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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