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Thelma & Louise (1991) script

by Callie Khouri

 
FADE IN:

INT.  RESTAURANT - MORNING (PRESENT DAY)

LOUISE 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
COUNTRY MUZAK in the b.g., which she hums along with.


INT.  THELMA'S KITCHEN - MORNING

THELMA is a housewife.  It's morning and she is slamming
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 incomplete wallpapering
project going on in the dining room, an obvious "do-it-
yourself" attempt by Thelma.


INT.  RESTAURANT - MORNING

Louise goes to the pay phone and dials a number.


INT.  THELMA'S KITCHEN - MORNING

Phone RINGS.  Thelma goes over to answer it.

		THELMA
		(hollering)
	I got it!   Hello.


INT.  RESTAURANT - MORNING

		LOUISE
		(at pay phone)
	I hope you're packed, little
	housewife, 'cause we are outta her
	tonight.


INT.  THELMA'S KITCHEN - MORNING

		THELMA
	Well, wait now.  I still have to ask
	Darryl if I can go.

		LOUISE (V.O.)
	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.  Tell 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 bottom of the
stairs and leans on the bannister.

		THELMA
	Darryl!  Honey, you'd better hurry
	up.

DARRYL comes trotting down the stairs.  Polyester was made
for this man, and he's dripping in "men's" jewelry.  He
manages a Carpeteria.

		DARRYL
	Damnit, Thelma, don't holler like
	that!  Haven't I told you I can't
	stand it when you holler in the
	morning.

		THELMA
	I'm sorry, Doll, I just didn't want
	you to be late.

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.

		THELMA
	Hon.

		DARRYL
	What.

		THELMA
		(she decides not to
		 tell him)
	Have a good day at work today.

		DARRYL
	Uh-huh.

		THELMA
	Hon?

		DARRYL
	What?!

		THELMA
	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's want to forget
	about it for the weekend.

		DARRYL
	Well then, it's a good thing you're
	not regional manager and I am.

He's finally ready.  He walks to the door and gives Thelma
the most perfunctory kiss on the cheek.

		THELMA
	'Bye, honey.  I won't wait up.

		DARRYL
	See ya.

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.


INT.  RESTAURANT - MORNING

The pay phone on the wall RINGS.  ALBERT, a busboy in his
50's, answers.

		ALBERT
	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'!  Alright!  I'll be
	there around two or three.

		THELMA (V.O.)
	What kind of stuff do I bring?

		LOUISE
	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.

		THELMA (V.O.)
	Okay.  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.


EXT.  RESTAURANT - DAY

Louise pulls out in a green '66 T-Bird in mint condition.


INT.  THELMA'S BEDROOM - CLOSEUP - SUITCASE ON BED - DAY

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
catalog.  It's really frilly.


INT.  LOUISE'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 here
	right now, but I'll probably be back
	'cause... all my stuff's here.
	Leave a message.

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.


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.


EXT.  THELMA'S HOUSE - DAY

Louise's green '66 T-Bird convertible 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.  The
	place has electricity.

		THELMA
	I wanna take it anyway.  Just in
	case.

		LOUISE
	In case of what?

		THELMA
	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 come in real handy.  Maybe we
	could tow your car behind, in case
	he steals the 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 against 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.


EXT.  CAR - DAY

They are driving down the interstate.  Thelma reaches for
her purse and finds the gun.

		THELMA
	Louise, will you take care of the
	gun?

Louise shrieks at the sight of it.

		LOUISE
	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.

They are speeding off down the highway with the RADIO
blaring.  Louise puts in a TAPE of wild R&B MUSIC.

		THELMA
	Whose place is this again?

		LOUISE
	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 had the chance to go 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 has never let me go.  He
	never lets me do one goddamn thing
	that's any fun.  All 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
		(looking straight
		 ahead)
	I left him a note.  I left him stuff
	to microwave.

After a pause.

		THELMA
	I guess you haven't heard anything
	from Jimmy... yet?

Louise's jaw tightens.  The car speeds up.

		THELMA
	... 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."

		LOUISE
	One of your friends?

Thelma is watching herself in the side mirror, pretending
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.


INT.  CAR - COUNTRY ROAD - DAY

		THELMA
	How much longer is it gonna be?  I'm
	hungry.

		LOUISE
	Another hour of so.  We've got
	enough food for a month.

		THELMA
	I'll never make it... Can't we stop
	just for a few minutes...

		LOUISE
	We've not gonna get to the cabin
	till after dark as it is, Thelma.

		THELMA
	Then what difference does it make if
	we stop?  Come on.  I never get to
	do stuff like this.

Louise realizes that Thelma is going to revert to a
teenager and continue whining unless she gives in.

		LOUISE
	Alright, but it's gonna be a quick
	stop.


EXT.  SILVER BULLET - NIGHT

They pull off at a place down on the right all lit up with
neon.  It's called the SILVER BULLET.  The sign flashes
COCKTAILS -- BEER -- DANCING -- FOOD.  There is a huge
gravel parking lot with lots of pickup trucks and older
cars.  Even though it's early, you can tell this place is
a real night spot.  It's already pretty crowded.


INT.  SILVER BULLET - NIGHT

This place is jumpin'.  There are ten pool tables with
crowds all around.  The long bar is filled with customers.
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 left Texas.

		THELMA
	Isn't this fun?

A WAITRESS comes over and drops two menus on the table.

		WAITRESS
	Y'all wanna drink?

		LOUISE
	No thanks.

		THELMA
	I'll have Wild Turkey straight up
	and a Coke back, please.

As the Waitress leaves:

		LOUISE
	Thelma!

		THELMA
	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:

		LOUISE
		(laughing)
	Alright...
		(to Waitress)
	I changed my mind.  I'll have a
	margarita with and a shot of Cuervo
	on the side, please.

		THELMA
	Yeah!

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		      THELMA
    Mindin' our own	  Well, we left town for
    business, why	    the weekend 'cause we
    don't you try it.	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?

		HARLAN (MAN)
	Hell, no.  I was just bein'
	friendly.

		WAITRESS
		(making 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 joke.  Louise does not laugh.

		LOUISE
		(to Harlan)
	I don't mean to be rude, but I've
	got something I need to talk to my
	friend about.  In private.

		HARLAN
	Aw, I understand.  I didn't mean to
	bother ya.  It's just hard not to
	notice two such pretty ladies as
	yourselves.
		(standing, to
		 Thelma)
	You better dance with me before you
	leave, or I'll never forgive you.

		THELMA
	Oh, sure.  That'd be fun.

Harlan leaves, then:

		THELMA
	Jeez, Louise, that wasn't very nice.

		LOUISE
	Can't you tell when somebody's
	hittin' on you?

		THELMA
	So what if he was?  It's all your
	years of waitin' tables has made you
	jaded, that's all.

		LOUISE
	Maybe.

		THELMA
	Well, just relax, will ya.  You're
	makin' me nervous.

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
	So, Jimmy still hasn't called yet?

		LOUISE
	Givin' him a taste of his own
	medicine.  Asshole.

		THELMA
	I'm sorry, Louise.  I know you're
	all upset.  It's just I'm so excited
	to be out of the house, I guess.
		(pause)
	I wonder if Darryl's home yet.

		LOUISE
	I wonder if Jimmy's gotten back.

		THELMA
	Why don't you tell him to just to
	get lost once and for all?

		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 looks over 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
	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.  He'll be
	kissin' the ground you walk on.

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
	Exactly.

		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.

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.

		LOUISE
		(over the noise)
	Thelma, I'm gonna hit the little
	girls' room, and then we gotta hit
	the road.

		THELMA
		(eyes closed, swaying
		 with the music)
	Ready when you are.

Louise heads off to the bathroom.

		THELMA
		(eyes still closed)
	Louise, I'm gonna come with you.
		(she gets a funny
		 look on her face)
	I don't feel so good.

She stumbles a step and drops her beer bottle.

Louise is heading towards the bathroom, where there is a
line of at least fifteen 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:

EXT.  SILVER BULLET PARKING LOT - NIGHT

Harlan is hauling Thelma out the door into the parking
lot.  She is pretty limp.

		THELMA
	Oh shit.

		HARLAN
	What's wrong?

		THELMA
	Stop.

		HARLAN
	What for?

		THELMA
	I'm spinning.


INT.  SILVER BULLET - NIGHT

The Waitress is going over to their table.  She picks up
Thelma's purse off the floor and puts it on her chair.
She sets the check on the table, looks around to see if
she can see them and walks away.


INT.  BATHROOM - NIGHT

Louise goes into the bathroom.  She stands in front of the
sink and looks at herself in the mirror.


EXT.  PARKING LOT - NIGHT

Thelma has been sick.  She has Harlan's handkerchief and
is wiping her mouth.  Harlan has backed off for this part,
but he's right back in there.

		HARLAN
	How you feelin' now, darlin'?

Harlan is leaning close to Thelma's head, and she pulls
her head away.

		THELMA
	I guess I'm startin' to feel 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 walking.


INT.  SILVER BULLET - NIGHT

Louise comes out of the bathroom as the next woman goes
in.  She scans the room looking for Thelma.  She doesn't
see her.  She goes over to the table and sees Thelma's
stuff there.  She picks up the check and looks at it.


EXT.  SILVER BULLET PARKING LOT - NIGHT

Harlan has led Thelma off to the far end of the parking
lot.  He is trying to kiss her now.  He is pushing her
arms down and turning her head away.

		THELMA
	Don't.  I'm married.  I don't feel
	good.  I've been sick.

		HARLAN
	It's okay.  I'm married, too.

Harlan is pushing himself on her now, and she is beginning
to push him away harder.


INT.  SILVER BULLET - NIGHT

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.


EXT.  SILVER BULLET PARKING LOT - NIGHT

Harlan has now pinned Thelma against the back of a car and
is kissing her neck.  He has her 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
		(breathing heavily)
	You're beautiful.  It's okay.  I
	won't hurt you.  It's okay.

		THELMA
		(struggling)
	Stop it!  Goddamnit, I mean it!
	Louise is gonna wonder where I am.
	Let go!

		HARLAN
	Louise is alright.

LOUISE

is now standing outside the door of the Silver Bullet.
She is looking around.

HARLAN

is pulling at Thelma's clothes.  Thelma gets one of her
arms free and hits him hard in the face.  He hits her back
and grabs her face, 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 dangerous.  He lets go of her face and pins
her arms behind her.  He holds both of her arms with one
hand.

		HARLAN
	You just shut up.

With his free hand, he reaches down and starts to pull her
dress up.  Thelma is still struggling and there are tears
running down her face.

		THELMA
	Don't hurt me.  Harlan.  Please.

		HARLAN
	Shut up.

He turns her around, pushing her face down onto the back
of the car.  He holds both her arms in one hand and
continues pulling her dress up over her hips.  He starts
to undo his pants as we hear the CRUNCH of gravel.

		LOUISE (O.S.)
	Let her go.

		HARLAN
	Get lost.

		THELMA
	Louise!

TIGHT SHOT of the barrel of Thelma's gun being pressed
into the nape of Harlan's neck.  Louise's thumb pulls back
the hammer.

		LOUISE
	You let her go, you fat fucking
	asshole, or I'm gonna splatter your
	ugly face all over this nice car.

Harlan slowly raises his hands in the air, and Thelma
darts out, pulling her dress down.

		HARLAN
	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 front.  She is
still backing away with the gun raised.  Thelma is inching
away as well.

		LOUISE
	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 does, too.

		HARLAN
		(pulling up his
		 pants)
	Bitch.  I should have gone ahead and
	fucked her.

Louise stops in her tracks.

		LOUISE
	What did you say?

		HARLAN
	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
HIT the gravel parking lot.  LOUISE'S POV.  The car behind
him is splattered with blood.  Thelma and Louise are both
silent.  We hear the SOUND of the nightclub in the
distance.  Louise lowers the gun.

		THELMA
	Oh my God.

		LOUISE
	Get the car.

		THELMA
	Jesus Christ!  Louise, you shot him.

		LOUISE
	Get the car!

Thelma runs to get the car.

		LOUISE
		(quietly, to herself)
	You watch your mouth, buddy.

Thelma comes careening up in reverse.  Louise hops in and
Thelma PEELS OUT, spraying 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 tires
SQUEALING.

		LOUISE
	Get back to the interstate.

Louise lifts her hand and notices she is still holding the
gun.

		THELMA
	Shit!  I... I, which way?

		LOUISE
	West.  Left.


EXT.  CAR - DISTANCING SHOT - NIGHT

They get onto the interstate going west.

TRAVELING SHOT FROM BEHIND -- VARIOUS DRIVING SHOTS


INT.  CAR - NIGHT

Louise picks up the handkerchief from the car seat and
wipes the gun off.  Her movements are as if in slow
motion.  She puts the gun under the seat.  Thelma is
watching her.

		THELMA
	Louise.

Louise does not answer.

		THELMA
	Louise.  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 cry quietly.

		THELMA
	Shouldn't we go to the cops?  I
	mean, I think we should tell the
	police.

		LOUISE
	Tell them what?!  What, Thelma?
	What do you think we should tell
	them?

		THELMA
	I don't know.  Just tell 'em what
	happened.

		LOUISE
	Which part?

		THELMA
	All of it.  That he tried to rape
	me.

		LOUISE
	Only about a hundred people saw you
	cheek to goddamn cheek with him all
	night, Thelma!  Who's gonna believe
	that?!  We just don't live in that
	kind of world.  Pull over!


EXT.  INTERSTATE - NIGHT

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.

		LOUISE
	Oh Christ.
		(to Thelma)
	Thelma.

Thelma doesn't hear.

		LOUISE
	Thelma.

Thelma looks at her blankly, without answering.

		LOUISE
	I've gotta stop for a minute.  I've
	got to get it together.  I'm gonna
	find a place to get a cup of coffee
	and I'm gonna sit down for a second.
	Do you want to come?

Thelma's head moves almost imperceptibly.  Louise studies
Thelma's face.

		LOUISE
	Is that yes?  Are you up to this?

Again, Thelma slightly moves her head in a nod.  Louise
puts the car in gear and pulls OUT OF SHOT.


EXT.  TRUCK STOP - RESTAURANT - NIGHT

The green '66 T-Bird pulls into a modern truck stop and
parks.  Louise turns to Thelma.

		LOUISE
	We gotta be inconspicuous.  Do you
	know what that means?

		THELMA
	Yes.

		LOUISE
	It means you don't talk to anybody.
	You don't draw attention to yourself
	in any way.  Do you understand that?

Again, she twitches more than nods.

		LOUISE
	Tell me you understand that.

Thelma nods more firmly now.  She understands.

VARIOUS POV SHOTS of truck drivers seeing Thelma and
Louise wind their way towards the restaurant portion of
the coffee shop.  They look small and incongruous with the
surroundings.


INT.  TRUCK STOP - TIGHT SHOT - WAITRESS' HANDS - 4 A.M.

slamming dirty coffee cups from the counter into a bus
tray underneath the counter.  REVEAL Louise and Thelma
sitting at the counter.  Louise is looking at a map.  The
car is parked outside, near the door.

		LOUISE
		(halfway to herself)
	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.
	Nobody knows it was us.  We're still
	okay.  Now all we have to do is just
	figure out our next move.

		THELMA
	Our next move?  I'll say one thing,
	Louise.  This is some vacation.  I
	sure am having a good time.  This is
	real fun.

		LOUISE
	If you weren't so concerned with
	having a good time, we wouldn't be
	here right now.

		THELMA
	Just what is that supposed to mean?

		LOUISE
	It means shut up, Thelma.

		THELMA
	So this is all my fault, is it.

Louise looks at Thelma for a long time.

		LOUISE
	Just shut up.

The Waitress comes and fills their coffee cups.

Thelma stands up to go to the bathroom.  She grabs her
purse from the counter, and the strap catches on her
coffee cup and it falls to the floor with a CRASH.  All
heads turn and look at her.

		THELMA
	I have to go to the bathroom.  I...
	Sorry.

HOLD on Louise.


EXT.  SILVER BULLET PARKING LOT - 4:00 A.M.

Police cars are parked around.  The activity has died
down.  Doors on the coroner's van SLAM shut.  In the back
of a police car sits the Waitress with the door open.  A
DETECTIVE in a suit leans 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 the type
	to pull something like this.

