TRUE ROMANCE






Screenplay by 			Quentin Tarantino

Produced by 			Samuel Hadida
				Steve Perry
				Bill Unger

Directed by 			Tony Scott



Cast List: 

Christian Slater		Clarence Worley
Patricia Arquette		Alabama Whitman
Dennis Hopper		Clifford Worley
Michael Rapaport		Dick Ritchie
Bronson Pinchott		Elliot Blitzer
Christopher Walken		Vincenzo Coccotti
Saul Rubinek			Lee Donowitz
Samuel L. Jackson		Big Don
Brad Pitt			Floyd
Val Kilmer			Elvis








Typed with two bare fingers by Niki Wurster


When you are tired of relationships,
try a romance.



INT. BAR  NIGHT

A smoky cocktail bar downtown Detroit.

CLARENCE WORLEY, a young hipster hepcat, is trying to pick up an older 
lady named LUCY. She isn't bothered by him, in fact, she's alittle charmed. But, 
you can tell, that she isn't going to leave her barstool.

CLARENCE
In "Jailhouse Rock" he's everything rockabilly's about. I mean he is 
rockabilly: mean, surly, nasty, rude. In that movie he couldn't give a fuck 
about anything except rockin' and rollin', livin' fast, dyin' young, and 
leaving a good-looking corpse. I love that scene where after he's made it big 
he's throwing a big cocktail party, and all these highbrows are there, and 
he's singing, "Baby You're So Square... Baby, I Don't Care". Now, they got 
him dressed like a dick. He's wearing these stupid-lookin' pants, this 
horrible sweater. Elvis ain't no sweater boy. I even think they got him 
wearin' penny loafers. Despite all that shit, all the highbrows at the party, 
big house, the stupid clothes, he's still a rude-lookin' motherfucker. I'd 
watch that hillbilly and I'd want to be him so bad. Elvis looked good. I'm 
no fag, but Elvis was good-lookin'. He was fuckin' prettier than most 
women. I always said if I ever had to fuck a guy... I mean had too 'cause my 
life depended on it... I'd fuck Elvis.

Lucy takes a drag from her cigarette.

LUCY
I'd fuck Elvis.

CLARENCE
Really?

LUCY
When he was alive. I wouldn't fuck him now.

CLARENCE
I don't blame you.
(they laugh)
So we'd both fuck Elvis. It's nice to meet people with common interests, 
isn't it?

Lucy laughs.

CLARENCE
Well, enough about the King, how 'bout you?

LUCY
How 'bout me what?

CLARENCE
How 'bout you go to the movies with me tonight?

LUCY
What are we gonna see?

CLARENCE
A Donny Chiba triple feature. "The Streetfighter", "Return of the 
Streetfighter", and "Sister Streetfighter".

LUCY
Who's Sonny Chiba?

CLARENCE
He is, bar none, the greatest actor working in martial arts movies ever.

LUCY
(not believing this)
You wanna take me to a kung fu movie?

CLARENCE
(holding up three fingers)
Three kung fu movies.

Lucy takes a drag from her cigarette.

LUCY
(laughing)
I don't think so, not my cup of tea.


INT. DINGY HOTEL ROOM  DAY

The sounds of the city flow in through an open window: car horns, gun shots 
and violence. Paint is peeling off the walls and the once green carpet is stained 
black.

On the bed nearby is a huge open suitcase filled with clear plastic bags of 
cocaine. Shotguns and pistols have been dropped carelessly around the 
suitcase. On the far end of the room, against the wall, is a TV. "Bewitched" is 
playing.

At the opposite end of the room, by the front, is a table. DREXL SPIVEY and 
FLOYD DIXON sit around. Cocaine is on the table as well as little plastic 
bags and a weigher. Floyd is black, Drexl is a white boy, though you wouldn't 
know it listen to him.

DREXL
Nigger, get outta my face with that bullshit.

FLOYD
Naw man, I don't be eatin' that shit.

DREXL
That's bullshit.

BIG DON WATTS, a stout, mean-looking black man who's older than Drexl 
and Floyd. Walks through the door carrying hamburgers and french fries in 
two greasy brown-paper bags.

FLOYD
Naw man, that's some serious shit.

DREXL
Nigger, you lie like a big dog.

BIG D
What the fuck are you talkin' about?

DREXL
Floyd say he don't be eatin' pussy.

BIG D
Shit, any nigger say he don't eat pussy is lyin' his ass off.

DREXL
I heard that.

FLOYD
Hold on a second, Big D. You sayin' you eat pussy?

BIG D
Nigger, I eat everything. I eat pussy. I eat the butt. I eat every 
motherfuckin' thang.

DREXL
Preach on, Big D.

FLOYD
Look here. If I ever did eat some pussy  I would never eat any pussy  but, 
if I did eat some pussy, I sure as hell wouldn't tell no goddamn body. I'd be 
ashamed as a motherfucker.

BIG D
Shit! Nigger you smoke enough sherm your dumb ass'll do a lot a crazy ass 
things. So you won't eat pussy? Motherfucker, you be up there suckin' 
niggers' dicks.

DREXL
Heard that.

Drexl and Big D bump fists.

FLOYD
Yeah, that's right, laugh. It's so funny, oh it's so funny.
(he takes a hit off of a joint)
There used to be a time when sisters didn't know shit about gettin' their 
pussy licked. Then the sixties came an' they started fuckin' around with 
white boys. And white boys are freaks for that shit 

DREXL
 Because it's good!

FLOYD
Then, after a while sisters use to gettin' their little pussy eat. And because 
you white boys had to make pigs out of yourselves, you fucked it up for 
every nigger in the world everywhere.

BIG D
Drexl. On behalf of me and all the brothers who aren't here, I'd like to 
express our gratitude 

Drexl and Big D bust up.

FLOYD
Go on pussy-eaters... laugh. You look like you be eatin' pussy. You got 
pussy-eatin' mugs. Now if a nigger wants to get his dick sucked he's got to 
do a bunch of fucked-up shit.

BIG D
So you do eat pussy!

FLOYD
Naw naw!

BIG D
You don't like it, but you eat that shit.
(to Drexl)
He eats it.

DREXL
Damn skippy. He like it, too.

BIG D
(mock English accent)
Me thinketh he doth protest too much.

FLOYD
Well fuck you guys then! You guys are fucked up!

DREXL
Why you trippin'? We jus' fuckin' with ya. But I wanna ask you a question. 
You with some fine bitch, I mean a brick shithouse bitch  you're with 
Jayne Kennedy. You're with Jayne Kennedy and you say "Bitch, suck my 
dick!" and then Jayne Kennedy says, "First things first, nigger, I ain't 
suckin' shit till you bring your ass over here and lick my bush!" Now, what 
do you say?

FLOYD
I tell Jayne Kennedy, "Suck my dick or I'll beat your ass!"

BIG D
Nigger, get real. You touch Jayne Kennedy she'll have you ass in Wayne 
County so fast 

DREXL
Nigger, back off, you ain't beatin' shit. Now what would you do.

FLOYD
I'd say fuck it!

Drexl and Big D get up from the table disgusted and walk away, leaving Floyd 
sitting all alone.

Big D sits on the bed, his back turned to Floyd, watching "Bewitched".

FLOYD
(yelling after them)
Ain't no man have to eat pussy!

BIG D
(not even looking)
Take that shit somewhere else.

DRXL
(marching back)
You tell Jayne Kennedy to fuck it?

FLOYD
If it came down to who eats who, damn skippy.

DREXL
With that terrible mug of yours if Jayne Kennedy told you to eat her pussy, 
kiss her ass, lick her feet, chow on her shit, and suck her dog's dick, nigger, 
you'd aim to please.

BIG D
(glued on TV)
I'm hip.

DREXL
In fact, I'm gonna show you what I mean with a little demonstration. Big D, 
toss me that shotgun.

Without turning away from "Bewitched" he picks up the shotgun and tosses it to 
Drexl.

DREXL
(to Floyd)
All right, check this out.
(referring to shotgun)
Now, pretend this is Jayne Kennedy. And you're you.

Then, in a blink, he points the shotgun at Floyd and blows him away.

Big D leaps off the bed and spins toward Drexl.

Drexl, waiting for him, fires from across the room.

The blast hits the big man in the right arm and shoulder, spinning him around.

Drexl makes a beeline for his victim and fires again.

Big D is hit with a blast, full in the back. He slams into the wall and drops.

Drexl collects the suitcase full of cocaine and leaves. As he gets to the front 
door he surveys the carnage, spits and walks out.


EXT. CLIFF'S MOVING CAR  MORNING

A big white Chevy Nova is driving down the road with a sunrise sky as a 
backdrop. The song "Little Bitty Tear" is heard a capella.


INT. CLIFF'S MOVING CAR  MORNING

CLIFF  WORLEY is driving his car home from work, singing this song gently 
to the sunrise. He's a forty-five-years-old ex-cop, at present a security guard. In 
between singing he takes sips from a cup of take-out coffee. He's dressed in a 
security guard uniform.


EXT. TRAILER PARK  MORNING

Cliff's Nova pulls in as he continues crooning. He pulls up to his trailer to see 
something that stops him short.


CLIFF'S POV THROUGH WINDSHIELD

Clarence and a nice-looking YOUNG WOMAN are watching for him in front 
of his trailer.


