End of the Line: a Bonnie and Clyde Play a Full Length Play by Tyler Joseph Rossi November 15, 2018 Copyright © 2018 Tyler Jose

End of the Line: a Bonnie and Clyde Play a full length play by Tyler Joseph Rossi

DRAMATIS PERSONAE BLANCHE- the reluctant adventurer with a heart of gold. A woman Aphrodite would be proud of. Buck’s wife. MRS. BARROW- half of the narrative/choral voice of the play. Went to church because it was the right thing to do. (Her first name is pronounced CUE-ME) MRS. PARKER- the other half. Went to church because it is what the right people did. BONNIE- a dreamer who becomes a “dreamer of the day” – or at least tries to become one. CLYDE- a short-tempered, ambitious young man with a thing for V-8 Roadsters. TED- post-officer worker turned Dallas Deputy. Knew Bonnie and Clyde before they were Bonnie and Clyde. A man caught in the middle. BUCK- More loyal than man’s best friend when it comes to family and those he loves. Blanche’s husband. HAMER- former Texas Ranger. Came out of retirement to capture Bonnie and Clyde. Follows Lady Justice before he follows the law of the land. J. EDGAR HOOVER- Voice Over Playwright’s Notes: A note about style of the show: The stage should reflect that of a Depression era West Dallas home. It should be almost bare. Dusty. Plates function as steering wheels, perhaps brooms function as shotguns, can openers as pistols. I would only advise the guns as such items if they can be used seriously. If not, I would advise using prop pistols, shotguns, etc. The imagination was the best escape for many of the people in the Depression, as there was no seeming way that their situation could improve. Keep this in mind as you design the show. A note on costumes: the coatracks onstage should have costume pieces for the actors. Barrow gang: As the play progresses for the Barrow gang (CLYDE, BONNIE, BLANCHE and BUCK), they should go add nicer clothing as time goes on, especially in Act 1. Don’t be afraid to show these costume changes on stage. As they say, “the clothes maketh the man.” There should also be a deterioration of the gang’s costumes in Act 2. Perhaps these changes could be worked into scene transitions or happen at the top of a scene where applicable. I leave that up to the director. TED: Ted should be in a normal police officer uniform in Act 1. In Act 2, when he is with HAMER, He wears a suit and tie. Perhaps before the scene with HAMER in Act 2, we see him at least put on his suit jacket and tie taken from a coatrack. A “/” indicates an overlap in dialogue.

Setting: West Dallas; various locations; late 1920s to early 1930s America – an America of broken promises. The stage is almost bare aside from the essentials. This is the Great Depression after all – we could barely afford a set, the only one that we could afford is shoddy at best. The stage is bare other than a table, chairs and a coatrack or two. At rise: Spotlight on BLANCHE. She is sitting in a chair with a bandage over her left eye. She is practically blind. HOOVER (V.O.) Mrs. Barrow? Blanche Barrow? BLANCHE Yes? HOOVER (V.O.) Do you know who I am? BLANCHE No – I can’t see you. Didn’t they tell you? Everything’s fuzzy. I can barely make out shapes. HOOVER (V.O.) You don’t recognize my voice? (Beat.) You haven’t seen a newsreel in the past few months? BLANCHE No. HOOVER (V.O.) My name is J. Edgar Hoover. I came all the way here from Washington D.C. just so I could talk to you. BLANCHE A lot of people have come a long way to talk to me, Mr. Hoover. HOOVER (V.O.) This could be a very good day for you, or a very bad one. That decision is on you, sweetheart. (Silence.) I think you know why I’m here. BLANCHE Why? HOOVER (V.O.) I’m looking for Bonnie Parker and Clyde Barrow.

BLANCHE I don’t know where they are. HOOVER (V.O.) But I think you do. You and your husband have been with them since they started planning the raid on Eastham Prison Farm, isn’t that right? BLANCHE It is, but – HOOVER (V.O.) And you know how Clyde’s mind works best because you visited him often while he himself was serving time there – BLANCHE He didn’t share much with me – HOOVER (V.O.) He didn’t? BLANCHE No. HOOVER (V.O.) Why were you there with the gang in the first place, huh? BLANCHE Because I love my husband – HOOVER (V.O.) You know how many times I’ve heard that – BLANCHE Believe it or not it’s the truth! HOOVER (V.O.) All I want to know is where they are. I can make your life in prison either as easy or as difficult as I choose. I have that power, Mrs. Barrow. BLANCHE I just want to know where he is. HOOVER (V.O.) Who are you talking about?

BLANCHE Buck. My husband. Marvin Ivan Barrow. Who are you talking about? HOOVER (V.O.) You know damn well. (Silence.) If you don’t tell me where they are, I will gouge out your other eye. It doesn’t matter if you can see or not – I’ll do it for the hell of it. (Beat.) You want the chance to see again? (Beat.) Five… Four… Three… (Beat.) Where are Clyde Barrow and Bonnie Parker? Lights down on BLANCHE. BLANCHE exits. Lights up on MRS. PARKER and MRS. BARROW both with books in their hands. MRS. PARKER holds an old book, hardback. Her memoir, Fugitives. MRS. BARROW holds an old, beat up journal – her unpublished memoir. MRS. PARKER Who is Clyde Barrow? MRS. BARROW Who is Bonnie Parker? MRS. PARKER Her son. MRS. BARROW Her daughter. MRS. PARKER and MRS. BARROW What’s their story? MRS. BARROW Everyone tells it differently – MRS. PARKER She says one thing. I say another. MRS. BARROW That’s the thing about legends – tall tales – MRS. PARKER Everyone’s got their own say – Lights come up on the rest of the cast. CLYDE has a broom and sweeps around them.

MRS. BARROW (looking back at CLYDE) Clyde Barrow, you make sure this place is spotless, you here? We can’t have this place looking like a pig pen. CLYDE Mama, this is West Dallas – They call it the Devil’s Back Porch for a reason. Little dust ain’t gonna kill anyone – (All but BONNIE shoot CLYDE a look.) All right, all right – keep your pants on. CLYDE continues to sweep as MRS. BARROW and MRS. PARKER continue speaking. As he does, the rest of the cast begins to move. It is a movement piece and should flow. CLYDE might hand off the broom to BUCK at a point, dance with it, etc. However, he should not interact with BONNIE or HAMER until noted. As the rest of the cast moves about, they might sweep or blow a pile of sawdust off the table and chairs. Maybe they dump some sawdust out of a cup that is on the table. MRS. BARROW I never liked hearing it called “The Devil’s Back Porch.” MRS. PARKER I never liked hearing people say, “once you come here, you don’t get out.” MRS. BARROW Our children heard it all. MRS. PARKER But they made the most out of the hands they were dealt. MRS. BARROW I think my boys found a spark of joy from time to time. (Beat.) Seeing them smile was more precious to me than gold. MRS. PARKER And my little Bonnie… She was a rose in the mudpuddle of this place. MRS. BARROW Clyde could’ve made something of himself if – MRS. PARKER Don’t you go blaming me – My Bonnie could’ve been a star – MRS. BARROW I ain’t blaming you, Emma. If there’s anyone to blame, it’s the laws.

CLYDE and HAMER start to play Upper Hand/Knobbing Up with the broomstick as MRS. PARKER and MRS. BARROW continue speaking. HAMER eventually wins and hits CLYDE with the broom. CLYDE falls to the floor. MRS. PARKER That’s swell, Cumie. Blame the government. It was hard times for everyone, you know, not just you. MRS. BARROW I know that – but you know how many jobs he lost on account of the laws bringin’ him in for questioning on somethin’ he didn’t do? Too many – I lost count. How else, you gonna make money if you can’t do it legal? MRS. PARKER I only wish he didn’t drag Bonnie into all this – MRS. PARKER and MRS. BARROW notice BONNIE who sees CLYDE on the floor. BONNIE helps him up. Their eyes meet. It’s a real love at first sight kind of moment. MRS. BARROW I don’t think he dragged her anywhere. MRS. PARKER She always did love a sorry sight. (The rest of the cast begins to exit. CLYDE gets the broom back and finishes sweeping. BONNIE goes to the counter and puts on her diner uniform. MRS. PARKER looks at her daughter, admiring some fond memory.) She was such a talented girl. A great talent really. I always told her, “Honey, you see something you want, you just grab it.” Lights go out on MRS. PARKER and she exits. CLYDE I finished up sweeping, mama! I’m gonna go out and grab some food – MRS. BARROW Clyde Barrow, it’s nearly midnight, where are you gonna go? CLYDE There’s gotta be a diner or something – I’ll figure something out! CLYDE exits. MRS. BARROW Clyde. Clyde! What are you gonna do about money? (Beat.) That boy is going to be the death of me.

MRS. BARROW exits. BONNIE begins to sing as she tidies up the counter. She sings Bill Murry’s “He’s a Devil in His Own Hometown.” This song and all songs that follow should be sung A Capella. CLYDE enters at some point during the song. BONNIE doesn’t notice him. She is in her own world. BONNIE I’VE GOT AN UNCLE BY THE NAME OF JERRY HE’S GOT A STORE A GREAT BIG FARM TWO THOUSAND ACRES OF THE VERY, VERY, BEST LAND IN THE WHOLE UNITED STATES HE’S GOT A REPUTATION IN THE VILLAGE KNOW AS A DUDE, A GOSH DARN DUDE HE WOULD NEVER DO IN NEW YORK CITY BUT IN HIS HOME TOWN

HE’S A DEVIL, HE’S A DEVIL HE’S A DEVIL IN HIS OWN HOME TOWN ON THE LEVEL, ON THE LEVEL HE’S AS FUNNY AS A CLOWN HE SPEND A FIVE CENT PIECE, THINKS NOTHING OF IT HIS PANTS ALL CREASED, RED VEST ABOVE IT AND WHEN IT COMES TO WOMEN, OH! OH! BONNIE (noticing CLYDE, startled) Oh! (Beat.) I’m so sorry – I didn’t see you there. CLYDE You got some voice. BONNIE Well, thank you, Mister…? CLYDE (reaching out his hand) Barrow. Clyde. I mean, Clyde Barrow. (BONNIE shakes CLYDE’s hand.) What song was that? Don’t think I heard it before.

BONNIE “He’s a Devil in His Own Hometown.” You know, I actually sang that when I was a kid at a church. All the kids were asked to sing their favorite hymns. CLYDE That’s a hymn? BONNIE It ain’t conventional, I know, but anything can be a hymn. CLYDE Huh. Never thought about music like that. Neither knows what to say next. Awkward pause. BONNIE Well, what can I get for you, Mr. Barrow? CLYDE sits. CLYDE Oh, uh… right – I am so sorry! You got a name? BONNIE Bonnie Parker. CLYDE Bonnie Parker. Now that’s quite a name. Sounds like a movie star. BONNIE My mother tells me the same thing – CLYDE Your mother sounds like she knows what she’s talking about. BONNIE You look real rugged, Mr. Barrow. In a swell way. Like one of them outlaws in the motion pictures – CLYDE What? You mean like Billy the Kid or somethin’?

BONNIE Who? CLYDE Oh, he was a big-time outlaw years back – ’bout our age too. BONNIE No kiddin’? CLYDE He was a hell of a fella. (Beat.) Oh, I guess I should order – I bet you don’t wanna listen to me flap my gums all night, huh? Uhhh… can I get some eggs? Scrambled. BONNIE You weren’t flappin’ nothin’. (Beat.) I’ll get these goin’ for you. CLYDE Never too early for breakfast! (BONNIE exits.) (Beat.) “Never too early for breakfast?” Stupid. Stupid. Stupid. TED enters. He sits next to CLYDE. BONNIE enters. TED Hey there, Bonnie. BONNIE Hi, Ted. CLYDE You know him? BONNIE Ted and I used to go to school together. CLYDE Small world. Teddy Bear and I used to work deliverin’ mail together – TED (not paying attention to CLYDE. To BONNIE.) I had another late patrol. Just thought I’d come in and check on you. BONNIE Well you know how graveyard shifts go – you get almost no one comin’ in.

TED I wanted to make sure you were okay. You never know who could walk in. CLYDE So… are you two…? BONNIE No. CLYDE Ah. Awkward silence. BONNIE I’ll be right back. BONNIE starts to exit. CLYDE Uh, Miss Parker – BONNIE Bonnie. CLYDE Listen, maybe you should cancel those eggs. I gotta get goin’. Would you wanna see a motion picture or somethin’ on Friday? BONNIE A picture show could be fun. CLYDE Great, I’ll pick up around six? BONNIE nods and CLYDE begins to exit. BONNIE Hey, Clyde! CLYDE Yeah? BONNIE You’re gonna need my address, right?

