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FADE IN.

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.)

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