CLOSEUP  CLIFF

Upon seeing Clarence, a little bitty tear rolls down Cliff's cheek.

BACK TO:


CLIFF'S POV

Clarence and the Young Woman walk over to the car. Clarence sticks his face 
through the driver's side window.

CLARENCE
Good Morning, Daddy. Long time no see.


INT. TRAILER HOME  MORNING

All three enter the trailer home.

CLIFF
Excuse the place, I haven't been entertaining company as of late. Sorry if 
I'm acting a little dense, but you're the last person in the world I expected 
to see this morning.

Clarence and the Young Girl walk into the living room.

CLARENCE
Yeah, well, tha's OK, Daddy, I tend to have that effect on people. I'm dyin' 
on thirst, you got anything to drink?

He moves past Cliff and heads straight for his refridgerator.

CLIFF
I think there's a Seven-Up in there.

CLARENCE
(rumaging around the fridge)
Anything stronger?
(pause)
Oh, probably not. Beer? You can drink beer, can't you?

CLIFF
I can, but I don't.

CLARENCE
(closing the fridge)
That's about all I ever eat.

Cliff looks at the Girl. She smiles sweetly at him.

CLIFF
(to Girl)
I'm sorry... I'm his father.

YOUNG GIRL
(sticking her hand out)
That's OK, I'm his wife.
(shaking his hand vigorously)
Alabama Worley, pleased to meetcha.

She is really pumping his arm, just like a used-car salesman. However, that's 
where the similarities end; Alabama's totally sincere.

Clarence steps back into the living room, holding a bunch of little ceramic fruit 
magnets in his hand. He throws his other arm around Alabama.

CLARENCE
Oh yeah, we got married.
(referring to the magnets)
You still have these.
(to Alabama)
This isn't a complete set; when I was five I swallowed the pomegranate one. 
I never shit it out, so I guess it's still there. Loverdoll, why don't you be a 
sport and go get us some beer. I want some beer.
(to Cliff)
Do you want some beer? Well, if you want some it's here.

He hands her some money and his car keys.

CLARENCE
Go to the liquor store 
(to Cliff)
Where is there a liquor store around here?

CLIFF
Uh, yeah... there's a party store down 54th.

CLARENCE
(to Alabama)
Get a six-pack of something imported. It's hard to tell you what to get 
'cause different places have different things. If they got Fosters, get that, if 
not, ask the guy at the thing what the strongest imported beer he has. Look, 
since you're making a beer run, would you mind too terribly if you did a 
foot run as well. I'm fuckin' starvin' to death. Are you hungry too?

ALABAMA
I'm pretty hungry. When I went to the store I was gonna get some Ding-
Dongs.

CLARENCE
Well, fuck that shit, we'll get some real food. What would taste good.
(to Cliff)
What do you think would taste good?

CLIFF
I'm really not very 

CLARENCE
You know what would taste good? Chicken. I haven't had chicken in a 
while. Chicken would really hit the spot about now. Chicken and beer, 
definitly, absolutely, without a doubt.
(to Cliff)
Where's a good chicken place around here?

CLIFF
I really don't know.

CLARENCE
You don't know the chicken places around where you live?
(to Alabama)
Ask the guy at the place where a chicken place is.

He gives her some more money.

CLARENCE
This should cover it, Auggie-Doggie.

ALABAMA
Okee-dokee, Doggie-Daddy.

She opens the door and starts out. Clarence turns to his dad as the door shuts.

CLARENCE
Isn't she the sweetest goddamned girl you ever saw in your whole life? Is 
she a four alarm fire, or what?

CLIFF
She seems very nice.

CLARENCE
Daddy. Nice isn't the word. Nice is an insult. She's a peach. That's the only 
word for it, she's a peach. She even tastes like a peach. You can tell I'm in 
love with her. You can tell by my face, can't ya? It's a dead giveaway. It's 
written all over it. Ya know what? She loves me back. Take a seat, Pop, we 
gotta talk 

CLIFF
Clarence, just shut up, you're giving me a headache! I can't believe how 
much like your mother you are. You're your fuckin' mother through and 
through. I haven't heard from ya in three years. Then ya show up all of a 
sudden at eight o'clock in the morning. You walk in like a goddamn 
bulldozer... don't get me wrong, I'm happy to see you... just slow it down. 
Now, when did you get married?

CLARENCE
Daddy, I'm in big fuckin' trouble and I really need your help.

BLACK TITLE CARD: "HOLLYWOOD"


INT. OUTSIDE OF CASTING DIRECTOR'S OFFICER  DAY

FOUR YOUNG ACTORS are sitting on a couch with sheets of paper in their 
hands silently mouthing lines. One of the actors is DICK RITCHIE. The casting 
director, MARY LOUISE RAVENCROFT, steps into the waiting room, clip 
board in hand.

RAVENCROFT
Dick Ritchie?

Dick pops up from the pack.

DICK
I'm me... I mean, that's me.

RAVENCROFT
Step inside.


INT.  CASTING DIRECTOR'S OFFICE  DAY

She sits behind a large desk. Her name-plate rests on the desktop. Several 
posters advertising "The Return of T.J. Hooker" hang on the wall.

Dick sits in a chair, holding his sheets in his hands.

RAVENCROFT
Well, the part you're reading for is one of the bad guys. There's Brian and 
Marty. Peter Breck's already been cast as Brian. And you're reading for 
the part of Marty. Now in this scene you're both in a car and Bill Shatner's 
hanging on the hood.  And what you're trying to do is get him off.
(she picks a up a copy of the script)
Whenever you're ready.

DICK
(reading and miming driving)
Where'd you come from?

RAVENCROFT
(reading from the script lifelessly)
I don't know. He just appeared as magic.

DICK
(reading from script)
Well, don't just sit there, shoot him.

She puts her script down, and smiles at him.

RAVENCROFT
That was very good.

DICK
Thank you.

RAVENCROFT
If we decided on making him a New York type, could you do that?

DICK
Sure. No problem.

RAVENCROFT
Could we try it now?

DICK
Absolutely.

Dick picks up the script and begins, but this time with a Brooklyn accent.

DICK
Where'd he come from?

RAVENCROFT
(monotone, as before)
I don't know. He just appeared as magic.

DICK
Well, don't just sit there, shoot him.

Ravencroft puts her script down.

RAVENCROFT
Well, Mr. Ritchie, I'm impressed. You're a very fine actor.

Dick smiles.


INT. TRAILER HOME  DAY

Cliff's completely aghast. He just stares, unable to come to grips with what 
Clarence has told him. 

CLARENCE
Look, I don't know this is pretty heavy-duty, so if you wanna explode, feel 
free.

CLIFF
You're always making jokes. That's what you do, isn't it? Make jokes. 
Making jokes is the one thing you're good at, isn't it? But if you make a 
joke about this 
(raising his voice)
 I'm gonna go completely out of my fuckin' head!

Cliff pauses and collects himself.

CLIFF
What do you want from me?

CLARENCE
What?

CLIFF
Stop acting like an infant. You're here because you want me to help you in 
some way. What do you need from me? You need money?

CLARENCE
Do you still have friends on the force?

CLIFF
Yes, I still have friends on the force.

CLARENCE
Could you find out if they know anythin'? I don't know they know shit 
about us. But I don't wanna think, I wanna know. You could find out for 
sure what's goin' on.
(pause)
Daddy?

CLIFF
What makes you think I could do that?

CLARENCE
You were a cop.

CLIFF
What makes you think I would do that?

CLARENCE
I'm your son.

CLIFF
You got it all worked out, don't you?

CLARENCE
Look, goddamnit, I never asked you for a goddamn thing! I've tried to 
make your parental obligation as easy as possible. After Mom divorced 
you, did I ask you for anything? When I wouldn't see ya for six months to a 
year at a time, did you ever get your shit about it? No, it was always "OK", 
"No problem", "You're a busy guy, I understand". The whole time you 
were a drunk, did I ever point my finger at you and talk shit? No! 
Everybody else did. I never did. You see, I know that you're just a bad 
parent. You're not really very good at it. But I know you love me. I'm 
basically a pretty resourceful guy. If I didn't really need it I wouldn't ask. 
And if you say no, don't worry about it. I'm gone. No problems.

Alabama walks in through the door carrying a shopping bag.

ALABAMA
The forager's back.

CLARENCE
Thank God. I could eat a horse if you slap enough catsup on it.

ALABAMA
I didn't get any chicken.

CLARENCE
How come?

ALABAMA
It's nine o'clock in the morning. Nothing's open.


INT. TRAILER HOME  BEDROOM  DAY

Cliff's on the telephone in his bedroom, pacing as he talks. The living room od 
the trailer can be seen from his doorway, where Clarence and Alabama are 
horsing around. They giggle and cut up throughout the scene. As Cliff talks, all 
the noise and hubbub of a police station comes through over the line. He's 
talking to DETECTIVE WILSON, an old friend of his from the force.

We see both inside the conversation.

CLIFF
It's about that pimp that was shot a couple of days ago, Drexl Spivey.

WILSON
What about him?

CLIFF
Well, Ted, to tell you the truth, I found out through the grapevine that it 
might be, and I only said might be, the Drexl Spivey that was responsible 
for that restaurant break-in on Riverdale. 

WILSON
Are you still working security for Foster & Langley?

