Comparison Between Butch Cassidy and the Sundance Kid Discussion

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yrben3

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I'm working on a film writing question and need an explanation and answer to help me learn.

Screenplays attached. 

Compare and contrast how the three screenplays are similar and different. Consider the style of the writing on the page and the ways the films are structured. Once you've pointed out their similarities and differences, hypothesize how these differences might reflect CHANGE in the business of Hollywood or in attitudes towards social issues and characters from the various decades. Or, using their similarities, show how have these attitudes have NOT CHANGED over the years. Your response should be 250 words.

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THELMA & LOUISE by Callie Khouri SECOND DRAFT April 4, 1990 April 4, 1990 Day by day Breakdown for Second Draft of the script dated 4/4/90: scs. l - 14 NIGHT-1: scs 15 - 39 DAY-2: . scs. 40 - 109 NIGHT-2: scs. 110 - 122 scs. 123 - 150 DAY-3: NIGHT-3: scs. 151 - 187 OAY-4: scs. 188 - 279 DAY-1: l. 1 INT. RESTAURANT - MORNING (PRESENT DAY) l tOOISE is a waitress in a coffee shop. She is in her early-thirties, but too old to be doing this. She is very pretty and meticulously groomed, even at the end of her shift. She is slamming dirty coffee cups from the counter into a bus tray underneath the counter. It is making a lot of RACKET, which she is oblivious to. There is COUNTR? MUZAK in the b.g., which she hums along with. 2 INT. THELMA'S KITCHEN - MORNING 2 THELMA is a housewife. It's morning and she is slam­ ming coffee cups from the breakfast table into the kitchen sink, which is full of dirty breakfast dishes and some stuff left from last night's dinner which had to "soak." She is still in her nightgown. The TV is ON in the b.g. From the kitchen, we can see an incom­ plete wallpapering project going on in the dining room, an obvious "do-it-yourself" attempt by Thelma. 3 INT. RESTAURANT - MORNING 3 Louise goes to the pay phone and dials a number. 4 INT. THELMA'S KITCHEN - MORNING Phone RINGS. 4 Thelma goes over to answer it. THELMA (hollering) · I got it! Hello. 5 INT. RESTAORANT - MORNING 5 LOUISE (at pay phone) I hope you're packed, little sister, 'cause we are outta here tonight. 6 INT. THELMA'S KITCHEN - MORNING .THELMA (whispering guiltily) Well, wait now. I still have to ask Darryl if I can go. (CONTINf:1EO) 2. 6 CONTINUED: 6 LOOI SE ( V. 0. ) You mean you haven't asked him yet? For Christ sake, Thelma, is he your husband or your father? It's just two days. For God's sake, Thelma. Don't be a child. Just tell him you're goin' with me, for cryin' out loud. Te ll him I'm havin' a nervous breakdown. Thelma has the phone tucked under her chin, as she cuts out coupons from the newspaper and pins them on a bulletin board already covered with them. We see various recipes torn out from women's magazines along the lines of "101 Ways to Cook Pork. " THELMA He already thinks you're out of your mind, Louise, that don't . carry much weight with Darryl. Are you at work? LOUISE (V .O.) No, I'm callin' from the Playboy Mansion. THELMA I'll call you right ·back. Thelma goes through the living room to the bott9m of the stairs and leans on the bannister. THELMA (cont'd) (hollering again) Darryl! Boney, you'd better hurry up. DARRYL comes trotting down the stairs. Polyester was made for this man, and he's dripping in "me n's" jewel­ ry. He manages a Carpeteria. DARRYL (annoyed) Damnit, Thelma, don't holler like that! Haven't I told you ·t can't stand it when you holler in the morning. THELMA (swe etly and coyly) I'm sorry, Doll, I just didn't want you to be late. (CONTINUED) 3. 6 CONTINUED: (2) 6 Darryl is checking himself out in the hall mirror, and it's obvious he likes what he sees . He exudes over­ confidence for reasons that never become apparent. He likes to think of himself as a real lady killer. He is making imperceptible adjustments to his over-moussed hair. Thelma watches approvingly. Hon. What. THELMA (cont'd) DARRYL (still annoyed) THELMA (she decides not to tell him) Have a good day at work today. Uh-huh. Hon? What!? DARRYL THELMA DARRYL (as if he' s trying to concentrate) · THELMA (she's enjoying her little game now) You want anything special for dinner? DARRYL No, Thelma, I don't give a shit what we have for dinner. I may not even make it home for dinner. You know how Fridays are. THELMA Funny how so many people wanna buy carpet on a Friday night. You'd almost think they'd want to forget about it for the weekend. DARRYL Well then, it's a good thing you're not regional manager and I am. (CONTINUED) 4. 6 CONTINUED: 6 (3) He's finally ready. He walks to the door and gives Thelma the most perfunctory kiss on the cheek. 'Bye, honey . See ya. THELMA I won't wait up. DARRYL Darryl leaves. We see his Corvette parked out front. As he closes the front door, Thelma leans against it. THELMA He's gonna shit. Thelma laughs to herself. She goes back into the kitchen and picks up the phone and dials it. 7 INT. RESTAURANT - MORNING The pay phone on the wall RINGS. his SO's, answers. 7 ALBERT, a busboy in ALBERT (cheerfully) Good morning. Why, yes, she is. Is this Thelma? Oh, Thelma, when you gonna run away with me? Louise comes over and takes the phone out of his hand. LOUISE (to Albert) Not this weekend, sweetie, she's runnin' away with me. (into phone) Hi. What'd he say? THELMA (V. O. ) What time are you gonna pick me up? LOUISE You're kiddin'J Alright! I'll be there around two or three. THELMA ( V . O. ) What kind of stuff do I br ing? LOUI SE I don't know. Warm stuff, I guess. It's the mountains. I guess it gets cold at night. I 'm just gonna bring. everything. (CONTI NUED) s. 7 . CONTINUED: 7 Okay. THELMA (V .0.) I will, too. LOUISE And steal Darryl's fishin' stuff. THELMA (V .O.) I don't know how to fish, Louise. LOUISE Neither do I, Thelma, but Darryl does it, how hard can it be? I'll see you later. Be ready. They both hang up. 7A EXT. RESTAURANT - DAY 7A Thelma pulls out in a green '6 6 T-Bird in mint condition. 8 INT. THELMA'S BEDROOM - CLOSEUP - SUITCASE ON BED DAY 8 Going into the suitcase is bathing suits, wool socks, flannel pajamas, jeans, sweaters, T-shirts, a couple of dresses, way too much stuff for a two-day trip. REVEAL Thelma, standing in front of a closet, trying to decide what else to bring, as if she's forgotten something. The room looks like it was decorated entirely from a Sears catalogue. It 1 s really frilly. 9 INT. LOUI SE'S BEDROOM - CLOSEUP - SUITCASE ON BED DAY A perfectly ordered suitcase, everything neatly folded and orderly. Three pairs of underwear·, one pair of long underwear, two pairs of pants, two sweaters, one furry robe, one nightgown. She could be-packing for camp. REVEAL Louise. Her room is·· as orderly as the suitcase. Everything matches. It's not quite as frilly as Thelma's, but it is of the same ilk. She is debating whether to take an extra pair of socks. She decides not to and closes the suitcase. She goes to the phone, picks it up and dials. We hear: ANSWERING MACHINE (V. O.) Hi. This is Jimmy. I'm not her e right now, but I 1 ll probably be back 'cause••• all my stuff's here. Leave a message. (CONTINUED) 9 6. 9 CONTINUED: 9 Louise slams down the phone. A framed picture of Louise and Jimmy sits on the table next to the phone. She matter-of- factly slams that face down, too. 10 10 INT. THELMA'S BEDROOM - DAY Thelma is still throwing stuff in, randomly now. She talks to herself quietly the whole time. She is taking stuff off of her nightstand, a small clock, fingernail scissors, etc. She opens the drawer of her nightstand. Her attitude is purposeful: she looks as if she knows exactly what she's doing; although, frankly, she has no idea, and each decision is completely arbitrary. As she rifles through it, plucking various items from among the jumbled contents, we see there is a gun in there, one Darryl bought her for protection. It is unloaded, but there is a box of bullets. She picks up the gun like it's a rat by the tail and puts it in her purse. THELMA (muttering to herself) Psycho killers ••• She grabs the box of bullets and throws them in, too. She tries to close her suitcase, but there is stuff hanging out all over the place. She stuffs things back in the sides and heaves all her weight against the top. ll ll EXT. THELMA'S HOUSE - DAY Louise's green '6 6 T-Bird convertibla pulls into the driveway of Thelma's house. The garage door goes up and Thelma is standing in the garage with all her gear. A suitcase that looks like it might explode, fishing gear, a cooler, a lantern. Thelma's car, a beat-up gray Honda, is parked in there, too. Louise gets out of the driver's seat. LOUISE We don't need the lantern. place has electricity. THELMA (pensive) I wanna take it anyway. case. The Just in LOUI SE I n case of what? (CONTINUED) 7. ll ll CONTINUED: THELMA (rationally) In ·case there's some escaped psycho killer on the loose, who cuts the electricity off and tries to come in and kill us. LOUISE (going along with her) Oh yeah, sure, Thelma, that lantern will be real handy. Maybe we could tow your car behind, in case he steals our spark plugs. THELMA We'd have to. That thing barely makes it down the driveway. They load. everything into the car. The trunk barely closes. Thelma heaves all her weight agatnst it. They get into the car and pull out of the driveway. As they drive down the street, we hear Thelma let out a long howl. She is laughing and she sticks her arms straight up in the air. 12 12 EXT. CAR - DAY They are driving down the interstate. for her purse and finds the gun. Thelma reaches THELMA Louise, will you take care of the gun? Louise shrieks at the sight of it. LOUISE (startled) Why in hell did you bring that? · Thelma wonders if Louise is really that naive. THELMA Oh, come on, Louise ••• psycho killers, bears ••• snakes! I just don't know how to use it. So will you take care of it? · Louise reaches over and takes the gun out of Thelma's purse and holds it in her hand. She tests the weight of it, and then puts it under the seat. Thelma puts the bullets under the seat. (CONTINUED) a. 12 CONTINUED: 12 THELMA (cont'd) I'm just really afraid of psycho killers, I guess. They are speeding off down the highway with the RADIO blaring. Louise puts in a TAPE of wild R&B MUSIC. THELMA (cont'd) Whose place is this again? LOU ISE It's Bob's, the day manager's. He's gettin' a divorce, so his wife's gettin' this place, so he's just lettin' all his friends use it till he has to turn over the keys. THELMA I've never been out of town without Darryl. LOUISE How come he let you go? THELMA 'Cause I didn't ask him. LOUISE Aw, shit, Thelma, he's gonna kill you. THELMA Well, he's have never let me go. He never lets me do one goddamn thing that's any fun. Al l he wants me to do is hang around the house the whole time while he's out doing God only knows what. They are both silent for a minute. THELMA (cont'd) (looking straight ahead) I left him a note. I left him stuff to microwave. After a pause: THELMA (cont'd) (carefully) I guess you haven't heard anything from Jimmy ••• yet? Louise's jaw tightens. The car speeds up. (CONTINUED) 9. 12 CONTINUED: (2) 12 THELMA (cont'd) • •• never mind. A huge semi-tanker carrying gas passes them on the highway and HONKS. The mud flaps are the shiny silhouettes of naked women. There is a bumper sticker on the back that says: "Lick you all over -- ten cents. " THELMA (cont'd) (smiling) One of your friends? Thelma is watching herself in the side mirror, pretend­ ing to smoke a cigarette. THELMA'S POV OF A SIGN alongside the road that reads "See you in church on Sunday! " Thelma pushes in the lighter and waits for it to pop out. Louise gives her a sidelong glance, but does not say anything. 13 EXT. CAR - INTERSTATE HIGHWAY - DAY 13 VARIOUS DRIVING SHOTS of the 1 66 T-Bird. 14 EXT. GAS STATION - DUSK They pull into a gas station up to the pumps. A GAS STATION ATTENDANT comes out. He smiles leeringly. ATTENDANT What'll it be, .ladies? LOUISE (all business) Just fill it up with no lead. THELMA (to Attendant) Where's a good restaurant around hEtre? LOUISE We'll eat when we get to the cabin. THELMA How much longer is that gonna be? LOUISE Another hour or so. We've got enough food for a month. (CONTINUED) 10. 