Kit gets out of the car, takes a chicken from the back seat and walks over to face Cato. He keeps a safe distance.
KIT: How you doing, Cato?
CATO: Not bad.
Kit steps forward, rifle in hand, and offers Cato the chicken.
KIT: Take that sombitch.
Cato takes it, a wan smile on his face.
KIT: What you been doing?
CATO: Running this place for a fella in town. Nothing much to speak of.
KIT: Well, I don't notice us hustling trash, either.
Kit walks over to inspect the interior of Cato's house.
KIT: Where'd you get them antlers?
CATO (o.c.): They come with the house.
He refers to a set of deer antlers, mounted over the door. Kit looks inside, then back at Cato.
KIT: Oh, Cato, I want you to meet my girl, Holly Sargis.
Holly smiles and says hello.
They sit at a picnic table under a tree, having lunch. Holly is telling a joke at Kit's urging.
HOLLY: Did you hear the one about the guy in the nuthouse that went around naked, with only a hat and gloves on, and this nurse came up to him and said, "Hey, what... You can't walk around that way," and the guy says, "What's the matter? Nobody comes around here." Anyway, the nurse says, "What do you have the hat and gloves on for, then?" And the guy says, "Well, you never know."
Cato bursts into laughter.
KIT: Isn't that funny?
Cato stops laughing. He wants to give Kit the right answer.
CATO: Yeah, I guess.
KIT (o.c.): She plays the clarinet, too.
Holly smiles politely.
HOLLY: Don't you ever get bored around here?
CATO: Sometimes. The other day, though, an old boy was plowing in the field over there, found some old Spanish coins.
KIT: (suspicious): That's what he told you, huh?
CATO (o.c.): No, he showed me one.
HOLLY: What'd they look like?
CATO (o.c.): Kind of round, like so... Gold. I'll show you if you want.
Kit and Holly eye one another. Kit sees the chance to make a fortune here. He is careful to conceal his feelings, though.
KIT: Let me finish my supper.
Holly, big-eyed, bites into an apple.
Kit, Holly and Cato walk out to the field where Cato heard the coins were found. Holly picks up a pot lid.
KIT: We're thinking of going down to Texas. Holly wants to visit some of her people down there, but after that I don't know... They say Mexico's nice.
Cato stops.
CATO: Kit... Maybe I'd better get a shovel.
KIT: Okay.
CATO: I'll catch up with you.
KIT: Okay.
Kit walks out into the field to join Holly. Cato turns back.
HOLLY: I found a lid. It was laying on the ground over there.
KIT: Put that down. It's dirty.
Holly tosses the lid at him. He picks up some dirt clods and starts throwing them at her. She squeals and dodges. CATO watches them for a while, indecisive, then turns and runs.
HOLLY (o.c.): Hey, you're throwing big ones!
Suddenly, Kit spots Cato.
KIT: Cato!
Cato jumps over a trough and comes to a stop in front of his truck, a water tanker.
CATO: The shovel's in the truck.
Kit raises his gun and shoots Cato through the belly. CATO falls, then gets to his feet and stumbles toward the front door of the house. Kit follows him for a while, then skips forward and opens the door for him.
Cato falls on his bed and rolls over to face Kit. Kit walks in calmly and picks up a photo on the bureau.
HOLLY (v.o.): Kit never let on why he'd shot Cato. He said that just talking about it could bring us bad luck and that right now we needed all the luck we could get.
Kit sets the photo down.
KIT (o.c.): You never told me about her.
He looks under the bed, then walks out the door.
Holly stands near a window. smoking a cigarette. Kit sets his rifle down and surveys the room, which is cluttered with odds and ends.
KIT: Look at all this junk.
HOLLY: How's he doing?
KIT: (shrugging): I got him in the stomach.
Holly sits down.
HOLLY: Is he upset?
KIT: He didn't say anything to me about it.
He takes a drag off her cigarette and gives it back to her. He leafs idly through a catalogue on the table, then walks over to look in the bedroom.
KIT: Bunch of junk.
Inside the bedroom Cato is still conscious, but his breathing is heavy. Kit walks back to Holly's side. HOLLY is looking through the catalogue.
KIT: He stole that cage. I saw him doing it.
Kit wants this to have been an execution, not a murder.
KIT: Whatcha looking in there for? We can't afford any of that.
HOLLY (defensive): Just looking.
As they bicker in the other room, Cato inspects his face in a mirror.