CLYDE That’s right. BONNIE writes her address down on a piece of paper and gives it to CLYDE. BONNIE exits. CLYDE starts to exit again. TED gets up. TED Clyde. CLYDE Yeah? TED Stay away from her. TED exits. BONNIE enters. CLYDE Can I walk you home? BONNIE I’ll be off my shift in ten. CLYDE I can wait. Lights shift. CLYDE takes BONNIE’s arm. He might spin her. CLYDE walks BONNIE around the stage, when MRS. PARKER and MRS. BARROW enter, they split off. MRS. PARKER and MRS. BARROW Just who were you walkin’ home with? CLYDE BONNIE The lovely Miss Bonnie Parker. Clyde Champion Barrow. MRS. BARROW What about Eleanor? CLYDE We’re long over. MRS. PARKER You have a husband!

BONNIE Not one that loves me – not one that cares – MRS. BARROW And when did that happen? MRS. PARKER He is still your husband. Roy Thorton is – BONNIE Don’t say his name! It’s been two years, mama – He promised me everything and then left – CLYDE I didn’t think I had to tell you – I ended it a few days ago. MRS. PARKER He was – BONNIE He’s a murderer! CLYDE And besides he just walked me home! And besides I just walked her home! BONNIE CLYDE She’s gonna be an actress, though – up on stage and all that. MRS BARROW MRS. PARKER Where did you meet this girl? Where did you meet this boy? BONNIE and CLYDE The diner. MRS. BARROW swats CLYDE.

MRS. BARROW Don’t lie to me! MRS. PARKER You don’t meet decent folk past midnight in Dallas! (Beat.) He’s probably a criminal! MRS. BARROW She’s probably a prostitute – BONNIE and CLYDE It’s not like that, mama. MRS. BARROW sits, distraught. MRS. PARKER We’ll discuss this more, inside. MRS. PARKER exits. BONNIE and CLYDE I think I’m in love. BONNIE (to MRS. PARKER off-stage) He’s comin’ to visit this weekend, so put a smile on! BONNIE exits. MRS. BARROW Why can’t you be like your brother – BUCK and BLANCHE enter. BUCK She said yes! I’m gettin’ married! (Beat.) Bad time?

CLYDE Not at all, big brother. (Silence. MRS. BARROW swats CLYDE.) Congratulations. MRS. BARROW They met in church. Her father’s the pastor. CLYDE I’ve met Blanche before, mama. MRS. BARROW Just reminding you that good girls can be found. (To BUCK) He – he’s enamored with a prostitute now – CLYDE Mama, she works in a diner! BLANCHE I’m sure she’s very nice. CLYDE Thank you, Blanche. At least someone understands. BLANCHE Mrs. Barrow, I’m sure this girl ain’t the devil. MRS. BARROW They met well past midnight – and I’m sure she’s some girl of the streets! CLYDE Why would I – BUCK Woah, woah, woah! There’s no reason why we need to be fightin’ over this – BLANCHE Well, Jesus met Mary Magdalene outside of a brothel. She was a prostitute and ended up being a beautiful servant of God, ain’t that right, Mrs. Barrow.

MRS. BARROW Yes… BLANCHE And we don’t know that this girl, this…? CLYDE Bonnie. BLANCHE Lovely name. We don’t know if this Bonnie is a prostitute. Clyde says she works at a diner. Is Clyde the kind of man who would court a lady of the streets? MRS. BARROW I’m sorry boys. I’ve just been so terrified. (To CLYDE) I don’t want you gettin’ mixed up with the wrong people. Johnny Harris was arrested today. Bootleggin’. CLYDE We’re not going to get in trouble, mama. MRS. BARROW I raised you boys – put God in your hearts. I don’t think I could face you endin’ up like him – BUCK We’re not, mama. I’m out of prison for good this time and I ain’t goin’ back in. I’m gonna start fresh and I know Clyde’s gonna do exactly what I do – it’s gonna be fine – BLANCHE Mrs. Barrow, why don’t we go for a walk? I think the air might help. Pause. MRS. BARROW Let me get my things. MRS. BARROW exits.

BUCK Thanks, Baby. BLANCHE Of course, Daddy. (BLANCHE kisses BUCK.) Behave, you two. BLANCHE exits. BUCK Clyde, you’re gonna need to keep your head down for a few weeks. CLYDE What do you mean? BUCK I mean don’t do anything illegal – don’t steal anything, all right? I just got out of prison, so the laws are going to be keeping a – (Beat. CLYDE gives a guilty look.) God damn it, Clyde! (Beat.) What was it? CLYDE A car – BUCK Ditch the car – CLYDE Oh, come on! I’m just takin’ Bonnie out for a date. I just need it ’til Friday. Then I’ll give it back. I swear. BUCK This girl better be worth it. BUCK exits. BONNIE enters. Clyde takes her by the arm and they walk a circle. Lights shift. We are now in the Parker residence. BONNIE Don’t you just love the motion picture show? Especially these talkies. It makes it seem so real. You know, I just love Clara Bow, but for all that love – I never

knew what she sounded like ’til now. What a voice – it’s just like I imagined it. I wouldn’t be surprised if they made talkies just ’cause a her –

CLYDE It’s crazy what people can do these days. Never thought anything like that would happen – BONNIE Oh, Clyde, get with the times. It’s 1929. Things are changin’! Maybe for the better. CLYDE Feels like nothin’s getting better ’round here. It’s only gettin’ worse. BONNIE Don’t be such a stick in the mud. (Silence.) What a movie – fittin’ title too: The Wild Party. CLYDE It was wild all right – BONNIE That’s love, though. It’s a wild party. CLYDE How’s that love? She was with all those different guys – BONNIE Clyde, she had to go through all those guys to be with Gil. He was the right one for her – and how selfless was he to drop out of college for her? That’s love – and – and how they ended it on the train? That was somethin’ else – it really makes you think of the adventures they’ll have ahead, you know? CLYDE I didn’t pick up on that.

BONNIE Well, it was there. (Beat.) I’ve always wanted to leave this place. Do you remember your first picture show? I remember mine. There’s nothing like sittin’ in a dark room – getting sucked into another world. Someplace far away from West Dallas. For an hour, I forgot that’s where I was. There was just me and Clara. Me and my destiny, Clyde. That’s who I’ll be someday – don’t laugh! I’m serious. Don’t you ever wanna to escape? Go away from all this? Clyde – Clyde – Would you stop it and listen to me? (Beat. CLYDE is attentive.) I wanna be on Broadway – I will be. It’s just like my mama says, you can’t just reach for the stars – you have to grab ’em – CLYDE But what if you can’t reach those things – them stars you wanna grab? BONNIE I’ll find a way. CLYDE Well, let me help. I’ll get you a ladder – no, I mean it. I think you can do it! If that Clara Bow can, so can you. You got her skinned, easy! BONNIE You mean that? CLYDE I do. CLYDE kisses BONNIE. BONNIE I forgot to tell you! I went to the library. Billy the Kid – I was readin’ up on him. CLYDE You were readin’ up on Billy the Kid? BONNIE The way you were talkin’ about him he seemed like someone I should know about. I saw a photo of him. He looked so… distant. You ever look at a picture of someone who’s been dead awhile? Like, long dead – and you never knew ’em?

BONNIE (Cont.) It’s not like lookin’ at a picture of a passed-on family member – it’s not like me lookin’ at a picture of my daddy. There’s still life in his eyes when I look his pictures. When you don’t know someone – like, say Mr. The Kid, for instance – you can’t see that life. There’s no spark – Sometimes I wish I could reach back in time and pull ’em out – I’d have so many questions. CLYDE So, would I. (Beat.) I can’t believe that you went – (There is a knock at the door.) You expecting someone this late? MRS. PARKER (offstage) Bonnie, Teddy’s here! BONNIE Not right now, mama! I’m entertainin’. MRS. PARKER and TED enter. MRS. PARKER He says he’s here on official business. TED Bonnie, how are you? BONNIE Just fine, Ted. What brings you by? TED There’s some criminals in the neighborhood – we’re just checking to make sure they’re not it any of the residences. I thought I’d stop by – make sure you were safe. CLYDE I’ll keep a watch on ’em, it’s fine. TED Can I have a moment with you?

CLYDE Am I who you’re looking for? I’m not doing nothin’ illegal, Teddy Bear, and anything that you want to say can be said in front of the Parkers, here. I got nothin’ to hide. (Pause.) Well? TED All right. Clyde Barrow, I’m placin’ you under arrest for car theft. CLYDE I just borrowed it. I was going to give it back tomorrow. BONNIE You’re arresting him – TED He stole a car, Bon. BONNIE (to TED) Why are you doing this to me? Why are you – why are you – why are you – (to CLYDE) Clyde – Clyde – /Clyde – Clyde – /Help – help – help me – CLYDE /I’m right here. TED /Mrs. Parker? (MRS. PARKER enters.) Bonnie, come on. BONNIE Get off him! CLYDE Relax, kid. Everything’s gonna be fine. It’s gonna be fine, okay – just you breathe now. Everything freezes. Lights up on MRS. BARROW, watching the arrest. TED, BONNIE, MRS. PARKER and CLYDE unfreeze, moving in slow motion. TED arrests CLYDE as BONNIE tries to stop him to no avail. Lights shift. there should now be three worlds on stage: the Parker residence, CLYDE’s arrest, and MRS. BARROW looking back through time at her son.

MRS. PARKER Sweetheart, come on now. We need to breathe. Come on. Like I taught you. MRS. PARKER tries her best to help BONNIE calm herself. CLYDE Teddy, come on. You don’t gotta do this – TED I’m only doin’ my job – CLYDE It was a rental car! They’re gonna give me years – TED and CLYDE exit. MRS. BARROW We never found out how long of a sentence it could have been. BONNIE He – he – he – MRS. PARKER Hey, hey, breathe, now. BONNIE He – he needs my help, mama. MRS. BARROW She did help him. She slipped him a gun that was hidden someplace – I don’t know where. MRS. PARKER Absolutely not, sweetheart. MRS. BARROW And Clyde escaped. BONNIE He’s my world, mama.

MRS. PARKER There are plenty of decent men ’round here. MRS. BARROW and BONNIE None like him. MRS. PARKER He ain’t decent. BONNIE How could you say that? BONNIE exits. MRS. PARKER looks to MRS. BARROW. MRS. BARROW It didn’t take long for the laws to catch him. (To MRS. PARKER) They sentenced him to sixteen years. Do you know what they did to him there? He never told me – but we know, don’t we? Everything could’ve been fine – but he went there. He went to Eastham Prison Farm – CLYDE is being beaten offstage. He cries out in pain. MRS. BARROW tires to go to her son but MRS. PARKER stops her. CLYDE continues to cry out offstage as MRS. PARKER and MRS. BARROW speak. MRS. PARKER There’s nothin’ you can do – MRS. BARROW I know. Nothin’ I could do would change what they done to him in there. I can only bring myself to imagine the guards. What those other men there did to him – MRS. PARKER I know – MRS. BARROW If I had got the pardon for him sooner – MRS. PARKER Cumie, there’s nothin’ you could’ve done –

CLYDE is thrown onstage with his crutch. He may crawl a bit before finally collapsing. MRS. BARROW They sent my baby to hell for two years. MRS. BARROW approaches CLYDE, heartbroken. MRS. PARKER Cumie – MRS. BARROW Don’t. Lights down on CLYDE and MRS. BARROW. MRS. BARROW exits. Lights shift, early morning at the Parker residence. MRS. PARKER picks up a newspaper and sits down, reading. BONNIE enters. MRS. PARKER What are you doin’ up so early? BONNIE I could ask you the same thing. MRS. PARKER I’m gettin’ ready for work, and you? Got a date later today? BONNIE I’m takin’ the bus to Waco. I got an audition. MRS. PARKER Why is this the first time I’m hearin’ about this? BONNIE Well, I was tryin’ to keep it quiet in case I didn’t get the part. I was – MRS. PARKER Of course, you’re gonna get the part! (Beat.) Oh, I am so proud of you. Pause.