CLIFF
Yeah, and the restaurant's on my route. And you know, I stuck my nose in 
for the company to try to put a stop to some of these break-ins. Now, while 
I have no proof, the name Drexl Spivey kept comin' up Who's case is it?

WILSON
McTeague.

CLIFF
I don't know him. Is he a nice guy? You think he'll help me out?

WILSON
I don't see why not. When you gonna come round and see my new place?

CLIFF
You and Robin moved?

WILSON
Shit, are you behind. Me and Robin got a divorce six months ago. Got 
myself a new place  mirrors all over the bedroom, ceiling fans above the 
bed. Guy'd have to look as ugly as King Kong not to get laid in this place. 
I'm serious, a guy'd have to look like a gorilla.

CUT TO:


EXT. TRAILER HOME  DAY

Clarence and Cliff stand by Clarence's 1965 red Mustang. Alabama's amusing 
herself by doing cartwheels and handstands in the background.

CLIFF
They have nothing. In fact, they think it's drug related.

CLARENCE
Do tell. Why drug related?

CLIFF
Apparently, Drexl had a big toe stuck in shit like that.

CLARENCE
No shit?

CLIFF
Yeah. Drexl had an association with a fella named Blue Lou Boyle. Name 
mean anything to you?

CLARENCE
Nope.

CLIFF
If you don't hang around in this circle, no reason it should.

CLARENCE
Who is he?

CLIFF
Gangster. Drug Dealer. Somebody you don't want on your ass. Look, 
Clarence, the more I hear about this Drexl fucker, the more I think you did 
the right thing. That guy wasn't just some wild flake.

CLARENCE
That's what I've been tellin' ya. The guy was like a mad dog. So the cops 
aren't looking for me?

CLIFF
Naw, until they hear something better they'll assume Drexl and Blue Lou 
had a falling out. So, once you leave twon, I wouldn't worry about it.

Clarence sticks his hand out to shake. Cliff takes it.

CLARENCE
Thanks a lot, Daddy. You really came through for me.

CLIFF
I got some money I can give you 

CLARENCE
Keep it.

CLIFF
Well, son, I want you to know I hope everything works out with you and 
Alabama. I like her. I think you make a cute couple.

CLARENCE
We do make a cute couple, don't we?

CLIFF
Yeah, well, just stay outta trouble. Remeber, you got a wife to think about. 
Quit fuckin' around.
(pause)
I love you son.

They hug each other,

Clarence takes a pice of paper out and puts it into Cliff's hand.

CLARENCE
This is Dick's number in Hollywood. We don't know where we'll be, but 
you can get a hold of me through him.

Clarence turns toward Alabama and yells to her.

CLARENCE
Bama, we're outta here. Kiss Pops goodbye,

Alabama runs across from where she was and throws her arms around Cliff 
and gives him a big smackeroo on the lips. Cliff's a little startled. Alabama's 
bubbling like a Fresca.

ALABAMA
Bye, Daddy! Hope to see you again real soon.

CLARENCE
(mock anger)
What kind of daughterly smackeroo was that?

ALABAMA
Oh, hush up.

The two get into the Mustang.

CLARENCE
(to Cliff)
We'll send you a postcard as soon as we get to Hollywood.

Clarence starts the engine. The convertible roof opens as they talk.

CLIFF
Bama, you take care of that one for me. Keep him out of trouble.

ALABAMA
Don't worry, Daddy, I'm keepin' this fella on a short leash.

Clarence, slowly, starts driving away.

CLARENCE
(to Cliff)
As the sun sets slowly in the west we bid a fond farewell to all the friends 
we've made... and, with a touch of melancholy, we look forward to the time 
when we will all be together again.

Clarence peels out, shooting a shower of gravel up in the air.

As the Mustang disappears Cliff runs his tongue over his lips.

CLIFF
The-son-of-a-bitch was right... she does taste like a peach.


INT. DICK'S APARTMENT  DAY

Dick's apartment is standard issue for a young actor. Things are pretty neat 
and clean. A nice stereo unit sits on the shelf. A framed picture of a ballet 
dancer's feet hangs on the wall.

The phone rings, Dick answers.

DICK
Hi, Dick here.


INT. HOTEL SUITE  LAS VEGAS  SUNSET

Top floor, Las Vegas, Nevada hotel room with a huge picture window 
overlooking the neon-filled strip and the flaming red and orange sunset sky.

Clarence paces up and down with the telephone in his hand.

CLARENCE
(big bopper voice)
Heeeellllloooo baaaabbbbbyyyy!!!

Note: We intercut both sides of the conversation.

DICK
(unsure)
Clarence?

CLARENCE
You got it.

DICK
It's great to hear from you.

CLARENCE
Well, you're gonna be seein' me shortly.

DICK
You comin' to L.A.? When?

CLARENCE
Tomorrow.

DICK
What's up? Why're leavin' Detroit?

Clarence sits down on the hotel room bed. Alabama, wearing only a long T-
shirt with a big picture of Bullwinkle on it, crawls behind him.

CLARENCE
Well, there's a story behind all that. I'll tell you when I see you. By the way, 
I won't be alone. I'm bringing my wife with me.

DICK
Get the fuck outta here!

CLARENCE
I'm married man.

DICK
Get the fuck outta here!

CLARENCE
Believe it or not, I actually tricked a girl into falling in love with me. I'm 
not quite sure how I did it. I'd hate to have to do it again. But I did it. 
Wanna say hi to my better half?

Before Dick can respond Clarence puts Alabama on the phone.

ALABAMA
Hi, Dick. I'm Alabama Worley.

DICK
Hello, Alabama.

ALABAMA
I can't wait to meet you. Clarence told me all about you. He said you were 
his best friend. So, I guess that makes you my best friend, too.

Clarence start dictating to her what to say.

CLARENCE
Tell him we gotta go.

ALABAMA
Clarence says we gotta be hittin' it.

DICK
What?

CLARENCE
Tell him we'll be hittin' his area some time tomorrow.

ALABAMA
He said don't go nowhere. We'll be there some time tomorrow.

DICK
Wait a minute  

CLARENCE
Tell him not to eat anything. We're gonna scarf when we get there.

ALABAMA
Don't eat anything.

DICK
Alabama, could you tell Clar 

CLARENCE
Ask him if he got the letter.

ALABAMA
Did you get the letter?

DICK
What letter?

ALABAMA
(to Clarence)
What letter?

CLARENCE
The letter I sent.

ALABAMA
(to Dick)
The letter he sent.

DICK
Clarence sent a letter?

CLARENCE
Has he gotten his mail today?

ALABAMA
Gotten your mail yet?

DICK
Yeah, my room-mate leaves it on the TV.

ALABAMA
(to Clarence)
Yes.

CLARENCE
Has he looked through it yet?

ALABAMA
(to Dick)
Ya looked through it?

DICK
Not yet.

ALABAMA
(to Clarence)
Nope.

CLARENCE
Tell him to look through it.

ALABAMA
(to Dick)
Get it.

DICK
Let me speak to Clarence.

ALABAMA
(to Clarence)
He wants to speak with you.

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-shit-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 bitch-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 fuckin' 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.

CLIFF
Now, wait a minute and listen. I haven't seen Clarence in three years. 
Yesterday he shows up here with a girl, sayin' he got married. He told me 
he needed some quick cash for a honeymoon, so he asked if he could 
borrow five hundred dollars. I wanted to help him out so I wrote out a 
check. We went to breakfast and that's the last I saw of him. So help me 
God. They never thought to tell me where they were goin'. And I never 
thought to ask.

Coccotti looks at him for a long moment. He then gives Virgil a look. Virgil, 
quick as greased lightning, grabs Cliff's hand and turns it palm up. He then 
whips out a butterfly knife and slices Cliff's palm open and pours Chivas Regal 
on the wound. Cliff screams.

Coccotti puffs on a Chesterfield.

Tooth-pic Vic returns to the trailer, and reports in Italian that there's nothing in 
the car.

Virgil walks into the kitchen and gets a dishtowel. Cliff holds his bleeding palm 
in agony. Virgil hands him the dishtowel. Cliff uses it to wrap up his hand.

COCCOTTI
Sicilians are great liars. The best in the world. I'm a Sicilian. And my old 
man was the world heavyweight champion of Sicilian liars. And from 
growin' up with him I learned the pantomime. Now there are seventeen 
different things a guy can do when he lies to give him away. A guy has 
seventeen pantomimes. A woman's got twenty, but a guy's got seventeen. 
And if you know 'em like ya know your own face, they beat lie detectors to 
hell. What we got here is a little game of show and tell. You don't wanna 
show me nothin'. But you're tellin' me everything. Now I know you know 
where they are. So tell me, before I do some damage you won't walk away 
from.

The awful pain in Cliff's hand is being replaced by the awful pain in his heart. 
He looks deep into Coccotti's eyes. 

CLIFF
Could I have one of those Chesterfields now?

COCCOTTI
Sure.

Coccotti leans over and hands him a smoke.

CLIFF
Got a match?

Cliff reaches into his pocket and pulls out a lighter.

CLIFF
Oh, don't bother. I got one.
(he lights the cigarette)
So you're a Sicilian, huh?

COCCOTTI
(intensly)
Uh-huh.

