True Romance Page #19

Synopsis: A comic-book nerd and Elvis fanatic Clarence (Christian Slater) and a prostitute named Alabama (Patricia Arquette) fall in love. Clarence breaks the news to her pimp and ends up killing him. He grabs a suitcase of cocaine on his way out thinking it is Alabama's clothing. The two hit the road for California hoping to sell the cocaine, but the mob is soon after them.
Genre: Crime, Drama, Romance
Production: Warner Bros.
  1 win & 10 nominations.
 
IMDB:
7.9
Metacritic:
57
Rotten Tomatoes:
92%
R
Year:
1993
119 min
1,942 Views


VIRGIL:

(calmly)

Step inside and shut the door.

She doesn't move, she's frozen. Virgil leans forward.

VIRGIL:

(calmly)

Lady. I'm gonna shoot you in the face.

She does exactly as he says. Virgil rises, still aiming the sawed-off.

VIRGIL:

Step away from the door, move into the bathroom.

She does. He puts the shotgun down on the chair, then steps closer to her.

VIRGIL:

OK, Alabama, where's our coke, where's Clarence, and when's he coming back.

ALABAMA:

I think you got the wrong room, my name is Sadie. I don't have any Coke,

but there's a Pepsi machine downstairs. I don't know any Clarence, but

maybe my husband does. You might have heard of him, he plays football. Al

Lylezado. He'll be home any minute, you can ask him.

Virgil can't help but smile.

VIRGIL:

You're cute.

Virgil jumps up and does a mid-air kung fu kick which catches Alabama square in the face, lifting her off the ground and dropping her flat on her back.

INT. MOVING RED MUSTANG - DAY

Clarence, in his car, driving to get something to eat, singing to himself.

CLARENCE:

(singing)

"Land of stardust, land of glamour,

Vistavision and Cinema,

Everything about it is a must,

To get to Hollywood, or bust..."

INT. HOLLYWOOD HOLIDAY INN - CLARENCE'S ROOM - DAY

Alabama's laying flat. She actually blacks out for a moment, but the salty taste of the blood in her mouth wakes her up. She opens her eyes and sees Virgil standing there, smiling. She closes them, hoping it's a dream. They open again to the same sight. She has never felt more helpless in her life.

VIRGIL:

Hurts, don't it? It better. Took me a long time to kick like that. I'm

third-degree blackbelt, you know? At home I got trophies. Tournaments I was

in. Kicked all kinds of ass. I got great technique. You ain't hurt that

bad. Get on your feet, Fruitloop.

Alabama wobbily complies.

VIRGIL:

Where's our coke? Where's Clarence? And when he's comin' back?

Alabama looks in Virgil's eyes and realizes that without a doubt she's going to die, because this man is going to kill her.

ALABAMA:

Go take a flying f*** and a rolling donut.

Virgil doesn't waste a second. He gives her a sidekick straight to the stomach. The air is sucked out of her lungs. She falls to her knees. She's on all fours gasping for air that's just not there.

Virgil whips out a pack of Lucky Strikes. He lights one up with a Zippo lighter. He takes a long, deep drag.

VIRGIL:

Whatsamatta? Can't breathe? Get used to it.

INT. HAMBURGER STAND - DAY

Clarence walks through the door of some mom and pop fast-food restaurant.

CLARENCE:

Woah! Smells like hamburgers in here! What's the biggest, fattest hamburger

you guys got?

The Iranian Guy at the counter says:

IRANIAN GUY:

That would be Steve's double chili cheeseburger.

CLARENCE:

Well, I want two of them bad boys. Two large orders of chili fries. Two

large Diet Cokes.

(looking at a menu at the wall)

And I'll tell you what, why don't you give me a combination burrito as

well.

INT. HOLLYWOOD HOLIDAY INN - CLARENCE'S ROOM - DAY

Alabama is violently thrown into a corner of the room. She braces herself against the wall. She is very punchy. Virgil steps in front of her.

VIRGIL:

You think your boyfriend would go through this kind of sh*t for you? Dream

on, c*nt. You're nothin' but a f***in' fool. And your pretty face is gonna

turn awful goddamn ugly in about two seconds. Now, where's my f***in' coke?

She doesn't answer. He delivers a spinning roundhouse kick on the head. Her head slams into the left side of the wall.

VIRGIL:

Where's Clarence?!

Nothing. He gives her another kick to the head, this time from the other side. Her legs start to give way. He catches her and throws her back. He slaps her lightly in the face to revive her, she looks at him.

VIRGIL:

When's Clarence getting back?

She can barely raise her arm, but she somehow manages, and she gives him the middle finger. Virgil can't help but smile.

VIRGIL:

You gotta lot of heart, kid.

He gives her a spinning roadhouse kick to the head that sends her to the floor.

INT. HAMBURGER STAND - DAY

CLOSEUP - Burgers sizzling on a griddle, Chili and cheese is put on them.

Clarence is waiting for his order. He notices a CUSTOMER reading a copy of "Newsweek" with Elvis on the cover.

CLARENCE:

That's a great issue.

The Customer lowers his magazine a little bit.

CUSTOMER:

Yeah, I subscribe. It's a pretty decent one.

CLARENCE:

Have you read the story on Elvis?

CUSTOMER:

No. Not yet.

CLARENCE:

You know, I saw it on the stands, my first inclination was to buy it. But,

I look at the price and say forget it, it's just gonna be the same old

sh*t. I ended up breaking down and buying it a few days later. Man, I was

ever wrong.

CUSTOMER:

That good, huh?

He takes the magazine from the Customer's hands and starts flipping to the Elvis article.

CLARENCE:

It tried to pin down what the attraction is after all these years. It

covers the whole spectrum of fans, the people who love his music, the

people who grew up with him, the artists he inspired - Bob Dylan, Bruce

Springsteen, and the fanatics, like these guys. I don't know about you, but

they give me the creeps.

CUSTOMER:

I can see what you mean.

CLARENCE:

Like, look at her. She looks like she fell off an ugly tree and hit every

branch on the way down. Elvis wouldn't f*** her with Pat Boone's dick.

Rate this script:3.8 / 5 votes

Quentin Tarantino

Quentin Jerome Tarantino (born March 27, 1963) is an American director, writer, and actor. His films are characterized by nonlinear storylines, satirical subject matter, an aestheticization of violence, extended scenes of dialogue, ensemble casts consisting of established and lesser-known performers, references to popular culture, soundtracks primarily containing songs and score pieces from the 1960s to the 1980s, and features of neo-noir film. He is widely considered one of the greatest filmmakers of his generation. more…

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Submitted by aviv on November 30, 2016

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