BONNIE Clyde’s gonna be in prison an awful long time. (Beat.) My world can’t stop for another fourteen years. MRS. PARKER You’re damn right, sweetheart. It needs to keep on turnin’. Just like I said. (Beat.) Now you get on over to Waco and break some legs, huh? (MRS. PARKER gives BONNIE a nudge. MRS. PARKER starts to exit.) And don’t forget to find your light! MRS. PARKER exits. Spotlight down next to BONNIE. It should be the same lighting that BLANCHE was under at the top of the show. BONNIE steps into the light. BONNIE Right. Um, hi, my name is Bonnie Parker and I wanted to audition for the role of Ruth Gordon. I mean I will be auditionin’ for the role of Ruth Gordon – Sorry – let me start over. My name is Bonnie Parker and I’ll be auditionin’ for the role of Ruth Gordon. I’ll be readin’ – doin’ a monologue from It. (Beat.) Yes – the movie with Clara Bow. (Beat.) What do you mean – Well – well – I think you’re wrong. Do you know how hard I worked to learn it? I – I – I took a two-hour bus ride to be here! I’m sorry – let me start over – My name is Bonnie Pa— Yes, well – It’s my dream and I – CLYDE wails. BONNIE’s light goes down and she exits. BLANCHE enters. CLYDE Two years! I can’t do another fourteen, Blanche! BLANCHE Your mother’s been workin’ on an appeal for parole and – CLYDE You don’t know what it’s been like – Hey – Hey! Where’s my crutch? CLYDE struggles to pick himself up. BLANCHE Clyde, what happened?

CLYDE I cut off some toes. BLANCHE You cut – CLYDE I need to get inside the walls – the labor they have us doin’ out here in the fields – the people – what they did to me – it was too much. It’s fine now, Blanche – they’re moving me inside – inside the walls – where Buck was when he was here. I remember he said it was easy time. Pause. BLANCHE I’m here to take you home, Clyde. Your mother petitioned to the governor. You got parole. CLYDE gives a pained laugh. CLYDE Where’s Buck? BLANCHE He’s at work. CLYDE Well – well – I guess I’ll have to go get a job, huh? BLANCHE Clyde – Clyde – maybe you should rest for a bit before you get back on your – just take some time – take it easy – CLYDE No – I need to make somethin’ of myself – I’m never comin’ back here, Blanche. I’m not. I’d rather be dead. (CLYDE limps heavily. He will walk with a limp for the remainder of the show. BLANCHE helps him walk.) Leave me here in town, I’ll meet you back at the house. I want to see if anyone’s hirin’. BLANCHE nods.

BLANCHE If you’re sure. We’ll see you Saturday night for supper? CLYDE Sure. BLANCHE You should bring Bonnie. I’d love to meet her. BLANCHE exits. CLYDE I don’t need this damn thing. (Lights shift. TED and HAMER enter. CLYDE becomes caught in a revolving door created by TED and HAMER. Each time CLYDE makes a rotation, it gets more and more violent, until CLYDE is practically thrown through the revolving door. HAMER exits. Lights shift.) One job! Since the whole country went to hell no one can get anything! It’s hard enough! I want to be able to keep one job without you draggin’ me off for questioning – on – on something you know I didn’t do! TED I’m just doing my job – CLYDE Bullshit! /Bullshit! TED /Clyde, control yourself – BONNIE enters. BONNIE Clyde? (BONNIE helps CLYDE up and kisses him. TED exits.) Why didn’t you tell me you were back? CLYDE I wanted to get a job, first – but, that’s just not gonna happen, Bonnie. It’s not. BONNIE and CLYDE start to exit.

BONNIE Clyde, what’s wrong? CLYDE I… I’m missin’ two toes. I cut ’em off. Myself. So that I could get out. (Pause.) Why didn’t you come visit me? Why’d you stop writin’? (Pause.) I – I kept thinkin’ you were with these other guys. BONNIE Is that why you did that to your toes? CLYDE Well, yeah. I guess. Yeah, partly I suppose. Silence, neither CLYDE or BONNIE knows what to say. BONNIE takes CLYDE by the arm. They walk around the stage as they did previously. Lights up on BUCK and BLANCHE. BUCK So, I finally get to meet the famous Bonnie Parker! BONNIE In the flesh! BUCK hugs BONNIE. BUCK I want you to meet my wife, Blanche. Blanche, this is Bonnie – (To CLYDE, sarcastically) Is that my little brother Clyde? You look like you fought a horse and it kicked you half way across Dallas. CLYDE You should see the horse. BUCK Come here. (BUCK hugs CLYDE.) Time to eat. (BUCK puts a bottle on the table.) And drink! CLYDE Don’t mind if I do.

BUCK, BLANCHE, BONNIE and CLYDE sit. They pantomime eating and drinking throughout. CLYDE drinks noticeably more than the others. BUCK So – how’s the first few days being out? CLYDE I had a job ’til Ted came around. They fired me on the spot. BLANCHE The same thing happened to Buck when he got out. Job after job – BUCK It was rough – BLANCHE But, we kept on prayin’ – now he’s workin’ at the glass factory – been there for almost two months now. BUCK Almost a month – but still, boss is good and the laws stopped houndin’ me after a while. CLYDE That’s great. BONNIE It really is. BUCK So, Bonnie. Clyde wrote to me all about you while he was inside. He says you’re an actress? BONNIE I am. CLYDE The next Clara Bow.

BUCK No kiddin’? BLANCHE How’s that been goin’? BONNIE It’s been goin’ as well as it can be for anyone ’round here. BLANCHE You need Hollywood – BONNIE Or Broadway. It’s a big dream of mine. BUCK You movin’ to New York, Clyde? CLYDE As soon as I got enough scratch to get me there, sure. Why not? BUCK (to BONNIE) Would you get us tickets to your show if you get put up in one? BONNIE Of course! BUCK Clyde did nothin’ but write to me about your voice the first night you met. It’s all he could talk about – you gotta hum a few bars for us. BLANCHE That’d be great! BONNIE Oh, I don’t know… BUCK Oh, come on –

CLYDE She don’t have to do nothin’, Buck – BUCK Jesus, Clyde, I was just – BONNIE No, no. I got somethin’. I can sing somethin’ – BONNIE stands up and moves to another area of the stage. Spotlight on BONNIE. She sings Van and Schenck’s “Ain’t We Got Fun?” BONNIE EVERY MORNING EVERY EVENING AIN’T WE GOT FUN? NOT MUCH MONEY OH, BUT HONEY, AIN’T WE GOT FUN? Lights come up on the rest at the table as BLANCHE and BUCK join in. They really have a good time with this. It is a ray of sunshine in their otherwise dreary lives. BUCK might keep time with a cup, spoon, etc. CLYDE continues to drink. BONNIE and BLANCHE THE RENT’S UNPAID, DEAR WE HAVEN’T A BUS BUT SMILES WERE MADE, DEAR, FOR PEOPLE LIKE US. BONNIE, BLANCHE and BUCK LANDLORD’S MAD AND GETTING MADDER. AIN’T WE GOT FUN? TIMES ARE BAD AND GETTING BADDER,

BONNIE, BLANCHE, and BUCK (Cont.) STILL WE HAVE FUN.

THERE’S NOTHING SURER, THE RICH GET RICHER AND THE POOR GET CHILDREN! IN THE MEANTIME, IN BETWEEN TIME, AIN’T WE GOT FUN?

THERE’S NOTHING SURER, THE RICH GET RICHER AND THE POOR GET LAID OFF! IN THE MEANTIME, IN BETWEEN TIME, AIN’T WE GOT FUN? BUCK You were right Clyde, what a voice! BONNIE Thank you. BLANCHE You remind me of this little parakeet I used to have as a girl. She was this little, yellow bird and was chirpin’ all the time. We kept it in this pretty little cage. She would sing these beautiful songs, though – and they came from such a tiny little thing. It was like a miracle. BONNIE Are you calling me a miracle or…? BLANCHE I think God gives everyone a little miracle. (Beat.) It’s like Moses. You know?

Awkward pause. BONNIE So, I’m Moses? BLANCHE Sort of? You know how God gave Moses that staff – and he could turn it into a snake or use it to part the Red Sea – BONNIE Yeah. I know. BLANCHE Well, I think that God gives everyone a staff like that… like your voice – that’s your staff. but the thing is, God gave it to him for a purpose: to get his chosen people to the Promised Land. Everybody’s got their goal that God has ’em tryin’ to reach. I bet yours is Broadway. BONNIE Uh huh… BLANCHE Look at Moses. He led God’s people out of Egypt, crossed the desert, brought us the Ten Commandments and talked to God, Himself… then again, he never did reach the Promised Land. The best he got was a glimpse of it in the distance. Then he died… Uh, maybe that’s not such a great example – Awkward silence. BUCK Okay, I don’t know how we got onto one of my wife’s famous sermons, but I think we could all use a drink. (BUCK picks up the bottle. It is empty.) Clyde, did you – did you drink the whole bottle? CLYDE We all had a cup full – BUCK Yeah, but did you drink the rest?

CLYDE So, what if I did? I needed it. (Beat.) I had to drown out the cat’s howlin’ ya’ll were doin’. BONNIE and BLANCHE Clyde! CLYDE I needed to think. Clearly for once. BUCK About what? CLYDE My new life. How I’m gonna get back at Eastham. There’s things – BUCK There’s no getting back at Eastham. I don’t care what happened. You don’t pick a fight with that place. CLYDE You don’t know what the hell I did – BUCK I know you cut your toes off, okay? Blanche told me. There were guys gettin’ sent inside the walls for a hell of a lot more than toes, little brother – CLYDE I know. I know. BUCK The guards aren’t worth it – there will always be guards who beat cons. Pluggin’ ’em will only get you the chair – CLYDE It’s not about the beatings –

BUCK Then what is it about? (Beat.) Huh? Blanche read me letter after letter. They all got scratched out lines – hell, sometimes it was whole paragraphs. I know you. You want me to know somethin’ – CLYDE You don’t wanna know. BUCK Blanche, what was his name? The one that kept popping up? BLANCHE Ed – Ed somethin’. BUCK That was it. Ed Crowder. (CLYDE punches BUCK. Silence. Then, tentatively) Did he…? CLYDE I said you don’t wanna know. BUCK Jesus… CLYDE (at first in a flat voice, then growing in anger.) Almost every day. You know I shared a block with twenty other guys? None of ’em did a damn thing. He was bigger than you Buck. He was like a house. I couldn’t fight him. Not with my bare hands. It went on for over a year. (Pause.) I went to the showers alone one night. He took the bait. I took the lead pipe out that I stashed in my pants. He rounded the corner and (CLYDE slams his hands or his cup against the table.) BOOM! RIGHT DOWN ON HIS HEAD! (Pause.) I busted his head wide open. He was dead. They never knew it was me. BUCK You killed him?

CLYDE Wouldn’t you? (Beat.) So, I’m getting back at Eastham. I wanna hurt them bad – plain and simple. (Pause.) I need help. BUCK Clyde, I got a life here now and – and what you’re plannin’ – what you’re askin’ is insane. CLYDE I need somebody I can trust, Buck – BUCK I’m finally making an honest livin’, here and – CLYDE I told Bonnie on the way here and she was ready to say yes before I even told her why – I didn’t have to tell her about him at all – BUCK Clyde, I have a wife. I’m gonna have a family. You can’t ask me to throw it all away – CLYDE We need money and we need guns. That’s it. I’ve already taken care of the plan – BUCK Clyde. No. Pause. CLYDE (taking the hint) Come on, Bonnie. BONNIE Thank you for dinner. It was real swell. CLYDE and BONNIE exit. Silence. BLANCHE You did the right thing, Daddy.