KIT (o.c.): Why don't you go in there and keep him company for a while?
Holly walks in the door.
HOLLY: Hi.
She sits down.
HOLLY: That your spider in there? in that bottle?
CATO: Yeah.
HOLLY: What do you feed him?
CATO: Oh, flies... grasshoppers when I can catch 'em.
HOLLY: Does he bite?
CATO: He never bit me.
We hear the sound of a car HORN in the distance. HOLLY: turns and looks.
A 1951 Studebaker approaches the house. There are two people inside, a BOY and a GIRL. Kit comes out the front door. The Boy and Girl get out, but seeing Kit, they wait by the car.
BOY: Hi. where's Cato?
KIT: Well, he's gone.
BOY: Gone? ... Where?
KIT: He said not to tell.
BOY (o.c.): Oh yeah?
KIT: Yeah, he said for you to give us a lift into town. You're the ones with the Studebaker, aren't you?
The Boy hesitates a second, then starts for the house.
BOY: Well, I just need to pick up something in the house.
Kit draws his gun.
KIT: No... You go in there, I'll have to kill you.
BOY: What's going on?
KIT: Can't afford to take chances.
The Girl is baffled.
KIT (o.c.): Come on out of there, young lady.
Kit waves them out into the neighboring field with him.
KIT: Let's us step out in this field here.
The Boy raises his hands.
KIT: Nah, skip that... I'm going to have to keep an eye on you, though.
BOY: Okay.
KIT: You don't mind?
Holly steps out the front door and smiles at the girl.
HOLLY: Hi.
Holly and the girl walk through the field toward a storm cellar where the boys are waiting for them. The wind is blowing hard.
GIRL: What's going to happen to Jack and me?
HOLLY: You have to ask Kit. He says frog, I jump.
GIRL: Okay.
HOLLY: What's your friend's name?
GIRL: Jack.
HOLLY: You love him?
GIRL: I don't know.
Holly thinks about this for a moment.
HOLLY: I've got to stick by Kit... He feels trapped.
GIRL: Yeah. I can imagine.
HOLLY: Well, I've felt that way, hadn't you?
Kit guides the couple into the storm cellar.
KIT: Okay, you two, down in the cellar.
They head down the steps into the cellar, the Girl first. Kit stops the Boy for a moment.
KIT: You promise to stay down there for an hour?
BOY: Yeah.
KIT: You expect me to believe that?
He looks back at Holly, as though to ask whether he should.
BOY: Yeah.
Kit nods and waves the Boy down into the cellar. The Boy disappears. Kit shuts the door.
KIT: I'm going to shut the door.
Kit sticks a pin through the latch, hesitates, then fires two shots down through a seam into the cellar. He retreats to Holly's side. a little surprised at what he did.
KIT: Think I got 'em?
HOLLY: I don't know.
KIT: Well, I'm not going down there and look.
He starts running away from the cellar. Holly follows him. A storm is gathering on the horizon. Kit offers Holly his hand as they run. but Holly does not see this.
Cato lies motionless, on his bed. Holly steps forward and touches him with a yardstick, like a child touching a snake.
HOLLY (v.o.): Suddenly, I was thrown into a state of shock...
Kit, rifle in hand, lumbers out a side door of the house with Cato over his shoulder. He steers for a nearby box car that evidently served Cato as a shed.
HOLLY (v.o.): Kit was the most trigger happy person I'd ever met. He claimed that as long as you're playing for keeps and the law is coming at you, it's considered okay to shoot all witnesses. You had to take the consequences, though, and not whine about it later.
Kit opens the doors of the box car. and dumps Cato inside. Before closing the doors he checks Cato's shoes. to see if they are the ones he gave him. Holly looks on from the side of the house, twenty yards away.
HOLLY: We're in for it now... If they catch us.
Kit looks cornered and defensive. Holly thinks for a moment.
HOLLY: What'd you put him in there for?
KIT (shrugging): Just to keep him out of the sun.
Kit heads out of sight around the rear of the box car. Holly goes back inside. Kit walks up and down the length of the box car, talking under his breath and throwing his rifle from hand to hand, in a state.
DISSOLVE TO:
Kit and Holly travel down a country road in the Studebaker.
HOLLY (v.o.): At this moment I didn't feel shame or fear, but just kind of blah, like when you're sitting there and all the water's run out of the bathtub.
Kit, driving, turns to Holly.
KIT: You tired?
HOLLY: Yeah.
