT PATH NEAR THE BARN. DAY.
It is pouring rain, middle of the afternoon, BONNIE and CLYDE

are inside the car, sitting. They have lived so much in
cars that they tend to still spend much of their time in it
rather than in a room. There they are themselves.
152 INT. CAR.
BONNIE is in the back seat, her legs wrapped in a plaid

blanket, writing poetry. She looks like Elizabeth Barrett
Browning. With one essential difference--her arm is in a
sling and she is wearing bandages on the shoulder. CLYDE is

in the front seat, reading a newspaper. He is also partially
bandaged. On the dashboard is a box of ginger-snaps which
he eats while he reads. They look domestic.
CLYDE
Want a ginger-snap, Bonnie?
BONNIE
(busy, absorbed)
No, hum-umm.
(then she realizes
his nice gesture and
smiles warmly at him)
But thanks anyway, Clyde.
(she takes it all in,
her situation, and
looks content and
cozy)
It's real nice here, just the two of
us like this.
CLYDE
(more interested in
his paper)
Uh-huh.
(something in the
paper catches his
interest)
Look here, honey, remember this?
112.
He holds up the paper; there is one of the photos from the

motel, the one showing BONNIE smoking. She looks up at it
with mild interest.
BONNIE
Yeah, at the motel.
CLYDE
(studying the picture)
You sure don't resemble that no more.
Close-up BONNIE. She doesn't. She has become totally

fragile, the essence of herself. She is writing on a pad.
CLYDE and BONNIE.
CLYDE (CONT'D)
What you writin' this time?
BONNIE
(intensely)
I'm writing a poem about us. I'm
writing our story.
CLYDE
(this appeals to his
ego)
Oh, are you? Let's hear it. If
it's good, I'll mail it in to the
Law and it'll be printed in all the
papers again.
BONNIE
Just let me finish this line.
She does so. CLYDE munches a cookie.
BONNIE (CONT'D)
(continuing)
Okay, here it is.
Close-up. BONNIE--as she reads intensely. At the beginning

of this montage, the camera remains on her face. Behind her
we see the rain on the window.
BONNIE (CONT'D)
(reading)
"The Story of Bonnie and Clyde" You've
heard the story of Jesse
James--
Of how he lived and died:
If you're still in need
Of something to read
Here's the story of Bonnie and
(MORE)
113.
BONNIE (CONT'D)
Clyde.
Now Bonnie and Clyde are the Barrow

Gang
I'm sure you all have read
How they rob and steal
And those who squeal
Are usually found dying or dead.
They call them cold-hearted killers;

They say they are heartless and
Mean;
But I say this with pride,
That I once knew Clyde
When he was honest and upright and
clean.
But the laws fooled around,

Kept taking him down
And locking him in a cell,
Till he said to me,
"I'll never be free
So I'll meet a few of them in
Hell."
The road was so dimly lighted;

There were no highway signs to
Guide;
But they made up their minds
If all roads were blind,
They wouldn't give up till they died.
CUT TO:
153 INT. POLICE STATION. DAY.
The manuscript is lying on the police blotter. HAMER picks

it up and continues reading it. He reads it in a halting
way:
HAMER
The road gets dimmer and dimmer;
Sometimes you can hardly see;
But it's fight man to man,
And do all you can, For they know
they can never be
Free.
From heartbreak some people have

suffered;
From weariness some people have
Died;
But take it all in all, Our troubles
(MORE)
114.
HAMER (CONT'D)
are small,
Till we get like Bonnie and Clyde.
Close-up of a newspaper page. The poem is printed all the

way down the length of one column. On the sound track,
BONNIE's voice picks up the recitation:
BONNIE'S VOICE (O.S.)