		HAL
	Well, you're not exactly an expert
	witness, but what makes you so sure?

		LENA
	If waitin' tables in a bar don't
	make you an expert on human nature,
	then nothin' will, and I could've
	told you that Harlan Puckett would
	end up buyin' it in a parkin' lot.
	I'm just surprised it didn't happen
	before now.

		HAL
	Who do you think did it?

		LENA
	Has anybody asked his wife?  She's
	the one I hope did it.

		HAL
	Lena, just cut the bullshit, will
	ya?  Do have any ideas or don't ya?
	I been standin' in this stupid
	parkin' lot all goddamn night, and I
	still got to go file a report before
	I can go home in time to get back up
	again!

		LENA
	Well, if I had to guess, I'd say it
	was some ol' gal, some ol' gal's
	husband.  But it wasn't either one
	of those two.  The tall one, the
	redhead, she left me a huge tip.

		HAL
	You didn't happen to notice what
	kind of car they were driving?

		LENA
	It's a nightclub, not a drive-in,
	Hal.  I don't follow the customers
	to the parking lot.

		HAL
	Alright, Lena.  Go on home.  We
	might have to call you in for some
	more questioning.

Lena gets out of the back of the car.

		LENA
	Those girls are not the murderous
	type.


INT.  PAY PHONE - NIGHT

Outside the bathroom there is a pay phone.  Thelma picks
it up and dials.

		THELMA
		(into phone)
	Collect from Thelma.

There is no answer.


INT.  THELMA'S HOUSE - NIGHT

Phone RINGS.

VARIOUS SHOTS of the interior of the empty Dickinson
house:

THE BEDROOM

exactly as Thelma left it.  The drawer of the nightstand
still open.

THE NOTE TO DARRYL

taped to the refrigerator.  The interior of the microwave
with a now completely thawed microwave dinner still in the
package in a little puddle.


INT.  TRUCK STOP - NIGHT

		THELMA
	Thanks.  I'll try later.

She hangs up and goes into the bathroom.  As the door
closes behind her, Louise comes up with a handful of
change and starts putting it into the phone.  She dials a
number.  It RINGS for a long time.  She hangs up and goes
into the bathroom.  She looks at herself in the mirror.
She notices a tiny speck 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 streak.

		LOUISE
	Thelma... Come on, Thelma!

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.


EXT.  CAR - DRIVING SHOT - DAWN

The T-Bird barrels down a fairly empty four-lane highway.
A truck passes going the other way.


INT.  CAR - DAWN

The top is down on the car, and Thelma is slouched on the
seat, her hair blowing wildly.

		LOUISE
	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?

		THELMA
	What?  Oh, I don't know.  Let me
	look.

Thelma is rummaging through her purse.  She finds her
wallet and takes it out.  Thelma finds some bills stuffed
in the change compartment and takes them out.  She
straightens the money out.

		THELMA
	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.

		THELMA
	Umm.  Shit.  Forty-four dollars.

Louise has not noticed any of this.  She is so intent on
her driving.

		THELMA
	I'm cash poor.

		LOUISE
	Hmmm.  We gotta get some money.


EXT.  MOTEL - ESTABLISHING SHOT - DAY

The motel is near farms and agricultural areas with crops.


INT.  MOTEL ROOM - DAY (6 A.M.)

The curtains are open and we can see the car parked right
outside the room.  Thelma is lying on the bed staring up
at the ceiling.  Louise is bustling around the room,
putting things in drawers.

		THELMA
	Why are you unpacking?  You said we
	were just gonna take a nap.

Louise did not realize she was doing it.

		LOUISE
	Oh, I don't know.  I'm just nervous.
	I gotta figure out what to do.

		THELMA
	Well, when you figure it out, wake
	me up.

		LOUISE
	Just what the hell is wrong with
	you?

Louise slams the closet door.  Thelma jumps.

		THELMA
	What do you mean?

		LOUISE
	Why are you actin' like this?

		THELMA
	Actin' like what?!  How am I
	supposed to act?  'Scuse me for not
	knowing what to do after you blow
	somebody's head off!

They are silent for a moment.

		LOUISE
	You could help me try and figure it
	out!  I gotta figure out what to do,
	and you could try and help me.

		THELMA
	I suggested we go to the police, but
	you didn't like that; so, frankly,
	Louise, I'm all out of ideas.

		LOUISE
	Well, what's the big rush, Thelma?
	If we just give 'em some time,
	they'll come to us...!  Oh Christ.
	I'm just not ready to go to jail
	yet.  Why don't you go out to the
	pool or something and I'll figure it
	out...

		THELMA
	Give me the keys.

		LOUISE
	You're not touchin' that car.

		THELMA
	My stuff's in the trunk!  God!  You
	care more about that car than you do
	about most people.

		LOUISE
	Most people just cause me trouble,
	but that car always gets me out of
	it.


INT.  POLICE GARAGE - DAY

Hal is at the police station where they're dusting the car
with Harlan all over it for prints.  Hal looks closely at
the back of the car.  He holds his hands over two sets of
hand prints.  He moves his hands to the outside of the
prints so as not to smear them, and puts his hands on the
car.  His face is one inch away from the trunk.  He sees a
very clear drop of blood.  It's different than any of the
other blood splatters on the car.  He calls the
identification technician over and points it out.

		HAL
		(pointing)
	What's that?

The I.D. TECH comes over and looks and shrugs his
shoulders.

		I.D. TECH
	Blood?

		HAL
	Whose?

		I.D. TECH
	His, I guess...

Hal makes a face like he suddenly felt a slight toothache.
He stares at the guy.

		HAL
	You guess?

Hal takes out a black sharpie and draws a circle around
the area of the black smudge and the drop of blood.  He
shakes his head slightly.


EXT.  MOTEL - DAY

Thelma comes out of the room and walks towards the pool.
She stops, then decides to go on to the pool.  She lies
down in a lounge chair facing the road.


INT.  MOTEL ROOM - DAY

Louise in the motel room.  She's looking at the phone.
She picks it up and dials it and watches herself in the
mirror.  She stares as if she's trying to see into
herself, see through herself.


EXT.  MOTEL POOL - DAY

Thelma arranges herself in a lounge chair, trying
desperately to feel like she's on vacation.


INT.  MOTEL ROOM - DAY

		ANSWERING MACHINE (V.O.)
	Hi.  This is Jimmy.  I'm not here
	right now...

A VOICE interrupts the message:

		JIMMY (V.O.)
	Hello!  I'm here.  Hang on a minute!

The machine switches OFF.


INT.  JIMMY'S APARTMENT - DAY

JIMMY, mid-30's, musician, is standing in the kitchen on
the phone.  He's not the type you'd expect Louise to like,
not quite straight-looking enough.

		LOUISE (V.O.)
		(on phone)
	Jimmy...


INT.  MOTEL ROOM - DAY

Louise is looking at herself on the phone in the mirror.
She is very choked up.

		JIMMY (V.O.)
		(on phone)
	Louise!  Where are you?  Are you
	alright?  Honey...

		LOUISE
	Hi.  I'm okay.  How are you?  Long
	time no see.

		JIMMY (V.O.)
	Louise, honey... Where are you?  You
	sound funny.

Louise is still looking at herself in the mirror, as if
she's never seen herself before.

		LOUISE
	I am funny.  I'm real funny.

		JIMMY (V.O.)
	Are you in town?  This sounds long
	distance.

		LOUISE
	No, I'm out of town.  I'm in... I'm
	in real deep shit, Jimmy.  Deep shit
	Arkansas.

		JIMMY (V.O.)
	Louise, just tell me what the hell
	is going on here!  I come back,
	nobody knows where you are.  Is
	Thelma with you?  Darryl's been
	callin' here every 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.


EXT.  MOTEL POOL - DAY

Thelma at pool basking in the sun.


INT.  MOTEL ROOM - DAY

		JIMMY (V.O.)
		(on phone)
	Where'd y'all go?

		LOUISE
	Fishing.  Look, Jimmy... I need you
	to help me.  This is serious.  I'm
	in trouble and I need you to help
	me.  Can you do that?


INT.  JIMMY'S APARTMENT - DAY

Jimmy is shocked by the gravity of her tone of voice.  He
realizes this is very serious.

		JIMMY
	Yes, yes, darlin'.  I can help you.
	Tell me where you are.


INT.  MOTEL ROOM - DAY

Louise covers the mouthpiece with her hand.  She is trying
very hard not to cry.

		LOUISE
	I have a savings account with about
	sixty-seven hundred dollars in it.
	Now I know you won't be able to get
	it out, but I'm good for it.  I need
	that money.  Can you wire me the
	sixty-seven hundred dollars and I'll
	pay you back?  Please, I'm
	desperate.

		JIMMY (V.O.)
	What the fuck is going on?

		LOUISE
	Something real bad has happened and
	I can't tell you what, just that
	it's bad and I did it and I can't
	undo it.  Can you help me?

		JIMMY (V.O.)
	Of course.  Of course!  Where?  Can't
	I bring it to you?  For God's sake,
	baby, please, just tell me what's
	happened, what could possibly be so
	bad?

Louise sits on the edge of the bed.  She is looking at her
hand.

		LOUISE
	Jimmy?

She takes the ring that she wears on her left hand and
turns it around backwards to make it look like a wedding
band.

		LOUISE
	Do you love me?

		JIMMY (V.O.)
	Christ, sure... yes!

		LOUISE
	Wire it to the Western Union in
	Oklahoma City,


INT.  JIMMY'S APARTMENT - DAY

		JIMMY
	You're in Oklahoma?!

		LOUISE (V.O.)
	Not yet.

		JIMMY
	Louise, let me call you back after I
	wire it, so you'll know which office
	to go to.

		LOUISE (V.O.)
	Can't it go to any office?

		JIMMY
	No, for that much money I have to
	tell them exactly which office.  I
	know, I've had to have money wired
	to me on the road.  And there has to
	be a code word or they won't give it
	to you.  I'll have to tell you the
	code.


INT.  MOTEL ROOM - DAY

		LOUISE
	Tell me now.

		JIMMY (V.O.)
	Call me back.

		LOUISE
	Okay.  I'll call you back.  In an
	hour.  Don't tell Darryl.

		JIMMY (V.O.)
	I know.  Call me back.  Louise, I
	love you, okay?

		LOUISE
	Okay.


EXT.  MOTEL POOL - DAY

Thelma by the pool.  A car SCREECHES, a loud horn HONKS.

		LOUISE
		(bellowing)
	Come on, Thelma!  Get in the car!

Thelma bolts upright and grabs her sundress and dashes to
the car.  She jumps in over the door.  She's in a mild
state of shock.

		THELMA
	Did you finish thinking?

		LOUISE
	I think better when I drive.

Louise PEELS OUT of the parking lot.


INT.  POLICE STATION - MAJOR'S OFFICE - DAY

Hal is in the office talking to his superior.  He stands
in front of the desk with his hands in his pockets while
his MAJOR sits behind the desk looking troubled.

		HAL
	All we know is there were two women
	in a green T-Bird convertible that
	turned left out of the parking lot,
	going real fast.  We're trying to
	get a make on the car, but nothin'
	yet.  So far, we got nothin'.

		MAJOR
	Well, you'd best get something.
	Even if they didn't do it, it times
	out that they most likely witnessed
	it.  I want somebody to at least
	talk to 'em.  Put out an APB with a
	description and see what we get
	back.

		HAL
	Alright.

		MAJOR
	Is there any reason to believe
	they've left the state?

		HAL
	That's certainly possible.

		MAJOR
	Why don't we go ahead and let the
	bureau in on this.

		HAL
	I have no problem with that.

		MAJOR
	Somebody's butt is gonna bar-b-que.


EXT.  CAR - FARMLAND - DRIVING SHOT - DAY


INT.  CAR - DAY

		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 tell him?

		LOUISE
	No, I didn't tell him.  And that's
	something we gotta get straight.
	Darryl's been callin', mad as a
	hornet, makin' all kinds of noise.
	When you talk to him, you cannot say
	anything about this.  You gotta make
	sure everything sounds normal.

		THELMA
	I called the asshole at 4:00 in the
	morning and he wasn't even 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 for the
	last ten years.

		THELMA
	Do you think Darryl's having an
	affair?

		LOUISE
	I don't think Darryl is mature
	enough to conduct an affair.

		THELMA
	But you think he fools around.

		LOUISE
	Thelma, I'm going to Mexico.  I
	think I can make 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 know.  This isn't a
	game.  I'm in deep shit.  I gotta
	know what you're gonna do.

		THELMA
	I... I don't know.  I don't know
	what you're askin' me.

		LOUISE
	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, but I'm
	going to Mexico.  I'm going.  Are you
	coming with me?

Thelma is staring down the road.  She does not answer.
Then:

		THELMA
	I think he does.  Fool around.


EXT.  CAR - FARMLAND - DRIVING SHOT - DAY


INT.  POLICE STATION - INTERROGATION ROOM - DAY

TIGHT SHOT of an "indent-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 indent-a-kit.  Hal picks up the drawing and
studies it closely.


EXT.  SMALL COUNTRY TOWN - DAY

The T-Bird rolls into town.


EXT.  COUNTRY STORE - DAY

Louise and Thelma pull up in front of an old store, the
kind with a wooden front porch, the kind that sells bait
and flannel shirts.  They enter the store and see 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 Thelma strolls around looking at
rubber worms and pickled pigs' feet.  Louise goes out to
the phone.


EXT.  PAY PHONE - DAY

Louise dropping change into the phone.  It RINGS and Jimmy
answers.


INT.  JIMMY'S APARTMENT - DAY

		JIMMY
	Louise!


EXT.  PAY PHONE - DAY

		LOUISE
	Is that how you answer the phone?

		JIMMY (V.O.)
		(on phone)
	I got it.  I was afraid I'd missed
	you.  I almost couldn't get a check
	cashed.  It's Saturday.

		LOUISE
	Who did it?

		JIMMY (V.O.)
	Friend of mine, owns a club.  Dickie
	Randall.  You'd know him if you saw
	him.  His brother was in your 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.  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 place called Shaw's Siesta
	Motel.  The address is 1921 North
	East 23.  It's under your name.

		LOUISE
	And what's the mysterious code word?

		JIMMY (V.O.)
		(on phone)
	Peaches.

		LOUISE
	What?

		JIMMY (V.O.)
	That's the code word.  I miss you,
	peaches.

Louise rolls her eyes and tries not to melt.

		LOUISE
	Okay, Jimmy.  Thanks.

She puts her finger down on the receiver.


INT.  JIMMY'S APARTMENT - DAY

Jimmy is still holding the phone to his ear.

		JIMMY
	Louise?


INT.  COUNTRY STORE - DAY

Thelma in store buying gum, beef jerky.  Next to the cash
register on the counter on display are those little tiny
bottles of liquor.  Thelma picks up a little bottle of
Wild Turkey and puts in on the counter.  The Old Man rings
it up.  She takes another one and puts it on the counter.
The Old Man is still ringing stuff up.

She takes two more and puts them on the counter.  She
takes the rest of the little bottles of Wild Turkey out of
the display and puts them on the counter.  She takes one
little bottle of Cuervo and puts it down on the counter,
too.  The Old Man finally looks at her.  From the wall
behind him, he takes a pint of Wild Turkey down.

		OLD MAN
	Ma'am, are you sure you wouldn't
	rather have the large economy size?


EXT.  PAY PHONE - DAY

Louise is hanging up the phone.  She walks away towards
the front of the store.


EXT.  COUNTRY STORE - DAY

Thelma comes out of the front of the store.  The store is
at a crossroads with a fair amount of vehicular traffic.

		LOUISE
	Go call Darryl.

Thelma is walking towards the car.  She puts her purse in
the front seat.  She looks at Louise.

		THELMA
	Call him?

		LOUISE
	Call him.  Don't tell him anything.
	Tell him you're having a wonderful
	time and you'll be home tomorrow
	night.

		THELMA
	Will I be?

		LOUISE
	I don't know.  I won't be.

Thelma and Louise look at each other while this sinks in.

THELMA

walks around to the side of the building to the phone.
She picks it up and dials.

		THELMA
		(into phone)
	Collect from Thelma.


EXT.  STOREFRONT - DAY

Louise goes into the store for a chocolate Yoohoo.


EXT.  PAY PHONE - DAY

		THELMA
	Honey?