14 14 CONTINUED: THELMA I'll never make it. ATTENDANT The re 's a place straight down t his road. It 's got real good food. It 's a bar, but they got good st uff. And it 's Friday. They got a band playin' there, t oo. You ladies lik e t o dance? LOUISE None of your busine ss. Eleve n. How much? AT'l'ENDAN'l' Louise gives him t he money. He is smiling at Thelma. ATTENDANT ('cont 'd) I get off in an hour. Louise st art s t he car and drives away. Can't we go? minut es? THELMA Just for a fe w LOUISE We're not gonna get t o the cacin till aft er dark as it is, Thelma. THELMA (whining) Then what difference does it make if we st op? Come on. I never get t o do st uff like this. Louise realizes t hat Thelma is going t o revert t o a teenager and cont inue whining unle ss she gives in. LOUISE Alright , but I re ally don't want t o st ay long. 15 EXT. IDLE HOUR - NIGHT They pull off at a place down on t he right all lit up with neon. It 's called the IDLE HOUR. The sign flashes COCKTAILS -- BEER -- DANCING -- FOOD. There is a huge gravel parking lot with lots of pickup trucks and older cars. Even t hough it's early, you can t ell t his place is a real night spot . It 's already pre t t y crowded. lS ll. 16 16 INT. IDLE HOUR - NIGHT This place is jumpin'. There are ten pool tables with crowds all around. The long bar is filled with cus-· tomers. There are tables and booths. The room is dense. with smoke. There is a dance floor, but no one is dancing yet because the band is still setting up. There are a lot of single men. Many heads turn and follow Thelma and Louise to an empty table. LOUISE I haven't seen a place like this since I le ft Texas. THELMA Idn't this fun? A WAITRESS comes over and drops two menus on the table. WAITRESS Y'all wanna drink? No thanks. LOUISE THELMA I'd like a Wild Turkey straight up and a Coke back, please. As the Waitress leaves: Thelma! LOUISE (surp·rised) THELMA (annoyed} Tell me somethin'. Is this·my vacation or isn't it. I mean, God, you're as bad as Darryl. LOUISE I just haven't seen you like this in a while. I'm used to seeing you more sedate. THELMA Well, I've had it up to my ass with sedate! You said you and me was-gonna get outta town and, for once, just really let our hair down. Well, darlin', look out 'cause my hair is comin' down! As the Waitress returns: (CONTINUED) 12. 16 CONTINUED: 16 LOUISE (laughing) Alright••• (to Waitress) I changed my mind. I'll have a margarita with a shot of Cuervo on the side, please. Yeah! THELMA As the Waitress leaves, a MAN comes over with a chair which he pulls up to the table and straddles backwards. He is in his late-40's, heavyset, his face is shiny in the neon light. MAN Now what are a couple of Kewpie dolls like you doin' in a place like this? LOUISE (coldly) .t,\indin' our own business, why don't you try it. THELMA (real friendly) Well, we left town for the weekend 'cause we wanted to try and have a good time. And because Louise here is mad because her boyfriend won't call her while he's out on the road••• Louise kicks Thelma under the table. THELMA (quieter) We just wanted to get somethin' to eat. MAN Well, you come to the right place. You like chili? They got good chili. The Waitress returns with Louise's drink. WAITRESS Harlan, are you botherin' these poor girls? Hell no. HARLAN (MAN) I'm just bein' friendly. (CONTINUED) 13. 16 CONTINUED: 16 (2) WAITRESS (mak ing eye contact with Louise) It's a good thing they're not all as friendly as you. Louise understands. THELMA Your name's Harlan? I got an uncle named Harlan! HARLAN You do? Is he a funny uncle? 'Cause if he is, then he and I got somethin' in common. Harlan laughs. Thelma laughs, too, but doesn't really get the jok e. Louise does not laugh. LOUISE (to Harlan) I don't me an to be rude , but I've got some thing I ne e d to talk to my e . And f rie nd about. In privat this is the f irst chance we've had ••• HARLAN Aw, I unde rstand. I didn't mean to bothe r ya. · It's just hard not to notice two such pre tty ladies as yourself. (standing, to Thelma) You be tte r dance with me before you le ave , or I'll ne ve r f orgive ya. THELMA ( friendly) Oh, sure . That'd be fun. Harlan leaves, then: THELMA ( cont'd) Jeez, Louise, that wasn't very nice. LOUISE Can't you tell when somebody's hittin' on you? God, don't tell me you're that naive. (CONTINUED) 14. 16 CONTINUED: (3) 16 THELMA So what if he was? Nothin' was gonna happen. I' m not naive. It' s just all your years of waitin' tables has made you jaded, that's all. LOUISE Maybe. I just didn't like the way he was lookin' at you. He was makin' me nervous. THELMA Well, just relax, will ya. makin' me nervous. You're Thelma knocks back her shot of Wild Turkey and holds up her glass to the Waitress to bring her another one. The Waitress sees her and nods. She turns back to face her friend. THELMA .(cont'd) So, Jimmy still hasn't called .yet? LOUISE (trying not to seem upset) No. He's supposed to get back tonight. And when he does, he's gonna find me gone. Give him a taste of his own medicine. See how he likes it. (now she's upset) Asshole. .THELMA (sympathetically) I'm sorry, Louise. I know you're all upset, and here I am not even thinkin' about you. It's just I'm so excited to be out of the house, I guess. (pause) I wonder if Darryl's home yet. "LOUISE (wistful) I wonder if Jimmy's gotten back. THELMA Why don't you tell him to just get lost once and for all? (CONTINUED) LS. 16 CONTINUED: 16 (4) LOUISE Why don't you ditch that loser husband of yours? They both drift off momentarily, contemplating their domestic problems, until the Waitress comes over: WAITRESS (rolling her eyes) This one's on Harlan. Thelma looki oier at the bar where Harlan is grinning at her, making dancing motions. She smiles and waves at him. Her face becomes serious again as she turns back to Louise. THELMA Well, look. Don't be such a gloomy gus. Jimmy' ll come in off the road, you won't be there, he'll freak out and call you a hundred thousand times, and Sunday night you'll call him back and, by Monday, everything will be back to normal. Thelma's mind goes too fast for her mouth, and the speed at which she speaks can be staggering. Louise is used to it. Louise smiles wistfully at Thelma's assessment of the situation. LOUISE (looking dejected) Yeah, I guess • . THELMA In the meantime, you said we were gonna have some fun. So let's have some! She again drinks her whole shot of Wild Turkey and holds up her glass, as the BAND strikes up a lively tune. Practically the whole place "whoops" and heads for the dance floor. Louise drinks her shot of tequila and holds up her glass, too. 17 17 LATER Thelma is dancing with Harlan and has been for quite a while. Louise has been dancing with a quiet guy named Dan. Thelma is breathless, drunk and giggly. She holds a beer bottle in one hand. She is laughing a lot about nothing, and Harlan is studying her closely. Louise notices this. (CONTINUED) 16 . 17 17 CONTINUED: LOUISE ( over the noise} Thelma, I'm gonna hit the little girls' room, and the n we gotta hit the road. THELMA (eyes closed, swaying with the music) Re ady whe n you are. Louise heads off to the bathroom. THELMA ( cont'd) {eyes s till closed) Louise, I'm gonna come with you. ( she gets a f unny look on her face} I don't fee l so good. She stumble s a ste p and drops her beer bottle. Louise is heading towards the bathroom, where there is a line of at least fifte en women in front of her. HARLAN (catching Thelma, copping feels) Oopsy-doopsy. We need to get you some· fresh air, little lady. He steers her towards the door. Louise leans against the wall, waiting in line. CUT TO: 18 EXT. P ARKING LOT - NIGHT 18 Harlan is hauling Thelma out the door into the parking lot. She is pre tty limp. Oh shit. What's wrong? Stop. THELMA HARLAN THELMA ( CONTINUED) 17. 18 18 CONTINUED: HARLAN What for? THELMA I 'm spinn in g. 19 INT. IDLE HOUR - NIGHT 19 The Waitress is going ove r to their table. She pick s up Thelma' s purse off the floor and puts it on he r chair. She sets the che ck on the table , look s around to see if she can see them and walks away. 20 INT. BATHROOM - NIGHT 20 Louise goe s into the bathroom. She stands in front .of the s ink and look s at herse lf in the mirror. 21 EXT. PARKING LOT - NIGHT 21 Thelma has been sick . She has Harlan's handk erchief ahd is wipin g her mouth. ·Harlan has back ed off for this part, but he's right back in there . HARLAN How you feelin ' now, darlin' ? Harlan is lean ing close to Thelma's head, and she pulls her he ad away. THELMA I gues s I'm startin' to fee l a little better. HARLAN Yeah, you're startin' to feel pretty good to me, too. He pulls her to him and tries to put his arms around her. Thelma pulls away. THELMA (uncomfortable) I think I need to keep walk ing• . 22 INT. IDLE HOUR - NIGHT 22 Louise comes out of the bathroom as the next woman goes in. She scans the room look ing for Thelma. She doesn't see her. She goe s over to the table and sees Thelma' s stuff there. She picks up the check and look s at it. 18. 23 EXT. PARKING LOT -·NIGHT 23 Harlan has led Thelma off to the far end of the parking lot. He is trying to kiss her now. He is pushing his arms down and turning her head away. THELMA Don't. I'm married. I don't feel good. I've been sick. It's okay. HARLAN I'm married, too. Harlan is pushing himself on her now, and she is begin­ ning to push him away harder. 24 INT. IDLE HOUR - NIGHT 24 Louise is paying the Waitress. The Waitress is shaking her head, indicating she hasn't seen Thelma either. Louise picks up Thelma's stuff and heads towards the door. 25 EXT. PARKING LOT - NIGHT 25 Harlan has now pinned Thelma against the back of a car and is kissing her neck. He has he r ass in his hands; He is beginning to hump her. She is pushing him away as hard as she can, but he is relentless. HARLAN (oreathing heavily) You' re be autiful. It's ok ay.. won' t hurt you. It's okay • . I THELMA (struggling) Stop itl Goddamnit, I mean it! Louise is gonna wonder where I am. Let go! HARLAN Louise is alright. 26 LOUISE 26 is now standing outside the door of the Idle Hour. is looking around. 27 She aARLAN 27 is pulling at Thelma's clothes. (CONTINUED) 19. 27 CONTINUED: 27 Thelma gets one of her arms free and hits him hard in the f ace. He hits her back and grabs her f ace, squeezing it hard. HARLAN Don't you hit me ! Don't you fucking hit me! There is no trace of friendliness in his face now. He looks mean and dange rous. He le ts go of her f ace and pins he r arms behind her. He holds both of he r arms with one hand. HARLAN (cont'd) You just shut up. With his f re e hand, he reache s down and starts to pull her dress up. Thelma is still struggling and the re are tears running down her face . THELMA . (re asoning with him) Don't hurt me. Harlan. Ple ase. (me an} Shut up. HARLAN He turns her around, pushing he r f ace down onto the back of the car. He holds both her arms in one hand and continues pulling her dr.e ss up over her hips. He starts to undo his pants as we he ar the CRUNCH of gravel. LOUISE (O. S. ) (calmly) Le t her go. (mean) Get lost. Louise! HARLAN THELMA TIGHT SHOT of the barrel-of Thelma's gun be ing pre ssed into the nape. of Harlan's neck. Louise 's thumb pulls back the hammer. LOUISE (calmly) Le t her go, you f at fucking asshole, or I'm going to splatter your ugly face all over this nice car. (CONTINUED) 20. 27 CONTINUED: (2) 27 Harlan slowly raises his hands in the •air, and Thelma darts out, pulling her dress down. HARLAN (scared) Now, calm down. We were just havin' a little fun. Louise glances at Thelma. Thelma shakes her head no. LOUISE Looks like you've got a real fucked- up idea of fun. Now turn around. Louise starts to back away, but the gun is still close to his face. His pants are undone in the f ront. She is still backing away with the gun raised. Thelma is inching away as well. LOUISE (cont'd) Just for the future, when a woman's crying like that, she's not having any fun. Louise lowers the gun and stares at him for a second. Then she turns and walks away. Thelma doe s , too. HARLAN (angry, pulling up his pants) Bitch. I should have gone ahead and fucked her. Louise stops in her tracks. LOUISE What did you say? HARLAN (smiling, arrogant) I said suck my cock. Louise takes two long strides back towards him, raises the gun and FIRES a bullet into his face. We hear his body BIT the gravel parking lot. LOUISE'S POV. The car behind him is splattered with blood. Thelma and Louise are both silent. We heat the SOUND of the nightclub in the distance. Louise lowers the gun. THELMA (stunned) Oh my God. (CONTINUED) 21. 