THELMA & LOUISE
"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?
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