INT.  THELMA'S HOUSE - DAY

Darryl in the den of their house.  The room is a mess.
There are beer cans everywhere.  The large screen TV is
ON, showing a FOOTBALL GAME.  Darryl is in a recliner.  He
is wearing loud shorts, a V-necked T-shirt, and a couple
of necklaces and bracelets.

		DARRYL
	Goddamnit, Thelma, where in the Sam
	Hill are you?!


EXT.  PAY PHONE - DAY

		THELMA
	I'm... I'm with Louise.  We're in
	the mountains, we're...


INT.  THELMA'S HOUSE - DAY

		DARRYL
		(interrupting)
	What in the hell do you think you're
	doing?  Have you lost your goddamn
	mind?!  Is that it?  I leave for
	work and you take complete leave of
	your senses?


EXT.  PAY PHONE - DAY

		THELMA
	Darryl... baby... Darryl, calm down
	now, honey.  Please don't get so
	mad.  I can explain...


INT.  THELMA'S HOUSE - DAY

Darryl is mad, but he's still watching the game.

		DARRYL
	Hold on.  Hold on a minute, damnit.

He covers the mouthpiece and watches a play where "his
team" fumbles the ball.  This only makes him madder.  He
puts the phone back to his ear in time to hear Thelma say:

		THELMA (V.O.)
	... only for one day and we'll be
	back tomorrow night.

		DARRYL
	No you won't.  You'll be back today.
	Now!  You get your ass back here,
	Thelma, now, Goddamnit.  Thelma, do
	you understand me?


EXT.  PAY PHONE - DAY

Thelma is trying not to cry.  She's trying to be strong.

		THELMA
	Darryl, please... You're my husband,
	not my father, Darryl.


INT.  THELMA'S HOUSE - DAY

		DARRYL
		(interrupting)
	That does it!  That Louise is
	nothin' but a bad influence.  If
	you're not back here tonight,
	Goddamnit, Thelma... well, I just
	don't wanna say...

Neither one of them say anything for a moment.

		DARRYL
	Thelma?


EXT.  PAY PHONE - DAY

		THELMA
	Darryl.

		DARRYL (V.O.)
	What?

		THELMA
	Go fuck yourself.

She hangs up on him.


EXT.  COUNTRY STORE - DAY

Thelma has tears running down her face and she is watching
the ground as she storms back to the car.  So she makes a
loud grunt as she slams into someone that she did not see.
Both people are knocked back a few steps from the force of
the collision.

		HITCHHIKER
	Whoa!  Excuse me!  Miss, are you
	alright?

Thelma nods her head "yes," but tears continue.  Her
crying is silent.

		HITCHHIKER
	Is there anything I can do?

Thelma shakes her head "no." She tries to control her
tears.  She notices how blue his eyes are.

		THELMA
	No.  Thanks.  Sorry.

THELMA

collects herself as she walks back to the car.  She gets
in and is drying her eyes, looking in the side mirror.  In
the mirror she sees the Hitchhiker come back around from
the side of the building.  He is several feet behind the
car, and she watches him as he removes his long-sleeved
shirt and stuffs it into his duffel bag.  Now he is just
in T-shirt and jeans.  He looks good.  Really good.  She
watches in the mirror as he picks up his stuff and heads
towards the road.  She can see him as he's walking.  He
stops.  He's thinking.  He heads over to the car.

		HITCHHIKER
	Would you mind me asking which
	direction you and your friend are
	going?  I'm trying to get back to
	school and my ride fell through, so
	I'm kinda stuck.  Are you going my
	way?

Thelma doesn't know what to do.

		THELMA
	Umm.  I think we're going to
	Oklahoma City.  But I'm not sure.

		HITCHHIKER
	Do you think you could... I mean, I
	could help pay for gas.

Thelma knows Louise isn't going to like this.

		THELMA
	Ummm.  Well, see, it's not really up
	to me.  It's not my car.  Umm, we'll
	have to ask my friend, but she'll
	probably say no.  She's a little
	uptight.

		HITCHHIKER
	Well.  Maybe we better not ask her.
	But thank you anyway.

Now she wants him to come.  He starts to walk away from
the car.

		THELMA
	Well, we can ask her.  That won't
	hurt.

Just then Louise comes out of the store.  She sees Thelma
talking to this guy and, for one moment, stops dead in her
tracks as she takes this in, then continues toward the
car.  Although her face is basically expressionless, we
see that it's possible she might kill Thelma.

		THELMA
	Louise, this young man is on his way
	back to school and needs a ride, and
	I thought since...

		LOUISE
	It's probably not a good idea.

		THELMA
	Louise.

The Hitchhiker just nods and starts walking towards the
road.

		HITCHHIKER
	Y'all have a nice day.  Drive safe.

The guy does seem really nice and Thelma is really
frustrated that Louise wouldn't give him a ride, but
decides not to confront her.

		THELMA
	See how polite he is?  He was really
	nice.

Louise lowers the top and backs the car out.  They watch
him walk away.

Louise pulls out of the parking lot onto the road.  They
pass the Hitchhiker.  Thelma waves.

		HITCHHIKER
		(to Thelma)
	You cheer up now!

She turns around in the seat to continue waving.  He
smiles and waves.  They drive down the road.  TIGHT SHOT
of the Hitchhiker as the smile fades from his face.

				 CUT TO:

INT.  CAR - DRIVING - DAY

Thelma looking sulky.

		THELMA
	I wish we could've brought him with
	us.

		LOUISE
	What did Darryl say?

		THELMA
		(sarcastically)
	He said "Okay, Thelma.  I just
	wanted to know you were alright.  I
	hope you're havin' a good time.  You
	sure deserve one after puttin' up
	with me all the time.  I love you,
	honey."

Louise doesn't say anything.

		THELMA
	How long before we're in Goddamn
	Mexico?


INT.  POLICE STATION - DAY

Hal goes over a list of every registered green T-Bird in
the state.

INSERT - COMPUTER MONITOR

Names are scrolling by as Hal stares blankly at the
screen.  We see the name LOUISE ELIZABETH SAWYER scroll
past.  It means nothing to Hal.


INT.  CAR - DAY

It's twenty minutes later.  They are clear of the town.
Thelma is like a dog with a bone.  She just won't let it
drop.

		THELMA
	I just don't see what it would hurt
	just to give somebody a ride.  Did
	you see his butt?  Darryl doesn't
	have a cute butt.  You could park a
	car in the shadow of his ass.

		LOUISE
	I'm sorry.  I'm just not in the mood
	for company right now.  Here.  Take
	this map.  I need you to find all
	the secondary roads to Mexico from
	Oklahoma City.  I think we should
	stay off the interstates.  We're too
	conspicuous.

		THELMA
		(taking map)
	Well, it looks like we can get on
	this road 81 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
		(looking at map)
	Wait.  What?  You want to go to
	Mexico from Oklahoma and you don't
	want to go through Texas?

		LOUISE
	You know how I feel about Texas...
	We're not going that way.

		THELMA
	I know, Louise, but we're running
	for our lives!  Don't you think you
	could make an exception just this
	once?!  I mean, look at the map.
	The only thing between Oklahoma and
	Mexico is Texas!

		LOUISE
	Thelma!  I'm not gonna talk about
	this!  Now find another way or give
	me the goddamn map and I will!  You
	understand?

		THELMA
	No, Louise.  How come you never said
	what happened?

Louise is completely unreasonable on this subject and
Thelma is totally puzzled by Louise's reaction but is
reluctant to press her further.

		LOUISE
	I... I just... I just don't think
	it's the place I wanna get caught
	for doin' something like... if you
	blow a guy's head off with his pants
	down, believe me, Texas is the last
	place you wanna get caught!  Trust
	me!  Now, I said, I don't wanna talk
	about it!!

Louise looks very shaken up.  She keeps her eyes on the
road but she's holding the steering wheel so tightly, her
knuckles are white.  She does not look at Thelma.
Suddenly she reaches over and locks her door.  Thelma
flinches imperceptibly at this gesture.

		THELMA
	Okay.  We'll go around Texas to get
	to Mexico.  This is crazy.


EXT.  ROAD - FARMLAND - DAY

Two Harley-Davidson bikes tool past, driven by a couple of
ex-hippies from the 60's.  The Hitchhiker is on the back
of one, and he waves to them as they go by.  Thelma waves
back enthusiastically.

		THELMA
	I'll tell you what.  He is gooood
	lookin'.

Louise pops a TAPE into the cassette player.


EXT.  LOUISE'S APARTMENT COMPLEX - DAY

Hal walks up the sidewalk past a couple of elderly people
sitting outside, to the door of an apartment complex and
knocks.


INT.  LOUISE'S APARTMENT - DAY

VARIOUS SHOTS of Louise's empty apartment.

There are pictures of Louise and Thelma in high school.

The kitchen is spotless and nothing is out on the
counters.

HER BED

is unwrinkled, perfect, and next to it on her nightstand
is a picture of Jimmy and her in a small heart shaped
frame.

Everything is extremely neat and orderly.


EXT.  LOUISE'S APARTMENT COMPLEX - DAY

Hal is walking back down the sidewalk past the old people.
He stops, turns around and goes back to them.  We see him
stand and talk to them.

				 OVER MUSIC:

INT.  CAR - DAY

Thelma and Louise are singing along with the MUSIC.

		THELMA/LOUISE
		(pointing)
	Yeah, yeah, yeah, yeah, yeah, yeah!


EXT.  CROSSROADS - DAY

Hitchhiker standing on the side of the road.  Thelma looks
at Louise pleadingly.  Louise's car pulls over and he hops
in the back seat.  An animated Thelma turns around
backwards in the front seat to face him.


INT./ EXT.  COFFEE SHOP - DAY

Hal walks into the coffee shop where Louise works.
VARIOUS SHOTS of him talking to other employees.  Albert,
waitress, etc.  Some cover their mouths as they recognize
police sketches of Louise and Thelma.  The Day Manager
comes over, looks at the pictures and talks to Hal.


INT.  CAR

Thelma passing out beef jerky and Wild Turkey to
Hitchhiker and Louise.


EXT.  THELMA'S HOUSE - DAY

Hal's unmarked detective car pulls up in front of Thelma's
house.  A Corvette, completely customized with everything,
sits in the driveway.


INT.  CAR

Hitchhiker leans over resting his chin on the back of the
front seat.

		THELMA
	So J.D., what are you studying in
	school?

		J.D.
	Human nature.  I'm majoring in
	behavioral science.

		LOUISE
	And whaddya wanna be when ya grow
	up?

		J.D.
	A waiter.

Louise laughs.  He has charmed her too.


EXT.  THELMA'S HOUSE - DAY

Hal is walking up the sidewalk as the front door flies
open to reveal a drunk Darryl in Hawaiian shorts,
necklaces and a beer can in his hand.


INT.  THELMA'S HOUSE - DAY

Hal and Darryl in den.  The TV DRONES in the b.g.
Pictures and papers are on the table.  TIGHT SHOT of
Darryl's face.

		DARRYL
	What?!

				 CUT TO:

INT.  THELMA'S HOUSE - DEN - DAY

EXTREME CLOSEUP of Darryl's face.

		DARRYL
	What?!!


EXT.  RURAL HIGHWAY - DAY

		J.D.
		(to Thelma)
	So how come you don't have any kids?

		THELMA
	Darryl, that's my husband, he says
	he's not ready.  He's still too much
	of a kid himself.  He prides himself
	on being infantile.

		LOUISE
	He's got a lot to be proud of.

		THELMA
	Louise and Darryl don't get along.

		LOUISE
	That's puttin' it mildly.

		THELMA
	She thinks he's a pig.

		LOUISE
	He's a real piece o' work.  I wish
	you could meet him.

		J.D.
	Did you get married real young?

		THELMA
	Twenty-four isn't young.  I'd
	already been goin' out with him ten
	years when we got married.  I've
	never been with anybody but Darryl.

		J.D.
	Well, if you don't mind me sayin'
	so, he sounds like a real asshole.

		THELMA
	It's okay.  He is an asshole.  Most
	of the time I just let it slide.

J.D. is looking down the road, way off in the distance.

		J.D.
	Better slow down.  That's a cop.

Louise looks down the road and sees a highway patrol car
coming down the road towards them.  She does not look
alarmed but veers off the road into a "rest area" drive
that has trees and shrubs that obscure the view from the
road.

She glides along as the cop car passes on the other side
without seeing them.

Louise glides right back onto the road 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.
	Maybe you got a few too many parking
	tickets?

		LOUISE
	We'll take you on to Oklahoma City,
	then you'd best be on your way.


INT.  THELMA'S HOUSE - DAY

Hal is on the phone to the FBI man.  Darryl is sitting on
a chair looking dazed.  Other law enforcement types roam
around the house.

		HAL
	The prints on the trunk of the car
	match those of Thelma Dickinson.


INT.  FBI OFFICE - DAY

MAX STRATTON, an FBI MAN in his early forties, is looking
at the ident-a-kit drawings of Louise and Thelma.

		MAX
	Well I'll be damned.  Isn't that
	strange.


INT.  THELMA'S HOUSE - DAY

		HAL
	And the husband says a gun is
	missing.  She took a lot of stuff.
	It looks like she maybe planned on
	being gone a while.  The strange
	thing is, her husband said she would
	never touch that gun.  He got it for
	her 'cause he's out late a lot, but
	he said she'd never touch it,
	wouldn't learn to shoot it, just
	left it in a drawer for years.


INT.  FBI OFFICE - DAY

		MAX
	What kind of gun was it?

		HAL (V.O.)
	A .38.

		MAX
	Right.  Where are they?


INT.  THELMA'S HOUSE - DAY

		HAL
	We're lookin'.  They were on their
	way to some guy's cabin and they
	never showed up.  We're lookin'.  We
	hope you're lookin' too.


EXT.  FLATLANDS - ROAD - DUSK

The T-Bird barrels down the road at high speed.


EXT.  SHAW'S SIESTA MOTEL - DUSK

Louise, Thelma, and J.D. pull into the motel parking lot.

		LOUISE
	I just gotta run in for a minute.

Louise looks at J.D. in the back seat and takes the keys
out of the ignition.

		LOUISE
	You two better go on and say your
	goodbyes.

Louise gets out of the car and goes inside.


INT.  MOTEL OFFICE - NIGHT

An older WOMAN behind the counter is looking at a computer
screen.

		LOUISE
	Louise Elizabeth Sawyer.  Are you
	sure?

		WOMAN
	Nothin'.  Nothin' came in today at
	all.

Louise turns and sees Thelma crawl over into the back seat
with J.D.

		LOUISE
	Nothing under peaches?  Check again
	under peaches.

		WOMAN
	Naw, nothin' under peaches neither.

A MAN comes up behind Louise and stands close behind 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.  Louise is startled
and turns around quickly.

		JIMMY
	Hey, peaches.

		LOUISE
	Oh my God!  Jimmy!  You... Oh my
	God!  What are you doin' here?

		JIMMY
		(to Woman)
	Can we get another room?  Just put
	it on my credit card.

The Woman hands them a key.

		WOMAN
	'Round to the back.


EXT.  MOTEL PARKING LOT - NIGHT

Louise and Jimmy walk outside and catch Thelma sitting
very close to J.D.  Thelma sees Jimmy and is so startled
she screams and involuntarily slams herself across the
back seat to the other side of the car.  She tries to look
nonchalant.

		THELMA
	Jimmy!  Hello, stranger.  What in
	the world are you doin' here?

		JIMMY
	Ask me no questions, I'll tell you
	no lies.

		THELMA
	Good answer.  Same goes double for
	me.

		JIMMY
	Who's your friend?

J.D. is climbing out of the car, looking very
uncomfortable.

		THELMA
	This is J.D.  He's a student.  We're
	just givin' him a ride to... to
	here.  Louise said we could bring
	him here and then he'd have to go.
	And that's what he's doin'.  He's
	goin'.  Aren't you, J.D.?

		J.D.
	Yup.  Thanks for the ride.  You all
	take care.

He quickly turns and walks away toward the road.

		THELMA
		(watching him)
	Yup.  That's him goin'.  I love to
	watch him go.

		LOUISE
		(to Jimmy)
	Thelma kinda took to him.

Jimmy is smiling.

		JIMMY
		(to Thelma)
	Well, come on, gal, I got you a
	room.  You can go on in and take a
	nice cold shower.

