![Find Bonnie and Clyde on Amazon](https://www.scripts.com/images/script/67_bonnie-and-clyde.png)
Bonnie and Clyde
- R
- Year:
- 1967
- 111 min
- 852,987 Views
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.)
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.
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?
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.
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.
--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
coconspirators.)
Close-up of BONNIE, still smiling. Finally she speaks.
BONNIE:
Wait there!
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.
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:
(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.
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?
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Bonnie and Clyde" Scripts.com. STANDS4 LLC, 2024. Web. 24 Apr. 2024. <https://www.scripts.com/script/bonnie_and_clyde_67>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In