27 CONTINUED: 27 (3) LOUISE (s till calm, emotionle s s } Ge t the car. THELMA Je s us Chris t, Louise , you s hot him. Ge t the car! LOUISE Thelma runs to ge t the car. LOUISE (cont'd} ( quietly, to hers elf) You watch your mouth, buddy. Thelma comes careening up in revers e. Louis e hops in and Thelma PEELS OUT, s praying gravel. As they speed out of the parking lot back to the road, we hear MUSIC blaring from the nightclub. They hit the main road with tire s SQUEALING. LOUISE (cont'd) Get back to the inters tate. Louis e lifts her hand and notices s he is s till holding the· gun. 28 Shit! THELMA (panicked, trying to stay calm) I••• I, which way? We s t. (dazed) Left. LOUISE EXT. CAR - DI STANCING SHOT - NIGHT 28 They get onto the inters tate going wes t. TRAVELING SHOT FROM BEHIND -- VARIOUS DRIVING SHOTS 29 INT. CAR - NIG&·r 29 Louise picks up the handkerchief from the car sea·t and wipes the gun off. Her moveme nts are as if in s low motion. She puts the gun under the s e at. Thelma is watching her . (CONTINUED) 22 . 29 29 CONTINUED : THELMA Louise. (ca refully) Louise does not answe r. Louise. THELMA (cont ' d) Where are we going? LOUISE (shaking) I don ' t know, Thelma! I don ' t know ! Just shut up a minute so I can think. Thelma starts to c ry quietly . LOUISE ( cont ' d ) (slightly hysterical) . Oh my God . Oh my God . THELMA (t rying to think st raight) Shouldn't we go to the cops? I mean, I think we should tell the police . LOUISE (snapping) Tell them what ! ? What, Thelma? What do you think we should tell them? THELMA (crying) I don't know . We just tell 'em what happened. Which part? All of it . me. LOUISE THELMA That he t r ied to rape LOUISE (sharply) Only about a hundre_d people saw you cheek to goddamn cheek w ith him all night, Thelma ! Who's gonna believe that l ? We just don't live in that kind of a world . (CONTINUED) 23. 29 CONTINUED : (2} 29 An animal runs across the road in front of the car, and Thelma swerves to avoid it . The tires SQUEAL. Pull over! 30 LOUISE (cont ' d) EXT. INTERSTATE - NIGHT 30 Thelma pulls off to the side of the road . Louise gets out and starts to walk around the car . She stops when she gets to the back of the car, and she is sick . Thelma waits in the car and moves over to the passenger side. Louise gets in the driver ' s side. THELMA Louise • •• Are you alright? Louise rests her head on the steering wheel. the distance, there are S IRENS. Off in LOUISE (to herself, helplessly) Oh Christ. (to Thelma) Thelma. Thelma doesn't hear . . Thelma • . . LOUISE (cont'd) Thelma looks at her blankly, without answering. LOUISE (cont'd) I've gotta stop for a minute. I ' ve got to get it together. I j ust got to take a break. Now, I'm going in there. I ' m gonna get a cup of coffee and I'm gonna sit down for a second. Do you want_ to come? Thelma's head moves almost imperceptib ly. studies Thelma's face. Is t·h at yes? Louise LOUISE (cont'd) Are you up to this? Again, Thelma slightly moves her head in a nod. .puts the car in gear and pul ls OUT OF SHOT . Louise 24 . 31 EXT. TRUCK ST OP/ RESTAURANT - NIGHT 31 The gree n '6 6 T-Bird pulls into a modern truck stop and park s. Louise turns to Thelma. LOUISE We gotta be inconspicuous. know what that me ans? Yes. Do you THELMA LOUISE It me ans you don't talk to anybody. You don't draw atte ntion to yourse lf in any way. Do you unde rstand that? Again, she twitches more than nods. LOUISE (cont'd) Te ll me you understand that. Thelma nods more firmly now. She under stands. VARIOUS POV SHOTS of truck drivers se eing Thelma and Louise wind their way towards the re staurant portion of the coffee shop. They look small and incongruous with the surroundings. 32 INT. TRUCK STOP - TIGHT SHOT - WAITRESS'S HANDS 4 A. M. slamming dirty coffee cups from the counter into a bus tray underneath the counter. REVEAL Louise and The lma sitting at the counter. Louise is looking at a map. Thelma is in a daze. The car is park ed outside , near the door. LOUISE (halfway to her self ) We have to think this through. We have to be smart. Now is not the time to panic. If we panic now, we're done for. Nobody saw it. No.body knows it was us. We'r e still okay. Now all we have to do is -just f igure out our next move . THELMA { sarcastically) Our next move ? I'll say one thing, Louise. This is some vacation. I sure am having a good time . This is re ally fun . (CONTINUED) 32 2 5. 32 32 CONTINUED: LOUISE (sharply) If you wer en't so conce rned with having a good time, we wouldn't be he re right now. THELMA Just what is that supposed to mean? LOUISE It me ans shut up, The lma. THELMA So this is my fault, is it. Louise looks at Thelma for a long time . Just shut up. LOUISE The waitr ess comes and fills their coffee cups. 33 EXT . IDLE HOUR PARKING LOT - 4: 00 A. M. 33 Police cars ar e par ked ar ound. The activity has died down. Door s on the cor oner's van SLAM shut. In the back of a police car sits the Waitr ess with the door open. A DETECTIVE in a suit le ans over the car door with his note pad. HAL Could you identify ' em if ya saw ' em again? LENA (WAITRESS ) Hal, I ' ve told you about twenty times, yes, I could identify 'em, but neither one of them was t he type to pull something like this. HAL We ll, you'r e not exactly an expe r t witness, but what makes you so sur e? LENA If waitin ' tables in a bar don ' t make you an exper t on human natur e , then nothin ' will, and I could' ve told you that Har lan Puckett would end up buyin 1 · it in a par kin' lot. I'm just surpr ised it didn't happen be for e now. ( CONTINUED } 26 . 33 CONTINUED: 33 HAL Who do you think did it? LENA Bas anybody asked his wife? the one I hope did it. She ' s HAL Lena, just cut the bullshit, will ya? Do ya have any ideas or don't ya? I been standin ' in this stupid parkin' lot all goddamn night, and I still got to go fil e a report before I can go home in time to get back up again! LENA Well, if I had to gues s , I'd say it was either some ol' gal, or some ol' gal' s husband. But it wasn't either one of those two. The tall one, the redhead, she left a huge tip. HAL You didn' t happen to notice what kind of car they were dr iving? LENA It ' s _a nightclub, not a drive-in, Bal. I don't follow the customers to the parking lot. HAL Alr ight, Lena. Go on home. We might h ave to call you i n for some mor e qu estioning. Lena gets out of the back of the car . LENA Those girls are not the murder ous type. 34 I NT. TRUCK STOP - NIGHT 34 THELMA I have to go to the bathroom. Thelma stands up to go to the bathroom. She grabs her purse fr om the counter , and the strap catches on her coffee cup and it falls to the floor wi th a C RASH. All heads turn and look at her . (CONTINUED) 27. 34 CONTINUED: 34 I • • • Sorry. 35 THELMA (cont'd) INT. PAY PHONE - NIGHT 35 Outside the bathroom there is a pay phone. pick s it up and dials. Thelma THELMA (into phone) Collect from Thelma. There is no answer. 36 INT. THELMA'S HOUSE - NIGHT 36 Phone RI NGS. VARI OUS SHOTS of the interior of the empty Dick inson hous e: 37 THE BEDROOM 37 exactly as Thelma left it. stand still open. 38 The drawer of the night­ THE NOTE TO DARRYL 38 taped to the refrigerator. The interior of the micro­ wave with a now completely thawed microwave dinner still in the pack age in a little puddle. 39 INT. TRUCK STOP - NIGHT Thank s . 39 THELMA I 'll try later. She hangs up and goes into the bathroom. As the door closes b ehind her, Louise comes up with a handful of change and s tarts putting it into the phone. She dials a number. I t RI NGS f or a long time. She hangs up and goes into the bathroom. She look s at herself in the mirr or. She notices a tiny s peck on her cheek . She takes a paper towel and wets it and rubs the spot. She looks at the towel and there is a bright red s treak. LOUISE (urgently) Come on, Thelma! (CONTINUED) 28. 39 40 CONTINUED : 39 The door of the stall flies open and Thelma comes charging out and heads straight for the door, without even looking at Louise. Louise charges out after her. They head out of the restaurant and, THROUGH THE WINDOW, we see them get into the car and drive away . 40 EXT. CAR - DRIVING SHOT - DAWN The - T-Bird barrels down a fairly empty four-lane highway. A truck passes going the other way. 41 INT. CAR - DAWN 41 The top is down on the car, and Thelma is slouched on the seat, her hair blowing wildly. Louise is wearing a scarf and the hair that shows barely moves . LOUISE (thinking out loud, mechanical) We're gonna go to the next town and stop. We'll get a motel room. I can rest for a while and then figure out how to get some money. We're gonna need money . Thelma. How much money do you have with you? What? look . . THELMA Oh, I don't know . Let me Thelma is rummaging through her purse. She finds her wallet and t ak e s it out . Thelma finds some bills stuffed in the change compartment and takes them out. She straightens the money out . THELMA (cont'd) Sixty-four dollars. As she is counting it, one of the bills flies out of her hands . Thelma's not that good at handling money. Umm. Shit. THELMA (cont'd) Forty-four dollars. Louise has not noticed any of this. on her d riving. I ' m cash poor. cards. She is so intent THELMA (con t'd ) I ' ve got credit (CONTINUED) 29 . 41 CONTINUED: 41 Hmmm . 42 LOUISE We gotta ge t some mo ney. EXT. MOTEL - EST ABLISHING SHOT - DAY 42 The motel is ne ar f arms and agricultural are as wi th crops. 43 INT. MOTEL ROOM - DAY (6 A. M. ) 43 The curtains are open and we can se e the car parked right outside the room. Thelma is lying on the bed staring up at the ce iling. Louise is bustling aro und the room, putting things in drawers. THELMA Why are yo u unpack ing? You said we were just gonna take a nap. Louise did no t realize she was doing it. LOUISE (frustrated) Oh, I do n't know. I'm j ust a ne atnik. I'm just nervo us . I gotta f igure o ut what to do . THELMA Well, when yo u f igure it o ut, wake me up. Lo uise slams the closet door. Thelma jumps. LOUISE Just what the hell is wro ng with you? THELMA What do you mean? LOOISE Why are you actin' like this? THELMA Actin' like what? l How am I supposed to act? 'Scuse me for not knowing what to do af ter you blo w some body's head o f f l They are silent f o r a moment. (CONTINUED) 30. 43 CONT INUED : 43 LOUISE You could help me try and figure it out ! I gotta figure out what to do, and you could ,lly and he lp me. THELMA Louise , I'm all police out of , frankly, I suggested we go to the ideas. LOU ISE Well , what's the big rush , Thelma? If we just give ' em some tim e , they'l l come to us! • • • Oh Christ. Listen, I • • • I just don ' t know what to do. Why don'.t you go out to the pool or something and I' l l figure i t out••• I'm just not ready to go to jai l yet. THELMA Give me the keys. LOUISE You ' re not touchi n' that car. THELMA My stuff's in the trunk! God ! You care more about that car than you do about most people. LOUISE Most peop l e just cause me trouble , but that car a lways gets me out of it. 44 45 46 EXT . GAS STATION - DAY Hal at gas station talki ng to the same Attendant that filled up Louise ' s car the day before. INT. POLICE GARAGE - DAY Hal is at the police station where they ' re dusting the car with Harlan all over it for prints . EXT . MOTEL - DAY Thelma comes out of the room and walks towards the pool. TIGHT SHOT of The lma' s eyes. (CONTINUED) 44 45 46 31. 46 CONTINUED: 46 She s tops, the n decides to go on to the poo l. down in a lounge chair facing the road. 47 She lie s INT. MOTEL ROOM - DAY 47 Louis e in the mote l room. She' s looking at the phone . She picks it up and dials it and watche s hers elf in the mirror. She stare s as if she 's trying to see into her­ self , s ee through hers e lf . 48 EXT. MOTEL POOL - DAY 48 Thelma arranges hers elf in a lounge chair, trying desperate ly to f eel like she's on vacation. 49 49 INT. MOTEL ROOM - DAY ANSWERING MACHINE (V. O. ) Hi. This is Jimmy. I 'm not here right now••• A VOICE interrupts the mes s age : JIMMY (V. O. ) He llo! I' m here. Hang on a minute! The machine s wi tches OFF. 50 INT. JIMMY ' S APARTMENT - DAY 50 JIMMY, mid-J 0 ' s, mus ician, is s tanding in the kitchen on the phone. He ' s not the type you'd expect Louis e to like, not quite s traight-looking e nough. L OUI SE (V. O. ) (on phone ) Jimmy • • • 51 INT. MOTEL ROOM - DAY Sl Louise is looking at herself on the phone in the mirror. She is very choked up. JIMMY (V. O. ) (on phone ) Louise ! Whe re are you? Are you alright ? Honey • •• (CONTINUED) 3 2. 