		THELMA
	Don't mind me, Jimmy, I'm just a
	wild woman.

		JIMMY
	I always knew that.

		THELMA
	A regular outlaw.

Louise shoots Thelma a look.  The three of them drive
around to the back of the motel.  Thelma turns and looks
at the road.  J.D. is standing there.  He blows her a
kiss.


EXT.  MOTEL ROOM - NIGHT

They stop in front of the motel rooms and the three of
them climb out of the car.

		LOUISE
	Let me just go in and freshen up for
	a minute.  I need to wash my face,
	you know.

Thelma is taking their luggage out of the trunk.

		JIMMY
	Okay, honey.  I don't want to rush
	you.  I just wanna talk to you
	and...
		(whispering)
	... be alone with you.  I'll just be
	in my room, 115, you just come on
	down when you're ready.

Jimmy helps carry the luggage to Thelma's room.  He stops
at the door.

		JIMMY
	I'll be waiting.

Louise smiles at him quizzically as if she can't believe
he's acting this way.  He turns on his heel and slinks
away.

		THELMA
	I don't care what you say about him.
	The boy has got it bad.

		LOUISE
	He's always got it bad as long as
	I'm running in the other direction.
	Don't be fooled, he's no different
	than any other guy.  He knows how to
	chase and that's it.  Once he's
	caught you, he don't know what to
	do.  So he runs away.

		THELMA
	I heard that.


INT.  MOTEL ROOM - NIGHT

They close the door to their room.  Louise sets the
envelope of money on the table.

		LOUISE
		(indicating envelope)
	Our future.

Louise gets her purse and starts taking out her makeup.
She stands very close to the mirror.  She is putting on
lip liner.  Thelma is watching.

		THELMA
	So what are you gonna tell him?

		LOUISE
	Nothing.  I'm not gonna tell him a
	thing.  The least I can do is not
	make him an accessory any more than
	he already is.

		THELMA
	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.

		LOUISE
	I didn't ask him to come!  It's like
	I said, Thelma, he just loves the
	chase.

		THELMA
	Well boy, he's got his work cut out
	for him now, don't he?

		LOUISE
	Put a lid on it, Thelma!  It's hard
	enough as it is.  Just let me get
	this part over with.  Now stay here
	and guard the money.  If there's any
	problem I'm in room 115.

		THELMA
	I won't wait up.

Louise turns to face Thelma.

		LOUISE
	How do I look?

		THELMA
	You're a vision, Louise, a goddamn
	vision of loveliness, you always
	are.

		LOUISE
	Have another drink, Thelma.

Louise walks out the door.

		THELMA
	Good idea.


EXT.  MOTEL ROOM - NIGHT

It's raining out.  Louise goes to Jimmy's room.

Louise knocks on the door to room 115.  The door opens
slightly and one red rose pops out.

		LOUISE
	Hello...

		JIMMY
		(in a falsetto voice)
	Who is it?

		LOUISE
	It's me.

The following eleven roses are held out the door, then
Louise is yanked inside and we hear her shriek with
LAUGHTER.


INT.  THELMA'S MOTEL ROOM - EVENING

Thelma has taken a shower and is dressed in cut-offs and a
T-shirt.  Her hair is still damp but she looks better than
she did when she arrived.  Thelma is fixing a drink of
Wild Turkey and Diet 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 still.

		THELMA
	Louise?

Another KNOCK.

		THELMA
	Louise, is that you?

		J.D. (O.S.)
		(through the door)
	Thelma?  It's me.

Thelma opens the door and there stands J.D., soaking wet
from the rain pouring down behind him.

		J.D.
	I just thought I... I know I'm
	supposed to be gone, but...

He's kind of looking over towards the road.  He's still
slightly shy.

		J.D.
	I'm not havin' much luck gettin' a
	ride.

He notices looking past her into the room that Louise
isn't there.  Thelma just stands there looking at him.

		J.D.
	Well, I guess I'd better...

		THELMA
	Wait...!  Um, where ya going?

		J.D.
	I don't know.  Nowhere.  What are
	you doin'?

		THELMA
	I don't know.  Nothin'.  Took a
	shower.

		J.D.
	That sounds nice.

		THELMA
	Well, you wanna use the shower?

You can tell he does want to but doesn't want to say so.
So instead he just kind of stands there with a reticent
grin on his face.

		J.D.
	Oh.  I... where's Louise?

		THELMA
	She's off with Jimmy, that's her
	boyfriend.

		J.D.
	That's lonely for you, I guess.  I
	always think of motel rooms as
	lonely.

Thelma pretends like she's had a lot of experience with
this sort of thing.

		THELMA
		(letting him in the
		 door)
	Oh, yes, well, they can be.


INT.  JIMMY'S ROOM - NIGHT

Jimmy is pouring champagne into Louise's glass.  There are
a dozen roses in a vase on the table.  He pours for
himself as he sits as close to Louise as possible.

		JIMMY
	Now, my little coconut, what seems
	to be the trouble here?  Tell Daddy
	everything.

		LOUISE
		(cringing)
	Jimmy, my daddy's still alive and it
	kind of gives me the creeps when you
	do that...

		JIMMY
	Okay, okay, just tell me what's the
	trouble.

Louise just looks at him for a minute.

		LOUISE
	Jimmy, I'm not gonna tell ya what
	the trouble is.  Someday soon you'll
	understand why I can't.  But I won't
	tell ya, so don't ask me.

Jimmy is once again shocked by how serious she is.

		JIMMY
		(almost at a loss
		 for words)
	Okay, peaches, okay.  But can I ask
	you one thing?

		LOUISE
	Maybe.

		JIMMY
	Does it have something to do with
	another guy?  Are you in love with
	him?

		LOUISE
	It's nothin' like that.

		JIMMY
		(exploding)
	Then what?!  What, goddamnit,
	Louise!  Where the fuck are you
	going?  Are you just leaving for
	fucking ever?  What, did you fuckin'
	murder somebody or what?!

Louise spills her champagne.

		LOUISE
	Stop it!  Stop it, Jimmy, or I'll
	leave right now.  I'm not kiddin'!

		JIMMY
		(calming down)
	Alright, alright.  I'm sorry.

They both take a second to regain their composure.

		JIMMY
	Can I just ask you one other thing?

		LOUISE
	Maybe.

Jimmy pulls a little black box out of his pocket.

		JIMMY
	Will you wear this?

He hands Louise the box.  She opens it and it is a diamond
ring.  Louise is flabbergasted.

		JIMMY
	Will you at least see how it fits?

		LOUISE
	Jimmy... it's beautiful!

		JIMMY
	You didn't see that one comin', did
	ya?


INT.  THELMA'S MOTEL ROOM - NIGHT

J.D. is out of the shower standing in front of the mirror
wearing only his jeans, the top button of which is still
undone and no shirt.  He has an incredible physique.  He
also has a tattoo on his shoulder of the homemade variety.
Thelma has gone and bought cheese crackers and peanuts
from a vending machine and is into her second Wild Turkey
and 7-Up.  She sits on the bed, watching him in the
mirror.  He definitely looks better with his shirt off.
She suddenly feels awkward and stands up.

		THELMA
	You wanna drink?


INT.  JIMMY'S MOTEL ROOM - NIGHT

Louise has the engagement ring on her finger.  It's really
beautiful.

		JIMMY
	So whaddya think.  I mean... I
	could... uh... get a job.  Of some
	kind.  I mean you've been tellin' me
	that for years, right?

		LOUISE
	Why now, Jimmy?

		JIMMY
		(this is hard for
		 him)
	'Cause, Louise.  I don't want to
	lose you.  And for some reason I get
	the feelin' you're about to split.
	Permanently.

Louise doesn't know how to respond.  She struggles for a
reply.

		LOUISE
	Jimmy, we've gone all these years...
	we never made it work.  We're not
	gonna be able to just... I'm not...
	What kind of job, honey?  Can you
	see it.  I can't.

Jimmy doesn't answer right away.  He's trying to see it.

		JIMMY
	I'm the one... I never made it work.
	I just... It's not that I don't love
	you.  It's not that.  I just never
	thought I'd be thirty-six years old
	and I never thought... I don't know
	what I thought.  What do you want,
	darlin'.  What do you want me to do.

		LOUISE
	I don't know.  It doesn't even
	matter anymore.  I just want you to
	be happy... It's not that I don't
	love you either.  But Jimmy, your
	timing couldn't be worse.

Jimmy does not really understand why this is happening.

		JIMMY
	Are you just doin' this to punish
	me?

		LOUISE
	Believe me, the last thing I want is
	for you to get punished.


INT.  THELMA'S MOTEL ROOM - NIGHT

Thelma has poured a drink for J.D. who's sitting on the
edge of the bed.  She walks over and hands it to him and
as she does, he takes the drink with one hand and her hand
with the other.  He sets the drink down on the nightstand
and holds her hand with both of his.  He closely studies
her wedding ring.  He suddenly looks up at her and gazes
at her just as intently.  He slowly shakes his head as he
removes her ring as if to say, "This is not right for you.
This isn't going to work."  He looks at the ring as he
moves it through space finally stopping when the ring is
directly over his drink.  He drops it in.  He looks back
at Thelma and smiles as if to say, "There.  Now don't you
feel better?"  He smartly kisses her hand.


INT.  JIMMY'S ROOM - NIGHT

Louise and Jimmy are sitting on the edge of the bed.
Jimmy has put the ring on her finger and they both are
looking at it, as Jimmy holds her hand in his.  They both
ponder it.

		JIMMY
	It does look good.


INT.  THELMA'S ROOM - NIGHT

J.D. is standing on the dresser with a towel tied around
his neck like a cape.
		J.D.
	Faster than a speeding green T-Bird,
	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.
		(in his deep man's
		 voice)
	Hi.  Could I interest you in some
	Fuller brushes?

Thelma has not stopped laughing since he came in the room.
He is the greatest guy she's ever seen.  He is sniffing
her neck like a dog.

		THELMA
		(giggling)
	Stop, stop, stop!

Thelma tries to catch her breath.

		THELMA
	Who are you?

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 some guy.  A guy whose
	parole officer is probably having a
	shit fit right about now.

Thelma gasps.

		THELMA
	What?!  Parole officer?  You mean
	you're a criminal?

		J.D.
	Well, not anymore, Thelma, except
	for bustin' parole, I haven't done
	one wrong thing.

		THELMA
	What did ya do?

		J.D.
	I'm a robber.

		THELMA
	You're a bank robber?

		J.D.
	Nope.  I've never robbed a bank.

		THELMA
	What?

		J.D.
	Well, I robbed a gas station once,
	and I robbed a couple of liquor
	stores, and some convenience stores.
	And that's it.

		THELMA
	How?

		J.D.
	Well, I was just down on my luck and
	it seemed like somethin' I was good
	at so I...

		THELMA
		(interrupting)
	No, I mean how would you do it?  Do
	you just sneak in real fast or hide
	out till the store closes or what?

		J.D.
	Naw, honey, that would be burglary.
	I never got arrested for burglary.
	Burglary's for chicken 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 'nother
	deal.

		THELMA
	Tell me.

		J.D.
	Well, first you pick your place,
	see, then I'd just sit back and
	watch it for awhile.  Ya gotta wait
	for just the right moment, which is
	something you know instinctively,
	that can't be taught.  Then I'd
	waltz on in...

J.D. jumps up and picks up a hair dryer and holds it like
a gun.  He starts acting it out.

		J.D.
	And I'd say, "Alright, ladies and
	gentlemen, let's see who'll win the
	prize for keepin' their cool.  Simon
	says everybody lie down on the
	floor.  If nobody loses their head,
	then nobody loses their head.  You
	sir... You do the honors.  Just
	empty that cash into this bag and
	you'll have an amazing story to tell
	all your friends.  If not, you'll
	have a tag on your toe.  You decide."
	Then I'd split.  Simple.

		THELMA

	My gosh, you sure gentlemanly about
	it.

		J.D.
	I've always believed if done right,
	armed robbery doesn't have to be a
	totally unpleasant experience.

		THELMA
	God.  You're a real live outlaw!

		J.D.
	I may be the outlaw, but you're the
	one stealin' my heart.

		THELMA
	And smooth, boy, you are smooth.

They kiss passionately.

		THELMA
	You're kinda the best thing that's
	happened to me in a long time.

		J.D.
	You're a little angle, you are.

J.D. turns out the light.


INT.  JIMMY'S ROOM - NIGHT

Louise and Jimmy are wrapped in each other's arms, quietly
making love.  Through this, Jimmy is ardent.

		JIMMY
	Louise?  I think you are so damn
	beautiful.  I mean that.  I always
	have.

She smiles.  Completely.

		LOUISE
		(whispering)
	I think you're beautiful too.


EXT.  SIESTA MOTEL - DAWN

MONTAGE of early morning staff, a truck driver climbing
into his cab with a silver thermos, squirrels hopping
around on the ground.


INT.  SIESTA COFFEE SHOP - DAWN

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'll say anything
	you want.  We'll find a way to get
	you out of this, whatever it is.

		LOUISE
	Damn, Jimmy, did you take a pill
	that makes you say all the right
	stuff?

		JIMMY
	I'm choking on it.

They sit for a minute.

		JIMMY
	Honey?  Ummm... Do you want me to
	come with you?

They look at each other, into each other and Jimmy can see
that Louise is already gone.  Louise is really touched
that he asked her that but she knows it's impossible.  She
is very kind to him.

		LOUISE
	Oh... now... it's probably not such
	a good idea right now.   I'll...
	catch up with you later, on down the
	road.

In her hand she's been holding the ring in the black box.
She puts it on the table and slides it back to him.  He
stops her, suddenly.  He covers her hand with his.

		JIMMY
	You keep this!

Jimmy is trying not to seem upset, so he's completely
still.  A taxi pulls up outside.

		LOUISE
	Your taxi's here.

Jimmy pulls her to him and kisses her so passionately that
employees in the coffee shop look away.  A cook fans
himself with a spatula.  The taxi driver, who can see in,
looks at his watch.

		JIMMY
	Are you happy, Louise?  I just want
	you to be happy.

Louise looks at her hand and Jimmy's hand.

		LOUISE
	I'm happy, sweetie.  Happy as I can
	be.

Jimmy gets up and leaves the coffee shop.  Louise watches
him go.  A WAITRESS comes over and fills her coffee cup.

		WAITRESS
	Good thing he left when he did.  We
	thought we were gonna have to put
	out a fire.

The Waitress chuckles and the other waitresses do too.
Louise waves to Jimmy in the back of the cab.  The cab
driver winks at her.  She smiles to herself.


INT.  THELMA'S MOTEL ROOM - MORNING

The room is totally trashed.  J.D. and Thelma are both
asleep, naked and hanging off either side of the bed.
J.D. starts to stir...


INT.  HAL'S BEDROOM - MORNING

Hal is in bed with is WIFE.  He has to get up.  He is
holding his wife in his arms.

		HAL
	Honey?

		SARAH
	Yes, baby?

		HAL
	Do you think you could ever shoot
	someone?

		SARAH
	What?

		HAL
	Do you think you could ever think of
	a set of circumstances that would
	just cause you to haul off and shoot
	someone?

		SARAH
	I could shoot your cousin Eddie.

		HAL
	Why?

		SARAH
	Because he's an inconsiderate
	asshole.

		HAL
	I'm asking you seriously, Sarah, a
	stranger?

		SARAH
	I don't know, honey.  I guess it
	would depend.

		HAL
	On what?

		SARAH
		(trying to picture
		 it)
	Well, maybe if they were trying to
	hurt you or one of the kids.  I'm
	sure I could shoot someone if 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.
	I don't know.  I keep hearing words
	-- impossible -- inconceivable.  If
	just one person would say...

		SARAH
	Honey.  Nothing's impossible.  You
	just don't shoot someone like that
	for no reason.  Maybe he was askin'
	for it.  Anyway, somebody's husband
	probably got ol' Harlan.

		HAL
	That's what everybody says.  Only
	problem is nobody's husband was
	unaccounted for that night... Could
	you shoot Eddie in the face?  At
	point blank range?

		SARAH
		(thinking)
	In the leg.

		HAL
		(getting up)
	I gotta go to Little Rock.


INT.  COFFEE SHOP - MORNING

Louise is sitting in the booth by herself.  Thelma comes
hurrying by.  She looks disheveled but is grinning like 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.  Thelma slides into the booth
seated directly across from Louise.