CLIFF
You know I read a lot. Especially things that have to do with history. I find 
that shit fascinating. In fact, I don't know if you know this or not, Sicilians 
were spawned by niggers.

All the men stop what they were doing and look at Cliff, except for Tooth-pic 
Vic who doesn't speak English and so isn't insulted. Coccotti can't believe what 
he's hearing.

COCCOTTI
Come again?

CLIFF
It's a fact. Sicilians have nigger blood pumpin' through their hearts. If you 
don't believe me, look it up. You see, hundreds and hundreds of years ago 
the Moors conquered Sicily. And Moors are niggers. Way back then, 
Sicilians were like the wops in northern Italy. Blond hair, blue eyes. But, 
once the Moors moved in there, they changed the whole country. They did 
so much fuckin' with the Sicilian women, they changed the blood-line for 
ever, from blond hair and blue eyes to black hair and dark skin. I find it 
absolutely amazing to think that to this day, hundreds of years later, 
Sicilians still carry that nigger gene. I'm just quotin' history. It's a fact. It's 
written. Your ancestors were niggers. Your great, great, great, great, great-
grandmother was fucked by a nigger, and had a half-nigger kid. That is a 
fact. Now tell me, am I lyin'?

Coccotti looks at him for a moment then jumps up, whips out an automatic, 
grabs hold of Cliff's hair, puts the barrel to his temple, and pumps three bullets 
through Cliff's head.

He pushes the body violently aside. Coccotti pauses. Unable to express his 
feelings and frustrated by the blood in his hands, he simply drops his weapon, 
and turns to his men.

COCCOTTI
I haven't killed anybody since 1974. Goddamn his soul to burn for eternity 
in fuckin' hell for makin' me spill blood on my hands! Go to this 
comedian's son's apartment and come back with somethin' that tells me 
where that asshole went so I can wipe this egg off of my face and fix this 
fucked-up family for good.

Tooth-pick Vic taps Frankie's shoulder and, in Italianm asks him what that was 
all about.

Lenny, who has been going through Cliff's refridgerator, has found a beer. 
When he closes the refridgerator door he finds a note held on by a ceramic 
banana magnet that says: "Clarence in L.A.: Dick Ritchie (number and 
address)".

LENNY
Boss, get ready to get happy.

TITLE CARD: "CLARENCE AND ALABAMA HIT L.A."


INT. DICK'S APARTMENT  MORNING

Dick's asleep in a recliner. He's wearing his clothes from the night before. His 
room-mate FLOYD is lying on the sofa watching TV.

The sound of our hands knocking on his door wakes Dick up. He shakes the 
bats out of his belfry, opens the door, and finds the cutest couple in Los Angeles 
standing in his doorway.

Clarence and Alabama immediately start singing "Hello My Baby" like the frog 
in the old Chuck Jones cartoon.

CLARENCE/ALABAMA
Hello my baby,
Hello my honey,
Hello my ragtime gal 

DICK
Hi guys.

Alabama throws her arms around Dick, and gives him a quick kiss. After she 
breaks, Clarence does the same. Clarence and Alabama walk right past Dick 
and into his apartment.

CLARENCE
Wow. Neat place.


INT. PINK'S HOT-DOG STAND  DAY

The Pink's employees work like skilled Benihana chefs as they assemble the 
ultimate masterpiece hot-dog.


EXT. PINK'S HOT-DOG STAND  PATIO  DAY

Clarence, Alabama, and Dick are sitting at an outdoor table chowing down on 
chili dogs. Alabama is in the middle of a story.

ALABAMA
... when my mom went into labor, my dad panicked. He never had a kid 
before, and crashed the car. Now, picture this: their car's demolished, 
crowd is starting to gather, my mom is yelling, going into contractions, and 
my dad, who was losing it before, is now completely screaming yellow 
zonkers. Then, out of nowhere, as if from thin air, this big giant bus 
appears, and the bus-driver says, "Get her in here.". He forgot all about his 
route and just drove straight to the hospital. So, because he was such a nice 
guy, they wanted to name the baby after him, as a sign of gratitude. Well, 
his name was Waldo, and no matter how grateful they were, even if I'da 
been a boy, they would't call me Waldo. So they asked Waldo where he was 
from. And, so there you go.

CLARENCE
And here we are.

DICK
That's a pretty amazing story.

CLARENCE
Well, she's a pretty amazing girl. What are women like out here?

DICK
Just like in Detroit, only skinnier.

CLARENCE
You goin' out?

DICK
Well, for the past couple of years I've been goin' out with girls from my 
acting class.

CLARENCE
Good for you.

DICK
What's so fuckin' good about it? Actresses are the most fucked-in-the-head 
bunch of women in the world. It's like they gotta pass a test of emotional 
instability before they can get their SAG card. Oh, guess what? I had a 
really good reading for "T.J. Hooker" the other day.

ALABAMA
You're gonna be on "T.J. Hooker"?

DICK
Knock wood.

He knocks the table and then looks at it.

DICK
... formica. I did real well. I think she liked me.

CLARENCE
Did you meet Captain Kirk?

DICK
You don't meet him in the audition. That comes later. Hope, hope.

ALABAMA
(finishing her hot-dog)
That was so good I am gonna have another.

DICK
You can't have just one.

Alabama leaves to get another hot-dog. Clarence never takes his eyes off her.

DICK
How much of that letter was on the up and up?

CLARENCE
Every word of it.

Dick sees where Clarence's attention is.

DICK
You're really in love, aren't you?

CLARENCE
For the very first time in my life.
(pause)
Do you know what that's like?

Clarence is so intense Dick doesn't know how to answer.

DICK
(regretfully)
No, I don't
(he looks at Alabama)
How did you two meet?

Clarence leans back thoughtfully and takes a sip from his Hebrew cream soda.

CLARENCE
Do you remember The Lyric?


INT. THE LYRIC THEATER  NIGHT

Sonny Chiba, as "Streetfighter" Terry Surki, drives into a group of guys, fists 
and feet flying and whips ass on the silver screen.

Clarence sits, legs over the back of the chair in front of him, nibbling on 
popcorn, eyes big as sourcers, and a big smile on his face.


EXT. THE LYRIC THEATER  NIGHT

A cab pulls up to the outside of The Lyric. The marquee carries the names of the 
triple feature: "The Streetfighter", "Return of the Streetfighter" and "Sister 
Streetfighter". Alabama steps out of the taxi cab and walks up to the box office.

A BOX OFFICE GIRL reading comic looks at her.

ALABAMA
One please.

BOX OFFICE GIRL
Ninety-nine cents.

ALABAMA
Which one is on now?

BOX OFFICE GIRL
"Return of the Streetfighter". It's been on about forty-five minutes.


INT. THE LYRIC THEATER  LOBBY  NIGHT

Alabama walks into the lobby and goes over to the concession stand. A 
YOUNG USHER takes care of her.

ALABAMA
Can I have a medium popcorn? A super-large Mr. Pibb, and a box of 
Goobers.


INT.  THE LYRIC THEATER  NIGHT

It's still assholes and elbows on the screen with Sonny Chiba taking on all-
comers.

Alabama walks through the doors with her bounty of food. She makes a quick 
scan of the theater. Not many people are there. She makes a beeline for the 
front whick happens to be Clarence's area of choice. She picks the row of seats 
just behind Clarence and starts asking her way down it.

Clarence turns and sees this beautiful girl all alone moving towards him. He 
turns his attention back to the screen, trying not to be so obvious.

When Alabama gets right behind Clarence, her foot thunks a discarded wine 
bottle, causing her to trip and spill her popcorn over Clarence.

ALABAMA
Oh, look what happened. Oh god, I'm so sorry. Are you OK?

CLARENCE
Yeah. I'm fine. It didn't hurt.

ALABAMA
I'm the clumsiest person in the world.

CLARENCE
(picking popcorn out of his hair)
It's OK. Don't worry about it. Accidents happen.

ALABAMA
(picking popcorn out of his hair)
What a wonderful philosophy. Thanks for being such a sweetheart. You 
could have been a real dick.

Alabama sits back in her seat to watch the movie.

Clarence tries to wipe her out of his mind, which isn't easy, and get back into 
the movie.

They both watch the screen for a moment. Then, Alabama leans forward and 
taps Clarence on the shoulder.

ALABAMA
Excuse me... I hate to bother you again. Would you mind too terribly filling 
me in on what I missed?

Jumping on this opportunity.

CLARENCE
Not at all. I, this guy here, he's Sonny Chiba.

ALABAMA
The oriental.

CLARENCE
The oriental in black. He's an assasin. Now, at the beginning he was hired 
to kill this guy the cops had. So he got himself arrested. They take him into 
the police station. And he starts kickin' all the cops' asses. Now, while 
keepin' them at bay, he finds the guy he was supposed to kill. Does a 
number on him. Kicks the cops' asses some more. Kicks the bars out of the 
window. And jumps out into a getaway car that was waiting for him.

ALABAMA
Want some Goobers?

CLARENCE
Thanks a lot.

ALABAMA
I thought Sonny was the good guy.

CLARENCE
He ain't so much good guy as he's just a bad motherfucker. Sonny don't be 
bullshittin'. He fucks dudes up for life. Hold on, a fight scene's coming up.

They both watch, eyes wide, as Sonny Chiba kicks asses.