Pause. BUCK (half begrudgingly) No – No, I didn’t. (running after CLYDE and BONNIE) Clyde – Clyde! Wait for me! Pause. BLANCHE Oh, sweet Jesus. (exiting after BUCK.) Wait up! Lights up on MRS. BARROW and MRS. PARKER. MRS. BARROW There they go. MRS. PARKER Why didn’t you stop them? MRS. BARROW I didn’t know what they were plannin’! MRS. PARKER Your sons were convicted criminals. It was your job to know – MRS. BARROW And I thought they were on the road to honest work. You saw what happened – What else could they have done? MRS. PARKER Plenty. They gave up too easy – MRS. BARROW They did not – BUCK, BLANCHE, BONNIE and CLYDE enter. They create a car using four chairs. CLYDE has the steering wheel, a dinner plate. MRS. PARKER You’re right – they worked hard to find two women who loved them and then threw them into a life of crime –

MRS. BARROW Did it look like they were thrown? It didn’t to me – they all made their choice. MRS. PARKER And now we have to live with it. Lights down on MRS. PAKER and MRS. BARROW. MRS. PARKER and MRS. BARROW exit. Lights up on BONNIE, CLYDE, BUCK and BLANCHE. BUCK I still can’t believe we’re doin’ this – CLYDE (raising a flask) To the Eastham job! BONNIE Well, tonight, I think we earned ourselves a break. BLANCHE Does that mean we can sleep in a hotel tonight? BONNIE I sure hope so. I hate sleeping in the woods. CLYDE Fine. We’ll rent a cabin or somethin’. Happy? BLANCHE Delighted. CLYDE (pulls a paper out of his pocket) Oh, hey, look what I found today. (showing them the paper.) Wanted for robbery. The Barrow gang. Reward $400 for the capture – that means 100 dollars on each of us. Even you, Blanche. BLANCHE Well, that’s – wow. I wonder what my Sunday school students think of me now…

BUCK I don’t know if you should be thinkin’ on that now, Baby. (Beat.) Clyde. You see that guy over there? He’s been eyin’ us up. CLYDE Let’s take him. (CLYDE walks to another area of the stage followed by BUCK.) Hello, sir – Why me? (CLYDE pulls out his pistol.) I think you know who I am – and I think you know that this is loaded. BUCK Do what we say and you don’t get hurt – CLYDE (genuinely) All right, now. Nice and easy – walk over to the car. (Beat.) Don’t be a hero – don’t! CLYDE shoots. The officer dies. BUCK Jesus! BLANCHE and BONNIE run over to CLYDE and BUCK. BLANCHE What happened? BUCK Clyde shot the guy. CLYDE He was gonna draw on me! BUCK (taking a closer look at the body) He’s a goddamn sheriff – CLYDE He could’ve killed me – You saw him draw! BLANCHE And now he’s dead!

CLYDE What the hell do you know, Blanche? You don’t even know how to use a gun! What help are you to us anyways? BLANCHE I’m here for Buck, not you! BUCK Clyde, we can’t hit Eastham now. Not like this. There’s gonna be too much heat – CLYDE They might not know it was us – BUCK There had to be witnesses, Clyde! Silence. CLYDE Yeah. Uh. We need to go. Beat. BONNIE What should we do with the body? CLYDE Leave it. Guy deserves a burial. Lights down on BONNIE, CLYDE, BUCK and BLANCHE. BONNIE, CLYDE, BUCK and BLANCHE exit. Lights come up on TED and MRS. PARKER with a newspaper in her hand. MRS. PARKER I can’t believe it. First robbery and now murder? Ted, I thought you said – TED This is all beyond me. They’re out of Dallas – out of the state – I’m just a deputy, Mrs. Parker. I can’t do much.

MRS. PARKER You said you were going to keep her safe – TED That was before I knew she joined a gang – MRS. PARKER So, you don’t care for her now? TED I do. Mrs. Parker, I do. (Beat.) Please let me know when she’s in town. I can talk her out of this. It’s not too late. MRS. PARKER They say it never is. (TED starts to exit.) You need to make sure nothin’ happens to Bonnie. She doesn’t want to be with that man – understand? TED Yes, Mrs. Parker. MRS. PARKER Don’t let it go to killin’ – you give her a chance to surrender – promise me that. TED She won’t get hurt if I have anything to say about it. (Beat.) I promise. Lights down on MRS. PARKER and TED. Lights up on BONNIE, CLYDE, BUCK and BLANCHE. BONNIE, CLYDE, BUCK and BLANCHE are sitting in the car, CLYDE in the driver’s seat. CLYDE has a bundle with him. He unrolls it revealing pistols and shotguns. CLYDE So, this is what we’re working with. BUCK Not that great –

CLYDE I had to dump the Tommy’s we were gonna use for the Eastham job. (CLYDE starts driving.) The fence screwed us over. Blanche, you should really learn how to use one of these – BLANCHE I’m fine, Clyde. I – I don’t. BONNIE Blanche, you really should – BLANCHE I really don’t need to – CLYDE We might need – BUCK You don’t, though. I can shoot for two if it comes to it. Silence. BLANCHE We can’t keep drivin’ like this. (Pause.) I mean, where are we drivin’ to? CLYDE We’re just puttin’ distance between us and the laws. We’ll be able to stop at motel or somethin’ soon. Don’t worry, Blanche. BLANCHE So, we’re not goin’ anywhere – just – just away from somewhere – someone? CLYDE I mean… We could go to Mexico. BONNIE Mexico?

CLYDE Every outlaw I ever knew – they’d get famous, things would get hot for ’em and then they’d hightail it to Mexico. It’s heaven for outlaws. BUCK We’re not ready for somethin’ like that – CLYDE I know, but – BONNIE So, let’s get ready – what do we have to do? Hit a bank? CLYDE We’ll need at least one. Maybe two… a couple thousand a piece should cover us from here to the border – maybe even longer. BUCK (To BLANCHE) Then we won’t have to run anymore. CLYDE Buck… we need to hit a grocery store – a fillin’ station or somethin’ or we’re not going to eat. BUCK (picking up a gun) All right. We’ll drop the girls off at a motel, then we’ll go. Lights shift. CLYDE and BUCK stand up and step downstage. BLANCHE and BONNIE exit. BUCK and CLYDE are inside a filling station talking to a cashier. CLYDE How we doin’ tonight, sir? Pause. BUCK Sorry to hear that.

CLYDE Hard times for everyone. (Beat.) Christ, I hate to do this, but could you give us whatever’s inside the register? CLYDE pulls his pistol out. BUCK does as well. BUCK Awful sorry, sir. We know times are rough – Relax, we’re ain’t gonna kill you. CLYDE Just give us the money. (Beat.) God damnit, are you kiddin’ me? BUCK How much change you got? CLYDE No, we ain’t them. Forget you saw us. (Beat.) Put all the money in that bag, there. (BUCK holds out the bag.) I don’t care if it’s pennies – put in in! (Pause.) Yeah. Swell. All right, grab your coat and come with me. I got a Ford V-8 Roadster outside. We’re goin’ for a ride. BUCK Easy – we ain’t gonna kill you. CLYDE Yeah, we’re gonna drop you off a mile or two from the nearest phone. We don’t just kill for the hell of it, ya know. Don’t believe everything ya read in the papers. BUCK (To CLYDE) You done? (Pause. BUCK looks inside the bag. Beat.) Christ. CLYDE What? How much? BUCK Can’t be any more than two or three dollars.

Lights down on CLYDE and BUCK. CLYDE and BUCK exit. Lights up on BONNIE and BLANCHE. A good deal of time has passed. BLANCHE What are you doing? BONNIE Me? I’m just thinkin’. BLANCHE About? BONNIE Writin’. (Beat.) I would write but Clyde’s got the typewriter with him in the car. (Beat.) There’s just this poem I’ve been workin’ on – I… I need to finish it. Silence. BLANCHE You think they’re okay? BONNIE I’m sure they’re fine. Silence. BLANCHE You ever think about what it’s like to kill someone? Like what that means? BONNIE No – I really haven’t – BLANCHE I hope they don’t have to kill anyone. BONNIE They won’t – It’s an easy job. I’m sure they can handle it.

BLANCHE They’ve been gone for hours. (Beat.) Oh, God, I hope he’s alive. (Silence.) I feel like I could crawl outta my skin. (Beat.) Could you do somethin’ – sing somethin’? (Beat.) Please. Pause. BONNIE beings singing Van and Schenck’s “After You Get What You Want, You Don’t Want It.” BLANCHE eventually joins in. CLYDE and BUCK enter with B.A.R.s, perhaps dancing with them. Soon, BONNIE feels that BLANCHE is a far better performer than her, sending BONNIE into a panic. She slides out of the song. BLANCHE, oblivious and free from worry does not notice until just before the men arrive. BONNIE (signing) LISTEN TO ME, HONEY, DEAR SOMETHING’S WRONG WITH YOU I FEAR IT’S GETTING HARDER TO PLEASE YOU HARDER AND HARDER EACH YEAR I DON’T WANNA MAKE YOU BLUE BUT YOU NEED A TALKING TO LIKE A LOT OF PEOPLE I KNOW HERE’S WHAT’S WRONG WITH YOU BONNIE and BLANCHE AFTER YOU GET WHAT YOU WANT YOU DON’T WANT IT IF I GAVE YOU THE MOON YOU’D GROW TIRED OF IT SOON YOU’RE LIKE A BABY YOU WANT WHAT YOU WANT WHEN YOU WANT IT BUT AFTER YOU ARE PRESENTED WITH WHAT YOU WANT YOU’RE DISCONTEDED BLANCHE YOU’RE ALWAYS WISHING AND WANTING FOR SOMETHING

BLANCHE (Cont.) WHEN YOU GET WHAT YOU WANT YOU DON’T WANT WHAT YOU GET AND THOUGH I SIT UPON YOUR KNEE YOU’LL GROW TIRED OF ME ’CAUSE AFTER YOU GET WHAT YOU WANT YOU DON’T WANT WHAT YOU WANTED AT ALL BLANCHE Bonnie! Bonnie, what’s wrong? BONNIE Get – get – get off me! Get off me! Get off me! CLYDE What the hell happened? BONNIE Clyde – Clyde – Clyde – BUCK CLYDE Blanche? I’m here, Bon. What’s wrong BLANCHE I don’t know what happened we were singin’ and then – BONNIE She – She’s better than me – She – She – CLYDE Who? What’s wrong? BONNIE Blanche –

CLYDE Bonnie, honey, I don’t understand what you’re sayin’. Let’s breathe, right? That always helps, ya – BONNIE I don’t wanna breathe! CLYDE Look at me! (Beat.) Take a deep breath. BONNIE pushes CLYDE. CLYDE Jesus. Would you grow up! BONNIE You think she’s better than me? CLYDE What? BONNIE Blanche. Do you think she’s a better singer than me? CLYDE I don’t care if she is! You need to calm the hell down. BONNIE I am calm! CLYDE You are not! You’re acting like a damn child! BONNIE Don’t you care about my dreams? CLYDE No, Bonnie – I don’t care about your dreams, right now! (BONNIE pulls a gun on CLYDE.) You wanna shoot, me? You better not miss. BUCK Jesus. Come on! Bonnie, put the gun down!

BONNIE What about Broadway? CLYDE Broadway? What about Broadway? BONNIE I’m not going to Mexico! I want to be – I want to be – CLYDE No one’s going to put you on stage if your face is plastered over every wanted poster in the country! BONNIE And who’s fault is that? BUCK Bonnie put the gun down! BLANCHE Can we all please stop! CLYDE Pull the trigger. Come on! Do it! (BONNIE does. It doesn’t hit anyone.) Jesus Christ! BONNIE What? You told me to! CLYDE I didn’t think you actually would! Pause. BONNIE I’m sorry. BONNIE starts crying. CLYDE hugs her, holding her. BUCK takes BONNIE’s pistol. BUCK Jesus. CLYDE Hey, hey, hey… it’s okay. I bet they got pictures in Mexico too, huh? I bet they don’t have a Clara Bow yet. They’re gonna have a Bonnie Parker soon enough, though, right?

BONNIE I don’t know any Spanish! CLYDE You’ll have time to learn, Bon. Come on, it’ll be great and hey, hey – look. Buck and I took a detour after we hit the fillin’ station. BLANCHE What did you do? BUCK We hit an armory. Clyde’s idea. CLYDE We got the firepower we need for a bank job. A big one. BLANCHE Daddy, I thought you were going to be safe. CLYDE You can hold one if you want, Bon. Go on. BUCK We were safe. BONNIE picks up an automatic rifle. BLANCHE (swatting BUCK) You raided an armory? BUCK And we’re okay – not a scratch on me, all right? BONNIE It’s heavy. CLYDE Too heavy? BONNIE No. I don’t think so. CLYDE You want to use it at the bank?

BONNIE Yes. BONNIE kisses CLYDE. BUCK Clyde – CLYDE Relax. She can handle it. (Pause.) Everything’s gonna be swell, okay? Lights down on CLYDE, BONNIE, BUCK and BLANCHE. They set up the “car” again with CLYDE at the wheel. Lights up on TED sitting at the diner. He sips his coffee as HAMER enters. HAMER sits next to TED. Beat. HAMER How’s the coffee here? TED It ain’t too bad. HAMER I think I might get one myself – HAMER raises his hand to call over the waiter. TED stops him. TED I barely touched mine. You want it? HAMER (lowering his hand) Much obliged. TED Of course. Most people can’t afford a coffee these days. I’m surprised this place is still open. HAMER takes a sip of the coffee. HAMER Probably ’cause of who worked here, I reckon. There a lot of tourists comin’ through here, officer? TED Tourists?

