forth. As the film progresses her make-up will be refined
until, at the end, there is none.
throughout the first part of this scene. As the camera
continues to move away, we see, by degrees, that BONNIE is
audience, but implied. That is, she should be "covered" in
various ways from the camera's P.O.V., but the audience must
is the only time in the film that she will ever be this
exposed, in all senses of the word, to the audience. Her
porcelain statuettes and the like.)
EXT. BEDROOM. BONNIE'S P.O.V. DAY.
dressed in a dark suit with a vest, a white collar, and a
straw boater. It is CLYDE BARROW. Obviously, he is about
front window to see if the keys are in the ignition. He
Finally she calls out.
Hey, boy! What you doin' with my
EXT. DRIVEWAY. DAY.
what he sees.
EXT. WINDOW. CLYDE'S P.O.V. DAY.
We now see what he is looking at: at the open window,
down, an impudent half-smile on her face. She doesn't move
smile of impudence. (Seeing what he has, he realizes that
arrogance. Before they speak, they have become
INT. BEDROOM. DAY.
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.
Bonnie and Clyde (1967)
Synopsis: Bonnie and Clyde is a 1967 American biographical crime film directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the title characters Clyde Barrow and Bonnie Parker. The film features Michael J. Pollard, Gene Hackman, and Estelle Parsons, with Denver Pyle, Dub Taylor, Gene Wilder, Evans Evans, and Mabel Cavitt in supporting roles. The screenplay was written by David Newman and Robert Benton. Robert Towne and Beatty provided uncredited contributions to the script; Beatty also produced the film. The soundtrack was composed by Charles Strouse.