		THELMA
	Hi.

She is shocked by Thelma's appearance.

		LOUISE
	What happened to your hair?

		THELMA
	Nothing.  It got messed up.

Louise is studying Thelma closely as Thelma squirms in her
seat, barely able to contain herself.

		LOUISE
	What's wrong with you?

		THELMA
	Nothing.  Why?  Do I seem different?

		LOUISE
	Yes, now that you mention it.  You
	seem crazy.  Like you're on drugs.

		THELMA
	Well, I'm not on drugs.  But I might
	be crazy.

		LOUISE
		(shaking her head)
	I don't think I wanna hear what
	you're gonna tell me.

Thelma is just about to shriek when the Waitress comes
over and puts a coffee 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, Louise!!!  I can't
	believe it!  I just really can't
	believe it!  I mean... whoa!

Thelma is just laughing hysterically.  Louise suddenly
understands.

		LOUISE
	Oh, Thelma.  Oh, no.

		THELMA
	I mean I finally understand what all
	the fuss is about.   This is just a
	whole 'nother ball game!

		LOUISE
	Thelma, please get a hold of
	yourself.  You're making a
	spectacle.

		THELMA
	You know, Louise, you're supposed to
	be my best friend.  You could at
	least be a little bit happy for me.
	You could at least pretend to be
	slightly happy that for once in my
	life I have a sexual experience that
	isn't completely 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.  Where
	is he now?

		THELMA
	Taking a shower.

		LOUISE
	You left that guy alone in the room?

Louise is getting a bad feeling.  She is already standing
up putting money on the table.

		LOUISE
	Where's the money, Thelma?

Thelma has forgotten all about the money.

		THELMA
	Ummm... it's on the table.  It's
	okay.

They are both leaving the restaurant now.  As they hit the
door they both break into a full run.

		THELMA
	I don't remember.


EXT.  MOTEL PARKING LOT - DAY

They run across the parking lot around the back to the
room.  The door is ajar and no one is in the room.  Louise
goes in and Thelma stays outside the door.

		THELMA
	Goddamnit!  I've never been lucky!
	Not one time!

Louise comes back outside.  She doesn't say anything.  She
is stoic, fighting tears.

		THELMA
	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 for a moment.

		THELMA
	Louise?  Are you okay?

Louise shakes her head no.

		THELMA
	Louise... It's okay.  Louise?  I'm
	sorry.  I mean it.

Louise has seen the end of the tunnel and there is no
light.

		LOUISE
	It's not okay, Thelma.  It's
	definitely not okay.  None of this
	is okay.  What are we going to do
	for money?  What are we gonna buy
	gas with?  Our good looks?  I
	mean... Goddamn, Thelma!

Louise quietly starts to fall apart.  This causes Thelma
to leap into action.

		THELMA
	Come on.  Stand up!  Don't you worry
	about it.  I'll take care of it.
	Just don't you worry about it.  Get
	your stuff.

Louise is still sitting on the sidewalk.

		THELMA
	Come on!  Damnit, get your stuff and
	let's get out of here!

Louise slowly gets to her feet.

		THELMA
	Move!
		(to herself)
	Jesus Christ, take your damn time.

Thelma is hauling stuff out of the car.


EXT.  MOTEL PARKING LOT - MORNING

TIGHT SHOT of rear wheel of green T-Bird LAYING RUBBER out
of the motel parking lot.  Thelma and Louise, both looking
a little rougher than we've seen so far, drive away.


EXT.  THELMA'S HOUSE - DAY

Hal, FBI Man, various other police and detective types,
pull up in front of the house.  The front door swings open
and there stands Darryl looking like he's been shot out of
a cannon.


EXT.  STREET - DAY

Louise and Thelma pull into a convenience store.


INT.  THELMA'S HOUSE - DAY

Police are tapping the phones, dusting for prints, etc.,
while Darryl sits motionless in his recliner with a dull
expression on his face.

		HAL
		(to Darryl)
	As you know, we've tapped your
	phone.  In the event that she calls
	in.

Max comes up and joins them as they walk down the hallway.

		MAX
	We're going to leave someone here at
	the house in the event that she
	calls 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 to get too
	personal, but do you have a good
	relationship with your wife?  Are
	you close with her?

		DARRYL
	Yeah, I guess.  I mean, I'm about as
	close as I can be with a nut case
	like that.

		MAX
	Well, if she calls, just be gentle.
	Like you're happy to hear from her.
	You know, like you really miss her.
	Women love that shit.


EXT.  CONVENIENCE STORE - DAY

Thelma and Louise are sitting in the car.  They've put all
their money together.

		LOUISE
	Eighty-eight dollars ain't gonna
	make a dent, baby girl.

		THELMA
		(getting out of the
		 car)
	Don't worry about it.  You want
	anything?

		LOUISE
	No.

Thelma marches off to the store.  Louise puts a tape in
the deck and is listening to loud R&B MUSIC.  She checks
herself in the rearview mirror.  She takes her lipstick
out and is about to put it on.  She makes eye contact with
herself and, instead, throws it out the window, closes her
eyes and leans her head back on the seat.  She's in a
world of shit.

Thelma comes trotting out of the store and jumps into the
car.

		THELMA
		(breathless)
	Drive!

Louise looks at her.

		THELMA
	Drive!  Drive away!

		LOUISE
		(driving away)
	What happened?

Thelma opens her purse and exposes a bag full of bills.

		LOUISE
	What?  You robbed the store?  You
	robbed the Goddamn store?!

Thelma shrieks with excitement.  Louise is completely
stunned.

		THELMA
	Well!  We needed the money!  It's
	not like I killed anybody, for God's
	sake.

Louise shoots her a look.  She puts the car in gear and
FLOORS it out of the parking lot.  She is still looking at
Thelma as if she has completely lost her mind.

		THELMA
	I'm sorry.  Well, we need the money.
	Now we have it.

		LOUISE
	Oh shit, Thelma!!  Shit!  Shit!
	Shit!

		THELMA
		(sternly)
	Now you get 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...


INT.  POLICE STATION - INTERROGATION ROOM - DAY

Hal, Max, various other cops, and Darryl all watch as TV
plays back VCR TAPE of Thelma in the convenience store
pulling a gun.  In perfect lip sync is:

		THELMA (V.O.)
	Alright, ladies and gentleman, let's
	see who'll win the prize for keepin'
	their cool.  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.  TIGHT SHOTS of Hal, Max, etc., all
looking intently at the screen.

VIDEO IMAGE of Thelma boldly ordering cashier to fill her
purse with money.  As he's loading the purse with bills,
she's taking beef jerky from the display and putting it in
there, too, while she points the gun at the cashier.

		THELMA (V.O.)
		(videotape playback)
	You, sir... You do the honors.  Just
	empty that cash into this bag and
	you'll have an amazing story to tell
	all your friends.  If not, you'll
	have a tag on your toe.  You decide.

				 CUT TO:

INT.  CAR - DAY

Thelma and Louise in car, driving.

		LOUISE
		(incredulous)
	Holy shit.

				 CUT TO:

INT.  POLICE STATION - INTERROGATION ROOM - DAY

TIGHT SHOT:

		DARRYL
	Jesus Christ.

TIGHT SHOT:

		MAX
	Good God.

TIGHT SHOT:

		HAL
		(wearily)
	My Lord.


EXT.  DRIVING SHOT - DAY

		LOUISE
	Holy shit.

		THELMA
	Lemme see the map.

Louise throws the map across the front seat at Thelma and
FLOORS it.

				 FADE TO BLACK.

FADE IN:

INT.  JIMMY'S APARTMENT BUILDING - DAY

Jimmy is entering the apartment building, carrying his
overnight bag.  Two men are sitting on the stairs.  They
stand as he comes in.  They are plainclothes police.  They
show their badges.  He leaves with them.


EXT.  ROAD - TIGHT SHOT - J.D.'S BACKSIDE - DAY

made only more prominent by the bulging wallet in his back
right pocket.

J.D. is walking down the road and continues to walk as an
Oklahoma State Patrol car pulls up alongside him.  He
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 walking and set down
his duffel bag.  He reaches for his wallet.  It's clear
that they have asked for some I.D.


EXT.  RURAL ROAD - DAY

Louise is driving.  They fly past a kid on his bike on a
long gravel driveway.  He watches them.  A huge cloud of
dust blows up as they pass him.  He turns and rides his
bike down the driveway towards the house.


INT.  CAR - DAY

		THELMA
	Louise, you'd better slow down.
	I'll just die if we get caught over
	a speeding ticket.

Louise looks at the speedometer touching 80 mph and lets
her foot off the gas.  Louise is looking a little nervous.

		LOUISE
	For the first time in my life, I
	wish this car wasn't green.

		THELMA
	Are you sure we should be driving
	like this?  In broad daylight and
	everything?

		LOUISE
	No we shouldn't, but I want to put
	some distance between us and the
	scene of our last Goddamn crime!

		THELMA
	Oooooweee!!  You shoulda seen me!
	Like I'd been doin' it all my life!
	Nobody would ever believe it.

		LOUISE
	You think you've found your calling?

		THELMA
	Maybe.  Maybe.  The call of the
	wild!

Thelma howls like a dog and drinks a little bottle of Wild
Turkey.

		LOUISE
	You're disturbed.

		THELMA
	Yes!  I believe I am!


INT.  POLICE STATION - INTERROGATION ROOM - DAY

Jimmy is in a small room with Hal, Max, other cops,
looking stunned.

		JIMMY
	I swear to God, she wouldn't tell me
	one thing!  Christ!  You oughta try
	to find that kid that was with 'em.

		HAL
	Tell us about him.

		JIMMY
	Just some young guy.  Around twenty
	years old.  Dark hair.

Jimmy is really upset and has to really struggle to
control himself.

		JIMMY
		(trying to remember
		 him)
	They said they'd picked him up along
	the way.  He was a student.  But he
	didn't look right.  But he left when
	they got to the motel.

		MAX
	Do you understand that you may be
	facing an accessory charge?

		HAL
	This is serious, son.  A man is
	dead.

		JIMMY
	I know!  I'd tell you if I knew!
	Goddamn!  I know something happened,
	or she wouldn't have left.  I'm
	trying to remember everything!  Find
	that fucking kid.  He probably knows
	something.


EXT.  DRIVING SHOT - DAY

Thelma and Louise are in the car.  Thelma is taking empty
little Wild Turkey bottles out of her purse and throwing
them out the window.

		LOUISE
	So what's the plan, Thelma?  You just
	gonna stay drunk?

		THELMA
	Try to.

		LOUISE
	Litterbug.

They come ROARING up on a semi-tanker carrying gas.  We
see their FISH-EYE REFLECTIONS in the shiny tanker.

The mud flaps are the shiny silhouettes of naked women
that Thelma and Louise saw earlier.  The truck is going
slower than they are.

		LOUISE
	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 them past.

		THELMA
	Isn't that nice?  Truck drivers are
	always so nice.  The best drivers on
	the road.

As they get next to the truck, the truck driver is smiling
and waving at them.  They smile and wave back.  He flicks
his tongue at them.  Louise screams.

		THELMA/LOUISE
	Ugh!!  Gross!!  Oh my God!  Aw, God!

Louise FLOORS it and speeds past him.

		THELMA
	Ugh!!  Why do they have to do that?

		LOUISE
	They think we like it.  Maybe they
	think it turns us on.

Louise shivers with disgust.


INT.  POLICE STATION - INTERROGATION ROOM - DAY

Jimmy is looking at police mug shots of a lot of young
guys.  Hal shows Jimmy a mug shot of J.D.

		HAL
	Is this the guy you saw them with?

		JIMMY
		(looking closely)
	It's him.

		MAX
		(clapping his hands)
	Oh, happy day.

		JIMMY
	You gotta be kiddin' me.  They picked
	up a murderer?!

		HAL
	Armed robber.

		JIMMY
	Oh, great.

		MAX
		(to Hal)
	They're flying him here right now.
	He was picked up this morning for
	parole violation.  They also found
	about six grand on him, so he
	probably knocked over something
	while he was out there.  They can
	drop him by here for questioning.
	I'm so happy.

		JIMMY
		(overhearing)
	How much cash did he have?


EXT.  POLICE STATION - DAY

J.D. arriving, handcuffed, at State Police building.


EXT.  DIRT  ROAD - DAY

The T-Bird is entering terrain that looks more like
desert.  The top of the T-Bird is up.


INT.  CAR - DAY

		LOUISE
	Thelma.

		THELMA
	Yeah.

		LOUISE
	I want you to call Darryl.

		THELMA
	What for?

		LOUISE
	To find out if he knows anything.
	If you think he does, you gotta hang
	up because it means the police have
	told him and the phone is probably
	tapped.

		THELMA
	Jeez, Louise, tapped the phone?  You
	think so?

		LOUISE
		(agitated)
	Oh, come on!  Murder one and armed
	robbery, Thelma!

		THELMA
	Murder one!  God, Louise, can't we
	even say it was self-defense?

		LOUISE
	But it wasn't!  We got away!  We
	were walkin' away!

		THELMA
	They don't know that!  It was just
	you and me there.  I'll say he raped
	me and you had to shoot him!  I
	mean, it's almost the truth!

		LOUISE
	It won't work.

		THELMA
	Why not?!

		LOUISE
	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.

		THELMA
	God.  The law is some tricky shit,
	isn't it?

Then:

		THELMA
	How do you know 'bout all this stuff
	anyway?

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!


EXT.  DIRT ROAD - HELICOPTER SHOT - DUSK

As the sun sets, the T-Bird drives deeper into the vast
desert.


INT.  POLICE STATION - NIGHT

Darryl is sitting in the hallway.  Two officers are
leading J.D. down the hall.

Hal, Max, other plainclothes officers follow.  Darryl
looks at Hal questioningly.  Hal doesn't respond and the
entourage quickly goes into a room.  Darryl stands and
crosses the hall to the room as the door shuts in his
face.

		DARRYL
		(yelling at the
		 door)
	Hey!  Hey!


INT.  POLICE STATION - INTERROGATION ROOM - NIGHT

		J.D.
	Who's the nut?

		HAL
	That's Thelma Dickinson's husband.

		J.D.
	Aw, God.


INT.  POLICE STATION - HALLWAY - NIGHT

Darryl tries the doorknob, but the door is locked.


INT.  POLICE STATION - INTERROGATION ROOM - NIGHT

Hal, Max, J.D., other officers.  There is a VCR and
monitor set up in the room and they view the videotape of
Thelma in the convenience store.

		J.D.
		(pleased)
	Alright!  She did good!  Didn't she?

		HAL
	Well, son, she's doin' a damn sight
	better 'n you right now.

		MAX
	Where did you get $6600.00 in cash?

		J.D.
	A friend.

		HAL
	We spoke with a gentlemen today who
	says he personally delivered very
	close to that same amount to a Miss
	Louise Sawyer.  Do you know her too?

		J.D.
	Umm, yes.  She was driving.

		HAL
	He said he took it to a motel in
	Oklahoma City.  He also says that at
	that time he met a man.  He
	identified you through a series of
	mug shots.  He also told us that you
	and Mrs. Dickinson seemed "close."
	Is that true?

		J.D.
	You might say we had a meeting of
	the minds, yes.

		MAX
	Did you know that Mrs. Dickinson and
	Miss Sawyer are wanted in connection
	with a murder?

		J.D.
	What?!

		HAL
	Did either of them ever indicate
	that they might be running from the
	Law?

		J.D.
		(surprised to hear
		 this)
	Now that you mention it, they might
	have been a little bit jumpy.

		HAL
	You know what?  You're starting to
	irritate me.

		MAX
	Yeah.  Me too.

Hal thinks for a moment and then looks to Max.

		HAL
	Do you mind if I have a word with
	him alone for a minute.

Max agrees and opens the door for the others to leave.  He
and Hal make eye contact before Max closes the door.

		J.D.
	What?!  What'd I do?

Hal sits down across the table from J.D. and looks at
him.

		HAL
	Son, I gotta feelin' about somethin'
	and I just wanna ask your opinion.
	Do you think Thelma Dickinson would
	have committed armed robbery if you
	hadn't taken all their money?

J.D. doesn't say anything.  They both just sit there for
a moment.

		HAL
	Cat got your tongue?