HAMER Yes, sir. That’s why I’m here anyway. That woman on the newsreels… she used to work here. Bonnie Barrow. Ain’t that right? TED It is. I think she was a waitress. (Pause.) And it’s Bonnie Parker. HAMER I could’a swore they said Bonnie Barrow – she’s married to that Clyde fella. It’s in all the papers. TED You shouldn’t believe everything you read, mister. HAMER Listen, officer, I’ll believe whatever they say – they’ve got witnesses. TED A lot of people love to flap their gums and stir the pot – HAMER She’s killed people too, I heard. Just the other week she shot this cop while he was lyin’ on the road – she cackled and said “his head bounced like a rubber ball” – (HAMER laughs and TED rises.) Where you goin’? I say something’ wrong, officer? That’s an almost direct quote. Honest. TED It’s uh… It ain’t a problem, sir. I should get back to the station – (TED goes to exit but stops.) You got your facts twisted is all. HAMER (getting up) No offense, officer, but how would you know? They got witnesses – TED ’Cause I knew her, all right? HAMER Get the hell outta town. TED I’m not foolin’ around. I used to go to school with her – and a few years back, I worked with Clyde. I was a postman back then. We delivered mail together. And they ain’t married, all right? Bonnie already had her share of a bad marriage and now she’s stuck

TED (Cont.) with him. Barrow’s a glory hound and she’s only there to make sure he looks good. God, I’d love to hunt him down! (Beat.) Sorry, sir. That was uncalled for. HAMER It was swell to talk to you, Officer…? TED Hinton. Ted Hinton. I’m with the Dallas police department. And you are? HAMER Frank Hamer. (TED extends his hand. HAMER doesn’t shake it. It’s a bit of an awkward moment.) Name don’t ring a bell? TED No, sir. (TED starts to exit.) Enjoy the sights of West Dallas, Mr. Hamer. HAMER Say, you think you’d know them if you saw ’em? TED Who? Bonnie? HAMER Yeah. Or Clyde. (Beat.) I think he’s the ringleader of that gang. TED I’d know Clyde if I saw him, too. (Beat.) What makes you think he’s callin’ the shots? HAMER I spoke to your sheriff – Schmid, I think it was. (Beat.) He told me I might find you here. TED Why would you want to find me? HAMER I’m a Texas Ranger, son. I’ve been tasked by the governor to hunt down this Barrow gang. Thing is, I need a good pair of eyes who could spot ’em for me. TED I don’t –

HAMER It’s gonna take more than a roadblock to stop Barrow and you know it. It’ll take strategy and a good pair of eyes. Someone who knows them. TED I have to go. HAMER Don’t do it for you. You care about her? Do it for her. Pause. TED When do we leave? Lights down on TED and HAMER. HAMER and TED exit. Lights up on BONNIE, BLANCHE, CLYDE and BUCK in the car. BUCK Stay here, okay, Baby? BLANCHE Okay. Yeah. Be safe, Daddy. CLYDE You ready? (BONNIE and BUCK nod. CLYDE, BONNIE and BUCK walk downstage.) Hi, I’d like to make a withdrawal. (All three point handguns at the teller.) Yeah, all of it! (Silence.) What? BUCK Yeah, the money. Stop stallin’ and grab it – BONNIE Unless you want your brains splattered all over the walls – CLYDE (To BONNIE.) Jesus, calm down. (Beat.) Take it easy, will ya? Jesus. BUCK Somethin’ ain’t right. CLYDE We’re not gonna hurt you. Just open the vault and we’ll get out of… (Pause.) What the hell do you mean it’s empty?

BUCK Let’s go. We need to go. Now. CLYDE No. No. Don’t you lie to me. Open the vault. BUCK Now. Go! CLYDE WHERE’S THE MONEY? BUCK Clyde, it’s empty! Come on! CLYDE It can’t be empty. Silence. BUCK grabs CLYDE and takes him back to the car. BONNIE Don’t forget – we – we know who you are – BUCK Bonnie! BONNIE Yes, that’s me. BUCK Bonnie! BONNIE Tell your friends. BONNIE goes back to the car. CLYDE begins driving. BLANCHE What happened? Where’s the money? BUCK There wasn’t any. BLANCHE There wasn’t –

CLYDE Shut up, Blanche! BUCK Watch it – BLANCHE What do you mean there wasn’t any? How the hell are we supposed to get to Mexico, now? CLYDE I’m trying to drive! (Beat. To BONNIE) What took you so long? BONNIE Oh, he asked me if I was Bonnie Parker – BUCK What did you say? BONNIE Yes. What else would I have said? CLYDE Do you want to get us all killed? They’ll know we were there now! BONNIE Yeah, but they’ll know we have better weapons now – they won’t want to mess with us – CLYDE No – they’ll just get a hold of even better weapons! They’re not going to stop. Don’t you get it? BONNIE Clyde – Clyde, I’m sorry – CLYDE turns his head to BONNIE, away from the road. CLYDE I don’t care – I – They’ll know where we are now – We needed to keep our heads down! Now we’ll be stuck here for God knows how much longer – and they’ll be here before you know it – I can’t – BUCK Watch the road!

The car crashes – maybe the plate shatters, too. Slow motion. Everything is in chaos. BUCK and BLANCHE are thrown out the sides of the “car.” CLYDE goes forward. BONNIE, however, is not freed from the car. She screams in silence. Her leg is being eaten away by battery acid. Time goes to normal as BONNIE lurches forward, passed out. CLYDE is unable to move. CLYDE Bonnie!

Blackout. End of Act 1.

Act 2

Just before the end of intermission CLYDE comes back on stage to sweep up the glass. He also brings a blanket and a pillow to put on the table to create a bed. Before the open of the second act, he should carry BONNIE to it and lay her down. The scarring on her leg can be realistic looking or suggestive. TED and HAMER enter. TED You really think they’re around here? HAMER Shouldn’t I be asking you that? (Beat.) Yes, I do. TED But why here? HAMER We know Parker’s got a bum leg – I doubt she can walk on it. They’ll be in the area. (BUCK and CLYDE enter. CLYDE is carrying a doctor’s bag.) BUCK We got it. Now we need to get the hell out of here – CLYDE All right. Keep your pants on, will ya? (TED stops HAMER.) TED Captain Hamer – uh… that’s him. That’s Clyde Barrow – (HAMER draws on CLYDE and BUCK.) HAMER Freeze! (CLYDE and BUCK both draw on HAMER. TED draws, but seems unsure of himself.) Drop ’em! TED Drop your weapons! BUCK (To CLYDE) What are we doin’?

HAMER I’m ain’t askin’! CLYDE Frank Hamer? HAMER nods. HAMER That’s what they call me. Beat. CLYDE exits, running. BUCK Clyde? What the hell? BUCK exits, following CLYDE. HAMER fires after CLYDE and BUCK. Pause. TED Should – I mean… shouldn’t we go after them? HAMER No. I – TED Shouldn’t we tail them? HAMER We could have if I knew I had backup. (Beat.) I’m a good shot, but I’m not suicidal. They got away so easy because they knew they only had to deal with a single gun – TED I can back you up and what do you mean? I had my gun drawn – HAMER That doesn’t mean a damn thing if you’re not going to use it. You were like a skittish little cat – TED I can shoot when I have to. HAMER When is that, Deputy? It certainly wasn’t just now. (Pause.) I don’t like it. You’re just a kid – don’t even know what you’re doing.

TED I can handle myself, okay? HAMER Anyone ever teach you how to use that? TED No. We have to use our own – no trainin’, no nothin’ – HAMER Then how are you supposed to help me? TED I know them. I can help you track them – I… What? HAMER You need to shoot, Deputy. They will shoot. You been readin’ the papers? They’ve outdriven anyone who’s tried chasing them and outgunned anyone who’s cornered them. Clyde Barrow. He’s got this sixth sense – TED Are you seriously sayin’ – HAMER Don’t underestimate your prey, Deputy. There’s a reason they haven’t been caught in almost two years. You ever see an animal before an earthquake or twister hits? You see ’em hightail it out of there long before. That’s Barrow. It’ll be easier on us to corner him – I reckon he’ll have his guard down ’round Bonnie. That’s where we’ll hit him. TED Then we can get ’em all. If we catch ’em by surprise, maybe nobody gets hurt. HAMER Make no mistake, Deputy. They will kill without hesitation. They will especially kill lawmen. You wear a badge and it might as well be a bullseye – that’s why we need to shoot first. TED (Almost mumbling) Sir, that’s… HAMER What?

TED Nothin’, sir. Lights down on TED and HAMER. TED and HAMER exit. MRS. PARKER and MRS. BARROW enter, approaching BONNIE. BONNIE Mama… MRS. PARKER Look at her. (Pause.) God, I wish I could have been here with you, darlin’. MRS. BARROW She can’t hear you, Emma. She’s hallucinatin’. Clyde did the same thing a few years back when he had pneumonia – only he kept talking to Jesse James. (Beat.) They planned train robberies – I thought it was cute at the time… MRS. PARKER All Bonnie ever wanted to do was be on stage. I remember seein’ her first school show. She cried – it had to be stage fright – but then she started doin’ cartwheels ’round the stage, tears still streamin’ down her face. I tell you, she could make a raincloud seem like the sun. She was always this big ball of energy. I’ve never seen her more alive than when she was actin’ or dancin’. (Pause.) And now… MRS. BARROW I know. Lights up on BUCK and CLYDE in a “car,” once again made with chairs. The doctor’s bag is in the back seat. CLYDE is in his own world. CLYDE BUCK (Mumbling to himself) Frank Hamer… Clyde? (Beat.) Clyde. (Pause.) CLYDE. Frank Hamer… it’s over… it’s all over… Frank Hamer… we’re all dead… We’re all dead… CLYDE snaps out of it. CLYDE What? BUCK What’s goin’ on? I’ve been trying to get your attention for almost an hour – CLYDE It’s Frank Hamer.

BUCK What? You’ve been sayin’ his name like a damn chant since you started drivin’ – CLYDE He’s a Texas Ranger – might as well call him the Texas Ranger – he – he – I read about him, okay? He’s a living legend – sees bullets before they’re fired – and his pistol, Ol’ Lucky? Might as well be just as legendary – he’s – it’s over okay, Buck? He’s a bloodhound mixed with a junkyard dog – he’ll sniff us out then mow us down – it’s over – we’re all gonna die – no one escapes this, Buck – and I – BUCK You need to snap the hell outta this. Bonnie needs you. Hey. (Beat.) She needs you. CLYDE tries to shake himself out of it. BONNIE cries out in pain. CLYDE grabs the doctor’s bag and rushes to BONNIE. CLYDE Hey Bonnie, I got – BLANCHE enters. BONNIE Mama, where are we? CLYDE (rummaging through the bag) Jesus, how long has this been goin’ on? BLANCHE About an hour after you left, I’d guess – CLYDE You’d guess? Blanche, I told you to watch her. BUCK enters. BLANCHE I was but I’m not a doctor, Clyde. BLANCHE and MRS. PARKER What she needs is a hospital – MRS. BARROW CLYDE Emma… No! She ain’t goin’ nowhere! She stays here. She needs me.

BONNIE Mama – MRS. PARKER reaches out to take BONNIE’s hand. MRS. BARROW stops her. CLYDE and MRS. PARKER I’m here, Bonnie. CLYDE I got you some medicine here. It’s gonna help you sleep, okay? CLYDE injects BONNIE with some dope. After a few moments, BONNIE relaxes. CLYDE slumps down sitting on the floor by the bed. MRS. BARROW You can’t do anything to help them. This is their story. Lights out on MRS. BARROW, MRS. PARKER, BONNIE, CLYDE, BUCK and BLANCHE. MRS. PARKER, MRS. BARROW, CLYDE and BUCK exit. TED and HAMER are in a car. TED is at the wheel and HAMER is reading a newspaper. Lights up on TED and HAMER. Silence. TED Anything good in there? HAMER My Cardinals are playin’ the Dodgers tonight. They’ve been on a hot streak – They’re 15-9 now. Got off to a lousy start, but they’ve won thirteen of their last fifteen all thanks to Dizzy Dean, I’m sure. (Beat.) You know, I got to see Ol’ Diz throw a game two years ago – I’ll tell ya, it was a like goin’ to the circus. He pitched a shutout that game and, holy hell, was it something to watch – and those strikeouts. One. Two. Three. Like clockwork. (Beat.) How about you, Ted? You a baseball man? TED Funny you ask that. (Beat.) Yeah, I knocked around semi-pro ball for a couple years – HAMER No kiddin’? TED Had a tryout with Cleveland back in ’28. HAMER The Indians. Pretty impressive. Well, I guess ya didn’t make it.

