Dialog INT. BEDROOM. CLOSE-UP OF BONNIE PARKER. DAY Blonde, somewhat fragile, intelligent in expression. She is putting on make-up with intense concentration and appreciation, applyi Bonnie Clyde Page 1/190
back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 2/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 4/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 6/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 8/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 10/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 12/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 14/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 16/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 18/190
make-up with intense concentration and appreciation, applying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. Bonnie Clyde Page 20/190
Action Notes BONNIE finishes admiring herself. She walks from the mirror and moves slowly across the room, the camera moving with Bonnie Clyde Page 21/190
wall. The shade is up. There are no curtains. She looks out the window, looking down, and the camera looks down with her. Notes The bedroom itself is a second-story bedroom in a lower- class frame house in West Dallas, Texas. The neighborhood is low income. Though the room reveals its shabby surroundings, it also reveals an attempt by BONNIE to fix it up. Small and corny objets d'art are all over the tops of the bureaus, vanity tables, etc. (Little glass figurines and porcelain statuettes and the like.) Bonnie Clyde Page 22/190
Action Notes BONNIE finishes admiring herself. She walks from the mirror and moves slowly across the room, the camera moving with Bonnie Clyde Page 23/190
Action Notes BONNIE finishes admiring herself. She walks from the mirror and moves slowly across the room, the camera moving with Bonnie Clyde Page 25/190
Action Notes BONNIE finishes admiring herself. She walks from the mirror and moves slowly across the room, the camera moving with Bonnie Clyde Page 27/190
Action Notes Over her shoulder, we see the driveway leading to the garage connected to the house. There is an old car parked in the Bonnie Clyde Page 29/190
the driveway, somewhat furtively. He is a rather dapper fellow, dressed in a dark suit with a vest, a white collar, and a straw boater. It is CLYDE BARROW. Obviously, he is about to steal the car. He looks it over, checking around him to make sure no passers-by are coming. He peers inside the front window to see if the keys are in the ignition. He studies the dashboard. BONNIE continues watching, silently. Finally she calls out. Slugging EXT. BEDROOM. BONNIE'S P.O.V. DAY. Bonnie Clyde Page 30/190
Action Notes -- whose face changes from astonishment to an answering smile of impudence. (Seeing what he has, he realizes that Bonnie Clyde Page 38/190
police. Already they are in a little game instigated by BONNIE, sizing each other up, competing in a kind of playful arrogance. Before they speak, they have become coconspirators.) Slugging EXT. CLOSE-UP OF CLYDE - DAY - Bonnie Clyde Page 39/190
Action Notes Running from the window, she flings open a closet and grabs a dress, and shoes. She slips on the shoes, and flings the Bonnie Clyde Page 42/190
Action Notes Running from the window, she flings open a closet and grabs a dress, and shoes. She slips on the shoes, and flings the Bonnie Clyde Page 44/190
Action Notes Running from the window, she flings open a closet and grabs a dress, and shoes. She slips on the shoes, and flings the Bonnie Clyde Page 46/190
Action Notes Running from the window, she flings open a closet and grabs a dress, and shoes. She slips on the shoes, and flings the Bonnie Clyde Page 48/190
Action Notes Running from the window, she flings open a closet and grabs a dress, and shoes. She slips on the shoes, and flings the Bonnie Clyde Page 50/190
Action Notes She flies out the door, slamming it behind her, runs off the porch (all this has been one continuous movement since she Bonnie Clyde Page 52/190
the driveway. Four feet away from CLYDE, she stops on a dime. They stand there, looking at each other, smiling the same challenge. For a few seconds, no one speaks, then: Slugging EXT. DRIVEWAY. DAY. Bonnie Clyde Page 53/190
Action Notes She flies out the door, slamming it behind her, runs off the porch (all this has been one continuous movement since she Bonnie Clyde Page 54/190
the driveway. Four feet away from CLYDE, she stops on a dime. They stand there, looking at each other, smiling the same challenge. For a few seconds, no one speaks, then: Slugging EXT. DRIVEWAY. DAY. Bonnie Clyde Page 55/190
leaning against the soft drink chest, their profiles silhouetted by the bright sun. They are drinking cokes. As they begin to talk, the camera moves in closer to them. CLYDE takes off his hat and rubs the cold coke bottle across his forehead. BONNIE watches him. Bonnie Clyde Page 139/190
leaning against the soft drink chest, their profiles silhouetted by the bright sun. They are drinking cokes. As they begin to talk, the camera moves in closer to them. CLYDE takes off his hat and rubs the cold coke bottle across his forehead. BONNIE watches him. Bonnie Clyde Page 141/190
Dialog Gas station up the block. BONNIE and CLYDE are seen leaning against the soft drink chest, their profiles silhouetted by Bonnie Clyde Page 142/190
to talk, the camera moves in closer to them. CLYDE takes off his hat and rubs the cold coke bottle across his forehead. BONNIE watches him. Bonnie Clyde Page 143/190
Dialog The camera remains just behind BONNIE's shoulder so that throughout the following scene we have BONNIE in the picture, Bonnie Clyde Page 169/190
silent protest. CLYDE points the gun above him and fires. It is the first loud noise in the film thus far and it should be a shock. Bonnie Clyde Page 187/190
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