KIT: Yeah, you look tired... Listen, honey. when all this is over, I'm going to sit down and buy you a big, thick steak.
HOLLY: I don't want a steak.
KIT: Well, we'll see about that... Hey, lookie.
He nods at a wrecked car lying in a ditch beside the road.
KIT: They're probably going to blame that on me, too, bastards.
Various shots characterizing the Midwest's reaction to Kit and Holly: a deserted street, law officers posing with their guns and ammunition, children walking from class under armed guard, a detective in a trench coat pointing at a pump, a woman calling in her children at dusk, a county official posing with the county records, the court reporter with a book of signatures, vigilantes signing up and being deputized, then riding through the streets of their town in the backs of pickups, a priest among them, etc.
HOLLY (v.o.): The whole country was out looking for us, for who knew where Kit would strike next? Sidewalks were deserted. Stores closed their doors and drew their blinds. Posses and vigilante committees were set up from Texas to North Dakota. Children rode back and forth to school under heavy guard. A famous detective was brought in from Boston. He could find no clues ... My clarinet teacher said I probably wasn't responsible, but others said I was. Then, on Thursday, the Governor of Oklahoma sent out the National Guard to stand watch at the Federal Reserve Bank in Tulsa when word got out that Kit meant to rob it... It was like the Russians had invaded.
Kit and Holly approach a large Victorian mansion. Kit rings the bell.
HOLLY (v.o.): We needed supplies, so we went to a rich man's house. Kit figured it'd be safer and quicker than shopping in the downtown... A maid came to the door.
A MAID opens the door.
KIT: Hi, I come to check the meter. My tools are in here.
He nods at the suitcase he is carrying. The Maid looks at Holly.
KIT: Oh, this Is Holly. She's from Texas.
Kit winks at Holly. The Maid brushes her ears to indicate that she is deaf, then stands back to let them pass.
HOLLY (v.o.): Later we found out she was deaf and we hadn't even known it.
KIT: Excuse me.
They enter the house.
Kit leads the others into the living room. The owner of the house, a RICH MAN, sits in a chair in the corner, reviewing some prints. At the sight of Kit he comes to his feet.
KIT: Hi.
RICH MAN: Yes?
KIT: This your place?
RICH MAN: Yes.
Kit looks around, overwhelmed by the luxury of the mansion.
KIT: Sorry to barge in on you. Anybody else here besides you two?
RICH MAN: No.
The Rich Man is wary. Kit nearly forgets to explain himself.
KIT: Good deal... Oh, uh, we're on the run and we'd like to hang out here for a while. Couple of hours, maybe. How'd that be?
RICH MAN: Stay as long as you like.
TIGHT ON MURAL
The CAMERA PANS across a mural of some pastoral scene.
Holly runs her finger around the lip of a crystal glass. It makes a soft chiming noise. Kit, sitting at the end of a table opposite her, picks up a dinner bell, rings it, then puts It down and regards her solemnly.
KIT: Next time I ring that, it means time to clear out.
Holly, in the next angle, has moved a bust off its pedestal onto the corner of a piano. She thinks better of this and restores the bust to its original position.
Kit sniffs at a glass of sherry, then takes a picture off the mantel and studies it.
Holly, at the other end of the room. tests the comforts of a chair. This done. she moves to another chair and tests it, too. She makes her hand limp. She watches it swing back and forth.
Kit sits in the chair which the Rich Man occupied earlier. He has a thoughtful look on his face. There is a dictaphone on the table beside him.
Holly takes a cane out of the umbrella rack, looks around furtively, then steps out a side door of the house.
Holly walks down the slope of the lawn.
HOLLY (v.o.): I left Kit in the parlor and went for a stroll outside the house. The day was quiet and serene, but I didn't notice, for I was deep in thought, and not even thinking about how to slip off.
Across the way she can see a long driveway, with a border of lush greenery and a sleepy cat standing in the sun.
HOLLY (v.o.): The world was like a faraway planet to which I could never return... I thought what a fine place it was, full of things for people to look into and enjoy.
Kit talks into the dictaphone, recording some advice for young people.
KIT: Listen to your parents and teachers. They got a line on most things, so don't treat them like enemies. There's always a chance you could learn something. (he pauses for a moment) Try to keep an open mind. Try to understand the viewpoint of others. Consider the minority opinion, but try to get along with the majority opinion once it's accepted. (again he pauses) Course Holly and I've had fun, even if it has been rushed, and... so far we're doing fine. hadn't got caught. (annoyed) Excuse the grammar.