If a policeman is killed in Dallas,
And they have no clue or guide;
If they can't find a fiend,
They just wipe their slate clean
And hang it on Bonnie and Clyde.
154 INT. CAR. CLOSE-UP OF BONNIE. DAY.
The day is sunny and we see it through the car window. She
continues reading, but now she reads it directly from the
newspaper:
BONNIE
If they try to act like citizens
And rent them a nice little flat
About the third night
They're invited to fight
By a sub-gun's rat-tat-tat. Some
day they'll go down together; They'll
bury them side by side;
To few it'll be grief--
To the law a relief--
But it's death for Bonnie and Clyde.
BONNIE finishes the poem, as camera pulls back slightly to

show that it is a different day, different clothes and the
bandages are gone. As she stops, she has an expectant and
somewhat self-satisfied look.
Close-up of CLYDE. His eyes are wide, his mouth open, his
face shows surprise and delight and he is on the verge of a
giant laugh.
CLYDE
(in gleeful wonder)
Damn! That's me!
A great laugh comes bursting from him. Camera widens to

take in BONNIE. She is both startled and delighted by his
response.
CLYDE (CONT'D)
(continuing)
In that poem!
BONNIE giggles.
115.
CLYDE (CONT'D)
(continuing; it is
all starting to come
out now--his
realization that he
has made it, that he
is the stuff of
legend, that he is
an important figure)
A sub-gun's rat-tat-tat!
(he begins to laugh
loudly)
Right in the paper!
Close-up BONNIE. Now laughing too, with a great feeling of

joy.
Two shot. BONNIE and CLYDE.
CLYDE (CONT'D)
Jesse James! You hear 'bout old
Jesse, now you goin' to hear 'bout
Clyde!
He puffs up with air and explodes like a steam valve.
CLYDE (CONT'D)
(continuing)
Pshhhhhh!
He grabs BONNIE and chuckles delightedly.
CLYDE (CONT'D)
(continuing)
Damn, Bonnie! You musta been one
hell of a waitress!
Close-up. BONNIE--laughing, her eyes filled with tears.
CLYDE's hand wipes them away.
Two shot.
CLYDE (CONT'D)
(shaking his head
back and forth like
a puppy, just so
much glee in him
that he can't hold
it)
Oooooh, that Clyde! That's my boy,
that Clyde!
He looks at her with love and delight, hugs her tightly.

116.
CLYDE (CONT'D)
Bonnie...
(she hugs him back)
The Poem of Bonnie and Clyde!
BONNIE
(laughing at the
mistake, happy)
The Story.
CLYDE
The Story of Bonnie and Clyde! Oh,
child, you really did tell that story!
He pulls her to him, his face inches away from hers, about
to kiss her. She is waiting, expecting... Suddenly, he lets
out one wild laugh almost into her mouth.
He kisses her. She kisses back. They are chuckling,

giggling. They grow more ardent; they pull back and laugh
again. They begin to make love.
155 EXT. ARCADIA STREET. ICE CREAM PARLOR. DAY
Bright afternoon. Camera across the street from an ice cream

parlor. Sign about it: "EVA'S HAND-PACKED ICE CREAM."
A large plate glass window fronts the store, and through it

we can see the people inside seated at tables and booths.
Prominent in our vision is MALCOLM MOSS, seated, facing

camera. He is seated across from another man, but we see
him from the back.
MALCOLM is obviously doing a lot of talking and then some

hard listening; gesticulating and looking disturbed. After
a bit of this, he rises from the table and begins walking
toward the door. The other man rises and turns. We now see
that it is FRANK HAMER.
MALCOLM and HAMER come out onto the sidewalk, squinting in

the sunlight. MALCOLM mimes some social pleasantries by way
of saying "goodbye," but HAMER's face shows no emotion of
recognition of the gesture. He turns and walks away, walking
out of the frame.
MALCOLM stands where he is, in front of the ice cream parlor.
By the expression on his face, we can see that he is rather