TED Nah. I had a good glove and pretty good speed, but I never could hit a curve ball. Not like they throw ’em in the big leagues. HAMER Tough break. But you’re still young. You might be able to give it another go. TED That was three years ago. I got a wife and a baby boy at home now. I couldn’t leave ’em like that. HAMER You’re passin’ up a hell of an opportunity. Plenty of money in baseball. TED I’m happy with my choices. (Beat.) And money’s nice and all but my family’s more important. (Pause.) You know I actually swore it off all together – baseball. I took up fishin’. HAMER Fishin’? Really? TED Yeah. You ever been? HAMER Once or twice. It’s too quiet for me – TED To me that’s what makes it perfect. To sit in a boat or stand on the shore of the lake, your fishin’ rod planted next to you – waitin’ for a tug on the line… and, boy, when you get a bite – ain’t nothin’ like it. You don’t know what the hell you caught ’til you reel it in – HAMER Could be a baby minnow. TED Could be – or somethin’ big. You can fish for just about anything. You only need to use the right kind a bait. HAMER I know how fishin’ works, deputy.

Silence. HAMER goes back to reading. TED glances and sees a picture of Franklin Roosevelt. TED (pointing to the picture) What do you think of him? HAMER Who? Roosevelt? TED Yeah. You like him? HAMER Like him? Roosevelt is a Democrat. I like him. (Pause.) I’ll be honest, I was a little suspicious of him at first – him comin’ from all that Eastern money and all, but at least he’s got the balls to take on this Depression. Not like that numb-nuts, Hoover. (Beat.) Her-bert Hoover. Good riddance to him. (Silence.) So, what’s been eatin’ you? Spill it. TED I’m worried about Bonnie. HAMER You feel somethin’ for her – TED No – no – I – HAMER That’s not good, Hinton. Bury that. She’s a murderer. TED I know Bonnie. Most of what the papers say ain’t even close to bein’ true – HAMER The papers can say what they want, but pictures don’t lie, Deputy. (HAMER flips through the paper.) They printed ’em again, now where the hell were they? TED I’ve already seen them, sir – HAMER (finding the pictures.) Here they are. Look at her. Cigar in mouth, pistol in hand. That look like an angel to you, son?

TED No… No, sir. HAMER Right. Now keep that image in your head. It don’t matter who she was before. This is who she is now. TED Yes, sir. (Silence.) Sometimes I wonder if we’re ever gonna catch ’em. HAMER The criminal is like a coyote. They’re always looking over their shoulder. And you know the thing about looking over your shoulder, right? You gotta slow down. (Beat.) I’m beginnin’ to understand Clyde Barrow's mind. We’ll be on his heels in no time. Beat. TED You know that Clyde and Buck stole chickens when they were kids? HAMER Why the hell did they do that? TED The Barrows couldn’t afford to eat some weeks so they had to go steal. It was survival. I knew ’em back then… not well, but everyone knew their dad. He was a junker – drove a horse and wagon pickin’ up scrap metal. Only guy in Dallas who was still drivin’ somethin’ like that. Everyone knew him and everyone laughed. That really pissed Clyde off. (Pause.) Maybe that’s all it boils down to for him: wantin’ a better life than his old man. HAMER That’s bullshit, Hinton. I was born dirt poor and a million miles from nowhere. I made something of my life. I’ve taken on just about every kind of thief and outlaw there is. Killed a few of them too. Carryin’ around quite a few pieces of lead myself. But the bastards never stopped me. (Beat.) And you…well, you haven’t made much of yourself yet, but there’s hope for you. You gotta decide. Ya gonna fish or cut bait? TED You should know that there’s never really a win for us folk. Not when you come from West Dallas. All we got is family. And our hunger. We’re always hungry. Hungry for somethin’ – hungry for somethin’ to go our way for once. Pause.

HAMER Family’s everything, huh? TED It is. HAMER That’s good to know, Deputy. Pause. HAMER gives TED a look, then goes back to his paper. Lights down on TED and HAMER. TED and HAMER exit. BONNIE Where’s Clyde? BLANCHE I told you – they went to get you more… BONNIE Amytal – I need more – BLANCHE That’s what they’re going to get you – BONNIE I need it. BLANCHE I know but we don’t have any. BONNIE It hurts, Blanche… I need it – BLANCHE I’m sorry. BONNIE I don’t think you are – you – you’re pissed seven ways to Sunday because we won’t make it to Mexico now and we’re all gonna die. Pause. BLANCHE Bonnie, we can still make it – your leg just needs to heal and –

BONNIE No – no – that Frank… whatever his name is – he’s comin’ to kill us all – I know he will – I’ve had visions. BLANCHE That’s the dope – BONNIE Where’s Clyde? BUCK enters. BUCK How we doin’? BONNIE Clyde? BUCK No, Bon. He’s out gettin’ you some more medicine, okay? BLANCHE I just told her that. BUCK How we feelin’, Bonnie? BONNIE (Struggling to get up) I’m gonna go find him – he – he’s takin’ too long. BLANCHE Bonnie, be careful – BONNIE Get off me! (BONNIE collapses. BUCK tries to help her up.) No – No! Leave me here. (Silence. CLYDE enters with more dope for BONNIE.) Clyde! BONNIE starts to move towards him but winces. CLYDE You stay right there. I’ll come to you. (CLYDE approaches BONNIE, sinking to the floor.) You ready? BONNIE nods. CLYDE injects BONNIE. Beat. BONNIE has a realization as she starts to feel the effects of the Amytal.

BONNIE That’s it… that’s the song I was thinkin’ of… you know it – BONNIE starts humming. CLYDE What – what are you talkin’ about? (Beat.) Bonnie? BONNIE starts singing Victoria Spivey and Lonnie Johnson’s “Dope Head Blues.” By the time BONNIE repeats the last two lines, she’s drifted off into her own world. BONNIE (Singing) JUST GIVE ME ONE MORE SNIFFLE ANOTHER SNIFFLE OF THAT DOPE JUST GIVE ME ONE MORE SNIFFLE ANOTHER SNIFFLE OF THAT DOPE I’LL CATCH A COW LIKE A COWBOY AND THROW A BULL WITHOUT A ROPE I’LL CATCH A COW LIKE A COWBOY AND THROW A BULL WITHOUT A ROPE… BONNIE might rest her head in CLYDE’s lap. Lights down on BONNIE, CLYDE, BUCK and BLANCHE. BUCK and BLANCHE exit and CLYDE stays with BONNIE. We hear a gunshot. Lights up on TED and HAMER. TED has his pistol aimed somewhere offstage. TED How much longer I gotta keep doin’ this? HAMER ’Til you hit a damn target. (Beat.) Fix your stance. It’s sloppy. TED tries his best. TED I appreciate you takin’ the time to do this, but shouldn’t we be lookin’ for the Barrow Gang? HAMER Motel manager called and said he’s got ’em stayin’ in one of his cabins. They ain’t movin’ anytime soon. Not while they think they’re safe. We’ll go when you shoot the damn bottles. (Beat.) Stance still ain’t right. Slight bend at the elbows. (TED shoots. Another miss.) I said slight bend.

TED I’m doin’ my best. HAMER Well, your best has gotta be better against Barrow. Beat. TED If we got the police departments in the area to join up, maybe nobody would have to shoot. The sheer number would force the gang to give up. HAMER Unlikely. Every sheriff in the state wants their shot at Barrow. He’s more of a trophy for them. Somethin’ they can mount on their wall. No chance they’d come together. TED Why are we here? HAMER There’s a question. Why don’t you answer that? Pause. TED I think you’re here ’cause you got bored ’a retirement, honestly. HAMER I’m here for blind Lady Justice, son. (Beat.) Why are you here? TED (prepping to shoot, with some bravado.) Things are a little more personal for – HAMER Feet shoulder width apart, Deputy. TED adjusts. TED It’s more personal for me, all right? TED fires. We hear the sound of glass breaking. Beat. TED and HAMER Finally.

Lights up on BUCK and BLANCHE. BUCK It’s nice to finally get some alone time. Nice night too. Plenty of stars in – BLANCHE Buck… BUCK What is it, Baby? BLANCHE What would you do if the laws killed me? BUCK Why would you go and ask a thing like that? BLANCHE Bonnie thinks we’re all gonna die – so does Clyde – I just… I – it’s somethin’ I’ve been thinkin’ about and – BUCK Don’t you worry about that. As soon as Bonnie’s on her feet – as soon as Clyde and I can scout another bank – we’ll be off to Mexico – just you wait – BLANCHE You can see the bone, Buck. I don’t think she’s ever gonna be in a good enough shape to go – BUCK Well, we can – pray on it. BLANCHE Can you answer the question? What would you do if the laws killed me? Pause. BUCK I’d drive you back to your mother’s. BLANCHE But the laws would be followin’ you – wouldn’t that be the first place they’d go?

BUCK Maybe, but that don’t matter none to me – and I’m not gonna leave you someplace. That ain’t right. (Pause.) What would you do if the laws killed me? BLANCHE I’d take you home. It’d be a lot easier for me to take you home than for you to take me – or I’d stay ’til the laws took me away from you. They could only give me life in prison at the most – BUCK Only? Jesus, Baby, it sounds like you’ve given this a lotta thought. BLANCHE I’ve been stewin’ on it for a while, you know? It’s just – I’m worried. I’m terrified. Ain’t you? BUCK We all are. BLANCHE Then how do we get out of this? BUCK We just – pray. Hope for the best. Pause. BLANCHE I wish I could see my father. You see your folks all the time – BUCK You can. We can make a trip – BLANCHE No – no. I want to go see him, but I can’t – He’s a preacher. He could lose his congregation. I don’t wanna drag him into all this – BUCK We go see our folks and nothin’ happens – BLANCHE They might not be arrested, but the laws go and question ’em at home, Buck. I don’t want that for my father.

BUCK Then we won’t go see him. Beat. BLANCHE I just want this all to be over. Lights down on BLANCHE and BUCK. BLANCHE and BUCK exit. Lights up on BONNIE and CLYDE. CLYDE Hey, Bonnie? There’s somethin’ I’ve been meaning to ask you. BONNIE What? CLYDE Or well – would have asked you – I – I just hate pretendin’ that you’re my wife and – BONNIE I don’t need no ring to be yours. (BONNIE and CLYDE kiss. Pause.) Clyde? CLYDE Yeah, Bon? BONNIE I wrote a poem – CLYDE Yeah? That’s good. BONNIE Do you wanna hear it? CLYDE ’Course. BONNIE produces a pad and paper or something of the like from under the bed. BONNIE You don’t want to marry me, honey – CLYDE Of course, I do – I just said I did!

BONNIE I was recitin’ the poem – keep your mouth shut, huh? CLYDE Sorry, keep goin’ – I won’t stop you. BONNIE (Continuing) You don’t want to marry me, honey, Though just to hear you ask me is sweet. If you did, you’d regret it tomorrow For I’m just a girl of the street.

You think I'm still good-looking honey! But no I am faded and spent, Even Helen of Troy would look seedy, If she followed the pace I went.

Don't spring that old gag of reforming, A girl hardly ever goes back, Too many are eager and waiting; To guide her feet off of the track. CLYDE Jesus, Bonnie. That was depressin’ – BONNIE I’m ain’t done! CLYDE Oh, sorry – BONNIE (continuing) You see how it is don't you honey? I'd marry you now if I could, I'd go with you back to the country, But I know it won't do any good,

BONNIE (Cont.) For I'm only a poor branded woman And I can't get away from the past. Goodbye and God bless you for asking But I'll stick it out with you till the last. CLYDE Goodbye? But you’ll stick it out to the last? What… how is that better? BONNIE All the good poets can make death sound pretty. Almost like it’s your friend – I don’t need to marry you to be with you to the end – the good-bye is like – it’s like a farewell kiss. CLYDE I don’t want a farewell kiss – I want us old, gray, with a little Spanish under our belt and – BONNIE Don’t get worked up – CLYDE You’re tellin’ me not to get worked up? BONNIE I’m just tryin’ to help! CLYDE Well you’re not! You wrote a goddamn depressin’ poem that has us dead in the end – (CLYDE pulls out BONNIE’s box of poems from under the bed) Are they all like this? BONNIE No! And – and let go of that – it’s not yours! CLYDE Look at this one it’s called “Suicide Sal” – What the hell? “The Prostitutes Convention?” BONNIE I said stop it! BONNIE slaps CLYDE. Beat. CLYDE slaps BONNIE. He picks up the box and dumps the papers out, maybe even kicking some. BUCK and BLANCHE enter.