TIME CUT:

On the screen, Sonny Chiba's all jacked up. Dead bodies lie all around him. 
THE END (in Japanese) flashes on the screen.

The theater light go up. Alabama's now sitting in the next seat to Clarence. 
They're both applauding.

ALABAMA
Great movie. Action-packed!

CLARENCE
Does Sonny kick ass or does Sonny kick ass?

ALABAMA
Sonny kicks ass.

CLARENCE
You shoulda saw the first original uncut version of the "Streetfighter". It 
was the only movie up to that time rated X for violence. But we just saw the 
R.

ALABAMA
If that was the R, I'd love to see the X.

CLARENCE
My name is Clarence, and what is yours?

ALABAMA
Alabama Whitman. Pleased to meet ya.

CLARENCE
Is that your real name? Really?

ALABAMA
That's my real name, really. I got proof. See.

She shows Clarence her driver's license.

CLARENCE
Well, cut my legs off and call me Shorty. That's a pretty original moniker 
there, Alabama. Sounds like a Pam Grier movie.
(announcer voice)
She's a sixteen-calibre kitten, equally equipped for killin' an' lovin'! She 
carried a sawed-off shotgun in her purse, a black belt around her waist, 
and the white-hot fire of hate in her eyes! Alabama Whitman is Pam Grier! 
Pray for forgiveness, Rated R... for Ruthless Revenge!


EXT. THE LYRIC THEATER  NIGHT

Clarence and Alabama are outside the theater. With the marquee lit up in the 
background they both perform unskilled martial arts moves. Clarence and 
Alabama break up laughing.

CLARENCE
Where's your car? I'll walk you to it.

ALABAMA
I took a cab.

CLARENCE
You took a cab to see three kung fu movies?

ALABAMA
Sure. Why not?

CLARENCE
Nothing. It's just you're a girl after my own heart.

ALABAMA
What time is it?

CLARENCE
'Bout twelve.

ALABAMA
I suppose you gotta get up early, huh?

CLARENCE
No. Not particularly.
(pause)
How come?

ALABAMA
Well, it's just when I see a really good movie I really like to go out and get 
some pie, and talk about it. It's sort of tradition. Do you like to eat pie after 
you've seen a good movie?

CLARENCE
I love to get pie after a movie.

ALABAMA
Would you like to get some pie?

CLARENCE
I'd love some pie.


INT. DENNY'S RESTAURANT  NIGHT

Clarence and Alabama are sitting in a booth at an all-night Denny's. It's about 
12:40 a.m. Clarence is having a piece of chocolate cream pie and a coke. 
Alabama's nibbling on a peace of heated apple pie and sipping on a large Tab.

CLARENCE
Well, enough about the King. How about you?

ALABAMA
How 'bout me what?

CLARENCE
Tell me about yourself.

ALABAMA
There's nothing to tell.

CLARENCE
C'mon. What're ya tryin' to be? The Phantom Lady?

ALABAMA
What do you want to know?

CLARENCE
Well, for starters, what do you do? Where're ya from? What's your 
favorite color? Who's your favorite movie star? What kinda music do you 
like? What are your turn-ons and turn-offs? Do you have a fella? What's 
the story behind you takin' a cab to the most dangerous part of town alone? 
And, in a theater full of empty seats, why did you sit by me?

Alabama takes a bite of pie, puts down her fork, and looks at Clarence.

ALABAMA
Ask me them again. One by one.

CLARENCE
What do you do?

ALABAMA
I don't remember.

CLARENCE
Where are you from.

ALABAMA
Might be from Tallahassee. But I'm not sure yet.

CLARENCE
What's your favorite color?

ALABAMA
I don't remember. But off the top of my head, I'd say black.

CLARENCE
What's your favorite movie star?

ALABAMA
Burt Reynolds.

CLARENCE
Would you like a bite of my pie?

ALABAMA
Yes, I would.

Clarence scoops up a piece on his fork and Alabama bites it off.

CLARENCE
Like it?

ALABAMA
Very much. Now, where were we?

CLARENCE
What kinda music do you like?

ALABAMA
Phil Spector. Girl group stuff. You know, like "He's a Rebel".

CLARENCE
What are your turn-ons?

ALABAMA
Mickey Rourke, somebody who can appreciate the finer things in life, like 
Elvis's voice, good kung fu, and a tasty piece of pie.

CLARENCE
Turn-offs?

ALABAMA
I'm sure there must be something, but I don't really remember. The only 
thing that comes to mind are Persians.

CLARENCE
Do you have a fella?

She looks at Clarence and smiles.

ALABAMA
I'm not sure yet. Ask me again later.

CLARENCE
What's the story behind you takin' a cab to the most dangerous part of 
town alone?

ALABAMA
Apparently, I was hit on the head with something really heavy, giving me a 
form of amnesia. When I came to, I didn't know who I was, where I was, or 
where I came from. Luckily, I had my driver's license or I wouldn't even 
know my name. I hoped it would tell me where I lived but it had a 
Tallahassee address on it, and I stopped somebody on the street and they 
told me I was in Detroit. So that was no help. But I did have some money on 
me, so I hopped in a cab until I saw somethin' that looked familiar. For 
some reason, and don't ask me why, that theater looked familiar. So I told 
him to stop and I got out.

CLARENCE
And in a theater full of empty seats, why did you sit by me?

ALABAMA
Because you looked like a nice guy, and I was a little scared. And I sure 
couldda used a nice guy about that time, so I spilled my popcorn on you.

Clarence looks at her closely. He picks up his soda and sucks on the straw until 
it makes that slurping sound. He puts it aside and stares into her soul.

A smile cracks on her face and develops into a big wide grin.

ALABAMA
Aren't you just dazzled by my imagination, lover boy?
(eats her last piece of pie)
Where to next?


INT. COMIC BOOK STORE  NIGHT

It's about 1:30 a.m. Clarence has taken Alabama to where he works. It's a 
comic book store called Heroes For Sale. Alabama thinks this place is super-
cool.

ALABAMA
Wow. What a swell place to work.

CLARENCE
Yeah, I got the key, so I come here at night, hang out, read comic books, 
play music.

ALABAMA
How long have you worked here?

CLARENCE
Almost four years.

ALABAMA
That's a long time.

CLARENCE
I'm hip. But you know, I'm comfortable here. It's easy work. I know what 
I'm doing. Everybody who works here is my buddy. I'm friendly with most 
of the customers. I just hang around and talk about comic books all day.

ALABAMA
Do you get paid a lot?

CLARENCE
That's where trouble comes into paradise. But the boss let's you borrow 
some money if you need it. Wanna see what "Spiderman" number one 
looks like?

ALABAMA
You bet. How much is that worth?

Clarence gets a box off the shelf.

CLARENCE
Four hundred bucks.

ALABAMA
I didn't even know they had stores that just sold comic books.

CLARENCE
Well, we sell other things too. Cool stuff. "Man from U.N.C.L.E." Lunch 
boxes. "Green Hornet" board games. Shit like that. But comic books are 
main business. There's a lot of collectors around here.

She holds up a little GI Joe sized action figure of a black policeman.

ALABAMA
What's that?

CLARENCE
That's a "Rookies" doll. George Sanford Brown. We gotta lotta dolls. 
They're real cool. Did you know they came out with dolls for all the actors 
in "The Black Hole"? I always found it funny somewhere there's a kid 
playin' with a little figure of Earnest Borgnine.

He pulls a plastic-cased "Spiderman" comic form the box.

CLARENCE
"Spiderman", number one. The one that started it all.

Clarence shows the comic book to Alabama.

ALABAMA
God, Spiderman looks different.

CLARENCE
He was just born, remember? This is the first one. You know that guy, Dr. 
Gene Scott? He said that the story of Spiderman is the story of Christ, just 
disguised. Well, I thought about that even before I heard him say it. Hold 
on, let me show you my favorite comic book cover of all time.

He pulls out another comic.

CLARENCE
"Sgt. Fury and His Howling Commandos". One of the coolest series known 
to man. They're completely worthless. You can get number one for about 
four bucks. But that's one of the cool things about them, they're so cheap.
(he opens one up)
Just look at that artwork, will ya. Great stories. Great Characters. Look at 
this one.

We see the "Sgt. Fury" panels.

CLARENCE
Nick's gotten a ring from his sweetheart and he wears it around his neck on 
a chain. OK, later in the story he gets into a fight with a Nazi bastard on a 
ship. He knocks the guy overboard, but the Kraut grabs ahold of his chain 
and the ring goes overboard too. So, Nick dives into the ocean to get it. Isn't 
that cool?

She's looking into Clarence's eyes. He turns and meets her gaze.

CLARENCE
Alabama, I'd like you to have this.

Clarence hands her the "Sgt. Fury and His Howling Commandos" comic book 
that he loves so much.


INT. CLARENCE'S APARTMENT  BEDROOM  NIGHT

Clarence's bedroom is a pop culture explosion. Movie posters, pictures of Elvis, 
anything you can imagine. The two walk through the door.

ALABAMA
What a cool room!

She runs and does a jumping somersault into his bed.

Later. Alabama's sitting Indian-style going through Clarence's photo album. 
Clarence is behind her planting little kisses on her neck and shoulders.

ALABAMA
Oooooh, you look so cute in your little cowboy outfit. How old were you 
then?

CLARENCE
Five.

She turns the page.

ALABAMA
Oh, you look so cute as little Elvis.

CLARENCE
I finally knew what I wanted when I grew up.


LATER  LIVING ROOM

Clarence and Alabama slow dance in the middle of his room to Janis Joplin's 
"Piece of My Heart".

CLARENCE
You know when you sat behind me?

ALABAMA
At the movies?

CLARENCE
Uh-huh, I was tryin' to think of somethin' to say to you, then I thought, she 
doesn't want me bothering her.

ALABAMA
What would make you think that?

CLARENCE
I dunno. I guess I'm just stupid.

ALABAMA
You're not stupid. Just wrong.

They move to the music. Alabama softly, quietly sings some of the words to the 
song.

ALABAMA
I love Janis.

CLARENCE
You know, a lot of people have misconceptions of how she died.

ALABAMA
She OD'd, didn't she?

CLARENCE
Yeah, she OD'd. But wasn't on her last legs or anythin'. She didn't take too 
much. It shouldn't have killed her. There was somethin' wrong with what 
she took.

ALABAMA
You mean she got a bad batch?

CLARENCE
That's what happened. In fact, when she died, it was considered to be the 
happiest time of her life. She'd been fucked over so much by men she didn't 
trust them. She was havin' this relationship with this guy and he asked her 
to marry him. Now, other people had asked to marry her before, but she 
couldn't be sure whether they really loved her or were just after her money. 
So, she said no. And the guy says, "Look, I really love you, and I wanna 
prove it. So have your lawyers draw up a paper that says no matter what 
happens, I can never get any of your money, and I'll sign it." So she did, 
and he asked her, and she said yes. And once they were engaged he told her 
a secret about himself that she never knew: he was a millionaire.

ALABAMA
So he really loved her?

CLARENCE
Uh-huh.

They kiss.


INT. CLARENCE'S APARTMENT  BEDROOM  DAY

It's the next day, around 1 p.m. Clarence wakes up in his bed, alone. He looks 
around, and no Alabama. Then he hears crying in the distance. He puts on a 
robe and investigates.


INT. CLARENCE'S APARTMENT  LIVING ROOM  DAY

Alabama's wearing one of Clarence's old shirts. She's curled up in a chair 
crying. Clarence approaches her. She tries to compose herself.

CLARENCE
What's wrong, sweetheart? Did I do something? What did I do?

ALABAMA
You didn't do nothing.

CLARENCE
Did you hurt yourself?
(he takes her foot)
Whatd'ya do? Step on a thumbtack?

ALABAMA
Clarence, I've got something to tell you. I didn't just happen to be at the 
theater. I was paid to be there.

CLARENCE
What are you, a theater checker? You check up on the box office girls. 
Make sure they're not rippin' the place off.

ALABAMA
I'm not a theater checker. I'm a call girl.

Pause.

CLARENCE
You're a whore?

ALABAMA
I'm a call girl. There's a difference, ya know.
(pause)
I don't know. Maybe there's not. That place you took me to last night, that 
comic book place.

CLARENCE
"Heroes For Sale"?

ALABAMA
Yeah, that one. Somebody who works there arranged to have me meet you.

CLARENCE
Who?

ALABAMA
I don't know. I didn't talk with them. The plan was for me to bump into 
you, pick you up, spend the night, and skip out after you fell asleep. I was 
gonna write you a note and say that this was my last day in America. That I 
was leaving on a plane this morning up to Ukraine to marry a rich 
millionaire, and thank you for making my last day in America my best day.

CLARENCE
That dazzling imagination.

ALABAMA
It's over on the TV. All it says is: "Dear Clarence." I couldn't write 
anymore. I didn't not want to ever see you again. In fact, it's stupid not to 
ever see you again. Las night... I don't know... I felt... I hadn't had that 
much fun since Girl Scouts. So I just said, "Alabama, come clean, Let him 
know what's what, and if he tells you to go fuck yourself then go back to 
Drexl and fuck yourself."

CLARENCE
Who and what is a Drexl?

ALABAMA
My pimp.

CLARENCE
You have a pimp?

ALABAMA
Uh-huh.

CLARENCE
A real live pimp?

ALABAMA
Uh-huh.

CLARENCE
Is he black?

ALABAMA
He thinks he is. He says his mother was Apache, but I suspect he's lying.

CLARENCE
Is he nice?

ALABAMA
Well, I wouldn't go so far as to call him nice, but he's treated me pretty 
decent. But I've only been there about four days. He got a little rough with 
Arlene the other day.

CLARENCE
What did he do to Arlene?

ALABAMA
Slapped her around a little. Punched her in the stomch. It was pretty scary.

CLARENCE
This motherfucker sounds charming!

Clarence is on his feet, furious.

CLARENCE
Goddamn it, Alabama, you gotta get the fuck outta there! How much 
longer before he's slappin' you around? Punchin' you in the stomach? How 
the fuck did you get hooked up with a douche-bag like this in the first 
place?

ALABAMA
At the bus station. He said I'd be a perfect call girl. And that he knew an 
agency in California that, on his recommendation, would handle me. They 
have a very exclusive clientele: movie stars, big businessmen, total white-
collar. And all the girls in the agency get a grand a night. At least five 
hundred. They drive Porsches, live in condos, have stockbrokers, carry 
beepers, you know, like Nancy Allen in "Dressed to Kill". And when I was 
ready he'd call 'em, give me a plane ticket, and send me on my way. He says 
he makes a nice finder's fee for finding them hot prospects. But no one's 
gonna pay a grand a night for a girl who doesn't know whether to shit or 
wind her watch. So what I'm doin' for Drexl now is just sorta learnin' the 
ropes. It seemed like a lotta fun, but I don't really like it much, till last 
night. You were only my third trick, but you didn't feel like a trick. Since it 
was a secret, I just pretended I was on a date. An, um, I guess I want a 
second date.

CLARENCE
Thank you. I wanna see you again too. And again, and again, and again. 
Bama, I know we haven't known each other long, but my parents went 
together all throughout high school, and they still got a divorce. So, fuck it, 
you wanna marry me?

ALABAMA
What?

CLARENCE
Will you be my wife?

When Alabama gives her answer, her voice cracks.

ALABAMA
Yes.

CLARENCE
(a little surprised)
You will?

ALABAMA
You better not be fucking teasing me.

CLARENCE
You better not be fuckin' teasin' me.

They seal it with a kiss.


LATER  THAT NIGHT

CLOSEUP  Alabama's wedding ring.

The newlyweds are snuggling up together onthe couch watching TV. The movie 
they're watching is "The Incredible One-Armed Boxer vs. the Master of the 
Flying Guillotine". Alabama watches the screen, but every so often she looks 
down to admre the ring on her hand.

CLARENCE
Did ya ever see "The Chinese Professionals"?

ALABAMA
I don't believe so.

CLARENCE
Well, that's the one that explains how Jimmy Wang Yu became the 
Incredible One-Armed Boxer.

We hear, off screen, the TV Announcer say:

TV ANNOUNCER
(off)
We'll return to Jimmy Wang Yu in... "The Incredible One-Armed Boxer 
vs. the Master of the Flying Guillotine", tonight's eight o'clock movie, after 
these important messages...

Clarence looks at the TV. He feels the warmth of Alabama's hand holding his. 
We see commercials playing.

He turns in her direction. She's absent-mindedly looking at her wedding ring.

He smiles and turns back to the TV.

More commercials.

Dolly close on Clarence's face


FLASH ON:

Alabama, right after he proposed.

ALABAMA
You better not be fucking teasing me.


FLASH ON:

In a cute, all-night wedding chapel. Clarence dressed in a rented tuxedo and 
Alabama in a rented white wedding gown.

ALABAMA
I do.

CLARENCE
Thank you.


FLASH ON:

Clarence and Alabama, dressed in tux and gown, doing a lover's waltz on a 
ballroom dance floor.


FLASH ON:

Clarence and Alabama in a taxi cab.

CLARENCE
Hello, Mrs. Worley.

ALABAMA
How do you do, Mr. Worley?

CLARENCE
Top o' the morning, Mrs. Worley.

ALABAMA
Bottom of the ninth . Mr. Worley. Oh, by the by, Mr. Worley, have you 
seen your lovely wife today?

CLARENCE
Oh, you're speaking of my charming wife Mrs. Alabama Worley.

ALABAMA
Of course. Are there others, Mr. Worley?

Moving on top of her.

CLARENCE
Not for me.

He starts kissing her and moving her down on the seat. She resists.

ALABAMA
(playfully)
No no no no no no no no no...

CLARENCE
(playfully)
Yes yes yes yes yes yes yes yes...


FLASH ON:

A big mean-looking BLACK MAN in pimp's clothes.

PIMP
Bitch, you better git yo ass back on the street an' git me my money.

Pimp on street corner with his arm around Alabama, giving her a sales pitch to 
a potential customer.

PIMP
I'm tellin' you, my man, this bitch is fine. This girl's a freak! You can fuck 
'er in the ass, fuck 'er in the mouth. Rough stuff, too. She's a freak for it. 
Jus' try not to fuck 'er up for life.


FLASH ON:

Pimp beating Alabama.

PIMP
You holdin' out on me, girl? Bitch, you never learn!


FLASH ON:

Alabama passionately kissing the uninterested pimp.