J.D. shifts in his chair.

		J.D.
	How do you know I took it?  How do
	you know they didn't just give it to
	me?

		HAL
	There's two girls out there that had
	a chance, they had a chance...!  And
	you blew it for 'em.  Now they've
	gotten in some serious trouble, some
	very serious trouble and for at
	least part of it, I'm gonna hold you
	personally responsible for anything
	that happens to them.  I've got no
	feelin' for you.  But I may be the
	only person in the world who gives a
	rat's ass what happens to them and
	you're either gonna tell me every
	damn thing you know, so there's a
	small chance I can actually do them
	some good, or I'm gonna be all over
	you like a fly on shit for the rest
	of your natural life.  Your misery
	is gonna be my goddamn mission in
	life.  That's a sincere promise.

Hal walks over and opens the door and Max and the others
straggle back in.

		HAL
	Now, for one thing, you violated
	your parole two days out.  And you
	know Judge Hainey.  He hates this
	sort of thing.  Once he gets wind of
	this, he's gonna blow sky high.  And
	then when he finds out that you're a
	possible accessory to murder and
	armed robbery, well, I think we can
	safely place your ass back in the
	slammer for at least the remaining
	eight, don't you?

		MAX
	Oh, definitely.

		J.D.
		(convinced)
	Okay.  Is somebody gonna write this
	down?


INT.  POLICE STATION - NIGHT

Darryl is sitting in the hallway.  Hal comes out of the
room first.

		HAL
	Mr. Dickinson, if you'll just hang
	on, I want a word with you and then
	we'll take you home.

Police officers lead J.D. out of the interrogation room,
down the hallway.  Darryl is watching J.D. closely.  J.D.
is smirking at him.

		J.D.
		(slyly, to Darryl)
	I like your wife.

		DARRYL
		(going after him)
	Come back here, you little shit!

Hal and another police officer are restraining Darryl.
J.D. is led off down the hall.


EXT.  GAS STATION - NIGHT

Louise and Thelma pull into a gas station.


EXT.  GAS STATION - NIGHT

A gas station attendant approaches as Louise and Thelma
are getting out of the car.

		LOUISE
		(to attendant)
	Fill her up.
		(to Thelma)
	There's a phone right over there.

		THELMA
	Let's get it over with.

Thelma and Louise walk to the phone.

		LOUISE
	I'm not kidding, Thelma.  If you
	think he knows, even if you're not
	sure, hang up.


INT.  THELMA'S HOUSE - NIGHT

The TV is ON and the place is a mess.

Darryl, Hal, Max, and other cops spring into action as the
phone RINGS, putting on headsets, turning on tape
recorders.  Darryl picks up the phone.

		DARRYL
	Hello.


EXT.  PAY PHONE - NIGHT

		THELMA
	Darryl.  It's me.


INT.  THELMA'S HOUSE - NIGHT

Hal, Max, etc., all are gesticulating wildly.

		DARRYL
		(real friendly)
	Thelma!  Hello!


EXT.  PAY PHONE

Thelma hangs up the phone.

		THELMA
		(matter-of-factly)
	He knows.


INT.  THELMA'S HOUSE - NIGHT

Everyone is very disappointed, taking off their headsets,
turning off tape recorders and looking at Darryl like he's
an idiot.

		HAL
	Shit.

Darryl still holds the phone in his hand.

		DARRYL
	What?!  All I said was hello.


EXT.  PAY PHONE - NIGHT

Thelma and Louise are staring at each other intently.
Louise steps up to the phone.

		LOUISE
	You got any change?

Thelma digs in her bag and hands Louise a roll of
quarters.  Louise gets out of the car and goes to the pay
phone.  Thelma follows her.  She puts the money in and
dials.  It RINGS.

		LOUISE
	Darryl, this is Louise.  Are the
	police there?


INT.  THELMA'S HOUSE - NIGHT

Again everybody springs into action.  Darryl is fumbling
with the phone.

		DARRYL
	Uh, no!  No, why would any police be
	here?  Hey, where are you girls,
	anyway?

Darryl gives Hal and Max a look as if he's got it
completely under control.  Clever guy.


EXT.  PHONE - NIGHT

		LOUISE
	Let me talk to whoever's in charge
	there?


INT.  THELMA'S HOUSE - NIGHT

		DARRYL
	What are you talking about, Louise?

Hal comes over and takes the phone away from Darryl.  Hal
looks at Max who nods, "take it."

		HAL
	Hello, Miss Sawyer.  I'm Hal
	Slocumbe, Chief Investigator,
	Homicide, Arkansas State Police.
	How are you?


EXT.  PHONE - NIGHT

		LOUISE
		(chuckling)
	I've been better.

		HAL (V.O.)
	You girls are in some hot water.

		LOUISE
	Yes, sir.  I know.


INT.  THELMA'S HOUSE - NIGHT

		HAL
	You're both okay?  Neither one of
	you hurt?  You're bein' careful with
	that gun?


EXT.  PHONE - NIGHT

		LOUISE
	We're both fine.

		HAL (V.O.)
	Good.  You wanna tell me what
	happened?

		LOUISE
	Sure.  Maybe over coffee sometime.
	I'll buy.


INT.  THELMA'S HOUSE - NIGHT

		HAL
	I just want you to know, neither one
	of you are charged with murder yet.
	You're still just wanted for
	questioning.  Although, now, Mrs.
	Dickinson's wanted in Oklahoma for
	armed robbery.


EXT.  PHONE - NIGHT

		LOUISE
	No kiddin'.  Listen, we gotta go.
	I'll call you back, all right?

Louise looks at her watch.

		HAL (V.O.)
	Miss Sawyer, I don't think y'all are
	gonna make it to Mexico.  We should
	talk.  Please.  I wanna to help you.

On hearing this Louise mouths the word "shit" in a very
frustrated way.

Louise hangs up the phone.


INT.  THELMA'S HOUSE - NIGHT

All are busy trying to see if the call was traced.  Darryl
is back in his recliner still in shock.


EXT.  PAY PHONE - NIGHT

She is stomping back to the car.  Thelma follows doggedly.
A moving van pulls in and parks in the b.g.

		LOUISE
	That J.D. kid is a little shit.

		THELMA
	What.

Louise stops as she is about to get in and faces Thelma
who's standing on the other side of the car.

		LOUISE
	How'd they find out we're going to
	Mexico, Thelma, how they know that?

		THELMA
	I... I...

		LOUISE
	You told that thievin' little shit
	where we were goin'?!

Louise yanks open her car door, gets in and slams the door
and fires up the ENGINE.  Thelma hops in quickly.

		THELMA
	I just told him if he ever gets to
	Mexico to look us up.  I asked him
	not to tell.  I didn't think he
	would tell anybody.

		LOUISE
	Why not?!  What's he got to lose?
	Other than my life's savings, that
	is.  Shit!

Louise careens back onto the road.

		THELMA
	I'm sorry.  I mean I...

Louise slams on the brakes.

		LOUISE
	Goddamnit, Thelma!  Let me explain
	something to you.  Right now we have
	only two things goin' for us.  One,
	nobody knows where we are, and two,
	nobody knows where we're going.
	Now, one of our things that was
	going for us is gone!

Louise stops yelling for a moment groping for self-
control.  Thelma looks pitiful.

		LOUISE
	Just stop talkin' to people, Thelma!
	Stop bein' so open!  We're fugitives
	now.  Let's behave that way!

		THELMA
	You're right.


EXT.  LONELY ROAD - NIGHT (MUSCO LIGHT)

The T-Bird flashes by on a road that looks a lot like
Route 66.

		THELMA (V.O.)
	Louise?  Where are we?

		LOUISE (V.O.)
	Just past Boise City.

		THELMA (V.O.)
	Idaho?

		LOUISE (V.O.)
	Oklahoma, Thelma.  We're crossing
	into New Mexico.

		THELMA (V.O.)
	I always wanted to see New Mexico.


EXT.  THELMA'S POV - OUT PASSENGER WINDOW - PITCH BLACK


EXT.  BACK ROAD - NIGHT

The car goes streaking by.


INT.  THELMA'S HOUSE - NIGHT (MUSCO LIGHT)

All's quiet.  The large screen TV is ON and the room is
filled with dense smoke.  Hal, Max, sit at a table going
over paperwork.  Other plainclothes and surveillance guys
play cards.  Darryl sits crumpled in his recliner staring
blankly at the TV.


INT.  JIMMY'S APARTMENT - NIGHT

Jimmy sits on his couch with his guitar while two
plainclothes cops sit reading the paper, doing the
crossword puzzle.


INT.  CAR - NIGHT

OVER MUSIC FROM TAPE:

Thelma is sipping on a little Wild Turkey.

		THELMA
	Now what?

		LOUISE
	Now what what?

		THELMA
	Whaddo we do?

		LOUISE
	Oh, I don't know, Thelma.  I guess
	maybe we could turn ourselves in and
	spend our lives trading cigarettes
	for mascara so we can look nice when
	our families come to visit us on
	Saturdays.  Maybe we could have
	children with the prison guards.

		THELMA
	I'm not suggestin' that!  I'm not
	goin' back.  No matter what happens.
	So don't worry about me.

Louise speeds up.

Thelma hands Louise a little bottle of Wild Turkey and she
drinks it down.  Thelma has one too.

		THELMA
	Can I ask you kind of a weird
	question?

		LOUISE
	Yeah.

		THELMA
	Of all the things in the world that
	scare you, what's the worst thing
	that scares you the most?

		LOUISE
	You mean now or before?

		THELMA
	Before.

		LOUISE
	I guess I always thought the worst
	thing that could happen would be to
	end up old and alone in some crummy
	apartment with one of those little
	dogs.

		THELMA
	What little dogs?

		LOUISE
	You know those little dogs you see
	people with?

		THELMA
	Like a Chihuahua?

		LOUISE
	Those, too, but you know those
	little hairy ones?  Those flat-faced
	little fuckers with those ugly
	goddamned teeth?

		THELMA
	Oh yeah.  You mean Peek-a-poos.

		LOUISE
	Yeah.  Those.  That always put the
	fear of God in me.  What about you?

		THELMA
	Well, to be honest, the idea of
	getting old with Darryl was kinda
	startin' to get to me.

		LOUISE
	I can see that.

		THELMA
	I mean, look how different he looks
	just since high school.  It's bad
	enough I have to get old, but doin'
	it with Darryl around is only gonna
	make it worse.
		(quieter)
	I mean, I don't think he's gonna be
	very nice about it.

		LOUISE
	Well, now, maybe you won't have to.

		THELMA
	Always lookin' on the bright side,
	aren't ya?


EXT.  MOONLIT DESERT HIGHWAY - NIGHT (MUSCO LIGHT)

They are driving through Monument Valley.  The T-Bird
speeds through the beautifully moonlit desert.  It is
almost like daylight.

MONTAGE of silhouettes of cacti, huge rock formations,
desert beauty SHOTS, etc.


INT.  CAR - POV THROUGH WINDSHIELD - NIGHT

The sky is bright and expansive and the road goes on
forever.

		THELMA
	This is so beautiful.

		LOUISE
	Gosh.  It sure is.

		THELMA
	I always wanted to travel.  I just
	never got the opportunity.

		LOUISE
	Well, you got it now.

They both look forward for another moment.  And then, at
the same time, they look at each other, each taking the
other one in completely, in this moment.

They're saying everything to each other in this moment,
but their expressions don't change and they don't say a
word.  MUSIC plays on the RADIO.


EXT.  DESERT HIGHWAY - NIGHT

A semi-gas tanker is up ahead on the road.  It looks like
the one they saw earlier.  It's got the same mud flaps...


INT.  CAR - NIGHT

		LOUISE
	Look!  Look who it is, Thelma.  I'll
	be darned.  What's he doin' way out
	here.

		THELMA
	Just ignore him.

Louise passes him and, as she does, he HONKS.  They look
up and he is wildly pointing to his lap.

		LOUISE
	Oh, Christ.  I hate this guy.

		THELMA
	We should have just ignored him.


EXT.  DESERT HIGHWAY - DAWN (OVER MUSIC)

The car is flying down the road.


INT.  CAR - DESERT HIGHWAY - DAWN

They are quiet for a moment, then Thelma starts quietly
laughing to herself.  She is trying to stop but cannot.

		LOUISE
	What?

		THELMA
		(shaking with
		 laughter)
	Nothing.  It's not funny.

		LOUISE
	What?  What's not funny, Thelma!

Thelma is trying to compose herself but cannot.

		THELMA
	Okay, but...
		(she can barely
		 speak)
	I can't say.

Thelma isn't making a sound.  She is stuck in a convulsion
of laughter.

		LOUISE
	What?!

		THELMA
		(gasping for air)
	Harlan.

		LOUISE
	What?!  What about him?!

		THELMA
	Just the look on his face when
	you...
		(she is falling
		 apart again)
	... it's not funny.

		LOUISE
		(shocked)
	Now, Thelma, that is not...

Thelma is still trying to get a grip on herself.

		THELMA
	Boy, he wasn't expectin' that!

		LOUISE
		(scolding)
	Thelma!

		THELMA
		(impersonating
		 Harlan)
	Suck my dick... Boom!!

Thelma is laughing wildly.

		LOUISE
		(quietly)
	Thelma.  It's not funny.

Thelma has just crossed the line from laughing to crying.

		THELMA
		(trying to catch her
		 breath)
	I know!

They both get quiet.

Thelma leans back just watching Louise.  She studies her
as if she's never really seen her before.  All of a sudden
a look of shocked realization comes over Thelma's face.
She jerks upright and startles Louise.

		THELMA
		(carefully)
	It happened to you... didn't it?

Louise knows what she is talking about.  She becomes
immediately agitated.

		LOUISE
	I don't want to talk about it!
	Thelma, I'm not kidding!  Don't you
	even...

		THELMA
	... in Texas... didn't it?  That's
	what happened... Oh my God.

Louise looks as if she is looking for a way to flee.

		LOUISE
		(fighting hysteria)
	I'm warning you, Thelma.  You better
	drop it right now!  I don't want to
	talk about it!

		THELMA
		(gently)
	Okay, Louise... It's okay.

Louise's eyes are wild, not seeing, while Thelma now seems
completely serene.


EXT.  DESERT HIGHWAY - DAWN

The car is SCREAMING down the road.  They drive through a
little stand of buildings.


EXT.  DESERT HIGHWAY - LONG LENS SHOT - DAWN

A car speeds up to try and catch them... The red and blue
lights pop on.  It is a New Mexico State Patrol car.


INT.  CAR - DAY

Louise sees the lights in the rearview mirror.  LOUISE'S
POV OF THE SPEEDOMETER at 100 mph.  Thelma is asleep.

		LOUISE
	Shit!  Thelma, wake up!  Shit!
	We're gettin' pulled over!

Thelma jumps awake.

		THELMA
	What!  What!  Oh shit!  Oh no!

They are trying not to panic.  They are slowing down, but
still doing 70 mph.  The patrol car is right behind them.

		THELMA
	What do we do?  What do you want to
	do?!

		LOUISE
	I don't know!  Shit!  Let's just
	play it by ear.  He may not know.
	He may just give me a ticket.

		THELMA
	Please, God, please don't let us get
	caught.  Please, please, please...

Louise pulls the car off the road.  The patrol car pulls
up right behind them.  The lights shine brightly in
through the windows.


EXT.  SIDE OF DESERT HIGHWAY - DAY

		PATROLMAN (O.S.) (OVER P.A.)
	Turn off your engine.

Louise does.  The PATROLMAN gets out of his car and
approaches their car.  He comes to the driver's side
window.  It is rolled up.

PATROLMAN'S POV OF LOUISE smiling up at him.  He gestures
to her to roll her window down.  She does.

		LOUISE
	Hello, Officer.  Is there a problem?

		PATROLMAN
	You wanna let me see your license,
	please?

Louise fumbles in her purse for her wallet, opens it and
shows her license.

		PATROLMAN
	You wanna take it out of your
	wallet, please?

		LOUISE
	Oh yeah.

She does and hands it to him.

		THELMA
	I told you to slow down.  Hell,
	Officer, I told her to slow down.

		LOUISE
	About how fast was I going?

		PATROLMAN
	About a hundred and ten.  You wanna
	step out of the car, please?

They walk to the back of the car.  He notes the license
plate number.