He sets down the dictaphone. puts out his cigarette and leans back in his chair, lost in reflection.
Holly enters the room where the Rich Man and his Maid have been put. The furniture and paintings are covered with sheets, suggesting that for some purpose, known only to the family, the room has been set aside.
HOLLY: Hi... Kit's downstairs playing with the dictaphone... Sometimes he acts like there's something wrong with his bean.
She leans against the window. behind the couch where the Rich Man is sitting.
HOLLY: Hope nothing ever goes wrong with mine.
RICH MAN: Think he's crazy, huh?
HOLLY: I don't know... He's kind of odd.
She sits down beside the Rich Man.
HOLLY (shyly): They claim I've got him wrapped around my little finger, but I never told him to shoot anybody.
She looks the room over.
HOLLY: Gosh, I like your house.
RICH MAN: Thank you.
We hear the NOISE of a doorbell.
Kit puts down a copy of the Wall Street Journal and locates his pistol. He starts for the door, then remembers that he moved a picture from the mantel. He puts the picture back in place, checks the chamber of his pistol and leaves the room.
Kit opens the front door to find a VISITOR on the stoop. The Visitor carries a roll of blueprints under his arm.
KIT: Hi.
VISITOR: Hi... ah, Mister Scarborough here?
KIT: Yeah, but the thing about him, he's down with the flu. He's sick.
VISITOR: Really?
KIT: Yeah. I'd invite you inside, except it's contagious. Don't want to start an epidemic.
VISITOR: No, of course not. It's only that he called last night and asked if I could come by.
KIT: Well, he didn't have it last night.
The Visitor is puzzled by Kit's presence in the house, and even more by his behavior. He takes out a note pad.
KIT: What's that?
VISITOR: Well, I'd like to leave a message, if that's okay.
KIT: Sure.
The Visitor jots something down and hands the note to Kit.
KIT: You have to excuse me now. I have to go back inside. Bye.
Kit closes the door.
Kit hides the Visitor's note in a vase and bounds up the stairs to the first landing.
KIT: We're out of here, Tex.
He turns back down the stairs. On a rack at the bottom he finds a hat and coat. He takes them with him.
Kit walks into the room where he left the Rich Man and his maid. He now carries a bag of groceries under his arm,
KIT: Hi, whatcha doing?
RICH MAN: Just thinking.
KIT: Good a way to kill time as any... She okay?
He points to the Maid with his pistol.
RICH MAN: Yes.
KIT: Listen, ah ... We're going to take the Cadillac for a while. How'd that be?
RICH MAN: Fine.
KIT: Don't worry, I won't let her drive.
He means Holly.
KIT (continuing): Oh, and here's a list of everything we borrowed. Car's on there, too.
He gives the list to the Rich Man and signals the Maid to accompany them out.
KIT: Okay, ma'am, let's go . . . come on.
Kit points the Rich Man and his Maid into a closet.
KIT: You're my friend, aren't you?
RICH MAN: Yes.
KIT: Okay, no monkey business then.
He locks the door of the closet once they are inside, starts off, then remembers something, takes a handkerchief out of his pocket and wipes his fingerprints off the door handle.
KIT: Groceries.
With this reminder he collects his bag of groceries and heads down the hall.
Kit and Holly come out the front door. Holly wears a shawl over her head as a disguise, Kit wears the outfit he took off the Rich Man's coat rack. He carries his groceries, rifle and a silver trophy he stole from somewhere in the house.
KIT: That guy could sell that list I gave him as a sample of my handwriting.
Holly starts off,
KIT (continuing): Hey, why're you always walking ahead of me?
HOLLY: Well, why you always walking behind me?
Kit grabs the seat of her pants.
HOLLY: Don't.
KIT: Anybody ever done that to you before?
HOLLY: No.
KIT: Positive?
HOLLY: Yes.
KIT: Guess there's no way I'll ever know. For sure.
They round a corner into the garden.
They walk down the lawn toward the garage. We the TICKING OF SPRINKLERS off camera.
KIT: That guy must pay through the nose to keep this place up... Lawn, the gas and electric... Bagworms. Plus the upkeep on the cars... Yeah, you get a little money in your pocket, you think all your problems are solved. Well, let me tell you, they're not.
They arrive at the Cadillac. Holly sets down her suitcase and waits for Kit to open the door for her.
Kit, who has forgotten this propriety, hurries back and opens the door. He throws the suitcase in the back, goes around the front of the car and gets in.