PIMP
Hang it up, momma. I got no time for this bullshit.


BACK TO:

TV showing kung fu film.


BACK TO:

Clarence's face. There's definitely something different about his eyes.

Clarence springs off the couch and goes into his bedroom. Alabama's startled 
by his sudden movement.

ALABAMA
(yelling after him)
Where you goin', honey?

CLARENCE
(off)
I just gotta get somethin'.


INT. CLARENCE'S APARTMENT  BATHROOM  NIGHT

Clarence splashes water on his face, trying to wash away the images that keep 
polluting his mind. Then, he hears a familiar voice.

FAMILIAR VOICE
(off)
Well? Can you live with it?

Clarence turns and sees that the voice belongs to Elvis Presley. Clarence isn't 
surprised to see him.

CLARENCE
What?

ELVIS
Can you live with it?

CLARENCE
Live with what?

ELVIS
With that son-of-a-bitch walkin' around breathin' the same air as you? 
And gettin' away with it every day. Are you haunted?

CLARENCE
Yeah.

ELVIS
You wanna get unhaunted?

CLARENCE
Yeah.

ELVIS
Then shoot 'em. Shoot 'em in the face. And feed that boy to the dogs.

CLARENCE
I can't believe what you're tellin' me.

ELVIS
I ain't tellin' ya nothin'. I'm just sayin' what I'd do.

CLARENCE
You'd really do that?

ELVIS
He don't got no right to live.

CLARENCE
Look, Elvis, he is hauntin' me. He doesn't deserve to live. And I do want to 
kill him. But I don't wanna go to jail for the rest of my life.

ELVIS
I don't blame you.

CLARENCE
If I thought I could get away with it 

ELVIS
Killin' 'em's the hard part. Gettin' away with it's the easy part. Whaddaya 
think the cops do when a pimp's killed? Burn the midnight oil tryin' to find 
who done it? They couldn't give a flyin' fuck if all the pimps in the whole 
wide world took two in the back of the fuckin' head. If you don't get caught 
at the scene with the smokin' gun in your hand, you got away with it.

Clarence looks at Elvis.

ELVIS
Clarence, I like ya. Always have, always will.


INT. CLARENCE'S APARTMENT  BEDROOM  NIGHT

CLOSEUP  A snub-nosed .38, which Clarence loads and sticks down his 
heavy athletic sock.


INT. CALRENCE'S APARTMENT  LIVING ROOM  NIGHT

Clarence returns.

CLARENCE
Sweetheart, write down your former address.

ALABAMA
What?

CLARENCE
Write down Drexl's address.

ALABAMA
Why?

CLARENCE
So I can go over there and pick up your things.

ALABAMA
(really scared)
No, Clarence. Just forget it, babe. I just wanna disappear from there.

He kneels down before her and holds her hand.

CLARENCE
Look, sweetheart, he scares you. But I'm not scared of that motherfucker. 
He can't touch you now. You're completely out of his reach. He poses 
absolutely no threat to us. So, if he doesn't matter, which he doesn't, it 
would be stupid to lose your things, now wouldn't it?

ALABAMA
You don't know him 

CLARENCE
You don't know me. Not when it comes to shit like this. I have to do this. I 
need for you to know you can count on me to protect you. Now write down 
the address.

TITLE CARD: "CASS QUARTER, HEART OF DETROIT"


EXT. DOWNTOWN DETROIT STREET  NIGHT

It's pretty late at night. Clarence steps out of his red Mustang. He's right smack 
dab in the middle of a bad place to be in daytime. He checks the pulse on his 
neck; it's beating like a race horse. To pump himself up he does a quick Elvis 
Presley gyration.

CLARENCE
(in Elvis voice)
Yeah... Yeah...

He makes a beeline for the front door of a large, dark apartment building.


INT. DARK BUILDING  NIGHT

He's inside. His heart's really racing now. He has the TV guide that Alabama 
wrote the address on in his hand. He climbs a flight of stairs and makes his way 
down a dark hallway to apartment 22, the residence of Drexl Spivey. Clarence 
knock on the door.

A YOUNG BLACK MAN, about twenty years old, answers the door. He has 
really big biceps and is wearing a black and white fishnet football jersey.

YOUNG BLACK MAN
You want somethin'?

CLARENCE
Drexl?

YOUNG BLACK MAN
Naw, man, I'm Marty. Watcha want?

CLARENCE
I gotta talk to Drexl.

MARTY
Well, what the fuck you wanna tell him?

CLARENCE
It's about Alabama.

A figure jumps in the doorway wearing a yellow Farah Fawcett T-shirt. It's our 
friend, Drexl Spivey.

DREXL
Where the fuck is that bitch?

CLARENCE
She's with me.

DREXL
Who the fuck are you?

CLARENCE
I'm her husband.

DREXL
Well. That makes us practically related. Bring your ass on in.


INT. DREXL'S LIVING ROOM  NIGHT

Drexl and Marty about-face and walk into the room, continuing a conversation 
they were having and leaving Clarence standing in the doorway. This is not the 
confrontation Clarence expected. He trails in behind Drexl and Marty.

DREXL
(to Marty)
What was I sayin'?

MARTY
Rock whores.

DREXL
You ain't seen nothin' like these rock whores. They ass be young man. They 
got that fine young pussy. Bitches want the rock they be a freak for you. 
They give you hips, lips, and fingertips.

Drexl looks over his shoulder at Clarence.

DREXL
(to Clarence)
You know what I'm talkin' about.

Drexl gestures to one of the THREE STONED HOOKERS lounging about the 
apartment.

DREXL
(to Marty)
These bitches over here ain't shit. You stomp them bitches to death to get 
the kind of pussy I'm talkin' about.

Drexl sits down at a couch with a card table in front of it, scattered with take-
out boxes of Chinese food. A black exploitation movie is playing on TV.

DREXL
Looky here, you want the bitches to really fly high, make your rocks with 
Cherry Seven-Up.

MARTY
Pussy love pink rocks.

This is not how Clarence expected to confront Drexl, but this is exactly what he 
expected Drexl to be like. He positions himself in front of the food table, 
demanding Drexl's attention.

DREXL
(eating with chopsticks, to Clarence)
Grab a seat there, boy. Want some dinner? Grab yourself an egg roll. We 
got everything here from a diddle-eyed-Joe to a damned-if-I-know.

CLARENCE
No thanks.

DREXL
No thanks? What does that mean? Means you ate before you came down 
here? All full. Is that it? Naw, I don't think so. I think you're too scared to 
be eatin'. Now, see we're sittin' down here, ready to negotiate, and you've 
already given up your shit. I'm still a mystery to you. But I know exactly 
where your ass is comin' from. See, if I asked you if you wanted some 
dinner and you grabbed an egg roll and started to chow down, I'd say to 
myself, "This motherfucker's carryin' on like he ain't got a care in the 
world. Who know? Maybe he don't. Maybe this fool's such a bad 
motherfucker, he don't got to worry about nothin', he just sit down, eat my 
Chinese, watch my TV." See? You ain't even sat down yet. On that TV 
there, since you been in the room, is a woman with her titties hangin' out, 
and you ain't even bothered to look. You just been starin' at me. Now, I 
know I'm pretty, but I ain't as pretty as a couple of titties.

Clarence takes out an envelope and throws it on the table.

CLARENCE
I'm not eatin' 'cause I'm not hungry. I'm not sittin' 'cause I'm not stayin'. 
I'm not lookin' at the movie 'cause I saw it seven years ago. It's "The 
Mack" with Max Julian, Carol Speed, and Richard Pryor, written by 
Bobby Poole, directed by Michael Campus, and released by Cinerama 
Releasing Company in 1984. I'm not scared of you. I just don't like you. In 
that envelope is some payoff money. Alabama's moving on to some greener 
pastures. We're not negotiatin'. I don't like to barter.  I don't like to dicker. 
I never have fun in Tijuana. That price is non-negotiable. What's in that 
envelope is for my peace of mind. My peace of mind is worth that much. 
Not one penny more, not one penny more.

You could hear a pin drop. Once Clarence starts talking Marty goes on full 
alert. Drexl stops eating and the Whores stop breathing. All eyes are on Drexl. 
Drexl drops his chopsticks and opens the envelope. It's empty.

DREXL
It's empty.

Clarence flashes a wide Cheshire cat grin that says, "That's right, asshole."

Silence.

DREXL
Oooooooooh weeeeeeee! This child is terrible. Marty, you know what we 
got here? Motherfuckin' Charles Bronson. Is that who you supposed to be? 
Mr. Majestyk? Looky here, Charlie, none of this shit is necessary. I ain't 
got no hold on Alabama. I just tryin' to lend the girl a helpin' hand 

Before Drexl finishes his sentence he picks up the card table and throws it at 
Clarence, catching him of guard.

Marty comes up behind Clarence and throws his arm around his neck, putting 
him in a tight choke hold. 

Clarence, with his free arm, hits Marty hard with his elbow in the solar plexus. 
We'll never know if that blow had any effect because at just that moment Drexl 
takes a flying leap and tackles the two guys.

All of them go crashing into the stereo unit and a couple of shelves that hold 
records, all of which collapse to the floor in a shower of LPs.

Marty, who's on the bottom of the pile, hasn't let go of Clarence.

Since Drexl's on top, he starts slamming fists into Clarence's face.