51 CONTINUED : 51 t,'OUISE ( re gaining composure) Hi; I'm okay. How are you? time no see . tong JIMMY ( V . O . ) ( conce rned) Louise, honey • • • Where are you? You sound funny . Louise is still looking at herse lf in the mirror, as i f she 1 s neve r seen herse lf be for e. I am funny. LOUISE I 1 m real funny. JIMMY (V. O. ) Are you in town? This sounds long distance • . LOUISE No, I'm out of town. I 1 m in • • • I'm in re al deep shit, Jimmy . De e p shit Arkansas. JIMMY (V .O . } ( now very concerned) Louise, just tell me what the hell is going on here! I come back, nobody knows where you are. Is Thelma wi'th you? Darryl's bee n callin' here e very half-hour sayin' he ' s gonna kill you both when you get back, he's goin' nuts. I don't envy her if she is. 52 EXT. MOTEL POOL - DAY 52 Thelma at pool basking in the sun. 53 INT. MOTEL ROOM - DAY JIMMY (V . O . ) (on phone) Where'd y'all go? r LOUISE Fishing. Look, Jimmy • • • I need you to he lp me. This i s serious. I 'm in trouble and I need y ou to about to cry ) he lp me.( she Canisyou do that? Jimmy ? 53 33. 54 I NT. JIMMY'S APARTMENT - DAY 54 Jimmy is shocke d by the gravity of her tone of voice • He r ealizes this is very se rious. . ( JIMMY Yes, ye s, darlin'. I can help you. Te ll me whe r e you are. 55 I NT. MOTEL ROOM - DAY 55 LOUISE Some thing re al bad has happe ned and I can't t ell you what, j ust that it ' s bad and I did it and I can't undo it. Can you hold on a minute? Louise cove rs the mouthpiece with her hand. tr ying ve ry hard not to cry. She is LOUISE (cont'd) I have a savings account with about sixty-se ve n hundred dollar s in it. Now I know you won't be able to get it out, but I ' m good for it. I nee d that mone y. Can you wire me sixty-se ven hundred dollar s and I'll pay you back? Please, I'm despe rate . 'JIMMY (V. O. ) (getting very upset) Of cour se. Of cour se ! Wher e? Can't I bring it to you? For God's sak e , baby, please, just tell me what's happened, what could possibly be so bad? Louise sits on the edge of the bed. her hand. Jimmy? She is looking at LOUISE She takes the r ing that she wears on her left hand and turns it around backwards to make it look like a wed­ ding band. LOUISE (cont ' d) Do you love me? Chr ist, yes t JIMMY (V. O. ) (CON'l'INUEO) 34 . r 55 55 CONTINUED: LOUISE Bow come you never married me? JIMMY (V. O. ) (desperate, almost hysteri cal) Louise! I. . . I. • . I don't know ! Wha t • • • wher e • • • LOUISE Wir e it to the Western Union in Okla homa City. 56 INT. JIMMY'S APARTMENT - DAY 56 JIMMY You're in Oklahoma! ? LOUISE (V. o. ) ( on phone ) Not y et . JIMMY ( thinking fast) . Louise, let me call you back aft er I wire it , so you'll know which office to go to. LOUISE (V. O. ) ( on phone) . Can ' t it go to any office? JIMMY No, for t hat much money I have t o t e ll t he m exac t ly which off ice. I know, I've had' t o have money wired t o me on t he road. And ther e has t o b e a code word or t he y won't give it to you. I'll have to tell you t he code. 57 INT. MOTEL ROOM - DAY Tell me now. r Call me back. Okay. hour. 57 ·LOUISE JIMMY (V. O. ) LOUISE I'll call you back. Don't tell Darryl. In an (CONTINUED ) 35. 57 CONTINUED: 57 JIMMY (V. O. ) I know. Call me back. Loui se, I love y ou, okay? Okay. 58 LOUISE EXT. MOTEL POOL - DAY 58 Thelma by th.e pool. He r mouth i s ope n. A car SCREECHES, a l oud hor n HONKS. She's asle ep. LOUISE (be llowing) Come on, Thelma! Get i n the car ! Thelma bolts upr i ght and gr abs her sundr ess and dashes to the car . She jumps in over the door . She's in a mi ld stat e of shock. THELMA Did you fi ni sh thi nki ng? LOUISE I thi nk better when I dr i ve . Loui se PEELS OUT of the par ki ng lot. 59 INT. POLICE STATION - DAY 59 Hal i s i n the offi ce talki ng to h is super i or . He stands - i n fr ont of the desk wi th h is h ands i n h i s pockets while his MAJOR si ts beh i nd the desk looki ng troubled. HAL All we know is the re wer e two women in a gr een T-Bi rd conver tible that tur ned left out of the par ki ng lot, going r eal fas t. We'r e tr ying to get a make on the car , but nothin' yet. S o f ar , we got nothin'. MAJOR r Well, you ' d best get someth ing. Eve n i f the y didn ' t do it, it times out that the y most lik e ly witne ssed i t. I want somebody to at least talk to 'em. Put out an APB wi th a descr ipti on and see what comes back. (CONTINUED) 36. 59 CONTINUED: 59 Alright. HAL MAJOR Somebody 's but t is gonna barbecue. 60 EXT. CAR - FARMLAND - DRIVING SHOT - DAY 60 61 INT. CAR - DAY 61 THELMA Don' t get mad, Louise, but where are we going? LOUISE Oklahoma City. Jimmy's gonna wire me some money, and then• • • THELMA You talked to him? ! Is he mad? Did you t ell him? LOUISE No, I didn' t tell him. And t hat's something we gotta get straight. Darryl was callin', mad as a hornet, makin ' all kinds of noise . When. you talk to him, you cannot say anything about this. You gotta make everything sound normal. THELMA I called the asshole at 4 : 0 0 in the morning and he wasn't e ven home. I don't know what he's got to be mad about. I 'm the one who should be mad. LOUISE I've been tellin' you that f or the las t ten years. THELMA Do you think Darryl's having an aff air? LOUISE I don't think Darryl is mature enough to conduct an aff air . THELMA But you t hink he fools around. (CONTINUED) 37 . 61 6l CONTINUED: LOUI SE ( quie tly, to Thelma) Thelma, I'm going to Mexico. I think I can mak e it in two and a half days, but I'm going to have to haul ass. Are you up to this? I mean, I have to k now. This isn't a game. I'm in deep shit. I gotta know what you' re gonna do. THELMA (stunned) I . . . I don ' t know. I don' t k now what you're askin' me. LOUISE ( serious) Don't you fall apart on me. Goddamnit, Thelma. Every time we get in trouble, you go blank or · plead insanity or some such shit, and this time•• • Not this time. Everything's changed now • • • Now you can do whatever you want. You can catch a bus, whatever, but I'm going to Mex ico. I'm going. Are you coming with me? Thelma is staring down the road. Then: She does not •nswer. THELMA I think he does. Fool around. DRIVING SHOT - DAY 62 EXT. CAR - FARMLAND 63 INT. POLICE STATION - DAY 62 63 TIGHT SHOT of an "ident-a-kit" likeness of Louise. On a table nearby lies a drawing strongly resembling Thelma. Lena, the waitress, sits next to the plain­ clothes cop who holds the ident-a-kit. Bal picks up the drawing and studies it closely. 64 INT. FBI OFFICE - DAY 64 TIGHT SHOT of a "fax" machine with the ident-a-kit drawing of Louise coming out. A MAN tak e s it cut, looks at it and walks across the room full. of desks and typewriters, computer terminals, etc. (CONTINOED) 38 . 64 CONTI NUED: 64 on the wall is the symbol of the FBI and " Federal Bureau of I nvestigation" is spelled out underneath it. The Man walks into an office and hands several sheets of " fax" paper, including police sketches of Thelma and Louise, to a MAN sitting be hind a des k. The Man looks que stioningly at the Man who brought him the papers. MAX I know. The y're just wanted for questioning for now. 65 EXT. SMALL COUNTRY TOWN - DAY 65 The T-Bird rolls into town. 66 EXT . /INT . COUNTRY STORE - DAY 66 Louise and Thelma pull up in front of an old store, the kind with a woode n front porch, the kind that sells bait and flanne l shirts. They e nter the store and se e an OLD MAN behind the counter. LOUISE Do you have a pay phone? OLD MAN 'Round the side, by the restrooms. Louise gets change while The lma strolls around lpoking at rubber worms and pickled pigs' fee t. Louise goe s out to the phone. 67 EXT. PAY PHONE - DAY 67 Louise dropping change into the phone. Jimmy answers. 68 INT . JIMMY ' S APARTMENT - DAY Louise! 69 I t RI NGS and 68 JIMMY EXT. P AY PHONE - DAY 69 LOUI SE I s that how you answer the phone? ( CONTI NUED) 39 . 69 69 CONTINUED: JIMMY (V. O. ) (on phone) I got it. I was afraid I ' d missed y ou. I almost couldn't get a check cashed. It's Saturday . Who did it? LOUISE JIMMY (V. O. ) (on phone) Friend of mine, owns a club. Dickie Rand all . You' d know him if you saw him. His brother was in y our class. Terry. LOUISE You didn ' t say what it was for, did you? JIMMY (V. O. ) (on phone) No, honey. I told him I was buyin' a car. (serious) What is it for? LOUISE (not responding to the question) Good . That was good. Where do I go? JIMMY (V. O. ) (on phone) It ' s a pl ace called Shaw ' s Siesta Motel . The address is 1 9 21 North East 2 3 . It ' s under y our name. (NOTE: Actual motel name will be determined by which l ocation we shoot. ) LOUISE And what ' s the mysterious code word? JIMMY (V. O. ) (on pfione) Peaches. LOUISE What? JIMMY (V. O. ) (on phone) That's the code word. I mi ss you, peaches. Louise rolls her eyes and tries not t o melt. (CONTINUED) 40 . 69 CONTI NUED: (2 } 69 LOUISE Thanks . Okay, Jimmy. She put s her finger down on the receiver. 70 INT. JIMMY ' S APARTMENT - DAY 70 Jimmy is still holding the phone to his ear. Louis e? 71 JIMMY INT. COUNTRY STORE - DAY 71 Thelma in s tore buying gum, beef jerky. Next to the cash regist er on the count er on dis play are thos e little tiny bot t les of liquor. Thelma picks up a little bott le of Wild Turkey and puts it on t he count er. The Old Man rings it up. She t akes anot her one and put s it on the counter. The Old Man is s t ill ringing s tuff up. She takes t wo more and puts them on the count er. She takes t he res t of the little bot t les of Wild Turkey out of the display a nd puts them on the counter. She takes one lit tle bott le of Cuervo and puts it on the counter and put s that down, t oo. The Old Man finally looks at her. From t he wall behind him, he t akes a pint of Wild Turkey down. OLD MAN are you s ure you wouldn't Ma'am, rather have t he large economy s iz e? 72 EXT. PAY PHONE - DAY Louise is hangi ng up the phone. the front of the s tore. 73 72 She walks away towards EXT. COUNTRY. STORE - DAY 73 Thelma comes out of t he front of t he s t ore. The s t ore is at a cross roads wit h a fair amount of vehicular traffic. LOUISE G o call Darry l. Thelma is walking towards the car. She put s her purse in the front s eat. S he looks at Louise. ( CONTINUED} 41. 73 73 CONTINUED: Call him? THELMA LOUI SE Call hi m. Don't t ell h im anything. Tell him you're havi ng a wonde rful time and you'll be h ome . tomorrow night. Wi.1 1 I be? I don't know. THEL MA LOUI SE I won ' t be. Thelma and Louise look at each othe r while this s inks in. 74 THELMA 74 walks around to the side of the building to the phone . She picks it up and dials . THELMA Collect from Thelma. 75 EXT. STOREFRONT - DAY 75 Louis e goes into the store for a chocolate Yoohoo. 76 EXT. PAY PHONE - DAY Honey? 77 76 THELMA (uns teadily) INT. THELMA ' S HOUSE - DAY Darryl in the den of their hous e. The- room is a mes s . There are beer cans everywhere. The large s creen TV is ON, s howing a FOOTBALL GAME. D arry l is in a recliner. He is wearing loud s horts , a v-necked T-s hirt, and a couple of neck laces and bracel ets. DARRYL (yelling) Goddamnit, Thelma, where in . the Sam Hell are you l ? 77 42. 78 EXT. PAY PHONE - CAY 78 THELMA { s hak ily) I'm••. I 'm wi th Louis e• . We 're i n the mountains , we• re••• 79 INT. THELMA ' S HOUSE - DAY 79 DARRYL (interrupting) What in the hell do you think you' re doing? Have you los t y our goddamn mind! ? Is that it? I leave f or work and you take complete leave of your s e ns es ? 80 EXT. PAY PHONE - DAY 80 THELMA Darryl• • • baby • •• Darryl, calm down now, honey. Please don' t get s o mad. I can explain• •• 81 INT. THELMA'S HOUSE - DAY 81 Darry l is mad, but he's still watching the game. Hold on. damnit. DARRYL Hold on a minute , He covers the mouthpiece and watches a play where " his team" fumbles the ball. Thi s only make s him madde r. He pu ts the phone back to his ear in time to hear Thelma s ay : THELMA ( V. O. ) • •• only for one day and. we'll be back tomorrow night. DARRYL No you won't. You'll be back today. Nowt You get your ass back here, Thelma, now, Goddamni t. Theima, do you understand me? 82 EXT. PAY PHONE - DAY Thelma is trying not to cry. strong. 82 She's trying to be ( CONTINUED ) 43 . 82 CONTINUED: 82 THELMA You're my husband, not my father, Da rryl. ( pl eading) Da r ryl, pl ease • • • 83 INT. THELMA'S HOUSE - DAY 83 DARRYL ( interrupti ng) Tha t doe s itl That Louise is nothin' but a bad inf lue nce . If you're not back he re tonight, Goddamnit, Thelma • • • we ll, I just don't wanna say • •• Nei ther one of them say a nything for a mome nt. Thelma? 