disturbed by what he has heard and that he is still grappling
with the problem.
DISSOLVE TO:
117.
BONNIE and CLYDE. They lie where they were with one
difference--they are now wrapped in the blanket. CLYDE's
pants are wadded up and tangled with his shoes at the base
of the blanket.
CLYDE (CONT'D)
(chuckling, apparently
quite pleased)
Damn!...damn...damn!
He casts a sidelong glance to BONNIE, wanting some sort of

overt reaction from her. She's just smiling slightly.
CLYDE's underlying anxiety begins to surface.
CLYDE (CONT'D)
(not looking at her)
Hey, listen, Bonnie, how do you feel?
BONNIE
(watching him steadily,
her slight smile
growing)
Fine.
CLYDE
I mean you feel like you're s'posed
to feel after you've uh...
BONNIE
Just.
CLYDE
(doesn't know what
the fuck to say,
desperately wants
her approval)
Well, that's good, ain't it.
Reason I ask is, I uh... Well, I
figger it's a good idea to ask. I
mean how else do I tell if I did it
the way...
BONNIE
(stopping him, with
great warmth)
Hey. You done just perfect.
CLYDE looks at her for the first time, tremendously relieved.
He can see she means it. Now his buoyancy, utterly, unchained
breaks through:
118.
CLYDE
I did, didn't I? I mean I did, I
really did. I did it, I did, I mean
this was my first time and it was
just like rollin' off a log when it
comes right down to it, it was easy,
I mean I didn't even have to try...
Lovingly, laughing, altogether overwhelmed with himself,

CLYDE pulls BONNIE into him. He kisses her, wants to make
love again, but then pulls back and keeps chattering at sixty
miles a minute. He's waited twenty-three years to talk about
this, and he's got the perfect audience.
DISSOLVE TO:
156 INT. KITCHEN. MOSS FARM. TWILIGHT.
After dinner. There are four empty plates, but only C.W.
and MALCOLM in the kitchen. C.W. is scraping the bottom of
a wilted "EVA'S HAND-PACKED ICE CREAM" carton. MALCOLM
studies his son's quiet intensity in this direction for a
moment, then moves very close, whispers when he speaks.
MALCOLM
(whispering)
Boy, they expect you to go downtown
with 'em tomorrow?
C.W.
(Out loud, licking
his ice cream)
Who?
MALCOLM
(raising his own voice,
infuriated by his
son's obtuseness)
Bonnie and Clyde!...
(he slaps the carton
out of C.W.'s hands;
whispering again)
Bonnie and Clyde.
C.W.
Sure, I always go with them.
MALCOLM thinks hard about this.
MALCOLM (CONT'D)
...better go then, you better go,
better go...
(MORE)
119.
MALCOLM (CONT'D)
(forcing C.W. to sit
at table)
--but when they get back in the car
to come on home, don't get in with
them.
C.W.
(genuinely puzzled)
Why, Daddy?
MALCOLM
You just listen to your Pa fer once!
Cain't you do that? I'm yore Daddy,
I'm your kin, not Clyde.
C.W.
(still confused)
Well, what should I tell 'em? "I
can't get back in the car with you?"
MALCOLM is ready to kill--his son's obtuseness and his fear

of CLYDE is whipping him into a quiet frenzy.
MALCOLM
(squeezing C.W.'s arm)
No, you tell them nothin', hear?
(hesitates, then)
I made a deal and got you off with a
coupla years!
C.W.
(a piercing treble)
Made a deal with who, Daddy?
MALCOLM hauls off and whacks C.W. across the top of his head
with the flat of his hand, then momentarily holds his hand
over C.W's mouth.
MALCOLM
(we can see his own
fear)
...the law. Just don't get back in
that car.
(eyeball to eyeball)
And whatever you do, don't let onto
them, hear?
C.W. suddenly smiles, as if he knew something.
C.W.
(expletive)
Whew!... You think them laws are
gonna catch Bonnie and Clyde in town?
120.
C.W. returns to the ice cream carton--MALCOLM lets him,

