"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"THELMA & LOUISE"

by

Callie Khouri

Final shooting script

JUNE 5, 1990



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 banister.

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
Mindin' our own
business, why don't
you try it.

THELMA
Well, we left town for the
weekend 'cause we wanted
to try and have a good
time. And because Louise
here is mad because her
boyfriend won't call her
while he's out on the
road...

Louise kicks Thelma under the table.

THELMA
(quieter)
We just wanted to get somethin' to
eat.

MAN
Well, you come to the right place.
You like chili? They got good chili.

The Waitress returns with Louise's drink.

WAITRESS
Harlan, are you botherin' these poor
girls?

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.)
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 the 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 #

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

Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners