True Romance Page #6

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
1,850 Views


CLARENCE:

No time. Gotta go. Just tell him to read the letter, the letter explains

all. Tell him I love him. And tell him, as of tomorrow, all his money

problems are over.

ALABAMA:

(to Dick)

He can't. We gotta go, but he wants you to read the letter. The letter

explains it all. He wants you to know he loves you. And he wants you to

know that as of tomorrow, all of your money problems are over.

DICK:

Money problems?

CLARENCE:

Now tell him goodbye.

ALABAMA:

Bye-bye.

CLARENCE:

Now hang up.

She hangs up the phone.

INT. DICK'S APARTMENT - DAY

Dick hears the click on the other end.

DICK:

Hello, hello, Clarence? Clarence's wife?... I mean Alabama... hello?

Extremely confused, Dick jangs up the phone. He goes over to the TV and picks up the day's mail. He goes through it.

BILL:
Southern California Gas Company.

BILL:
Group W.

BILL:
Fossenkemp Photography.

BILL:
Columbia Record and Tape Club.

LETTER:
It's obviously from Clarence. Addressed to Dick. Dick opens it.

EXT. TRAILER - DAY

A lower-middle-class trailer park named Astro World, which has a neon sign in front of it in the shape of a planet.

A big, white Chevy Nova pulls into the park. It parks by a trailer that's slightly less kept up than the others. Cliff gets out of the Chevy. He's drinking out of a fast-food soda cup as he opens the door to his trailer.

INT. TRAILER - DAY

He steps inside the doorway and then, before he knows it, a gun is pressed to his temple and a big hand grabs his shoulder.

GUN CARRIER (DARIO)

Welcome home, alchy. We're havin' a party.

Cliff is roughly shoved into his living room. Waiting for him are four men, standing: VIRGIL, FRANKIE (young Wise-guy) LENNY (an old Wise-guy), and Tooth-pick Vic (a fireplug pitbull type).

Sitting in Cliff's recliner is VINCENZO COCCOTTI, the Frank Nitti to Detroid mob leader Blue Lou Boyle.

Cliff is knocked to his knees. He looks up and sees the sitting Coccotti. Dario and Lenny pick him up and roughly drop him in a chair.

COCCOTTI:

(to Frankie)

Tell Tooth-pick Vic to go outside and do you-know-what.

In Italian Frankie tells Tooth-pick Vic what Coccotti said. He nods and exits.

Cliff's chair is moved closer to Coccotti's. Dario stands on one side of Cliff. Frankie and Lenny ransack the trailer. Virgil has a bottle of Chivas Regal in his hand, but he has yet to touch a drop.

COCCOTTI:

Do you know who I am, Mr. Worley?

CLIFF:

I give up. Who are you?

COCCOTTI:

I'm the Anti-Christ. You get me in a vendetta kind of mood, you will tell

the angels in heaven that you had never seen pure evil so singularly

personified as you did in the face of the man who killed you. My name is

Vincenzo Coccotti. I work as a counsel for Mr. Blue Lou Boyle, the man your

son stole from. I hear you were once a cop so I assume you've heard od us

before. Am I correct?

CLIFF:

I've heard of Blue Lou Boyle.

COCCOTTI:

I'm glad. Hopefully that will clear up the how-full-of-sh*t-I-am question

you've been asking yourself. Now, we're gonna have a little Q and A, and,

at the risk of sounding redundant, please make your answers genuine.

(taking out a pack of Chesterfields)

Want a Chesterfield?

CLIFF:

No.

COCCOTTI:

(as he lights up)

I have a son of my own. About you boy's age. I can imagine how painful this

must be for you. But Clarence and that b*tch-whore girlfriend of his

brought this all on themselves. And I implore you not to go down the road

with 'em. You can always take comfort in the fact that you never had a

choice.

CLIFF:

Look, I'd help ya if I could, but I haven't seen Clarence -

Before Cliff can finish his sentence, Coccotti slams him hard in the nose with his fist.

COCCOTTI:

Smarts, don't it? Gettin' slammed in the nose fucks you all up. You got

that pain shootin' through your brain. Your eyes fill up with water. It

ain't any kind of fun. But what I have to offer you. That's as good as it's

ever gonna get, and it won't ever get that good again. We talked to your

neighbors. They saw a Mustang, a red Mustang, Clarence's red Mustang,

parked in front of your trailer yesterday. Mr. Worley, have you seen your

son?

Cliff's defeated.

CLIFF:

I've seen him.

COCCOTTI:

Now I can't be sure of how much of what he told you. So in the chance

you're in the dark about some of this, let me shed some light. That whore

your boy hangs around with, her pimp is an associate of mine, and I don't

just mean pimpin', in other affairs he works for me in a courier capacity.

Well, apparently, that dirty little whore found out when we're gonna do

some business, 'cause your son, the cowboy and his flame, came in the room

blastin' and didn't stop till they were pretty sure everybody was dead.

CLIFF:

What are you talkin' about?

COCCOTTI:

I'm talkin' about a massacre. They snatched my narcotics and hightailed it

outta there. Wouldda gotten away with it, but your son, fuckhead that he

is, left his driver's license in a dead guy's hand. A whore hiding in the

commode filled in all the blanks.

CLIFF:

I don't believe you.

COCCOTTI:

That's of minor importance. But what's of major f***in' importance is that

I believe you. Where did they go?

CLIFF:

On their honeymoon.

COCCOTTI:

I'm gettin' angry askin' the same question a second time. Where did they

go?

CLIFF:

They didn't tell me.

Coccotti looks at him.

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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