		PATROLMAN
	Is this your car?

		LOUISE
	Yes.

		PATROLMAN
	You wanna come with me, please?
	Walk around and get in the car,
	please.

		LOUISE
	In the back?

		PATROLMAN
	Front.

		LOUISE
	Am I in trouble?

		PATROLMAN
	As far as I'm concerned, yes, ma'am,
	you are.

Patrolman gets in the driver's side.  He picks up a
clipboard and clips Louise's driver's license to it.  He
picks up the hand mike for the radio and, as he does, a
hand with a gun comes in his car window.  It's Thelma and
she puts the gun to his head.

		THELMA
	Officer, I am so sorry about this.
	Could you let go of that?

He drops it.

		THELMA
	I really, really apologize, but
	please put your hands on the
	steering wheel.  See, if you get on
	that radio, you're gonna find out
	that we're wanted in two states and
	probably considered armed and
	dangerous, at least I am, then our
	whole plan would be shot to hell.
	Louise, take his gun.

Louise reaches over and takes his gun.

		LOUISE
		(apologetic)
	I am really sorry about this.

		THELMA
	I swear, before yesterday, neither
	one of us would have ever pulled a
	stunt like this.  But if you ever
	met my husband, you'd know why I
	just can... You wanna step out of
	the car, please?
		(she opens the door
		 for him)
	You wanna put your hands on your
	head, please?  Louise, shoot the
	radio.

		LOUISE
	What?

		THELMA
	Shoot the radio!

Louise SHOOTS the car radio.  The cop flinches with each
shot.

		THELMA
	The police radio, Louise!  Jesus!

Louise fires TWO SHOTS into the police radio.  It BLASTS
all to hell.

		THELMA
	You wanna step to the back of the
	car, please.  Louise, bring the
	keys.

Louise reaches over and takes the keys.  She takes her
license off the clipboard.  She gets out and trots around
to the back of the car.

Thelma is holding the gun on the Patrolman.  Suddenly
Thelma FIRES the gun, blowing two holes into the trunk
cover.

		THELMA
		(to Louise)
	Open to trunk.

Louise opens the trunk.

		THELMA
		(to Patrolman)
	You wanna step into the trunk,
	please?

		PATROLMAN
	Ma'am, please... I got kids... a
	wife...

		THELMA
	You do?  Well, you're lucky.  You be
	sweet to 'em.  Especially your wife.
	My husband wasn't sweet to me and
	look how I turned out.  Now go on,
	get in there.

As he's climbing into the trunk, Thelma explains to
Louise:

		THELMA
	Air holes.

He's all the way in and Louise closes the trunk.


INT.  PATROL CAR - DAY

Thelma opens the glove compartment.  She takes a box of
spare ammo and closes it.  Thelma takes the keys and gets
out of the car.  She walks around to the trunk.


EXT.  PATROL CAR - DAY

		THELMA
		(to trunk)
	Sorry!

		LOUISE
		(from her car)
	Sorry!

Thelma hops into the car with Louise.  They look at each
other.

		LOUISE
	Ready?

		THELMA
	Hit it.

Louise pulls the car back onto the road and they drive
away.


INT.  CAR - DAY

		THELMA
		(shaking her head)
	I know it's crazy, Louise, but I
	just feel like I've got a knack for
	this shit.

		LOUISE
	I believe you.


EXT.  CAR - MONTAGE DRIVING SHOTS - DAY

They are in really beautiful country now.

		THELMA (V.O.)
	Drive like hell.


INT.  THELMA'S KITCHEN - MORNING

Hal and Max are alone in the kitchen.  Hal switches on the
Mr. Coffee.

		MAX
	It's just not working like this.  We
	gotta do something.  It'd be one
	thing if these girls were hardened
	criminals, but Jesus, Hal, this is
	makin' us look bad.  I don't know...
	maybe they're not movin'.  Maybe
	that little creep lied.

		HAL
	He's got nothin' to gain by
	lyin'.  Nothin' at all.  He already
	got all their money.  I just don't
	know what we're dealin' with here.
	Anyway, it went out again last night
	on Nationwide Teletype.  Let's just
	wait it out a little longer.  She
	said she was gonna call back.  Let's
	just sit tight.

		MAX
	We don't have a whole lotta choice,
	do we?  I can't figure out if
	they're real smart or just really,
	really lucky.

		HAL
	It don't matter.  Brains will only
	get you so far and luck always runs
	out.

A cop walks into the kitchen and hands Hal a file that
says Louise Elizabeth Sawyer on the outside.  He opens it
up and starts looking through a personal history.  One
piece of paper is a case file from Texas containing an
incident report of a rape.  Stamped across it are the
words "charges dropped."


INT.  CAR - DAY

		THELMA
	Louise... are we still going to
	Mexico?

		LOUISE
	Yes.

Thelma pauses while she searches for the logic.

		THELMA

	Then aren't we going in the wrong
	direction?

		LOUISE
	Well, I figure if you take a state
	policeman, shoot up his car, take
	his gun and lock him in the trunk,
	it's best to just get on out of the
	state if you can.

		THELMA
	Just asking.

They are both quiet for a second.  Louise goes a little
faster.

Thelma is digging through her bag.  She hands Louise a
piece of beef jerky.

		LOUISE
	I don't want to see any more beef
	jerky.  I mean the next beef jerky
	you hand me is going out the window.
	It's drivin' me crazy.  The whole
	car smells like it.

		THELMA
	It's good.  It's what the pioneers
	ate.

		LOUISE
	I don't care what the damn pioneers
	ate.  You just keep that shit away
	from me, now I mean it.

Thelma puts down her bag.

		LOUISE
	And I don't want any more Wild
	Turkey, either.  It's burning a hole
	in my stomach.

		THELMA
	Okay, okay... I've got some tequila.
	You want some tequila?

		LOUISE
	You do?

		THELMA
	Yeah, you want it?

		LOUISE
	Yeah.

Thelma starts to dig through her bag again.

		THELMA
	It's in here somewhere.

Louise is rubbing her face.  She looks pretty bad.  Her
hands are shaking.

		LOUISE
	Shit.  I'm gettin' tired.

		THELMA
	Are you alright?

Louise does not really seem alright.

		LOUISE
	I think I've really fucked up.  I
	think I've got us in a situation
	where we could both get killed.  Why
	didn't we just go straight to the
	police.

		THELMA
	You know why.  You already said.

		LOUISE
	What'd I say again?

		THELMA
	Nobody would believe us.  We'd still
	get in trouble.  We'd still have our
	lives ruined.  And you know what
	else?

		LOUISE
	What?

		THELMA
	That guy was hurtin' me.  And if you
	hadn't come out when you did, he'd a
	hurt me a lot worse.  And probably
	nothin' woulda happened to him.
	'Cause everybody did see me dancin'
	with him all night.  And they woulda
	made out like I asked for it.  And
	my life woulda been ruined a whole
	lot worse than it is now.  At least
	now I'm havin' fun.  And I'm not
	sorry the son of a bitch is dead.
	I'm only sorry that it was you that
	did it and not me.  And if I
	haven't, I wanna take this time to
	thank you, Louise.  Thank you for
	savin' my ass.

		LOUISE
	I said all that?

		THELMA
	No, Louise, you said the first part.
	I said all the rest.

		LOUISE
		(tired)
	Whatever.


EXT.  ROADSIDE REST STATION - MORNING

Louise is at a pay phone as the sky is just starting to
get light.  Thelma is in the bathroom nearby.  Louise has
already dialed and the phone is RINGING.


INT.  THELMA'S HOUSE - MORNING

The TV DRONES on in the b.g. as the phone RINGS there,
everyone leaps into action again.  Max picks up the phone.

		MAX
	Hello.

		LOUISE (V.O.)
	Let me speak to... Slocumbe.

		MAX
		(to Hal)
	She wants to talk to you.

		HAL
	Hello, Louise.


EXT.  PAY PHONE - MORNING

		LOUISE
	Hey.

		HAL (V.O.)
	How are things goin' out there?

		LOUISE
	Weird.  Got some kind of snowball
	effect goin' here or somethin'.

		HAL (V.O.)
	You're still with us though.  You're
	somewhere on the face of the earth?

		LOUISE
	Well, we're not in the middle of
	nowhere, but we can see it from
	here.


INT.  THELMA'S HOUSE - MORNING

Hal smiles.

		HAL
	I swear.  Louise, I almost feel like
	I know you.

		LOUISE (V.O.)

	Well.  You don't.

		HAL
	You're gettin' in deeper every
	moment you're gone.

		LOUISE (V.O.)
	Would you believe me if I told you
	this whole thing is an accident?

		HAL
	I do believe you.  That's what I
	want everybody to believe.  Trouble
	is, it doesn't look like an accident
	and you're not here to tell me about
	it... I need you to help me here.


EXT.  PAY PHONE - MORNING

Louise does not answer.

		HAL (V.O.)
	Did Harlan Puckett...

Through clenched teeth, repulsed:

		LOUISE
		(interrupting)
	No!

		HAL (V.O.)
	You want to come on in?

Louise thinks for a minute.

		LOUISE
	I don't think so.


INT.  THELMA'S HOUSE - DAY

		HAL
	Then I'm sorry.  We're gonna have to
	charge you with murder.  Now, do you
	want to come out of this alive?

The surveillance man motions to Hal to keep it going.
Darryl comes in and immediately realizes Hal is talking to
Louise.  Darryl looks attentively at Hal.


EXT.  PAY PHONE - DAY

		LOUISE
	You know, certain words and phrases
	just keep floating through my mind,
	things like incarceration, cavity
	search, life imprisonment, death by
	electrocution, that sort of thing.
	So, come out alive?  I don't know.
	Let us think about that.

		HAL (V.O.)
	Louise, I'll do anything.  I know
	what's makin' you run.  I know what
	happened to you in Texas.

Louise's eyes get wide as she hears this.

A FINGER reaches up and presses down the lever and hangs
up the phone.

ANGLE OF THELMA

She has her finger on the lever.

		THELMA
	Come on, Louise.  Don't blow it.
	Let's go.

She walks away towards the car.  Louise is still standing
there holding the phone.  Thelma stops and looks at her.

		THELMA
	Come on.

Louise doesn't move.


INT.  THELMA'S HOUSE - DAY

Frustrated, Hal slams down the phone.  He looks over at
the surveillance man who nods to say "we got it."  The
whole room reacts excitedly.  Everyone in the room springs
into action.  Max immediately picks up the phone and Hal
watches him intently.  He mouths the words to Max -- "I
wanna go" emphatically.  Max slightly shakes his head,
still of the phone.  Hal goes charging over to Max.

		HAL
	Max.  You gotta take me there!
	I'm... I'm the only one she's ever
	talked to.  I don't want anybody
	losin' their heads.  You know what
	happens.  The volume gets turned way
	up and the next thing you know those
	girls are gonna get shot.

Max, still holding the phone, is surprised by this
outburst.

		MAX
		(calmly)
	Okay, Hal, okay.


EXT.  PAY PHONE - DAY

Louise is still standing there.

		THELMA
	Louise?

		LOUISE
	Yes, Thelma?

		THELMA
	You're not gonna give up on me, are
	ya?

		LOUISE
	What do you mean?

		THELMA
	You're not gonna make some deal with
	that guy, are you?  I mean, I just
	wanna know.

		LOUISE
	No, Thelma.  I'm not gonna make any
	deals.

		THELMA
	I can understand if you're thinkin'
	about it.  I mean, in a way, you've
	got something to go back for.  I
	mean Jimmy and everything.

Louise is surprised to be hearing this from Thelma.

		LOUISE
	Thelma, that is not an option.

		THELMA
	But I don't know... something's
	crossed over in me and I can't go
	back.  I mean, I just couldn't
	live...

		LOUISE
	I know.  I know what you mean.  I
	don't wanna end up on the damn
	Geraldo Show.

They are both quiet for a moment.

		LOUISE
	He said they're charging us with
	murder.

		THELMA
		(making a face)
	Eeuww.

		LOUISE
	And we have to decide whether we
	want to come out of this dead or
	alive.

		THELMA
	Gosh, didn't he say anything
	positive at all?

Louise STARTS the car.  They lurch into reverse then
SCREECH forward as they tear off down the road.

WIDE SHOT OF CAR

as they fly down the road.

		THELMA
	Louise, do you think we should
	change cars, get another car?

		LOUISE
	Sure... You know how to hotwire a
	car?

		THELMA
	No.

		LOUISE
	Well, let me know when you figure it
	out.


EXT.  AIRSTRIP - DAY

A car pulls up on an airstrip and stops next to a small
jet.  Hal and Max get out of the car and board the plane.


EXT.  DESERT - DAY

MONTAGE of driving shots as Louise and Thelma drive
through the intense beauty of the Arizona desert.


INT.  CAR - DAY

		THELMA
	You awake?

		LOUISE
	You could call it that.  My eyes are
	open.

		THELMA
	Me too.  I feel awake.

		LOUISE
	Good.

		THELMA
	Wide awake.  I don't remember ever
	feelin' this awake.  Everything
	looks different.  You know what I
	mean.  I know you know what I mean.
	Everything looks new.  Do you feel
	like that?  Like you've got
	something to look forward to?

Louise and Thelma both get quiet for a second.

		LOUISE
	We'll be drinkin' margaritas by the
	sea, Mamasita.

		THELMA
	We can change our names.

		LOUISE
	We can live in a hacienda.

		THELMA
	I wanna get a job.  I wanna work at
	Club Med.

		LOUISE
	Yes!  Yes!  Now what kind of deal do
	you think that cop can come up with
	to beat that?

		THELMA
	It'd have to be pretty good.

		LOUISE
	It would have to be pretty damn
	good.

They are both laughing.  The car is still flying down the
road.  The sun is coming higher in the sky now.  They come
to an intersection in the middle of nowhere.  Louise stops
and looks at the map.

		LOUISE
	We should head a little further in.
	There's not that many roads in this
	state.  I want to try to hit Mexico
	somewhere not so close to New
	Mexico.  They probably wanna kill us
	in New Mexico.

		THELMA
	You're drivin'.

Louise takes a right turn and speeds down the road.


EXT.  DESERT ROAD - DAY

Louise and Thelma are singing along to a wild R&B SONG.
They do the hand movements as if they are the Supremes.
They come roaring up on the semi-tanker, the same one they
have seen three times before.

		THELMA
		(screaming over
		 music)
	Oh my God!  Louise!  Look!  Look!
	See if that's him!

		LOUISE
	It's him.  He's got California
	plates.  It's the same guy.

		THELMA
	Pass him!


EXT.  DESERT ROAD - DAY

Louise bears down really hard and passes him.  Again as
they get right next to him, he blows kisses down at them.
He is leering at them and laughing.  Louise and Thelma
drive further down the road.

Louise pulls the car off to the side of the road.  As the
truck gets close they start waving to him to stop.  He
pulls his truck off the side of the road and stops.  ANGLE
ON Louise and Thelma smiling up at him.  He chuckles to
himself.  He leans out the window.

		THELMA
	Hi!

		TRUCKER
	Hi there!  You alright?

		THELMA
	We're fine!  How are you?

		TRUCKER
	Grrrreat!

		LOUISE
	Follow us.

They turn off onto a dirt road and pull to a stop.


INT.  TRUCK CAB - DAY

The Trucker reaches over and opens a glove compartment
crammed full of condoms.  He grabs a few and shoves them
in his pocket.  He turns off his engine and gets out of
the truck.


EXT.  SIDE OF ROAD - DAY

He walks up to the car.

Louise and Thelma get out of the car.

		THELMA
	Where you goin'?

		TRUCKER
	Fresno.

		LOUISE
	We been seein' you all along the
	way.

		TRUCKER
	Yeah.  I been seein' you, too.

		THELMA
	We think you have really bad
	manners.

Louise nods.

		LOUISE
	We were just wonderin' where you
	think you get off behavin' like that
	to women you don't even know.

This is not what is supposed to be happening.

		TRUCKER
	What?  What are you talkin' about?

		LOUISE
	You know good and damn well what I'm
	talkin' about.

		THELMA
	I mean really!  That business with
	your tongue.  What is that?  That's
	disgusting!

		LOUISE
	And, oh my God, that other thing,
	that pointing to your lap?  What's
	that supposed to mean exactly?  Does
	that mean pull over, I want to show
	you what a big fat slob I am or...