84 DARRYL ( cont'd) EXT. PAY" PHONE - DAY Darryl. What? 84 THELMA DARRYL ( V . O . ) THELMA ( de spondent) Go fuck yourse lf. She hangs up on him. 85 EXT. COUNTRY STORE - DAY 85 Thelma ha s tears running down her face a nd she is watching the ground as she storms back to the car . So she makes a loud grunt a s she slams into someone that she did not see . Both people are k nocked back a few s teps f r om the f orce pf the coll ision. Whoa ! HITCHHIKER (e xtreme ly polite ) Excuse me! Miss, are you alright? Thelma shak e s her bead "yes, " bu t te ars conti nue. crying is silent. Ber ( CONTINUED ) 44 . 85 CONTINUED: 85 HITCHHIKER (cont'd) (ve r y concer ned) Is ther e anything I can do? Thelma s hak e s her he ad " no. " She tr ie s to control her tear s. She notices how blue hi s eye s ar e. No. 86 Thanks. THELMA Sorry . THELMA 86 collects her self as she walks back to the car . She gets in and is dr ying her eyes, looking in the side mir r or . I n the mir r or she see s the Hitchhi k er come back arou nd fr om the side of the bui ldi ng. Be is seve r al f eet behind the car , and she watche s him as he r emove s his long-slee ved shir t and stuffs it into hi s duff le bag. Now he is j u st in T-shirt and je ans. He l ook s gqod. Re all y good. She watc he s in the mi r r or as he picks up his stuff and he ads towards the r oad. She can see him as he ' s walk ing. He stops. He ' s thi nk i ng. He he ads over to the car . HITCHHIKER Wou ld you mind me asking which dir ection you and your fr iend ar e going? I'm tr ying to get back to school and my r ide fell thr ou gh, so I'm kind 0£ stuck. Ar e you going my· way? Thelma doe sn't k now what to do. THELMA Umm . I think we'r e going to Oklahoma City. But I'm not sur e . HITCHHIKER Do you think you· cou ld•• • I mean, I could help pay for gas. Thelma knows Lou i se isn't going to l ik e this. THELMA (r etice nt) Ummm. Well, s e e, it's not r eally u p t o me. It's not my c ar . umm, we'll have to ask my fr iend, but she'll pr obably say no. She's a li ttle u pti ght. (CONTINUED) - 45 . 86 CONTINUED: 86 HITCHHIKER Well. Maybe we better not ask her . Bu t thank you anyway. Now she wants hi m to come. the car. He starts to walk away from THELMA We ll, we can ask her. hurt. That won't Just then Louise comes out of the store . S he sees Thelma talki ng to this guy and, for one moment, stops dead in her tr acks as she takes this i n, the n continues toward the car . Although her face is basically expr es­ sionless, we se e that it ' s possi ble she mi ght ki ll Thelma. THELMA ( cont ' d) Louise , this young man is on his way back to school and nee ds a ride , and I thought si nce• • • LOUISE (i nterr upting) I t ' s probably not a good idea . Louise. THELMA ( plai nt i vely) The Hitchhi ker just nods and star ts walking towar ds the road. HITCHHIKER Y'all have a ni ce day. Dri ve safe. The guy does see m r eally nice and Thelma i s r e all y frustrated that Louise wouldn't gi ve hi m a ri de, but decides not to confr ont her. THELMA See how poli te he is? was reall y nice. He Louise lower s the top and backs the car ou t. watch hi m wal k away. They Louise pulls out of the parki ng l ot onto the road . They pass the Hi tchhike r . Thelma waves. HITCHHIKER (to Thelma) You cheer up nowt · ( CONTI NUED) 46. 86 CONTINUED: (2) 86 She turns around in the s e at t o cont inue waving. He smiles and waves. They d rive down t he road. TIGHT SHOT of t he Hit chhiker as t he smile fades from his face • . CUT TO : 87, INT. CAR - DRIVING - DAY 87 Thelma looking sulky. THELMA I wis h we could've brought him wit h us . LOUISE What did Darryl s ay? THELMA (s arcas tically) He s aid "Okay, Thelma. I just want ed t o know you were alright . I hope you're ha-v in' a good time. You s ure de serv e one aft e r puttin' up wi t h me all the time . I love you, honey. " Louise does n't say anyt hing. THELMA ( cont 'd) How long before we'r e in Goddamn Mexico? 88 INT. POLICE STATION - DAY 88 Hal goi ng over a list of every regist e red gree n T- Birds in t he - s tate. 89 INT. CAR - DAY 89 It 's twe nty minut e s lat e r. They are clear of the town. Thelma is like a dog with a bone. She jus t won't let it drop. THELMA ( mopily) I jus t don't s e e what it would hurt jus t to gi ve some body a ride. Did yo u s ee his butt? Darryl does n't have a cute butt. You could park a car in the s hadow of his as s . (CONTINUED) 47 . 89 CONTINUED: 89 LOUISE I' m sorry. I' m just not in the mood for company right now. Here. Tak e this map. I need you to find all the secondary roads to Mexi co from Ok lahoma City. I think we should stay off the i n terstates. We' re too conspicuous . THELMA (taking map) Well, it looks lik e we c an get on this road 8 1 that heads down towards Dallas, then cut over to••• LOUISE (interrupting) I don' t want to go that way. Find a way that we don' t have to go through Texas. THELMA (look ing at map) Wait. What? Y ou want to go to Mex ico from Oklahoma and you don' t want to go through Texas? LOUISE (determi ned) It' s crazy, I k now, but I •. . you k now how I feel about • •• Just find another • • • We' r e not going that way. THELMA (getting upset) I k now, Louise, but we' re running for our livest Don' t you think you could mak e an excepti on j ust this once! ? I mean, look at the map. The only thing betwe e n Ok lahoma and Mexico is Texas! LOUISE (ge tting flustered) Please, Thelma, I k now it sounds stupid, b ut I j ust don ' t want to get caught the r e . If something happens and we get caught, I j ust don't want it to be there. You understand? (CONTINUED) 48 . 89 CONTINUED: (2) 89 THELMA No , Louise . How come you never said what happened? LOUISE ( adamant ly) Thelma! I'm not gonna t alk abo ut t hi s ! Now find anot her way or give me t h e goddamn map and I will! Louise is complet ely unre aso nable on this subj ect and Thelma is tot al ly puzzled by Louise' s re act ion but i s reluct ant t o press her furt he r. LOUISE (cont'd) . (visibly shaken) I••• I just••• I just don't t hink it 's t he place I wanna get caught for doin ' something like • • • if you . blow a guy' s he ad off wit h his pants down, believe me, Te xas is t he last place you wanna get caug ht ! Trust me ! Now, I said, I don't wanna t al k abo ut it! ! Lo uise loo ks very shaken up. She keeps her eyes on t he road but she's holding t he steer ing wheel so t ight ly, her knuckles are whit e. She does not look at Thelma. Suddenly she reaches over and locks her door . Thelma flinches· impercept ibly at t his gest ur e. THELMA (quietly) Ok ay. We'll go around Texas to get to Mexico. This is cr azy. 90 EXT. ROAD - FARMLAND - DAY Two Harley-Davidson bikes tool past , dr iven by a couple of ex-hippies from t he 6 0 1 s. The Hit chhiker is o n the back of one , and he waves to t hem as t he y go by. Thelma waves back enthusi astically . THELMA ( cont 'd) I ' ll tell you what . Se is gooood loo.kin'. Louise pops a TAPE into the dashboar d and t he piano part begins of Marvin Gaye's version of "Can I Get a Wit ness. " 90 49 . 91 EXT. LOUISE 'S APARTMENT COMPLEX - DAY 91 Hal walks up· the s idewalk to the door of an apartment complex and knocks . 92 INT. LOUISE'S APARTMENT - DAY 92 VARIOUS SHOTS of Lo uis e's empty apartment. There are picture s of Lou is e and Thelma in high school. The kitchen is spotless and nothing is out o n the counters . 93 93 HER. BED is unwrinkled, perfect, and next to it o n her night­ stand is a picture o f Jimmy and her in a small heart s haped frame. Everything is extre mely neat and orderly. 94 INT. CAR - DAY 94 Thelma and Louise are singing along with the background vocals of the Marvin Gaye song, both pointing at the radio in a very righteous way . THELMA/LOUISE (pointing) Yeah, y e ah, ye ah, yeah, yeah, yeah! 95 EXT. CROSSROADS - DAY 95 Hitchhiker standing on the s ide of the road . Thelma looks at Louis e pleadingl y. Louis e ' s car pulls over and he hops in the back seat. An animated Thelma turns around backwards in the frpnt seat to face him. 96 EXT. /INT. COFFEE SHOP - DAY 96 Hal walks into the coffee s ho p where Louis e wor ks . VARIOUS SHOTS o f him talking to other empl oyees . Alber t, waitresses, etc. Some cover their mouths as they r ecognize police sketches of Louis e and Thelma. The Day Manager comes ove r , loo ks at pictures and talks to Hal. 97 INT. CAR 97 Thelma pas s ing o ut bee f j er ky and Wild Turkey to Hitchhiker and Louise. so . 98 EXT. THELMA'S HOUSE - DAY 98 Hal's unmar ke d detective car pulls up in fr ont of Thelma's house . A Corvette , complete ly customized with everything, sits in the drive way . 99 INT. CAR 99 Hit chhike r le ans ove r resting his chin on the back of t he front se at. THELMA So, J . D. , what are you study ing i n school? J. D. Human natur e. I'm majoring in behavioral sc i ence . LOUISE ( cynically) And whaddya wanna be whe n ya gr ow up? J. D. A waiter. Louise laughs. 100 He has charmed he r too. EXT. THELMA'S HOUSE - DAY 100 Hal is walk ing up the sidewalk as the front door flies i open to reveal a drunk Dar ryl in Hawai. an shorts, neck ­ laces and a beer can in his. hand. 101 INT. THELMA'S HOUSE - DAY 101 Hal and Dar r yl in den. The TV DRONES in t he b. g. Pi ctures and papers ar e on the table. TIGHT SHOT of Dar ryl's face. DARRYL What! ? CUT TO: EXTREME CLOSEUP of Dar ryl's face. What! ? ! 102 DARRYL EXT. RURAL HIGHWAY - DAY 102 J. D. (to Thelma) So how come you don't have any k ids? (CONTINUED) Sl. 102 102 CONTINUED: THELMA Darryl, that's my hus band, he says he's not ready. He's still t oo much of a kid hims elf. He prides himself on being infantile. LOUISE He's got a l ot to be proud of. THELMA Louis e and Darr yl don't get along. LOUISE That's puttin' it mild ly. THELMA She thinks he's a pig. LOUISE He's a real piece o' work . you could meet him. I wis h J. O. Did you get married real young? THELMA Twenty-four is n't young. I'd already been goin' out with him ten years when we got married. I've never been with anybod y but Darryl. J. D. Well, if you don' mind my sayin' s o, he sounds like a real ass hole. THELMA It's okay. He is an as s hole. Most of the time I jus t let it s lide. J. O. is looking down the road, way off in the dis tance. J. D. Setter slow down. That's a cop. Louis e looks down the road and sees a highway patrol car coming down the road towards the m. She does not look alarmed but veers of f the road into a " res t area" drive that has trees and shrubs that obscure the view from th e road. She glides along as the cop car pas ses on the other side without s e eing them. ( CONTINUED) 52 . 102 CONTINUED: ( 2) 102 Louise glides right back onto the r oad as if nothing unusual has happened at all. They realize they have not been spotted. J. D. and Louise look at each other. J. D. May be you got a few too many parking tickets . LOUISE We'll take you on to Oklahoma City, then you ' d bes t b e on your way . 103 INT. THELMA'S HOUSE - DAY 103 Hal is on the phone to the FBI man. Dar ryl is s itting on a chair looking dazed. Other law enforcement types roam around the hous e. HAL The prints on the tr unk of the car match thos e of Thelma Dickins on. 104 INT. FBI OFFICE - DAY 104 MAX STRATTON, an FBI -MAN in his ear ly for ties, is looking at the ident- a-kit drawings of Louise and Thelma. MAX Well I'll be damned. s trange. 105 I s n't that INT. THELMA'S HOOSE - DAY 105 HAL And her hus band s ay s a gun is miss ing. She took a lot of s tuff. I t looks like s he maybe · planned on being gone awhile. The s tr ange thing is , her hus band s ai d s he would never touch that gun. He got it for her 'cause he's out late a lot, but he s aid s he'd never touch it, wouldn't learn to shoot it, jus t left it in a dr awer for year s . 106 INT. FBI OFFICE - DAY 10 6 MAX What kind of gun was it? A .3 8 . HAL ( V . O . ) 53 . 106 CONTINUED: 106 Right. 107 MAX Where are they? INT. THELMA'S HOUSE - DAY 107 We 1 re l ookin' . They were on their way to some guy's cabin and they never showed up. We're lookin ' . We hope you're l ookin' too. 108 EXT. FLATLANDS - ROAD - DRIVING SHOT FROM HELICOPTER - DUSK 108 The T-Bird barrels down the road at high speed. 109 EXT . SHAW.' S SIESTA MOTEL - DUSK 109 Louise, Thelma, and J. C. pull into the motel parking l ot. LOUISE I just gotta run in for a mi nute• Louise l ooks at J. D. in the back seat and takes the keys out of the ignition. LOUISE (cont'd) You two better go on and say your goodbyes. Louise gets out of the car and goes inside. 