BUCK What the hell’s goin’ on? I can’t leave you alone for five minutes. Goddamn it, you two! CLYDE Stay outta this, Buck! TED and HAMER enter downstage of the gang armed with pistols. BUCK Go over there. Cool off – CLYDE You don’t get to – BUCK Now. CLYDE does. HAMER This is it. TED You think they’re really in there? HAMER They’re in there. (HAMER and TED ready themselves.) Fire on my signal and, Deputy, you – TED Barrow Gang! We know you’re in there. Come out with your hands up – and come quietly – This is Deputy Ted Hinton! CLYDE Check the window. Bonnie – guns. (BUCK checks the window. BONNIE pulls an assortment of guns out from underneath the bed. CLYDE takes a gun and passes one to BUCK.) TED Bonnie! BUCK Hamer’s here, too.

HAMER That’s enough, Deputy. CLYDE Buck, you ready for this? (BUCK nods.) Blanche, help Bonnie to the car – out the back – go. BLANCHE helps BONNIE to her feet and they exit as TED speaks. TED Bonnie – you can give yourself up – you all can. This doesn’t have to end bloody. CLYDE opens fire on HAMER and TED when he sees BONNIE and BLANCHE have exited. The next sequence should feature both parties firing back and forth at the director’s discretion. TED It doesn’t have to end like this, Clyde! BUCK What’s the plan? CLYDE

Get everybody in the car – I’ll outdrive ’em. Then we hope – CLYDE yelps as he is shot in the arm. BLANCHE enters. BUCK What? CLYDE They got me, Buck. BLANCHE She’s in. BUCK All right. Your turn, little brother. Go start the car. I’ll cover you. Clyde. Go! (BUCK fires. CLYDE exits.) Go, Blanche. You, too. Now. BLANCHE I’m not leavin’ you, Daddy – BUCK You’re not leaving me! Go get in the car and –

HAMER fires. BUCK is shot in the back of the head. This moment could also be in slow motion. Time returns to normal and he drops. BLANCHE rushes to him and tries to pick him up as HAMER continues firing. She finally succeeds, and they exit. TED Bonnie! I told your mother I’d keep you safe! Please come out – We hear the squealing of tires as the car drives past HAMER and TED. HAMER That’s them – HAMER fires. TED Did you hit any— HAMER No. I shot the glass out of their windows – got their back tires too. TED Do you think there’s anyone inside? HAMER There better be. TED and HAMER enter the motel room. TED looks at the poems scattered around the floor. TED These are Bonnie’s – God, look at all the blood – (HAMER flips the bed grunting in anger.) What is it? HAMER Do you think this is a victory, Hinton? You think – TED I – no – HAMER We could have had them! But you – you had ruin the whole thing! TED (Putting the poems back in the box) Do you really want to up and kill them? Do you want their deaths on your head? I –

HAMER I can take it, son. But now any cop – any civilian that dies from now on – they’re on you. TED I was just tryin’ to say – HAMER Do you think I brought you along because you were a good cop? That’s somethin’. Did you even shoot at them? (Beat.) You’re done here. Get in your car and drive back to that shithole you call home. Go back to delivering mail – TED I’m not leaving, sir. HAMER Then you stay – keep her damn poems and weep for a woman on death’s door – I’m leaving. HAMER exits. TED (calling after HAMER) Then take me with you! I can do this! TED pulls out a poem from the box, folds it and puts it in his pocket. Lights out on TED. TED exits. BONNIE and CLYDE enter from opposite sides of the stage. The following sequence should mirror the same in Act 1. CLYDE’s sleeve is blood-soaked and his arm is limp. CLYDE takes BONNIE’s arm with his good arm. CLYDE walks BONNIE around the stage, when MRS. PARKER and MRS. BARROW enter, they split off. MRS. PARKER and MRS. BARROW What are you doing here? CLYDE and BONNIE I needed to see you. MRS. BARROW Clyde, your arm – CLYDE Don’t worry about it. MRS. PARKER I didn’t want to believe the papers, sweetheart – how can you walk?

BONNIE Mama – BONNIE and CLYDE Mama, I need you to take this. BONNIE and CLYDE offer money rolls to MRS. PARKER and MRS. BARROW respectively. CLYDE Please. MRS BARROW I already told you, Clyde. I’m not takin’ your money. CLYDE Then don’t take it for you! It’s not for you! MRS. PARKER takes the money from BONNIE. MRS. BARROW MRS. PARKER Then who am I taking it for? This is much more money than usual, sweetheart…

CLYDE hangs his head. MRS. BARROW Clyde. MRS. PARKER Bonnie. MRS. BARROW Why am I taking this money? CLYDE It’s for – It’s for Buck. For a funeral. MRS. BARROW (Trying to keep her composure) What happened? MRS. PARKER Is this for –

BONNIE My funeral. MRS. PARKER Don’t say – CLYDE The laws trapped us. They got me in the arm and Buck… MRS. BARROW Can I see him? CLYDE No! MRS. PARKER Don’t you say that – you can still turn yourself in. Forget about him – BONNIE You know I can’t. MRS. BARROW How bad? CLYDE They… they got him in the back of the head. I – there’s so much blood and he ain’t thinkin’ right. I think he’s gonna die – MRS. BARROW I see. MRS. PARKER Where is he now? BONNIE With his mother – MRS. PARKER So, he left you here alone – BONNIE He didn’t!

CLYDE Please. Take it. BONNIE I need tweezers. I knew you’d have some – we – we’re all too bloody to go into a store. MRS. PARKER What do you need tweezers for? BONNIE Blanche – while we were drivin’ away she was shieldin’ Buck – MRS. PARKER What happened to Buck? CLYDE Please, mama. BONNIE The laws got him. He’s dying I think… Blanche couldn’t shield her eyes when they shot the windows so… MRS. PARKER Is it bad? MRS. BARROW takes the money and hugs CLYDE. BONNIE I need those tweezers, mama. MRS. PARKER I’ll go get ’em. MRS. PARKER exits. CLYDE I can’t lose him. MRS. BARROW I know. CLYDE It’s my fault –

MRS. BARROW Clyde. It’s not your – CLYDE Yes, it is! I told him to come! I did that! It was me! MRS. PARKER enters with the tweezers and gives them to BONNIE. MRS. BARROW You didn’t force him to do anything! CLYDE and BONNIE I – I gotta go. Lights down on MRS. BARROW, CLYDE and BONNIE. TED enters with BONNIE’s box of poems. TED Uh, Mrs. Parker? MRS. PARKER Yes? Oh, Ted. Come in. TED I – uh… I found these in a motel where Bonnie was stayin’. I just – I figured you should have ’em. (Beat.) Mrs. Parker? MRS. PARKER (Taking the box) Thank you, Ted. TED Mrs. Parker – was she here? Silence. MRS. PARKER No – she wasn’t. Silence. Lights down on MRS. PARKER. Lights up on HAMER. TED Sir. Sir! They were here.

HAMER What are we waiting for? TED and HAMER exit. BONNIE, CLYDE, BUCK and BLANCHE enter. BUCK, his head wrapped in a bloody bandage, leans on BLANCHE for support, her eye also in a bloodied bandage. CLYDE and BONNIE lean on each other for support. Some of them sit, leaning against the overturned bed or sit on chairs. BONNIE uses the tweezers in an attempt to remove the shard of glass in BLANCHE’s eye. BLANCHE screams. BLANCHE Stop it! Stop it! Leave it in. BONNIE I’m sorry. I tried. Silence. CLYDE Can you see anything? BLANCHE I can make out light – that’s it. CLYDE We could get you to a hospital – BLANCHE And leave Buck? Clyde, I ain’t goin’ nowhere. CLYDE You could go blind like that, though. I don’t know if – BLANCHE We all pay a price for who we love. I’m just fine, Clyde. I can pay this. Pause. BONNIE We’ll get a Mexico doctor to look at you. BLANCHE nods. Beat. BUCK speaks with great difficulty, perhaps slurring his words. BUCK Hey… hey.

BLANCHE What is it, Baby? BUCK Clyde… CLYDE I’m here, big brother. What is it? BUCK Remember… when… we was kids? CLYDE I sure do. BUCK You remember… talked you – I in – I talked you in… to… into stealin’ that V-8 Roadster. CLYDE Way I remember it, we only took it for a joy ride is all. We gave it back later that night, didn’t we? BUCK Did we? I… I can’t remember… How… in… hell we get… here, huh? CLYDE I don’t – BUCK Got we… Got we – two real great women, here. Greatest things… things we’ll ever steal. Their hearts. BLANCHE Oh, Daddy. CLYDE Ain’t that the Gospel truth? Silence. BUCK tries singing “Ain’t We Got Fun?”

BUCK EVERY MORNING EVERY EVENING AIN’T WE GOT FUN? THE RICH GET RICHER AND THE POOR GET CHILDERN BUCK (To BLANCHE) We’re gonna have so… so many kids, Baby. BLANCHE We sure are, Daddy. Pause. BLANCHE (Almost like a lullaby) EVERY MORNING EVERY EVENING AIN’T WE GOT FUN? NOT MUCH MONEY OH, BUT HONEY AIN’T WE GOT FUN? (BUCK falls asleep.) THERE’S NOTHING SURER CLYDE Buck? Buck? He ain’t sayin’ anything. BLANCHE (Looking at BUCK) Easy, Clyde. It’s all right. He’s asleep. (Beat.) He needs it. BONNIE I think we all need some. It’s been a long day. Lights down on BONNIE, CLYDE, BLANCHE and BUCK. Lights up on MRS. PARKER and MRS. BARROW. BONNIE, CLYDE, and BLANCHE settle in for sleep and doze off.

MRS. BARROW What do you think they were dreamin’ about that night? MRS. PARKER (Motioning to BONNIE) Broadway. (Motioning to CLYDE) V-8 Roadster. (Motioning to BLANCHE) Sunday school. (Motioning to BUCK) And… hm… MRS. BARROW (Motioning to BUCK) Family dinner. MRS. PARKER Really? MRS. BARROW I ain’t never seen Buck happier – only time his smile was wider was when he brought Blanche to eat with us for the first time. Pause. MRS. PARKER I take it back. I think they was dreamin’ about each other. MRS. BARROW In Mexico? MRS. PARKER Where else? MRS. BARROW It’s good to see them like this – they don’t look so broken down. MRS. PARKER I know. They were at peace, then. Beat. MRS. BARROW I have to say, though. It’s mighty unsettlin’ me, too. Lookin’ into the eye of a hurricane. Lights down on MRS. BARROW and MRS. PARKER. MRS. BARROW and MRS. PARKER exit. CLYDE tosses and turns. Lights up on HAMER in a dreamlike lighting. It should be apparent that CLYDE is dreaming.

HAMER Hey there, Barrow. How’s that sixth sense workin’ for you now? I’ve been huntin’ you for some time now, kid. I gotta say, I’m disappointed. Papers make you sound like a lion, but I might as well be chasin’ after a little house cat. Couldn’t even face me man to man. Maybe you could make it to Mexico if you only put a bullet in my eyes then, huh? Tough luck. Speakin’ a luck: You wanna see Ol’ Lucky? (CLYDE tosses more violently as HAMER pulls out his pistol.) What a sorry, sorry, sight ya’ll are. I wonder who I should start with: your brother or your whore? At first I was thinkin’ her, but then I thought, “no, I need to take my time with that one.” Besides, your brother’s not gonna make it another day anyways. Might as well finish what I started. Lights go out on HAMER just as CLYDE jolts up, awakened by his nightmare. HAMER exits. Lights up on CLYDE, BONNIE, BUCK and BLANCHE as CLYDE frantically searches for a gun. BONNIE wakes up. BONNIE What are you doin’? CLYDE Hamer’s here! I need my gun – BONNIE He’s not here, honey – CLYDE Guns are in the car – shit, why didn’t we bring ’em in? BONNIE Clyde. CLYDE What? BONNIE There ain’t no one here but us. You need to relax. (Beat.) Buck needs his sleep. CLYDE Right. BONNIE You have a nightmare?