		THELMA
	Does that mean suck my dick?

		TRUCKER
	You women are crazy!

		LOUISE
	You got that right.

		THELMA
	We think you should apologize.

He is getting a little panicky.

		TRUCKER
	I'm not apologizing for shit!

		LOUISE
	Say you're sorry.

		TRUCKER
	Fuck that.

Louise pulls the gun they stole from the State Patrolman.

		LOUISE
	Say you're sorry or we'll make you
	fuckin' sorry.

He looks at the gun.

		TRUCKER
	Oh, Jesus!

		THELMA
	You probably even called us beavers
	on your CB radio, didn't you?

		TRUCKER
	Yeah... sure did.

		THELMA
	Damn.  I hate that!  I hate bein'
	called a beaver, don't you?

		LOUISE
	Are you going to apologize or not?

		TRUCKER
	Fuck you.

Louise looks at his truck off in the distance.  She points
the gun at it, takes a second to get a bead, then SHOOTS
two of the tires flat.  The truck slowly sinks as the air
escapes from the tires.

		TRUCKER
	Oh goddamn!!  You bitch!!

Louise and Thelma look at each other.  They both turn
towards the truck and FIRE rounds into the tankers until
they EXPLODE in a huge ball of fire.  The truck driver
screams at the top of his lungs.  Louise starts the car
and starts driving in circles around the truck driver.
Thelma and Louise are both howling at the top of their
lungs.  Thelma is sitting on the back of the front seat
with her legs on the dashboard.

		TRUCKER
	You fucking bitch!
	Aaaaaaarrrgghh!!!  You're gonna have
	to pay for that!!!  I'm gonna make
	you pay for that!!  You hear me??!!

Louise stops the car right next to him.

		THELMA
	Shut up.

Louise takes off again and Thelma falls into the back
seat.  They drive off trailing a huge cloud of dust.


EXT.  DESERT - DAY

Louise drives through the desert back towards the road,
past the burning debris of the truck.  As she gets to the
road she stops.  Thelma climbs into the front seat.


INT.  CAR - DAY

		THELMA
	Hey.  Where'd you learn to shoot
	like that?

		LOUISE
	Texas... You were right about what
	happened to me there.

They pull away from the burning wreckage.


INT.  CAR - DAY

As Thelma and Louise talk, their voices are heard over the
following scene.

		LOUISE (V.O.)
	You know what's happened, don't you?

		THELMA (V.O.)
	What?

		LOUISE (V.O.)
		(smiling)
	We've gone insane.

		THELMA (V.O.)
	Yup.


EXT.  NEW MEXICO SIDE OF ROAD - DAY

A battered old pickup truck is parked by the New Mexico
State Patrol.  An old man uses a crowbar to pry open the
trunk.  The New Mexico State Patrolman hops out of the
trunk.


EXT.  DESERT ROAD - HELICOPTER SHOT - DAY

Police Bulletin VOICE OVER BEGINS AND PLAYS OVER following
scenes:

A police helicopter flies over the burning wreckage of the
fuel truck.  The truck driver is waving his arms as the
helicopter descends, blowing dirt all over him.


INT.  THELMA'S HOUSE - DAY

Darryl sits practically comatose in a big chair.  His eyes
have a dull glaze as he stares first at one wall, then
another.


INT.  CAR - DAY

A TIGHT SHOT of a TAPE being shoved into the cassette
deck.


INT.  FBI JET - DAY

Max and Hal sit next to each other in the jet.  Hal tries
to appear as if he's used to all this.  Max holds a
cellular phone to his ear.

TIGHT SHOT of Max as we hear through the phone:

Police VOICE OVER becomes part of scene.

		POLICE (V.O.)
		(on phone)
	... Abducted... shot up the car...
	stole the officer's weapon...
	tanker... blown up... terrorized...

Max's face becomes troubled and more serious than we've
seen so far.  He looks at Hal as he hangs up the phone.

		MAX
	You're not even going to believe
	this.


EXT.  FBI JET - DAY

The jet banks off to the left.


EXT.  DESERT ROAD - DAY

WIDE SHOT of car speeding through the desert on an empty
highway west.  DRIVING SHOT -- Thelma has her face to the
sun with her eyes closed.  Louise is driving with a fierce
intensity.  They hardly resemble the two women that
started out for a weekend in the mountains two days
earlier.  Although their faces are tanned and lined and
their hair is blowing wildly there is a sense of serenity
that pervades.


EXT.  HELIPORT - DAY

Hal and Max are climbing out of the jet and running across
the tarmac to a waiting helicopter.  Max is carrying a
walkie-talkie now.


INT.  CAR - DAY

Thelma sits up suddenly.  An Arizona police car passes
them going eastbound.

		THELMA

	Oh shit.  Louise... Do you think he
	saw us?

		LOUISE
	I don't know, but let's get off.

LOUISE'S POV - REARVIEW MIRROR

The police car cuts across the median to begin pursuit of
the girls.  The lights are flashing.


INT.  CAR - DAY

		LOUISE
	Is your seat belt on?

Thelma puts her seat belt on.  Louise floors the car and
it streaks off, putting some distance between them and the
police car.  Thelma looks back at the police car.  She
looks scared.

		THELMA
	I guess we shoulda made some kinda
	plan for what to do if we get
	caught.

		LOUISE
	Yeah, right.  We're not gonna get
	caught.


INT.  ARIZONA POLICE CAR - DAY

STATE POLICEMAN is on his radio.

		POLICEMAN #1
	...requesting assistance.  In
	pursuit of a green T-Bird, 1966
	license, seven, one, nine, William,
	Zebra, Adam...

		RADIO (V.O.)
	Roger.  Be advised...
		(breaks up)
	... armed and extremely dangerous...


EXT.  ARIZONA STATE POLICE HEADQUARTERS - DAY

A steady stream of state police cars pulls out of the
parking lot with lights flashing while other policemen are
running to their cars still parked in the lot.


INT.  CAR - DAY

		THELMA
	How far are we from Mexico?

		LOUISE
	About two hundred and fifty miles.

		THELMA
	How long do you think that'll take?


EXT.  DESERT ROAD - DAY

There are now two police cars behind them about half a
mile back.  They are going really fast.  A police
helicopter catches up to them and orders them to stop.
Thelma stands and flips them off.

		THELMA
	We're going to Mexico!


INT.  CAR - DAY

		THELMA
		(looking back)
	Uh oh.  There's another one.

Louise and Thelma both are looking back at the two police
cars following them.  They turn back around just in time
to see a third Arizona State police car has pulled into
the middle of an intersection of the only road that
crosses it for miles.  They both scream.  Louise swerves
just in time to keep from hitting it broadside.  She goes
off the road and has to struggle to pull her car back onto
the road, leaving a huge cloud of dust.

		LOUISE
	Shit!

		THELMA
	Did you see that guy?!  He was right
	in the middle of the road!


EXT.  DESERT ROAD - DAY

The first two police cars are approaching the same
intersection.  They are driving side by side.  There is
still a huge cloud of dust that now covers the third car
in the middle of the intersection.


INT.  POLICE CAR #1 - POV - DAY

A huge cloud of dust blows across the road as he
approaches the intersection.  It clears to reveal the
third police car in the middle of the road, just as he and
police car #2 reach the intersection.  ANGLE ON POLICEMAN
#1 as he screams and swerves to the right.


INT.  POLICE CAR #3 - DAY

ANGLE ON POLICEMAN #3 as he sees both police cars heading
right for him at 120 mph.  He screams and ducks down into
the seat.

ANOTHER ANGLE - POLICE CAR #1

swerves to the right.  Police car #2 swerves to the left,
both barely missing police car #3.

ANOTHER ANGLE as police car #1 and police car #2 both pull
back onto the road right next to each other.


INT.  POLICE CAR #3 - DAY

Policeman #3 sits up in the seat.  He can't believe he
isn't dead.  He puts his car in gear and takes off down
the road after them.


INT.  CAR - DAY

		LOUISE
		(looking in rearview
		 mirror)
	Shit!

		THELMA
	What?!

		LOUISE
	What?!  What d'you think?!

		THELMA
	Oh.


EXT.  DESERT GHOST TOWN - DAY

Louise and Thelma blow through a stand of buildings left
from when the train went through here.  There are two
parallel streets on either side of the one they're on and,
as they pass by buildings, they can see police cars
ROARING down these parallel streets trying to "head them
off at the pass."  Louise FLOORS it and her car screams
ahead.

		LOUISE
	We probably shoulda filled up the
	car before we blew up that truck.

		THELMA
	Why?

		LOUISE
	They'll probably catch us when we
	have to stop for gas!

		THELMA
	I know this whole thing was my
	fault.  I know it is.

		LOUISE
	There's one thing you oughta
	understand by now, Thelma, it's not
	your fault.

		THELMA
	Louise... no matter what happens,
	I'm glad I came with you.

		LOUISE
	You're crazy.


EXT.  DESERT ROAD - DAY

Louise swerves off the road and begins driving across the
desert.  All the police cars take off across the desert
after them.  They are now being pursued by at least
fifteen cars.


INT.  CAR - DAY

		THELMA
	You're a good friend.

		LOUISE
	You too, sweetie, the best.

		THELMA
	I guess I went a little crazy, huh?

		LOUISE
	No... You've always been crazy.
	This is just the first chance you've
	had to really express yourself.

		THELMA
	I guess everything from here on in
	is going to be pretty shitty.

		LOUISE
	Unbearable, I'd imagine.

		THELMA
	I guess everything we've got to lose
	is already gone anyway.

		LOUISE
	How do you stay so positive?

They smile.


EXT.  DESERT - DAY

It does look like an Army.  More police cars have joined,
and from every direction, police cars are swarming across
the desert, although none are in front of them.  Way off
in the distance, a helicopter joins the chase.


INT.  CAR - DAY

Thelma is looking way up ahead in the distance.

		THELMA
	Louise!

		LOUISE
	What?!

		THELMA
	What in the hell is that up there?

		LOUISE
	Where?!

		THELMA
	Way up ahead!

Louise strains to see.  Whatever it is, Louise is
barreling towards it, the car leaving the ground as they
fly through the desert.

		LOUISE
	Oh my God!!

Louise starts to laugh and cry at the same time.

		THELMA
	What in the hell is it?!

		LOUISE
	It's the Goddamn Grand Canyon!


EXT.  DESERT - DAY

Behind them is a huge wall of dust created by all the
police cars following them.  In front of them, looking
larger every moment, is the awesome splendor of the Grand
Canyon.


INT.  CAR - DAY

		THELMA
	Isn't it beautiful?!!

		LOUISE
	It's grand!

Louise has tears streaming down her face as she realizes
there is absolutely no escape.  She continues barreling
towards it without slowing down.


EXT.  DESERT - DAY

All the police cars are still following about a half a
mile behind.  The car is bouncing and flying across the
desert.  Finally, they get about twenty yards from the
edge and Louise SLAMS on the brakes.

Thelma and Louise are just waiting for the cars to catch
up.  The police cars stop in a line about two hundred
yards behind them.  The dust from the cars is blowing
across them.  They just sit looking at the Grand Canyon.

From the canyon, the FBI helicopter rises up in front of
the car.


INT.  FBI HELICOPTER - DAY

Hal sees Thelma and Louise for the first time.  They are
sitting in the car, oblivious in a way, to all the
activity around them.  He only takes his eyes off of them
long enough to look at Max.


INT.  CAR - DAY

		THELMA
	God!  It looks like the Army!

		LOUISE
	All this for us?

Thelma starts to laugh.  Louise is only concerned with
missing the cacti and other obstacles that lie before her.


INT.  FBI HELICOPTER - DAY

The helicopter lands behind the row of police cars.

HAL'S POV

He sees Thelma and Louise facing each other.  They look so
nice.  He can't stop looking.  He borrows the binoculars
from Max.  He sees Thelma and Louise in the car.  Some of
the police sharpshooters are sporting semi-automatic
rifles.  Hal looks at Max.

		HAL
	Hey!  Don't let them shoot those
	girls.  This is too much.  They got
	guns pointed at 'em!

		MAX
	The women are armed, Hal.  This is
	standard.  Now you stay calm here.
	These boys know what they're doin'.

Max climbs out of the chopper.  Hal sits for a moment and
then leaps out and follows Max.

		POLICE (O.S.)
		(over loudspeaker)
	This is the Arizona Highway Patrol.
	You are under arrest.  You are
	considered armed and dangerous.  Any
	failure to obey any command will be
	considered an act of aggression
	against us.


INT.  CAR - DAY

		THELMA
	Now what?

		LOUISE
	We're not giving up, Thelma.

		THELMA
	Then let's not get caught.

		LOUISE
	What are you talkin' about?

		THELMA
		(indicating the
		 Grand Canyon)
	Go.

		LOUISE
	Go?

Thelma is smiling at her.

		THELMA
	Go.

They look at each other, look back at the wall of police
cars, and then look back at each other.  They smile.

TIGHT SHOT - CARTRIDGES

being loaded into automatic rifle.

THELMA AND LOUISE - THROUGH THE CROSS HAIRS OF A GUN SIGHT


EXT.  DESERT - DAY

TWO OF THE ARIZONA COPS by their cars, as they are loading
weapons, talk quietly.

		ARIZONA COP #1
	... heard they shot a cop.

		ARIZONA COP #2
	No shit.

		ARIZONA COP #1
	With his own gun.  Put him in the
	trunk and blew him away...


INT.  CAR - DAY

Louise and Thelma are looking at each other.

		POLICE (O.S.)
		(over loudspeaker)
	Turn off the engine and place your
	hands in the air!


EXT.  DESERT - DAY

Hal is about to crawl out of his skin.  He can't believe
this thing is getting out of control.  He jumps in front
of Max.

		HAL
	Max!  Let me talk to 'em!  I can't
	believe this!  You've gotta do
	something here!

Max goes around Hal and continues walking.  Hal jumps in
front of Max again and blocks his way.

		HAL
	I'm sorry to bother you, I know
	you're real busy right now, but how
	many times, Max?  How many times has
	that woman gotta be fucked over?
	You could lift one finger and save
	her ass and you won't even do that?

		MAX
		(grabbing Hal)
	Get a hold of yourself!  You are way
	out of your jurisdiction, now come
	on!  Calm down!  Don't make me sorry
	I let you come!

Max lets go of Hal's lapels.

		HAL
		(under his breath)
	Shit!  I can't fucking believe this!

Hal walks along with a look of total disbelief on his
face.  He's shaking his head.  Slowly he breaks into a
trot and starts heading toward the front line.

		MAX
		(shouting)
	Hey.  Hey!

Hal is running now and clears the front row of cars.
There is a lot of confusion among the officers on the
front row.  Some shout, some lower their guns to look.

		ARIZONA COP #1
	What in the hell?!

		ARIZONA #2
		(lowering his rifle)
	The son of a bitch is in my way!


INT.  CAR - DAY

They are still looking at each other really hard.

		THELMA
	You're a good friend.

		LOUISE
	You, too, sweetie, the best.

(SHOOT WITH OR WITHOUT.)

MUSIC:  B.B. King song entitled "Better Not Look Down"
begins.  It is very upbeat.

		LOUISE
	Are you sure?

Thelma nods.

		THELMA
	Hit it.

Louise puts the car in gear and FLOORS it.

				 CUT TO:

EXT.  DESERT - DAY

Hal's eyes widen for a moment at what he sees, and then a
sense of calm overtakes him and he mouths the word
"alright."

		B.B. KING SONG (V.O.)
	I've been around, I've seem some
	things,
	People movin' faster than the speed
	of sound, faster than a speedin'
	bullet.
	People livin' like Superman, all
	day and all night.
	I won't say if it's wrong or I won't
	say if it's right.
	I'm pretty fast myself.
	But I do have some advice to pass
	along, right here in the words to
	this song...


EXT.  DESERT - DAY

The cops all lower their weapons as looks of shock and
disbelief cover their faces.  A cloud of dust blows
THROUGH THE FRAME as the speeding car sails over the edge
of the cliff.

		B.B. KING SONG (V.O.)
	Better not look down, if you wanna
	keep on flyin'.
	Put the hammer down, keep it full
	speed ahead.
	Better not look back or you might
	just wind up cryin'.
	You can keep it movin' if you don't
	look down...

FADE OUT.
THE END.

 
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