figuring he better find out what he can.
MALCOLM
What do you think, Clarence?
C.W.
(matter of fact)
They ain't gonna catch 'em. Don't
matter whether I let on or not.
MALCOLM
(playing along)
Mebbe. Just you be off'n the streets
of that town when they go to get in
their car.
C.W.
(looking directly at
Malcolm)
Nobody catches Clyde. Clyde's got a
sense, don't you know that, Daddy?
Nobody catches Clyde.
MALCOLM knows better, but for just a moment he stares at his

son, fearing that maybe C.W., for all his limitations, has a
sense about CLYDE's sense. C.W. has finished with the carton
and crumples it, licking the last remnants of cream off his
fingers.
157 INT. BEDROOM. MOSS FARM. NIGHT.
BONNIE and CLYDE's bedroom, the middle of that night. Both

are wide awake, lying on opposite sides of the double bed.
Both are staring into the night, disquiet.
CLYDE
(suddenly)
Bonnie? Bonnie, will you marry me?
There is a silent gasp from BONNIE, a barely perceptible

stiffening. Then she talks in a voice falsely formal, still
staring up at the ceiling.
BONNIE
How could I do that, Clyde? You
know it's impossible. We'd have to
go to a Justice of the Peace and the
Justice of the Peace is a lawman.
We couldn't even take out a license.
121.
CLYDE
(with a chuckle)
Hey now, you sound like you been
givin' it some thought on your own.
BONNIE
(with a grim irony,
her voice getting
more and more
emotional)
Oh no, I never gave it thought. I
haven't thought about it at least
ten times a day, I haven't thought
about it every minute of my life
since I met you.
(suddenly her voice
cracks into tears)
She flings herself violently across
the bed and buries herself into
CLYDE's chest, her knees drawn up,
her head tucked down into him, her
body shaking with sobs.
CLYDE
(A bit startled by
this, attempting to
hold her, awkwardly,
and placate her. He
puts his arm around
her)
Bonnie...are you crying, honey?
BONNIE nods yes and slowly gets control over her tears.
BONNIE
(her face still buried
in CLYDE's chest,
she whispers)
Clyde, why do you want to marry me?
CLYDE thinks a minute and then grins.
CLYDE
(in an attempt to be
humorous)
To make an honest woman out of you.
BONNIE is silent.
122.
BONNIE
(finally, in a voice
charged with
anticipation and
dream)
Clyde... what would you do, what
would you do if some miracle happened
and we could walk out tomorrow morning
and start all over again, clean,
with no record, with nobody after
us?
CLYDE thinks about it a minute.
CLYDE
Well... I guess I'd do it all
different. First off, I wouldn't
live in the same state where we pull
our jobs. We'd live in one state
and stay clean there, and when we
wanted to take a bank, we'd go to
another state... and...
Suddenly he realizes that he has said the worst thing he

could have, that it was not the answer BONNIE wanted to hear.
He looks down at her, his voice anxious.
CLYDE (CONT'D)
(continuing)
Bonnie?
She is silent.
CLYDE (CONT'D)
Hey, Bonnie?
But she does not answer.
158 EXT. ROADSIDE. EARLY MORNING.
We see MALCOLM jacking up the back wheel of his pickup truck

which is parked on the side of the road in a wooded area.
CUT TO:
159 EXT. ARCADIA STREET. MID-MORNING
A street in Arcadia. The car is parked. BONNIE and CLYDE

walks toward the car carrying big bags of groceries and
supplies and put them inside.
CLYDE (CONT'D)
(looking around)
What happened to C.W.?
123.
BONNIE
He stopped off in that hardware store
to get light bulbs for his daddy.
CLYDE opens the door of the driver's seat and sits down.
160 INT. CAR. ARCADIA STREET. DAY.
CLYDE
Boy, my feet are sweatin'.
He takes off his shoes.
BONNIE
(kidding around)
You plannin' to drive with your shoes
off?
CLYDE
Sure, why not?
He reaches in his shirt pocket and takes out his sunglasses.
As he goes to put them on, one of the lenses falls out.
CLYDE (CONT'D)
Damn!
He puts them on.
BONNIE
(laughing)
You gonna wear 'em?
CLYDE
Sure, drive with one eye shut.
BONNIE gets in the car, rummages around in one of the bags