1 10 INT. MOTEL OFFICE - NIGHT 110 An older WOMAN behind the counter is looking at a computer screen. LOUISE (upset) Louise Elizabeth Sawyer. sure? Nothin ' . all. Are you WOMAN Nothin' came in today at Louise turns and sees Thelma crawl o ver into the back seat with J. D. (CONTINUED) 54 . 110 CONTINOED: ll0 LOUISE Not hing under peaches? again under peaches. Check WOMAN Naw, not hin' under peaches n eit her. A MAN comes up · behind Louise and st ands close behin d her . MAN (JIMMY) Did you say Peaches ! ? Why that 's the secret word! Show her what she's won, Don. He drops an envelope in front of her . st art led and t urns around quick ly. Louise is JIMMY (cont 'd) ( smiling) Hey, peaches. LOUISE (shocked) Oh my God! Jimmy! You • • • Oh my Godl What are you doin' here? JIMMY ( t o Woman) Can we get anot her room? it on my cr edit card. Just put The Woman hands t hem a k ey. WOMAN 'Round t o t he back . lll EXT. MOTEL PARKING LOT - NIGHT 111 Louise and Jimmy walk out side and catch Thelma sitt ing ver y close t o J. D. Thelma sees Jimmy and is so start led she screams and involunt ari ly slams herself across t he back seat t o t he ot her side of t he car . She t ries t o look nonchalant. THELMA Jimmy ! Hello, str anger . What in t he wor ld ar e you doin' her e? J IMMY ( smiling) Ask me no quest ions, I'll t ell you no lies. ( CONTINUED) 55 . 111 lll CONTINUED: Good answ er. me. THELMA Same goes double for JIMMY Who's your f riend? J. D. is climbing ou t of t he car, looking very uncomf ort able. THELMA This is J. D. He's a st udent . We ' re just givin' him a ride to • • • t o here. Louise said we could bring him here and t hen he'd have t o go. And t hat's what he's doin'. He' s goin'. Aren ' t y ou, J. D. ? J. O. Thanks for t he ride . Yup. all take care. You He quickly turns and walks away toward t he road. THELMA (wat ching him) Yup. That 's him goin'. w at ch him go. I l ove t o LOUISE (t o Jimmy) Thelma kinda took to him. Jimmy is s mil ing. JIMMY (t o Thel ma) Wel l , come on, gal ; I got y ou a room. You can go on in and t ake a nice cold shower. THELMA Don't mind me , Jimmy, I'm just a wi ld woman. JIMMY I al way s knew t hat . THELMA A regul ar out law. Louis e s hoot s Thel ma a look. The three of t hem drive around t o t he back of t he mot el . Thelma t urns and looks at t he road. J. O. is s t anding t here. He bl ows her a kiss. 56 . 112 EXT. MOTEL ROOM - NIGHT l l2 They s top in front of the motel rooms and the three of them climb out of the car. LOUISE Let me jus t go in and fres hen up for a minute. I need to was h my face, you know. Thelma is taking their luggage out of the trunk. JIMMY Okay, honey. I don ' t want to rus h you. I j us t wanna t alk to you and••• (whis pering) •• • be alone with you. I'll just be in my room, 115 , you jus t come on down when you're ready. Jimmy helps carry the luggage to Thelma's room. stops at the door . He JIMMY (cont'd) (s eductiv'ely) I'll be waiting. Louis e s miles at him quizzically as if s he can't believe he's acting this way. He turns on his heel and s links away. THELMA I don't care what you s ay about him. The boy has got i t bad. LOUISE He's always got it bad as long as I'm running in the other direction. Don't be f ooled, he's no dif f er ent than any other guy. He k nows how to chas e and that's it. Once he's caught you, he don't know what to do. S o he runs away. I heard that. 113 THELMA 113 INT. MOTEL ROOM - NIGHT They clos e the door to their room. envelope of money on the table. Louis e sets t he (CONTINUED) 5 7. 113 CONTINUED: 113 LOUISE (indicating envelope) Our future. Louise gets her pur se and star ts taking out her makeup. She stand s very close to the mirror. She is putting on lip liner. Thelma is watching. T HELMA So what are you gonna tell him? LOUISE Nothing. I'm not gonna tell him a thing. T he least I can do is not make him an accessor y any more than he already is. THELMA ( sarcastically) You are so sweet to that guy, you really are . Imagine not wanting to drag him into this. He is a lucky man. Louise is still putting on her makeup, making sure it ' s perfect. LOUI SE I didn't ask him to come t I t ' s like I said, Thelma, he j ust loves the chase. T HELMA Well boy, he's got his work cut out for him now, don ' t he? • LOUISE Put a lid on it, Thelma! I t's hard e nough as it is. Just let me get this part over with.. Now stay here and guard the money. I f there ' s any problem I 'm i n room 115 . THELMA I won ' t wait up. Louise turns · to face Thelma . How do I look? LOUISE THELMA You're a vision, Louise, a goddamn vision of love line ss, you al ways are. (CONTI NUED) 58. 113 CONTINUED: ( 2) 11 3 LOUISE Have another drink, Thelma. Louise walks out the door. Good idea. 114 THELMA EXT. MOTEL ROOM - NIGHT It's raining out. 114 Louise goes to Jimmy's room. Loui se knocks on the door to room 115. slightly and one red rose pops out. Hello . . . The door opens LOOISE JIMMY (in a falsetto voice) Who is it? It's me. LOUISE The fol lowing eleven roses are held out the door, then Louise is yanked inside and we hear her shriek with LAUGHTER. 115 INT. THELMA'S MOTEL ROOM - EVENI NG 115 Thelma has taken a shower and is dressed in cut offs and a t-shirt . Her hair is sti l l damp but she looks better than she did when she arrived. Thelma is fixing a drink of Wild Turkey and Die t 7-Up in one of the motel room glasses . There is a KNOCK on the door. She stops what she is doing and is completely sti ll. Louise? THELMA Another KNOCK . THELMA (cont ' d) Lou-ise, is that you? J. o. ( O. S. ) (through the door ) Thelma? It's me. Thelma opens the door and there s tands J. D. , soaking wet from the rain pouring down behind him. (CONTINUED) 5 9. 115 CONTINUED: 115 J.D. I just thought I • • • I know I'm supposed to be gone, but ••• He's kind of l ooking over towards the r oad. sl ightl y shy. He 's still J. D. (cont'd) I'm n·ot havin' much l uck get:in' a ride. He notice s looking past he r into the roc m that Louise isn 't the r e . Thelma just stands there looking a t him. J. D . ( cont'd) Well, I gue ss I'd better •• • THELMA Wait! • • • Um, where ya goin'? I don't know. you doin'? I don't know. shower. J. O. Nowhere . What are THELMA Nothin'. Took a J . D. That sounds ni ce . THELMA Well, you wanna use the shower? You can tell he does want to but doesn't want to say so. So ins tead he just kind of stands there with a reticent grin on his face. Oh. J.C. (hesitant). I • • • where ' s Louise? THELMA She's off with Jimmy, that ' s her boyf r iend. J. O. That's lonely for you, I guess. always think of motel rooms as lonely. I · Thelma pretends like she ' s had a lot of experience with this sort of thing. (CONTINUED) 60. 11 5 CONTINUED : 11 5 ( 2) THELMA ( let t ing him in t he door) Oh, yes, well, they can be. 11 6 INT. JIMMY'S ROOM - NIGHT 11 6 Jimmy is pouring champag ne int o Loui se ' s g lass. There are a dozen roses in a v ase on t he table. He pours f or himself as he sits as cl ose to Louise as possibl e. J IMMY Now, my little coc onut, what seems t o be the t rouble here? Tell Daddy everything. LOUISE ( cringing) Jimmy, my daddy's still ali ve and it kind of gives me the creeps when you do that• • • JIMMY Okay, okay, just tell me what's t he t rouble. Louise just looks at him for a minute. LOUISE Jimmy, I'm not gonna tell ya what t he t rouble is. I don't want ya to get mad and someday soon you'll . understand why I can't. But I can't and I won't so don't ask me. Jimmy is once again shocked by how serious she i s. JIMMY ( almost at a loss for words) Okay, peaches, okay. But can I ask you one thing ? Maybe. LOUISE JIMMl Does i t have something t o do with another guy? Kind of. LOUISE ( CONTINUED) 61 . 116 CONTINUED: 116 JIMMY Ar e you in love with him? LOUISE Jimmy, I swear to God, it ' s nothin' like that. JIMMY (explodi ng) The n what! ? What, goddamnit, Louiser-wheret'Fie fuck ar e you going? Are you ju st le aving for fu cking ever? What, did you fu ckin' murder some body or what! ? Louise spills her champagne. LOUISE Stop it! Stop it, Jimmy, or I'll le ave right now. I'm not kiddin' ! Now just ask me no questions and I 'll te ll you no liesl J!MMY (calming down) Alright, alright. I'm sor r y. They both take a second to regain the ir composure . JIMMY (cont'd) Can I ju st ask you one other thing? Maybe. LOUISE Jimmy pulls a little black box out of his pocke t. JIMMY Will you wear this? He hands Louise the box. She ope ns it and it is a diamond · ring. Louise is flabbergasted. JIMMY (cont 'd) Wi ll you at l e ast see how it fits? Oh my God l beau tiful ! be lieve ! LOUI SE Jimmy, oh my•• • it's Oh my gosh. I can't JIMMY You didn't see that one comi n', did ya? 62 . 117 INT. THELMA'S MOTEL ROOM - NIGHT 117 J. D. is out of t he shower standing in front of the mir r or wear ing only his je ans, the top button of which is s till undone and no shirt. He has in incredible phys i que. He also has a tattoo on his shoulde r of t he homemade variety. The lma has gone and bought cheese cr ackers and peanuts from a vending machine and is into he r s econd Wild Turkey and 7 -0p. She sit s on the bed, watching him in the mirror. He definite ly looks bette r with his shirt off. She sudde nly fee ls awkward and stands up. THELMA You wanna drink? 118 INT. JIMMY'S MOTEL ROOM - NIGHT Louise has the engagement ring on her finger. It's really beautiful. Louise is practically in tears, she's so happy. They are in bed, having just made love. JIMMY So will ya? It don't look like I'm gonna be rich but we can ge t along alright. I mean you've bee n tellin' me t hat for year·s , right? Louise gives him a playful slap. LOUISE Why now, Jimmy? JIMMY 'Cause I don't want to lose you, Louise , and for some reason I ge t the fee lin • you • re abo. u t to split. P ermanently. LOUISE Jimmy, I'd tell you if I could. Don't you think I want to? I want to. I want to marr y you, for God's sake . But you••• your timing j us t couldn't be wors e . JIMMY Why? Ar e you jus t doin' this to punis h me? LOUISE Believe me, the last thing I want is for you to get punis hed . 118 63 . 119 INT. THELMA'S MOTEL ROOM - N IGHT 1 19 Thel ma has poured a drink for J . D. who's sitting on the edge of the bed. She wal ks over and hands it to him. and as she does, he takes the drink with one hand and her hand with the other . He set s the drink down on the nightstand and hol ds her hand with both o f his. He closely studies her wedding ring . He suddenl y look s up at her and ga zes at her j ust as intently. He slowly shakes hi s head as he removes her ring as if to say, "This is not right for you . Thi s isn't going to work. " He looks at the ring as he moves it through space finally stopping when the ring is direct l y over his drink. He drops it in. He look s back at Thel ma and smiles as if to say, " There. Now don't you fee l better ? " He smartly kisses her hand. 120 INT. JIMMY'S ROOM - NIGHT 120 Louise and Jimmy are in bed singing soft l y a song cal l ed "Levey Dovey" to each other. Louise sings the harmony. 121 121 fNT. THELMA'S ROOM - NIGHT J.D. is standing on the dresser with a towel tied around his neck like a cape. J.C. Faster than a speeding red Impala, able to leap tall babes in a single bound• •• He leaps from the dresser and flies across the room landing on the bed, straddling Thelma. J.D. (cont'd ) (in his deep man's voice) Hi. Could I interest you in some Ful ler brushes? Thelma has not stopped laughing since he came in the room. He i s the greatest guy she's ever seen. He is snif fing her neck like a dog. THELMA (giggling) Stop, stop, stop l Thelma tries to catch her breath. Who are you ? THELMA (cont'd ) (CONT INUED) 64 . 