CLYDE Yeah. BONNIE You know what always helps me with nightmares? I like to think about the best future – you know, who I want to be. (Beat.) Think about bein’ as big as Billy the Kid. (Silence.) Maybe Al Capone? BLANCHE wakes up. CLYDE (agitated) What do you think I wanted to be? BLANCHE (sotto voce) Clyde. CLYDE (To BONNIE) You think I wanted to be this? BONNIE Clyde, calm down. I was only tryin’ – CLYDE I had dreams, too! BLANCHE Clyde, would you shut up? Buck needs to sleep! BUCK wakes up. BUCK Hey… Hey Blanche, Baby… BLANCHE What is it? BUCK I did it… I stole some money from the soldier boy. Look. BUCK laughs, showing BLANCHE a dollar or even a piece of paper, maybe it is bloodstained. BLANCHE, BONNIE, and CLYDE exchange concerned glances. BLANCHE Thank you, Baby.

BLANCHE struggles to take it from BUCK. CLYDE How we feelin’, Buck? BLANCHE manages to grab it and give it to CLYDE or BONNIE. BUCK I’m Mexico ready go! BUCK stands up. CLYDE Easy, easy! BUCK What? Why you lookin’ at me that like? (Silence. BUCK feels the back of his head. He looks at the blood on his hand.) Right. BONNIE Why don’t you sit down? BUCK Do you think I’ll go to hell, Blanche? BLANCHE Baby, please sit down. BUCK I’m goin’ to hell, ain’t I? CLYDE (Standing up and grabbing BUCK) You ain’t goin’ nowhere, all right? BUCK Mexico, Clyde, goin’ we… we were goin’! (BUCK pushes CLYDE.) Why’d you lie? BLANCHE (Standing) Buck. Buck… Look at me, Baby. It’s all gonna be okay. I promise – but, honey you have to sit down, okay? Buck – BUCK collapses forward. BLANCHE and CLYDE catch him.

CLYDE Christ… BONNIE What do we do now? CLYDE I’ll go find us another car – we switch the plates and – Bonnie, get down! (CLYDE tackles BONNIE to the ground. Gunfire. Lights up on HAMER and TED.) Shit. Shit. The guns are – HAMER I got you now, Barrow! You can give up or I can gun you down! I’m fine with either choice. BUCK Clyde… get outta here. CLYDE Buck – BUCK (Pulling a pistol out) Can I… I can still go one more round… Go. CLYDE Come in I’m givin’ myself up! HAMER Come on out – hands up! CLYDE No, sir – we can barely walk as is – BUCK Don’t… Clyde. No… HAMER Fine! I’m comin’ in! TED Let me do it. It might be a trap –

CLYDE You ain’t gonna die – not because of me – BUCK stands, gathering what little strength he has left. BUCK Go – or I’ll shoot you. I’ll shoot Bonnie, too. Right here. All of you go – Now! (Beat.) Clyde, so help me God – go! CLYDE picks up BONNIE and exits. BLANCHE I’m not leavin’ you. BUCK Blanche, no. No – (TED enters. BUCK sees him. Pause.) Hey, Ted. Pause. TED Hi, Buck. Where’s Clyde? Where’s Bonnie? BUCK Haven’t seen ’em. TED Captain Hamer – BUCK fires at TED but doesn’t hit him. TED fires back, hitting BUCK in the leg. BUCK struggles to keep his footing. Just as he is about to shoot again, BLANCHE gets in the way of the two. BLANCHE Stop it! Stop it! HAMER enters. HAMER What the hell happened? BUCK shoots at HAMER. It misses. TED shoots BUCK again, this time in the arm. BUCK drops the gun. TED Clyde and Bonnie. They’re both gone.

HAMER Arrest these two. BLANCHE Please. Please. He needs a hospital – HAMER He’ll get one. Hinton – TED Yes, sir. HAMER takes BUCK’s gun and exits. BLANCHE sits in a chair. Lights down except for a special on BLANCHE. This should be the same one that was used at the top of the show. BLANCHE I just wanna know where he is. HOOVER (V.O.) Who are you talking about? BLANCHE Buck. My husband. Marvin Ivan Barrow. Who are you talkin’ about? HOOVER (V.O.) You know damn well. (Silence.) If you don’t tell me where they are, I will gouge out your other eye. It doesn’t matter if you can see or not – I’ll do it for the hell of it. (Beat.) You want the chance to see again? (Beat.) Five… Four… Three… (Beat.) Where are Clyde Barrow and Bonnie Parker? BLANCHE Can I see my husband? HOOVER (V.O.) He’s dead. BLANCHE No, he’s not. He – he was in the hospital a week ago. HOOVER (V.O.) Tell me where they are and maybe I can work a way for you to go to his funeral. BLANCHE They kept me in the dark on everything – I – I just bought food.

HOOVER (V.O.) This is pointless. BLANCHE Where are you goin’? Wait! (We hear a door slam.) How did he die? Spotlight goes out on BLANCHE. Lights up on MRS. PARKER and MRS. BARROW. MRS. PARKER How did he die? MRS. BARROW Pneumonia – that’s – that’s what the doctors said. Silence. MRS. PARKER Well… At least you were with him for the end. MRS. BARROW Yes – I should… I should go get ready… MRS. PARKER Of course. MRS. PARKER might go sit down, dusting off a chair, as MRS. BARROW prepares to speak. MRS. BARROW Thank you all for comin’. I have to say, I scarcely know any of you – and I know some of you are here just because you read about him in the papers. (Beat.) That was a different boy. A gun-totin’, thieving man. I’m sure that sold papers. (Pause.) My son, Marvin Ivan Barrow – he had many dreams, one of which was livin’ a quiet peaceful life with the woman he loved. (Beat.) He was a romantic soul – a God-fearin’ boy – but this – this dusty world tore his soul in two – he didn’t have time to fear for God no more. He was too busy fearing for his own life. (Beat.) The boy you bury today ain’t no Al Capone – but – but a kid who just got things twisted. That’s all. MRS. PARKER rises and takes MRS. BARROW by the arm. They exit. BONNIE and CLYDE enter. BONNIE Clyde, we should go. CLYDE Not yet.

BONNIE We’re gonna get made if we stay here in church. CLYDE No, we’re not. They don’t think we’d show up. Too much heat. That’s why there’s barely any laws around. (Beat.) That’s reverse thinkin’. If you think backwards from how everyone else thinks, you’re square. (Beat.) Buck taught me that. BONNIE I loved him like a brother. CLYDE He was my brother – and I killed him. BONNIE You didn’t – CLYDE I didn’t fire the gun, but I brought him here all the same. And now he’s just gone – and I can’t bring him back. He came ’cause of me and all I had to do was get him to Mexico. I couldn’t even do that for him. Lights down on CLYDE and BONNIE. CLYDE and BONNIE exit. Lights up on HAMER and TED. HAMER Did you clean your guns? TED For the third time, yes. HAMER Be ready. TED This is wrong, sir. I can’t – HAMER What? You don’t agree with my methods? Dallas ain’t too far. TED We could have just arrested them in the church. We knew they were there.

HAMER You still don’t know anything, do you? What about all those innocent people in there? You want a fire fight in the middle of a crowd? TED They would have gone quietly – like I said before, they’re not the kind of people to shoot in a place of God – As HAMER speaks, CLYDE enters with BONNIE and BONNIE leans against a table as CLYDE sets up the car by himself. It goes at the same pace as any of the previous set-ups, but it should look grueling, painful. CLYDE picks up BONNIE and sits her in the passenger seat. HAMER What do they care about God? What does God have to do with any of this? You know what pisses me off about these two, Deputy? They could’ve made something of themselves. It don’t matter what or where you come from – you know I was a sharecropper with my brothers before the Rangers. Hard life. I made something of myself though. I put my skills to use. I pulled my trigger on the right people. Plain and simple. Clyde Barrow could’ve done the same – his brother too. This Parker girl, though, no helping her. Her husband was a murderer – so’s the man she’s driving around with. She’d choose this life no matter what. (Beat.) Makes me sick. (Beat. TED tenses up.) What, Hinton? Did I hit a nerve? You clench your fist at me and better swing, son. (Pause. TED tries to relax himself.) God doesn’t have a damn thing to do with them. Either one. I’ll pray to God I shoot them, and I bet they’ll pray to Baby Jesus before the lights finally go out but that don’t change a thing. Not what I’m doing. Not what they’ve done – the people they killed – the lives they ruined – TED I get it. HAMER Prove it. The whole woods filled with our agents – armed to the teeth. TED Ambushin’ them ain’t right. Beat. HAMER You’re the first shot, Deputy. That’s the signal. (Beat.) That’s what the boys will be waitin’ for. Lights down on TED and HAMER. CLYDE sits, again he has the plate. Lights up on CLYDE and BONNIE.

BONNIE Are you worried? CLYDE No. Not a bit. BONNIE Do you think people will talk about us? When we’re gone? CLYDE If it’s anything like they say in the papers, I sure hope not. Pause. BONNIE I’m glad we went. CLYDE Me too. Pause. BONNIE Do you know who Socrates is? CLYDE Sock – what? That Egyptian or something? BONNIE He was a philosopher in Greece. He thought death was like a long sleep. CLYDE Bonnie, I don’t wanna talk about this – BONNIE No, he said it was like a sleep. Like a long, long rest. “Rest in Peace,” you know? CLYDE Bonnie. Silence. BONNIE I think he was wrong. (Beat.) If it’s like sleep that’s not anything I want to be a part of. You only know you slept – how you slept – good or bad – after you wake up. A forever

BONNIE (Cont.) sleep is nothin’, but what if it was somethin’ else? What if it was a forever dream, instead? Nobody hurts anymore. Money don’t matter – everyone you love is there and it just goes on and on and on. Silence. Lights up on HAMER and TED, guns primed. HAMER Here they come. (Beat.) Fish or cut bait, Deputy. Pause. TED They’re stoppin’. Why are they stoppin’? HAMER It don’t matter. Shoot. BONNIE takes CLYDE’s hand. BONNIE I miss him, too. TED steps forward and aims. TED hesitates, maybe he closes his eyes before he fires. The shot is explosive. Pause. We hear the sound of the fusillade as HAMER joins in the shooting. TED lets his footing arm go limp at his side. Silence. Lights up on MRS. PARKER and MRS. BARROW as they enter. MRS. PARKER holds the box of BONNIE’s poems and pulls out a poem but does not look at it. TED pulls out the paper he put in his pocket earlier. He begins reading it. MRS. BARROW How long has it been? MRS. PARKER Since I’ve pulled out the box? Too long. I hadn’t looked at these since… well since Ted dropped them at my door. I haven’t even wanted to look at ’em since… MRS. BARROW I know – I know. MRS. PARKER It’s an old wound – it should be an old wound by now, so why is still feel so fresh? MRS. BARROW People keep talkin’ about ’em – or worse they talk ’bout them the wrong way. Those men from the newspapers knocking at the door asking if the latest fable was true –

MRS. PARKER Hell, at this point I don’t even know if we can tell the story straight. Beat. MRS. BARROW That’s because it’s theirs. Silence. MRS. PARKER (Looking at the poem in her hand) This is it. MRS. BARROW What? MRS. PARKER It’s the poem that Ted gave to the papers. I didn’t read it then, but a neighbor told me about it… I didn’t think I’d ever see it. CLYDE and BONNIE rise. CLYDE You’ve read the story of Jesse James – BONNIE Of how he lived and died; MRS. PARKER If you’re still in need Of something to read Here’s the story of Bonnie and Clyde. Lights down on MRS. PARKER and MRS. BARROW. HAMER enters. BONNIE and CLYDE return to their death positions. TED Now Bonnie and Clyde are the Barrow gang, I’m sure you all have read – HAMER What are you readin’?

100

TED Nothin’. TED pockets the paper. HAMER Get your camera out. We should film this. (TED starts to exit.) And Ted? TED Yes, sir? HAMER Good work, son. (Beat.) Congratulations. BONNIE rises and looks at TED. Pause. TED exits. Lights down on HAMER. The only light on stage should be on CLYDE and BONNIE at this point. Silence. Lights up on BLANCHE in her cell. BLANCHE starts to hum and eventually starts to sing, “Ain’t We Got Fun.” Slowly, CLYDE comes back to us. BONNIE helps him up. BUCK enters. BLANCHE sees BUCK. CLYDE and BONNIE dance. BUCK takes BLANCHE’s hand and dances with her. The others might join in the singing at a point. The atmosphere should be romantic, but haunting. The song might cut out, unresolved, perhaps on the lyric “There’s nothing surer.”

Blackout. End of Show.