HOLLY: I'd like to get out of here.
KIT: Soon as I start the car... and fix my hat.
He adjusts his hat, starts the car and they drive off, past a Rolls Royce Kit has declined in favor of the Cadillac.
The car races across the open prairie.
HOLLY (v.o.): Fearing there'd be roadblocks on the highways, we took off across that area known as the Great Plains. Kit told me to enjoy the scenery, and I did.
Holly reads to Kit from a movie fan magazine.
HOLLY: "Rumor: Pat Boone is seriously considering giving up his career so he can return to school full-time and complete his education. Fact: Pat has told intimates that so long as things are going well for his career, it's the education that will have to take the back seat."
KIT: I don't blame him.
HOLLY: "Rumor: Frank Sinatra and Rita Hayworth are in love... Fact: True, but not with each other."
Kit chuckles at this, which pleases Holly.
The Cadillac heads overland, along a line of telephone poles that stretches out clear to the horizon.
HOLLY (v.o.): Through desert and mesa, across the endless miles of open range, we made our headlong way, steering by the telephone lines toward the mountains of Montana.
DISSOLVE TO:
Heat waves rise off the land. A mountain is barely discernible in the distance.
DISSOLVE TO:
The Cadillac races through a herd of cows,
HOLLY (v.o.) Kit'd sometimes ram a cow, to save on ammo, and we'd cook it.
CLOSE ON SALT GRASS
Tight shot of a clump of salt grass.
HOLLY (v.o.): Once we had to eat a bunch of salt grass. It tasted like cabbage.
THE CAMERA RISES over the Cadillac as it races down a deserted country road at dawn,
The Cadillac is stopped beside a pipeline waystation. Kit has tapped some gas off the head.
HOLLY (v.o.): For gas we used the leakage from the valves of the pipelines we found along the way. Drip gas is what they call it in that part of the country.
DISSOLVE TO:
The Cadillac roars through a stand of mesquite and disappears into the distance.
HOLLY (v.o.): Little by little we approached the border. Kit was glad to leave South Dakota behind and cursed its name. He said that if the Communists ever dropped the atomic bomb, he wished they'd put it right in the middle of Rapid City.
They are camped out in the middle of the badlands. Kit cooks some meat over a fire, Holly, with a map under her arm, points into the distance.
HOLLY: That's Montana over there.
KIT: I never been to Montana... Acquaintance of mine has, but I hadn't... Never had any reason to.
Holly sits down and looks at the map.
HOLLY: State bird's a meadowlark.
The CAMERA PANS across the badlands. There Is not a tree or a bush in sight. It comes to rest on Kit, who carries his rifle over his shoulders the way James Dean did in "Giant".
Various sights of the prairie: a distant mountain, a wild turkey, a lizard, a burst of lightening in a cloud on the horizon, a falcon. Kit takes all this in, then he turns back to the campsite. The sun is down, just barely, and the moon has risen behind him. Holly is heard over this last shot.
HOLLY (v.o.): We lived in utter loneliness, neither here nor there. Kit said that solitude was a better word, cause it meant more exactly what I wanted to say. Whatever the expression, I told him we couldn't go on living this way.
Kit and Holly sit in the back seat of the Cadillac. They have been necking. Her hair is in curlers.
KIT (responding to v.o.): Why not? I mean, I'm having fun... At least I'm not bitching.
HOLLY: Well, I feel kind of like an animal living out here. I mean, there's no place to bathe and... no place to get anything good to eat.
KIT: Well, I'll catch you a big trout. Soon as we get to the mountains.
He kisses her. She gives in reluctantly. After a while they break.
KIT: Everybody loves trout.
HOLLY: I'm serious.
They neck some more. then break again. Kit looks out one window, Holly out the other.
A train moves slowly across the horizon.
HOLLY (v.o.): In the distance I saw a train making its way silently across the plain, like the caravan in "The Adventures of Marco Polo." It was our first taste of civilization in days, and I asked Kit if we could have a closer look.
Kit sets a football down on the ground, backs off a few steps, squats and shoots a hole through it with his pistol. To his surprise. it does not deflate. He moves closer and pounds it flat with the barrel of the pistol.
HOLLY (v.o.): Before we left he shot a football that he considered excess baggage.
TIGHT ON SUITCASE
Kit is burying some things from Holly's suitcase in a bucket: the trophy he took from the mansion, her stereopticon slides, a doll, a spark plug, a pack of Camels, etc.