121 CONTINUED: 121 J. D. attacks · her again. J. D. I am the great and powerful Oz • • • THELMA J. D. ! Just tell me. I know you're not some schoolboy. Now come · on, nobody ever tells me shit. J. D. I' m just a guy •. A guy whose parole officer is probably having a shit fit right about now. Thelma gasps. THELMA What! ? Parole officer? you're a criminal? You mean J. o. Well, not anymore, Thelma, except for bustin' parole, I haven't done one wrong thing. What'd ya do? THELMA J. D. (trying to sound remorseful) I ' m a robber. THELMA You're a bank robber? J. D. Nope, I ' ve never .robbed a bank. What? THELMA J . D. Well , I robbed a gas station once, and- I robbed a couple of l iquor stores, and some convenience stores. And that's it. How? THELMA (intrigued) ( CONTINUED) 65. l2l CONTI NUED: ( 2) l2l J. O. We ll, I was just down on my luck and it se emed like some thi n ' I was good at so r . . . THELMA ( i nte rrupting) No, I me an how would you do it? Do you j ust sneak i n re al fast or hide out ti ll the store closes or what? J. O. Naw, hon ey, that would be burglary. I never got arrested for burglary. Burglary's for chi cke n shits. If you ' re gonna rob someone , ya just have to go right on up to 'em and do it. Just take the money. That ' s robbery. That's a whole 'nothe r de al. Te ll me . THELMA . J. O. Well, fi rst y ou pi ck your place, se e, then I' d just si t back and watch i t for awhi le. Ya gotta wai t for just the right moment, whi ch i s some thi ng you know i nsti ncti ve ly, that can't be taught. Then I'd waltz on i n• • • J.D. jumps up and pi cks up a hai r dryer and holds i t like a gun. He starts acting i t out. J . D. ( cont'd) And I'd say, "Alright, ladi es and ge ntlemen, let's see who'll wi n the pri ze for keepi n' the i r cool. Simon says everybody li e down on the floor. If n obody loses the i r head, then n ob9dy loses their he ad. You, sir • •• You do the honors. Just empty that cash i nto thi s bag and you'll have an amazi ng story to tell all your fri ends. If n ot, you'll have a tag on your toe. You decide." Then I'd spli t. Simple. (C ONTINUED) 66 . 121 CONTINUED: (3 ) 121 THELMA My gosh, you sure were gentlemanly about it. J. D. I'v e always be lieved if done right, armed robbery doesn't have t o be a totally unple asant experie nce . God . THELMA You ' re a real live outlaw ! J . O. I may be the outlaw, but you' re the one stealin' my heart. THELMA And smooth, boy, you are _ smooth. They k iss passionately. THELMA (cont'd} You're k inda the be st thing that's happe ned to me in a long time . J. O. You're a little angel, you are . J. D. turns out the light. 122 INT . JIMMY ' S ROOM - NIGHT 122 Louise and Jimmy ar e wrapped in e ach other' s arms. through this, Jimmy is ardent. JIMMY And do you promise to love, honor and keep me even though I 'll · probably have no idea where you are or what you're doin'• • • Loui se gi ggle s. JIMMY (cont' d) •• • · until death do us part? I do. LOUI SE (MORE) (CONTINUED) 67 . 122 CONTINUED: 122 LOUISE (CONT'D) And do you, Jimmy, t ake me, Louise, to be your knuckleheaded wife to have and to hold for the rest of the night , through richness and poorness and breakfast at the coffee shop unti l your plane leaves or it gets light , whichever comes first? Jimmy is silent for a moment. I do, dar lin' • JIMMY They smile and then the smiles fade and they kiss passionately. 1 23 EXT. SIESTA MOTEL - DAWN 1 23 MONTAGE of early morning stuff, a truck driver climbing into his cab with a silver thermos, squirrels hopping around on the ground. 124 INT. SIESTA COFFEE SHOP - DAWN 124 TIGHT SHOT of coffee beginning to drip into an empty coffee pot. Louise and Jimmy are sitting in a booth , both on the same side. They are both playing with their wedding rings. JIMMY Don ' t worry, darlin'. I'll say I never found you. I'l l say anything you want. We' l l find a way to get you ou t of this, whatever it is. LOUISE Damn, Jimmy, did you take a pil l that makes you say all the right s tuff ? JI MMY I'm. swallowin' a bitter pil l, that's for sure. LOUISE I know. It's funny how you always want most what you'l l never have. Jimmy is very close to tears. A taxi pul ls up outside. (CONTINUED) 68. 124 CONTI NUED: 12 4 LOUISE Your taxi' s here. Jimmy pul l s he r to him and kisses he r so pa ss i ona tely that employees i n the coffe e s hop look away. A cook fa ns himself with a s patula. The taxi driver, who ca n see i n, looks at his wa tch. JIMMY Are you happy, Louise ? want you to be happy. I just Louis e looks a t her ha nd and Jimmy ' s ha nd. LOUISE I ' m happy, swe etie. Happy as I can be . Jimmy gets up and l ea ves the coffee shop. Louise watche s him go. A WAITRESS comes ove r and fil ls her coffee cup. WAITRESS Good thing he left whe n he did. We thought we were gonna have to put out a fire. The Waitre ss chuckl e s and the other waitresses do too. Louise wave s to Jimmy in the back of the cab. The cab driver winks a t her. She s mil e s to he rsel f. 125 125 INT. THELMA'S MOTEL ROOM - MORNING The room is totall y tras hed. J. O. and Thelma are both asleep, nak ed and hanging off either s ide of the bed. J. D. starts to stir • • • 126 126 INT. HAL ' S BEDROOM - MORNING Hal is in bed with is WIFE. He has to get up. holding his wife in hi s arms. Hone y? Yes, baby? He is HAL SARAH HAL Do you think you could ever shoot someone? (CONTINUED) 69 . 126 CONTINUED: 126 What? SARAH HAL Do you think you could ever thi nk of a set of circumstances that would just cause you to haul off and shoot someone? SARAH I could shoot your cousin Eddie. Why? HAL SARAH Because he's an inconsiderate asshole. HAL I'm asking you seriously, Sarah , a stranger? SARAH I don't know, honey. would depend. On what? I guess it HAL · SARAH (trying to picture it} Well, maybe i f they were trying to hurt you or one of the kid s. I'm sure I could shoot someone i f they tried to hurt one of the children. HAL Yeah, I could too. But• • • I don't know why I'm even asking you this. It' s just • •• we can't place anybody at the scene but these two gals that everybody swears is sweet as pie. SARAH we1;, somebody's husband probab ly got o l' Harlan. HAL That' s what everybody says. Only problem i s nobody's husband was unaccounted for that night• • • Could you shoot Eddie in the face? At point blahk range? 70. l26 CONTINUED: l26 (2} SARAH (think ing) In the l eg. HAL (getting up) I gotta go to Little Rock . 1 27 INT . COFFEE SHOP - MORNING 127 Louise is sitting i n the booth by herself. Thel ma comes hurrying by. She l ooks disheveled but is grinning l ike an idiot. She sees Louise and charges into the coffee shop. Her energy and volume is several notches higher than the rest of the people in the coffee shop. There are a couple more customers in there now. Thel ma sl ides into the booth seated di rectly across from Louise. Hi. THELMA (grinning) She is shock ed by Thel ma's appearance. LOUISE (sternly) What happened to your hair? THELMA (giddily) Nothing. It got messed up. Louise is studying Thelma closely as Thel ma squirms in her se at, barely abl e to . contain herself . LOUISE: What' s wrong with you? Nothing. Why? different? THELMA D o I seem LOUISE Yes, now that you mention it. Y ou seem crazy. Lik e you're on drugs. THELMA (barely c ontroll ing herself) Well, I'm not on drugs. B ut I might be crazy. ( CONTINUED ) 71 . 127 127 CONTINUED: LOUIS E (shaking her head ) I don't think I wanna hear what you're gonna tell me . Thelma is j ust about to shriek when the Waitress comes over and puts a cof fee cup on the table and pours some . Thelma gets a grip on herself for a moment then loses it as the Waitress goes away . THELMA . Oh my God, Loui se ! ! ! I can't beli eve it ! I j ust really can't beli eve it ! I mean• • • whoa ! Thelma is j ust laughing hysterically . understands . Oh, Thelma . Loui se suddenly LOUIS E Oh, no . THELMA I mean I finally understand what all the fuss is . about . Thi s is just a whole 'nether ball game! LOUIS E (embarrassed) Thelma, please get a hold o f yoursel f . You're making a spectacle . THELMA ( hurt and annoyed ) You know, Loui se , you ' re supposed to be my best friend. You could at least be a l i ttle bit happy for me . You could at least pretend to b e slightly happy that for once in my life I have a sexual exp erience that isn't complete ly disgusting . LOUISE I'm sorry . I am happy . I ' m very happy· for you . I'm glad you had a good time . It's about time . Wher e is he now? THELMA Taking a shower . LOUISE You left that guy alone in the room? ( CONTINUED ) 7 2. 127 CONT INUED: 1 27 (2) Louise is ge tting a bad feeling. She is alre ady standing up putting money on the table. LOUISE (cont'd) (trying not to sound alarmed} Where's the money, Thelma? Thelma has forgotte n all about the money. THELMA ummm . . • it's on the table. okay. It's They are both le aving the re staurant now. the door they both bre ak into a full run. As they hit T HELMA (cont'd) I don't reme mber. 128 EXT. MOTEL PARK ING LOT - DAY 128 They run across the park ing lot around the back to the room. The door is ajar and no one is in the room. Louise goe s in and Thelma stay s outside the door. T HELMA Goddamn it! I've never been lucky t Not one time! Louise come s back outside. She doesn't say anything. She is stoic, fighting tears. T HELMA (cont'd) Shit. That little sonofabitch burgled me. I don't believe it. Louise sits down on the sidewalk in front of the room. Thelma comes and sits beside her. · Neither one says anything f or a momen t. Louise starts to cry. Louise? THELMA (cont'd) Are you okay? Louise shake s he r he ad no. THELMA (cont'd) (completely rattled) Louise• • • I t's okay. Louise ? sorry. I mean it. I 'm Louise has see n the end of the tunne l and there is no light. (CONTI NUED) 73 . 128 CONTINUED: 12 8 LOUISE (crying) It's not ok ay, The lma. It's defi nite ly not okay. None of thi s is ok ay. I'm gonna have to sell my ring. THELMA No, you • . • r ing. What ring? Louise holds up her hand for Thelma to see. Oh my God! married! ? THELMA (cont'd) You mean you got LOUISE Just in the room, Thelma. It was purely symbolic, for whatever that's worth. Louise sits look ing at her ring., THELMA (adamantly) No you are not No you're not! ei ther. LOUISE (frustrated) Then what are we gonna do for money? What are we gonna buy gas with? Our good looks? I mean• • • Goddamn, Thelma! THELMA Don't you worry about it. I don ' t know. I'll take care of it. Just don't you worry about it. Get your stuff . Louise is still sitting on the sidewalk. THELMA (cont'd) Come on! Damnit, get your stuff and let's get out of herel Louise slowly gets to her feet. Move! THELMA (cont'd) (to herself ) Jesus Christ, tak e your damn time. ( CONTINUED) 74. 1 28 CONTINUED: (2 ) 1 28 Thelma is hauling stuff ou t to the car. 129 EXT. MOTEL PARKING LOT - MORNING 1 29 TIGHT SHOT of rear wheel of green T-Bird LAY ING RUBBER out of the motel parking lot. Thel ma and Lou ise, both looking a l ittl e rougher than we've seen so far, drive · away. 130 130 EXT. THELMA'S HOOSE - DAY Hal, FBI Man, variou s other · pol ice and detective types, pull u p in front of the hou se. The front door swings open and there stands Darryl looking like he 's been shot out of a cannon. 131 EXT. STREET - DAY 1 31 Louise and Thel ma pull into a l arge 7 -El even. 132 1 32 INT. THELMA'S HOOSE - DAY Pol ice are tapping the phones, dusting for prints, etc.• , whil e Darryl sits motionl ess in his recliner with a dul l expression on his face. HAL (to Darryl) As you know, we've tapped your phone. In the event that she call s in. Max comes u p and joins them as they walk down t he hal l ­ way. MAX We're going to leave someone here at the hou se in the event t hat ·she cal l s in. Someone will be here until we find them. HAL The-important thing is not to let on that you know anything. We want to try and find out where · they are. Now I don't want t o get too personal , but do you have a good relationship with y ou r wife? Are you close with her? (CONTINUED) 75 . 132 CONTINUED : 1 32 DARRYL Yeah, I guess. I mean, I'm as close as I can be wi th a nut case l i ke that. MAX Well, if she calls, just be gent le. Lik e yo u' re happy to hear from her. You know, like you really miss her. Women love t hat shi t. 13 3 EXT. ? -ELEVEN - DAY 13 3 Thelma and Louise are sit ting in t he car. all their mo ney together. They've put L OUISE Eighty-eight dollars ain't go nna mak e a dent , baby gi rl. THELMA (gett i ng out of t he car) Don't wo rry about i t. You want anythi ng? LOUISE No. Thel ma marches off to the 7-Eleven. Lo uise puts a t ape in the deck and is li steni ng to loud R&B MUSIC. She checks herself i n the rearview mirror . She t akes her lipsti ck o ut and is about to put i t on. She makes eye contact wit h herself and, i nstead, t hrows i t out the window, closes her eyes and leans her head back on t he seat. She's i n a world of shit . Thelma comes t rott ing out of the 7 -Eleven and jumps i nto the car. Dr: ivef THELMA (b reat hless) Louise loo k s at her. Drive! T HELMA (cont'd) Drive away ! LOUISE (dri vi ng away) What happened? (CONTINUED) 76. 