and pulls out something wrapped in tissue paper. She unwraps
it and puts it up on the dashboard, displaying it.
It is a little porcelain shepherdess holding a crook in her

hand, worth about thirty cents.
BONNIE
(admiring it)
Isn't that the prettiest thing, hon?
Just look here, you can see every
little fingernail on her hands.
She shows him.
CLYDE
It is a pretty thing, honey.
124.
CLYDE turns on the radio and gets some hillbilly music.
They are singing "Little Church in the Valley." He beats

time on the steering wheel, getting a little impatient.
BONNIE puts her shepherdess away and begins looking in the

grocery sack.
BONNIE
We got any peaches? I sure could go
for a peach right now.
She burrows in the bag and comes out with a peach. She takes
a big bite. The juice drips down the side of her mouth.
She looks beautiful.
CLYDE
(he stops drumming
his fingers, suddenly
has an idea)
Whyn't we do it tomorrow?
BONNIE
Do what?
CLYDE
Tomorrow's Sunday, ain't it? We
could drive all night and be on that
golf course tomorrow morning!
BONNIE
You sure you feel up to it?
CLYDE
(enthused)
Yeah, why not?
(now feeling anxious
and excited, he is
impatient to move)
Where is that boy? He's gone too
long.
BONNIE
(humming to the radio)
He'll be here.
(holding the peach to
him)
You take a bite, hon.
CLYDE
(getting worried)
No, it's takin' too long. What if
something happened?
125.
BONNIE
Nothin' happened.
CLYDE
(more urgently)
Go take a look, see what's keepin'
him.
Not too delighted with the chore, BONNIE goes off. We remain
with CLYDE, getting anxious. The music plays on.
BONNIE comes back, hurriedly, now anxious herself.
BONNIE
He ain't there.
CLYDE jumps into action, slams his door.
CLYDE
C'mon, let's go.
BONNIE gets in. They drive off.
161 INT. STORE. CLOSE-UP C.W. DAY.
--hiding inside a store, peering out through a curtained

window at them driving away. His expression is disturbed;
his face half in shadow.
162 EXT. ROAD. DAY.
BONNIE and CLYDE's car coming down the road. Camera sees
from CLYDE's P.O.V. MALCOLM standing in the road, waving
him down. The pickup truck, its back jacked up, is parked
beside him on a shoulder of the road.
163 INT. CAR. DAY.
BONNIE
What's wrong?
CLYDE
I don't know.
164 EXT. ROAD.
CLYDE reaches the spot, pulls off the road and stops the
car.
He gets out. Camera pulls back. CLYDE talks to the old

man, BONNIE stays in the car. Cut to a shut down the trench
of the law, tense.
126.
Suddenly, a truck loaded with chickens comes riding down the

road from the opposite direction. HAMER sees it from a long
way away and realizes that he cannot afford to let anything
pass between him and his quarry. He decides the time is
now.
He leaps up from the trench and yells at CLYDE.
HAMER
Barrow!
The OLD MAN dives under his truck to hide. The shooting
starts.
We see the chicken truck. Two men in the front seat. They
see ahead of them an incredible shooting match and, in terror,
they jam on the brakes and leap out of the truck.
They run as fast as they can into the meadow, away from the
trouble.
The gun fight takes just seconds during which law fires eight-
seven shots at BONNIE and CLYDE, giving them absolutely no
chance. The sound is rapid, deafening.
At no point in the gun fight do we see BONNIE and CLYDE in