HOLLY (v.o.): Afterwards he took and buried some of our things in a bucket. He said that nobody else would know where we'd put them, and that we'd come back someday, maybe, and they'd still be sitting here, just the same, but we'd be different. And if we never got back, well, somebody might dig them up a thousand years from now and wouldn't they wonder!
The Cadillac speeds across the plains. A plume of dust stretches out behind it.
Kit and Holly have parked the Cadillac under a rail trestle. A train is approaching. They hide beside the car. The train, a streamliner, roars overhead. When it has passed, Holly rushes up the grade to watch it disappear into the distance. Kit watches from the opposite end of the trestle.
KIT: Maybe we should've tried to hop it.
HOLLY: It was going too fast.
KIT: I could've pulled the car up on the tracks, slowed it down some.
HOLLY (o.c.): Yeah, then we'd be stuck here.
KIT: Well, maybe we oughta be stuck here. I'm not saying that I know.
He stoops down and picks up a Pepsi bottle.
HOLLY: You're crazy.
He climbs over the edge of the trestle, looks back at her oddly, then leaps down to the ground. Holly walks down to meet him.
HOLLY (v.o.): Kit took the bottle and spun it around, leaving to fate which direction we should take.
TIGHT ON BOTTLE
Kit spins the bottle.
The bottle comes to a stop. Kit inspects its position. He does not appear satisfied, though.
KIT: Well, maybe the slope here is throwing it off some. We ought to find a more flat place.
HOLLY: How about over here?
Kit starts toward her, then changes his mind and heads back up the grade, to the tracks. The CAMERA DOLLIES and CRANES with him.
KIT: Never mind. It doesn't matter... If I'm worth a damn, I'll pick the right direction. And if I'm not, well, I don't care. See what I mean?
HOLLY (o.c.): No.
KIT: Well, I shouldn't expect miracles, should I?
He stops at the top of the grade and looks out across the Badlands.
KIT: We'll keep on heading for that mountain... Just remember I said it wasn't such a hot idea.
DISSOLVE TO:
The Cadillac pulls out from under the trestle and heads down a dusty road alongside the tracks.
HOLLY (v.o.): We took off at sunset, on a line toward the mountains of Saskatchewan, for Kit a magical land beyond the reach of the law. He needed me now more than ever, but something had come between us. I'd stopped even paying attention to him. Instead, I sat in the car and read a map and spelled out entire sentences with my tongue on the roof of my mouth, where nobody could read them.
DISSOLVE TO:
The Cadillac beads off across the plains toward a distant mountain.
HOLLY (v.o.): That night we moved closer to the border, and clear across the prairie, at the very edge of the horizon...
A refinery fire.
HOLLY (v.o.): W could make out the gas fires of the refinery at Missoula, while to the south...
HOLLY (v.o.): ... we could see the lights of Cheyenne, a city bigger and grander than I'd ever seen.
The prairie rushes under the Cadillac's headlights.
HOLLY (v.o.) I felt all kind of things looking at the lights of Cheyenne, but most important, I made up my mind to never again tag around with a hell-bent type, no matter how in love with him I was. Finally, I found the strength to tell Kit this. I pointed out that even If we got to the Far North, he still couldn't make a living.
Kit and Holly's faces are strangely lit by the dash lights. Holly is absorbed in her map. The radio is on.
KIT: (responding to v.o.) I could get a job with the Mounties. The Northwest Mounties ... Hell, I got all the qualifications. I can ride, shoot and... I don't mind the cold. Fact. I kind of like the cold.
Holly looks up from the map.
HOLLY: What?
KIT: Nothing... I was just running off at the mouth... as usual.
HOLLY: I'm sorry. I wasn't listening.
Holly lights a cigarette.
KIT: I was just talking about going after a job... Hey. don't lip it.
He reaches over and takes the cigarette out of her mouth. The CAMERA PANS to her with this gesture.
HOLLY: You know... they'd probably ask to see your driver's license before they hired you.
KIT (o.c.): Well. I'm not going to let that stop me.
When the CAMERA PANS BACK to him, he is looking at her cigarette.
KIT: You smoke Pall Mall?
HOLLY: Yeah.
He is surprised to discover this.
KIT: Nah, you hadn't seen me when I'm going after something, honey. Tough?
He cocks his head just thinking about it. She reaches for the radio to change the station. He pats her hand away.
KIT: Hey. don't touch that... Nat King Cole.