133 1 33 CONTINUED: Thelma opens her purse and exposes a bag full of bills. L OUISE ( cont'd) What? You robbed the 7-Eleven? You robbed the Goddamn 7-Eleven ! ? Thelma shrieks wi th excitement. stunned. Louise is completely THELMA (defensive) Well ! We need the money! I t ' s not like I killed any body, for God's sake ! L ouise shoots her a look. She puts the car in g ear and FLOORS it out of the parking lot. She is still looking at Thelma as if she has completely lost her mind. THELMA (c ont ' d) (matter-of-factly) I'm sorry. Well, I didn't want you to have to sell your ring. We need the money. · Now we have it. LOUISE (g etting really scared now) Oh shit, Thelma! ! Shit! Shit! Shit! THELMA (sternly) Now you g et a grip, Louise! Just drive us to Goddamn Mexico, will ya ! LOUISE Okay . Shit, Thelma! What'd you do? I mean, what did you say? THELMA Well, I just••• 134 INT. STATE P OLI CE OFFICE - DAY 134 Hal, Max, vari ous other cops, and Dar r yl all watch as TV plays back VCR TAPE of Thel ma in 7-Eleven pulling a gun. In perfect lip sync is: THELMA (V . O. ) Alright, ladies and g entlemen, let's see who'll win the pr ize for k eepi n ' their cool. (MORE ) ( CONTINUED) 77. 1 34 1 34 CONTI NUED: THELMA (V. O. ) (CONT'D) Everybody lie down on the floor. If nobody loses their· head, then nobody loses their head••• TIGHT SHOT of Darryl 's face going deeper and deeper into a state of shock. TIGHTS SHOTS of Hal , Max, et c. , all look ing intently at the scr een. VI DEOTAPE IMAGE of Thelma boldly ordering cashier to fill her purse with money. As he ' s load ing the pu rse with bills, she's taking beef j erky from the display and putting it in there, too, while she points the gun at the cashier. THELMA (V. O. ) (to videotape playback) ••• have an amazing story to tell all your friends. I f not, you'll have a tag on your toe. Y ou decide. CUT TO: 1 35 INT. CAR - DAY 1 35 Thelma and Louise in car, driving. LOUISE (incredulous) Holy shit. CUT TO: 1 36 INT. STATE POLICE OFFI CE - DAY TI GHT SHOT: Jesus Christ. DARRYL TIGHT SHOT: My Lord. HAL TIGHT SHO'l' : Good God. MAX 136 78 . 13 7 EXT. DRIVING SHOT - DAY Holy shit. 1 37 L OUISE THELMA Lemme see the map. Louise thr ows the map across the front seat at Thelma and FL OORS i t. F ADE TO BLACK. FADE IN: 13 8 INT. JIMMY'S APARTMENT BUILDING - DAY 138 Jimmy is entering the apartment building, c arrying his overnight bag. Two men are sitting on the stairs. They stand as he c omes in. They are plainclothes police • . They show their badges. He leaves with them. 139 EXT ! ROAD - TIGHT SHOT - J. O. 'S BACKSIDE - OAY . 139 made only more promi nent by the bulging wallet in his back right pocket. J. O. is walking down the road· and continues to walk as an Oklahoma State Patrol car pulls up alongside him. Be smiles and gives a friendly wave as they cruise along slowly-beside him. We can see the cop nearest him talking, and then we see J. D. stop walk ing and set down his duffle bag. He reaches for his wallet. It's clear that they have asked for some I. D. 140 140 EXT. RURAL ROAD - DAY Louise is driving. They fly past . a kid on his bike in a long gravel driveway. He watches them . A huge cloud of dust blows up as they pass him. Be turns and rides his bike down the driveway towards the house. 141 INT. CAR - DAY 141 THELMA Louise, you'd better slow down. I'll just die if we get caught over a speeding ticket. (CONTINUED) 79. 141 CONTINUED: 141 Louise look s· at t he speedometer t ouching 8 0 mph and le ts her foot off the gas. Loui se is look ing a little nervous. LOUISE For the first time in my life, I wish this car wasn't gree n. THELMA Are you sure we should be driving lik e this? In broad daylight and everything? LOUISE No we shouldn't, but I want to put some dist ance be tween us and• • • (shout ing) • • • the sc ene of our last Goddamn crime ! THELMA Ooooowe ee! ! You shoulda seen me ! Lik e I ' d been doin' it all my life! Nobody would ever believe it. LOUISE You think you ' ve f ound your c alling? Maybe. wild ! . TH!LMA Maybe. The call of t he . Thelma howls lik e a dog and drink s a little bottle of Wild Turkey. LOUISE You're. disturbed. Ye st 142 THELMA I be lieve I amt INT . STATE P OLICE OFFICE - DAY 14 2 Jimmy is in a small room with Hal, Max , other cops, looking stunne_d. JIMMY ( shak en up) I swear to God, she wouldn' t tell me one thing! Christ i You oughta try t o find that k id that was with 'em. (CONTINUED) BO. 1 42 CONTINUED: 1 42 HAL Tell us about him. JIMMY Just some young guy. Around 20 ye ars old. Dark hair. Jimmy is re ally upse t and has to real l y struggl e to control himself. JIMMY ( cont' d) ( trying to re member him) The y said they' d picked him up al ong the way. He was a student. But he didn' t look right. Something wasn't right. But he left whe n they got to the motel . MAX Do you understand that you may be f acing an acce ssory charge ? .. HAL This is se rious, son. de ad. A man is JIMMY I know l I'd tel l you if I knew! Goddamn! I know some thing happe ned, or she wouldn ' t have l e f t. I'm trying to remember e verything! Find that f ucking kid. He probabl y knows something. 143 EXT. DRIVING SHOT - DAY 1 43 Thelma and Louise are in the car. Thelma is taking empty l ittle Wild Turkey bottle s out of her purse and throwing them out the window. LOUISE So what' s the pl an, Thel ma? You ju st gonna stay drunk? Try to. Litterbug. THELMA LOUISE They come ROARI NG up on a semi-tanker carrying gas. see the ir FISH-EYE REFLECTIONS in the shiny tanker. We ( CONTINUED) Bl. l4 3 CONTINUED: 14 3 The mud flaps are th e sh iny silhouettes of naked women that Thelma and Louise saw earlier. The truck is going sl ower than they are. LOUISE (cont'd) Aw, great. This always happens. Whenever you're in a hurry. She noses out to see if she can pass, but there ' s a car coming. The car passes and the truck HONKS . The truck driver's arm comes out his window and waves th em past. LOUISE (cont'd) Isn't that nice? Truck drivers are always so nice. THELMA The best drivers on the road. As they get next to th e truck, the truck driver is smiling and waving at them. They smile and wave b ack. He flicks his tongue at them. Loui se screams. Ugh! ! God! Gross! ! THELMA/LOUI SE Oh my God! Aw, Louise FLOORS it and speeds past h im. Ugh ! ! that? THELMA (completely grossed out) Why do they have to do LOUISE I guess they think we like it. Maybe they think it turns us on. Louise shivers with disgust. 144 INT. INERROGATION ROOM - DAY 144 Jimmy is looking at police mug shots of a lot of young guys. Hal shows Ji mmy a mug shot of J. O. HAL Is this the guy you saw them with ? JIMMY (looking closely ) It's h im. (CONTINUED} 82. 144 CONTINUED: 144 MAX ( clapping his hands ) Oh, happy day. JIMMY You gotta be kiddin' me. They picked up a murderer? ! Armed robber. Oh, great. HAL JIMMY MAX ( to Hal) They're flying him here right now. He was pick ed up this morning for parole violation. They als o found about six grand on him, s o he probably k nock ed over s omething while he was out there. They can drop him by here for questioning. I'm s o happy. JIMMY ( overhearing) How much cas h did he have? 145 EXT. CAR - DRIVI NG SHOT - DAY 145 The T-Bird is entering terrain that looks more like des ert. 146 INT. CAR - DAY 146 Thelma is leaning back in the s eat. The RADIO blares loud R& B MUSIC, Thelma leans up and turns the radio DOWN. THELMA Did you ever see that movie about women's pris on? The one with Linda Blair? LOUISE No, . what was the name of it? THELMA I don't remember, but there was this one part where s he got on the bad side of s ome real mean girls . (MORE ) (CONTINUED) 83. 146 CONTINUED: 146 THELMA (CON T ' D) I mean real!¥ mean girls , and the y got her i n the bathroom one day, whe n the y we re s upposed to be cleaning the s howe rs and the meane st one • • • she gets Linda Blair down on the floor and all he r frie nds are holdin' he r down, and this me an one has this mo p handle or this broom handle and, oh my God, it was ugly. I me an, s he • • • oh my God. The lma is too gros sed out to go on. LOUIS E ( also grossed out) The lma! They did nott Where did you see this ? THELMA On TV ! LOUIS E You did notl They did not show that on TV l THELMA It was a damn movie - of the week, I s wear to God. LOUISE (s hocked) They can't show that! THELMA They didn't actually show it. They'd sho w Linda Blair down o n the ground, s cre amin' and cryin', and the n they'd show the mean o ne bearin' down pretty hard with this broo m handle and, oh my God••• They both have the creeps. LOUIS E . . Oh my God. That girl, Linda Blair, s he 's had some we ird s tuff •• • . o h my God. THELMA They sho uldn ' t s how that kind o f s tuff . They are both quiet now. They both get very serious . Louise pushes the accelerator to the floor and the car STREAKS OFF down the road. 8 4. 147 EXT. STATE POLICE BUI L DI NG - DAY 147 J. D. arriving, handcuffed, at State Pol ice building. 148 EXT. DIRT ROAD - DAY 148 The top of the T- Bird is up now. Louise and The l ma pul l off of the main road and drive down a dirt road. A huge cl oud of dust trail s be hind them. 149 INT . CAR - DAY Louise . Yeah. 149 THELMA LOUI SE THELMA I want to cal l Darryl. What for? LOUISE THELMA I 've bee n marr ied to the guy for ten years. I f I ' m gonna run off to Mexico, the l e ast I can do is phone in. LOUI SE Okay, Thel ma. Tonight. But it's risky. THELMA Whaddya mean? LOUI SE I mean if you think he knows anything, you gotta hang up. I f he knows, then the police have told him and the phone is pr obably tapped. THELMA Jeez , Louise, tapped the phone? You think so? LOUI SE (agitated) Oh, . come onl Murder one and armed rob b e ry, The lma! They're pr obably gonna want to talk to us! THELMA Murder one ! God, Loui se, can't we eve n say it was self-def e nse? (CONTI NUED) as . 149 CONTINUED: 149 LOUISE (emphatically) But it wasn't! We got away t were walki n' away! We THELMA They don't know that! It was just you and me there. I 1 ll say he raped me and you had to shoot him! I mean, it's almost the truth! LOUISE It won ' t wo rk•. THELMA Why not?! LOUI SE No physical evidence. We can't prove he did it. We probably can ' t even prove he touched you by now. They both pause for a moment. Then: THELMA God. The law is some tricky shit, isn't it? THELMA (cont'd) How do you know •·bout all this stuff a nyway? Louise does not answer the question. ·LOUISE Besides, what do we say about the robbery? No excuse for that. No such thing as justifiable robbery. THELMA Alright, Louise! 15 0 EXT. DIRT ROAD - HELICOPTER SHOT - DUSK 15 0 As the sun sets, the T-Bird drives deeper i nto the vast desert. 151 INT. STATE POLI CE BUI LDI NG - NI GHT Darryl is sitti ng in the hallway. leadi ng J.D. down the hall. 151 Two officers are (CONTINUED) 86 . 151 CONTINUED: lS l Hal, Max, other plainclothes officers follow. Darryl looks at Hal questioningly. Hal doesn't respond and the e ntourage quickly goe s into a room. Darryl stands and crosse s the hall to the room as the door shuts in his face. DARRYL ( ye lling at the door) He yl He yl 152 INT. INTERROGAT ION ROOM - N IGHT 1 52 J. C. Who's that nut? HAL s That' Thelma Dickinson's husband. J. C. (disgusted) Aw, God. 153 INT. HALLWAY - NIGHT 153 Darryl tries the doorknob, but the door is locked. 15 4 INT. INTE...
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Comparison between Thelma and Louise, Bridesmaids, and Butch Cassidy and the
Sundance Kid

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Comparison between Thelma and Louise, Bridesmaids, and Butch Cassidy and the
Sundance Kid
The style and structuring of the three screenplays hit differently; in Thelma and Louise,
the film applies the use of male-style violence and the involvement of iconic screenwriting,
which is not the case in the Sundance kid screenplay (Khouri et al., 1990). The three movies also
apply various styles in formatting their screenplays, like printing fonts. Through the theme
structures, Thelma and Louise and Butch Cassidy and the Sundance kid show a significant
similarity; for instance, Butch Cassidy and the Sundance kid talk about the conflicting theme
between good and evil (Hill et al., 2001). The three screenplays compare from various
perspectives, like Thelma and Louise; the characters are literal transcriptions virtually, while the
other two screenplays do not have such features.
The differences in the styles and structures used in these three screenplays have a
significant change in Hollywood business in the follow...

Elna1898 (1997)
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