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Scene Map 44
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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"BONNIE & CLYDE" by David Newman & Robert Benton FADE IN. INT. BEDROOM. CLOSE-UP OF BONNIE PARKER. DAY
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EXT. STREET. MOVING SHOT. DAY. The camera tracks. It is a hot Texas afternoon, all white light and glare. As they walk the block to town in this scene, their manner of mutual impudence is still pervading. CLYDE
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EXT. LITTLE GROCERY STORE ACROSS THE STREET. DAY. The camera remains just behind BONNIE's shoulder so that throughout the following scene we have BONNIE in the picture, looking at what we look at. CLYDE goes into the little store. We remain outside with
4
INT. CAR. BONNIE AND CLYDE. DAY. --still settling to a stop. BONNIE and CLYDE appear to be necking heavily now, punctuated by BONNIE's squeals of passion as she squirms and hops about like a flea, trying to get to CLYDE. The floor gear-shift is keeping their bodies
5
INT. ROADSIDE CAFE. BONNIE AND CLYDE. DAY. BONNIE and CLYDE seated in booth, now C.U. CLYDE. The sound track bridges the scene: the question that BONNIE has just asked is now suddenly rebutted by CLYDE, as he points a finger at her.
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EXT. FARM HOUSE. FRONT YARD. DAY. On the door is a sign which reads: INSERT: PROPERTY OF MIDLOTHIAN CITIZENS BANK -- TRESPASSERS WILL BE PROSECUTED.
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EXT. BUSINESS STREET OF A LITTLE TOWN. DAY. We are still in the car. BONNIE pulls over and stops by the bank. CLYDE is frozen in his seat. We can see that, for all his talk, he is scared, too. BONNIE
8
INT. CAR. DAY. CLYDE is shaken. He speaks haltingly, panting; trying to get control of himself. CLYDE Damn him, that big son of a bitch...
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INT. HOSPITAL ROOM. DAY. A small room with a bed. On it, covered by a sheet which humps like a mountain over his enormous stomach, is the BUTCHER. His head is propped up on a pillow and he sips a liquid through a bent glass straw. Camera is on the left
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INT. BANK #2. DAY. Cut to the interior of the bank. BONNIE and CLYDE come in, assume the class positions--she at the door where she can cover the bank, CLYDE at the first teller's cage. CLYDE
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INT. CHEAP MOTEL BATHROOM. CLOSE-UP BONNIE. DAY. On the right of the screen, f.g., BONNIE stands at the sink fixing her make-up in the mirror. The make-up has become more conservative. On the left, further back, is a bathtub and in it sits C.W. His head and knees peek over the gray,
12
INT. MOTEL BEDROOM. They kiss. They are near the bed on which are some guns that CLYDE has been cleaning. The kiss moves toward real love making. They are on the bed and push the guns aside. Some fall to the floor. CLYDE breaks the embrace after it
13
EXT. CABIN. BUCK and CLYDE notice nothing of this. BUCK bounds over to BONNIE, all jollity. BUCK (grabbing her)
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INT. CABIN. DAY. They walk into the cabin. Camera goes with them. Bedroom is dark, shades pulled down. There is an aura of boys' clubhouse secret camaraderie in the following scene: BUCK
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EXT. GARAGE APARTMENT. DAY. A residential street in Joplin, Missouri, showing a garage apartment above a double garage. Camera sees BUCK talking to a dapper gent with keys in his hand. BUCK pays him. The man tips his hat and walks off. BUCK gestures and Clyde
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INT. BEDROOM. BONNIE closes the door and immediately begins fussing with CLYDE's hair, doing a scathing imitation of BLANCHE. Though her miming expresses her irritation at being closeted with the Barrow menage, it is also a peach doing an imitation of
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INT. GARAGE APARTMENT. Close-up of BONNIE--seated in the living room. BONNIE (reading from a pad; in a recital voice)
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EXT. ROADSIDE. DAY. BONNIE and CLYDE get out and walk fifteen feet away from the car. Both are irritated and touchy. Camera follows them. CLYDE (coldly)
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EXT. CAR. The camera goes outside the car and pulls back, way back, to reveal a police car quietly driving up behind the car. The car stops a good distance away and one man gets out, the only occupant of the car. He is tall, dressed in the
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INT. BANK. Inside the bank. In contrast to the previous inept bank robbery scene, this one goes admirably well, the gang performing slickly and without a hitch. As they enter, dripping wet, CLYDE makes a general announcement to everyone
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INT. POLICE CAR. FIRST POLICEMAN Turn around. Don't waste no more gas. SECOND POLICEMAN
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EXT. ROADSIDE BY WOODS. DAY. They get out, taking the various bags of money with them, and dump the lot on the hood. There is not an impressive amount of money. CLYDE
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EXT. SUBURBAN STREET. A residential neighborhood on a suburban street. A rather well-to-do neighborhood. The camera is up on a porch of a white frame house, looking toward the street. On the porch, sitting in the swing in the left f.g. are a MAN and a WOMAN.
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INT. OTHER CAR. DAY. They get in and the gang gets in. Seven people are now jammed inside. CLYDE drives, BONNIE next to him, C.W. next to her. In back, BLANCHE, then EUGENE with VELMA (of necessity) sitting on his lap, and then BUCK. As will be
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INT. OF CAR. NIGHT. It is now night. Everyone inside the car is eating. Apparently they stopped somewhere along the way for food. In the crowded interior, it is like a party--food is being passed back and forth, laughter and gaiety, increasing
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EXT. CAR. MOVING SHOT. DAY. CLYDE gets the point. For the very first time we see CLYDe, the leader, helpless as he hangs onto the running board. CLYDE (lamely)
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EXT. SIDE OF A ROAD. VERY LONG SHOT. DAY. --of three or four cars parked on the side of a road in Texas. A light rain is falling. There are a lot of people gathered around, but the sound is an indistinct mixture of talk, laughter, etc.
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EXT. PLATTE CITY MOTEL. PLATTE CITY, IOWA. DAY. Hold on the outside long enough to see the unusual structures: two little motel cabins connected by two identical garages, an entirely symmetrical structure. INT. PLATTE CITY MOTEL BEDROOM. WITH BONNIE. DAY.
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INT. MOTEL BEDROOM. BONNIE AND CLYDE. DUSK. CLYDE reaches her, and for a moment both stare with fanatic intensity at each other, BONNIE trying desperately to keep a straight face. They are nose to nose, unblinking. CLYDE gives her a big raspberry, waggling his fingers in his ears
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INT. PLATTE CITY MOTEL ROOM - NIGHT. On C.W.'s moonlit chest and face, tattooed bluebirds heaving and occasionally snoring in the night. Behind him the room is dimly lit by flickering candles that are placed out of sight on the floor. The shapes in the room--the bed is
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INT. PLATTE CITY MOTEL. BUCK'S CABIN. NIGHT. There is a knock on the door. They sit bolt upright in bed. Before BUCK can say anything, BLANCHE puts her hand over his mouth to shut him up. BLANCHE
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EXT. RING OF FIRS. NIGHT. A wide field in the country. This is Dexter, Iowa. It is quiet. We see, in a long shot that takes in everything, that this is a meadow surrounded by a ring of trees, a dense forest that circles them. The meadow, however, is large.
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INT. CAR. Close-up. CLYDE. At the wheel-shot in the arm. He grabs his arm in pain, loses control of the wheel. CUT TO: 98.
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EXT. ROAD WITH CAMPSITE. THE SAME EVENING. C.W. is driving down the road, hell for leather. Nearing a campsite, where there are about six Okie cars and pick-up trucks all loaded down, with a number of poor families seated around a campfire, cooking. C.W. jams on the brakes.
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INT. SHERIFF'S OFFICE IN DEXTER. DAY. Although the scene begins with a full-screen close-up of a newspaper clipping with a photo, it is just a blurry-gray, crowded scene of BLANCHE's capture. Really impossible to make anybody out in the crowd. Camera stays on photo as we
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EXT. MOSS FARM. CLOSE SHOT NEWSPAPER. DAY. A coil of rope snaps into and through the paper, splitting it and revealing C.W.'s startled face. CLYDE strides the porch angrily, snapping the rope. BONNIE and MALCOLM are seated along with C.W. Through
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INT. HOSPITAL. MED. SHOT OF THE ROOM. Seated in a soft chair, looking directly at us, is BLANCHE BARROW. Her eyes are completely covered with a white bandage. She wears a hospital gown. The room is white and bright.
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INT. CAR. BONNIE is in the back seat, her legs wrapped in a plaid blanket, writing poetry. She looks like Elizabeth Barrett Browning. With one essential difference--her arm is in a sling and she is wearing bandages on the shoulder. CLYDE is
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INT. CAR. CLOSE-UP OF BONNIE. DAY. The day is sunny and we see it through the car window. She continues reading, but now she reads it directly from the newspaper: BONNIE
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EXT. ARCADIA STREET. ICE CREAM PARLOR. DAY. Bright afternoon. Camera across the street from an ice cream parlor. Sign about it: "EVA'S HAND-PACKED ICE CREAM." A large plate glass window fronts the store, and through it we can see the people inside seated at tables and booths.
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INT. KITCHEN. MOSS FARM. TWILIGHT. After dinner. There are four empty plates, but only C.W. and MALCOLM in the kitchen. C.W. is scraping the bottom of a wilted "EVA'S HAND-PACKED ICE CREAM" carton. MALCOLM studies his son's quiet intensity in this direction for a
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INT. BEDROOM. MOSS FARM. NIGHT. BONNIE and CLYDE's bedroom, the middle of that night. Both are wide awake, lying on opposite sides of the double bed. Both are staring into the night, disquiet. 120.
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INT. CAR. ARCADIA STREET. DAY. CLYDE Boy, my feet are sweatin'. He takes off his shoes. BONNIE
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EXT. ROAD. CLYDE reaches the spot, pulls off the road and stops the car. He gets out. Camera pulls back. CLYDE talks to the old man, BONNIE stays in the car. Cut to a shut down the trench of the law, tense.