motion. We see, instead, two still photographs cut into the
sequence: one of Clyde, half out of the car, taking careful
dead aim with his gun, just as he did in the teaching scene:
one of BONNIE, in terror, a pack of cigarettes in her hand
clutched tight, looking as fragile and beautiful as she can
be.
The noise stops at once. Utter silence. It has been a

massacre. BONNIE and CLYDE never had a chance to return the
gunfire. We see the car, a complete shambles. We never see
BONNIE and CLYDE dead, though for a moment we discern their
bodies slumped in the car.
The camera pulls above the car until it is on a level with

the opposite side of the road. Then, slowly, the six lawmen
stand up in the trench. On the faces of the five deputies,
horror and shock at what they have just done. HAMER, however,
registers no emotion. His face is a blank. He lights a
cigarette. Slowly, slowly, the five men begin to edge closer
to the car to see the result. Music, the wild country
breakdown music, begins on the sound track.
Before they reach the car, the camera swings away from them,
past them, and zooms out and above into the meadow where the
two truck drivers are standing--tiny, distant figures.
The truck drivers begin to walk toward the camera, coming

back to the road to see what happened.
127.
They get closer and closer to the camera until they have
reached a middle distance and, as they continue to walk at
us, it is--
THE END
CUT TO BLACK.

Bonnie and Clyde (1967)

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What is the setting of the story?

What is the setting of the story?

What happens between Bonnie and Clyde at the beginning?

What happens between Bonnie and Clyde at the beginning?

BONNIE AND CLYDE (1967)

David Newman & Robert Benton

1 INT. BEDROOM. CLOSE-UP OF BONNIE PARKER. DAY

Blonde, somewhat fragile, intelligent in expression. She is

The camera pulls back and continues to move very slowly

The bedroom itself is a second-story bedroom in a lower-

BONNIE finishes admiring herself. She walks from the mirror

2 EXT. BEDROOM. BONNIE'S P.O.V. DAY.

Over her shoulder, we see the driveway leading to the garage

Finally she calls out.

3 EXT. DRIVEWAY. DAY.

Obviously frightened, he looks up and his face freezes at

4 EXT. WINDOW. CLYDE'S P.O.V. DAY.

We now see what he is looking at: at the open window, revealed

5 EXT. CLOSE-UP OF CLYDE - DAY -

-- whose face changes from astonishment to an answering smile

Already they are in a little game instigated by BONNIE, sizing

Close-up of BONNIE, still smiling. Finally she speaks.

6 INT. BEDROOM. DAY.

7 EXT. DRIVEWAY. DAY.

8 EXT. STREET. MOVING SHOT. DAY.

The camera tracks. It is a hot Texas afternoon, all white

They reach the corner and turn. They are on:

9 EXT. MAIN STREET. DAY.

--a small-town street of barber shops, cafes, groceries,

At the moment, it is deserted. They continue walking down

CLYDE laughs, enjoying her repartee. They continue walking.

At a hydrant, CLYDE stops.

They continue walking in silence past a few stores, each

10 EXT. GAS STATION. DAY.

BONNIE watches him.

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

11 EXT. STREET. DAY.

The camera pulls back to show BONNIE looking at it with

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

12 EXT. LITTLE GROCERY STORE ACROSS THE STREET. DAY.

The camera remains just behind BONNIE's shoulder so that

CLYDE goes into the little store. We remain outside with

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

The landscape turns into that arid, flat and unrelieved

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

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

14 EXT. ROAD. DAY.

15 EXT. CAR. DAY.

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

16 EXT. CAR. ANOTHER ANGLE. DAY.

17 INT. CAR. BONNIE AND CLYDE. DAY.

BONNIE grabs the wheel and turns it sharply.

18 EXT. CAR. DAY.

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

19 INT. CAR. BONNIE AND CLYDE. DAY.

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

BONNIE has obviously touched him. With savage coquetry she

BONNIE remains seated in the car. She seems terribly

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

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