Bonnie and Clyde

Two lovers on a crime spree leave a trail of destruction and death in this thrilling tale of America's most infamous bank robbers.

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Overview

Poster
Unique Selling Point

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

Gemini
 Recommend
Claude
 Recommend
Story Facts

Genres: The, list, of, genres, for, the, movie, is:, crime, drama, romance, comedy, action, and, tragedy

Setting: Modern day, Small town in the Midwest

Themes: Crime and Adventure, Love and Intimacy, Tension and Conflict, Morality and Ethical Dilemmas, Betrayal and Loyalty

Conflict & Stakes: John's fight to prove his innocence and protect his family's reputation, while facing a corrupt legal system and a relentless detective

Mood: Tense and suspenseful

Standout Features:

  • Plot Twist: Unexpected revelation about a key character's true motives
  • Unique Setting: Small town atmosphere adds depth to the story and characters
  • Compelling Characters: Complex and relatable characters drive the emotional core of the story

Comparable Scripts: Thelma and Louise, Natural Born Killers, Butch Cassidy and the Sundance Kid, Badlands, True Romance, Pulp Fiction, The Godfather, Scarface, Boardwalk Empire, The Sopranos, Breaking Bad, Heat, The Town, Baby Driver, Logan Lucky, Ozark, Breaking In, Money Heist, The Departed

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.75
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.