Clarence, who's sandwiched between these two guys, can't do a whole lot about 
it.

DREXL
Ya wanna fuck with me?
(hits Clarence)
Ya wanna fuck with me?
(hits Clarence)
I'll show ya who you're fuckin' wit!

He hits Clarence hard in the face with both fists.

Clarence, who has no leverage whatsoever, grabs hold of Drexl's face and digs 
his nails in. He sticks his thumb in Drexl's mouth, grabs a piece of cheek, and 
starts twisting.

Marty, who's in an even worse position, can do nothing but tighten his grip 
aroud Clarence's neck, until Clarence feels like his eyes are going to pop out of 
his head.

Drexl's face is getting torn up, but he's also biting down hard on Clarence's 
thumb.

Clarence raises his head and brings it down fast, crunching Marty's face, and 
busting his nose.

Marty loosens his grip around Clarence's neck. Clarence wiggles free and gets 
up on his knees.

Drexl and Clarence are now on an even but awkward footing. The two are 
going at each other like a pair of alley cats, not aiming their punches, keeping 
them coming fast and furious. They're not doing much damage to each other 
because of their positions, it's almost like a hockey fight.

Marty sneaks up behind Clarence and smashes him in the head with a stack of 
LPs. This disorients Clarence. Marty grabs him from behind and pulls him to 
his feet.

Drexl socks him in the face: one, two three! Then he kicks him hard in the balls.

Marty lets go and Clarence hits the ground like a sack of potatoes. He curls up 
into a fetal position and holds his balls, tears coming out of his eyes.

Drexl's face is torn up from Clarence's nails.

Marty has blood streaming down his face frim his nose and on to his shirt.

DREXL
(to Marty)
You OK? That stupid dumb-ass didn't break your nose, did he?

MARTY
Naw. It don't feel too good but it's alright.

Drexl kicks Clarence, who's still on the ground hurting.

DREXL
(to Clarence)
You see what you get when you fuck wit me, white boy? You're gonna walk 
in my goddamn house, my house! Gonna come in here and tell me! Talkin' 
smack, in my house, in front of my employees. Shit! Your ass must be 
crazy.
(to Marty)
I don't think that white boy's got good sense. Hey, Marty.
(laughing)
He must of thought it was white boy day. It ain't white boy day, is it?

MARTY
(laughing)
Naw, man, it ain't white boy day.

DREXL
(to Clarence)
Shit, man, you done fucked up again. Next time you bogart your way into a 
nigger's crib, an' get all his face, make sure you do it on white boy day.

CLARENCE
(hurting)
Wannabee nigger...

DREXl
Fuck you! My mother was Apache.

Drexl kicks him again. Clarence curls up.

Drexl bends down and looks for Clarence's wallet in his jacket.

Clarence still can't do much. The kick to his balls still has him down.

Drexl finds it and pulls it out. He flips it open to driver's license.

DREXL
Well, well, well, looky what we got here. Clarence Worley. Sounds almost 
like a nigger name.
(to Clarence)
Hey, dummy.

He puts his foot on Clarence's chest. Clarence's POV as he looks up.

DREXL
Before you bought your dumb ass through the door, I didn't know shit. I 
just chalked it up to au revoir Alabama. But, because you think you're 
some macho motherfucker, I know who she's with. You. I know who you 
are, Clarence Worley. And, I know where you live, 4900 116th  street, 
apartment 48. And I'll make a million-dollar bet, Alabama's at the same 
address. Marty, take the car and go get 'er. Bring her dumb ass back here.

He hands Marty the driver's license. Maty goes to get the car keys and a jacket.

DREXL
(to Marty)
I'll keep lover boy here entertained.
(to Clarence)
You know the first thing I'll do when she gets here. I think I'll make her 
suck my dick, and I'll come all in her face. I mean it ain't nuttin' new. She's 
done it before. But I want you as a audience.
(hollering to Marty)
Marty, what the fuck are you doin'?

MARTY
(off)
I'm tryin' to find my jacket.

DREXL
Look in the hamper. Linda's been dumpin' everybody's stray clothes there 
lately.

While Drexl has his attention turned to Marty, Clarence reaches into his sock 
and pulls out the .38. he stick the barrel between Drexl's legs. Drexl, who's 
standing over Clarence, looks down just in time to see Clarence pull the trigger 
and blow his balls to bits. Tiny spots of blood speckle Clarence's face.

Drexl shrieks in horror and pain, and falls to the ground.

MARTY
(off)
What's happening?

Marty steps into the room.

Clarence doesn't hesitate, he shoots Marty four times in the chest.

Two of three Hookers have run out of the front door, screaming. The other 
Hooker is curled up in the corner. She's too stoned to run, but stoned enough to 
be terrified.

Drexl, still alive, is laying on the ground howling, holding what's left of his 
balls and his dick.

Clarence points the gun at the remaining Hooker.

CLARENCE
Get a bag and put Alabama's thing in it!

She doesn't move.

CLARENCE
You wanna get shot? I ain't got all fuckin' day, so move it!

The Hooker, tears of fear ruining her mascara, grabs a suitcase from under the 
bed, and, on her hands and knees, pushes it along the floor to Clarence.

Clarence takes it by the handle and wobbles over to Drexl, who's curled up like 
a pillbug.

CLOSEUP  Clarence's forgotten driver's license in Marty's bloody hand.

Clarence puts his foot on Drexl's chest.

CLARENCE
(to Drexl)
Open you eyes, laughing boy.

He doesn't. Clarence gives him a kick.

CLARENCE
Open you eyes!

He does. It's now Drexl's POV from the floor.

CLARENCE
You thought it was pretty funny, didn't you?

He fires.

CLOSEUP  The bullet comes out of the gun and heads right toward us. When 
it reaches us, the screen goes awash in red.


INT. CLARENCE'S APARTMENT  NIGHT

The front swings open and Clarence walks in. Alabama jumps off the couch and 
runs toward Clarence, before she reaches him he blurts out:

CLARENCE
I killed him.

She stops short.

CLARENCE
I've got some food in the car, I'll be right back.

Clarence leaves. Except for the TV playing, the room is quiet. Alabama sits on 
the couch.

Clarence walks back into the room with a whole bounty of take-out food. He 
heaps it on to the coffee table and starts to chow down.

CLARENCE
Help yourself. I got enough. I am fuckin' starvin'. I think I ordered one of 
everythin'.

He stops and looks at here.

CLARENCE
I am so hungry.

He starts eating french fries and hamburgers.

ALABAMA
(in a daze)
Was it him or you?

CLARENCE
Yeah. But to be honest, I put myself in that position. When I drove up there 
I said to myself, "If I can kill 'em and get away with it, I'll do it." I could. 
So I did.

ALABAMA
Is this a joke?

CLARENCE
No joke. This is probably the best hamburger I've ever had. I'm serious, 
I've never had a hamburger taste this good.

Alabama starts to cry. Clarence continues eating, ignoring her.

CLARENCE
Come on, Bama, eat something. You'll feel better.

She continues crying. He continues eating and ignoring her. Finally he spins on 
her, yelling:

CLARENCE
Why are you crying? He's not worth one of your tears. Would you rather it 
had been me? Do you love him?
(no answer)
Do you love him?
(no answer)
Do you love him?

She looks at Clarence, having a hard time getting a word out.

ALABAMA
I think what you did was...

CLARENCE
What?

ALABAMA
I think what you did...

CLARENCE
What?

ALABAMA
... was so romantic.

Clarence is completely taken back. They meet in a long, passionate lovers' kiss. 
Their kiss breaks and slowly the world comes back to normal.

CLARENCE
I gotta get outta these clothes.

He picks up the suitcase and drops it on the table in front of them.

ALABAMA
(comically)
Clean clothes. There is a god,

Clarence flips open the suitcase. Alabama's and her husband's jaws drop.

ALABAMA
Clarence. Those aren't my clothes.

CUT TO:


EXT. HOLLYWOOD HOLIDAY INN  DAY

We see the Hollywood Holiday Inn sign. Pan to the parking lot where 
Clarence's empty red Mustang is parked.


INT. HOLLYWOOD HOLIDAY INN  CALRENCE'S ROOM  DAY

CLOSEUP  Dick's jaw drops. His hand reaches out of shot.

CLOSEUP  The reason for all the jaw dropping... the suitcase is full of 
cocaine!

Clarence smiles, holding a bottle of wine.

Alabama's watching the cable TV.

DICK
Holy Mary, Mother of God.

ALABAMA
This is great, we got cable.

CLARENCE
(to Alabama)
Bama, you got your blade?

Keeping her eyes on the TV, she pulls out from her purse a Swiss army knife 
with a tiny dinosaur on it and tosses it to Clarence. Clarence takes off the 
corkscrew and opens the wine.

He pours some wine into a couple of hotel plastic cups, a big glass for Dick, a 
little one for himself. He hands it to Dick. Dick takes it and drinks.

DICK
This shit can't be real.

CLARENCE
It'll get ya high.

He tosses the knife.

CLARENCE
Do you want some wine, sweetheart?

ALABAMA
Nope. I'm not really a wine gal.

Using the knife, Dick snorts some of the cocaine. He jumps back.

DICK
It's fuckin' real!
(to Clarence)
It's fuckin' real!

CLARENCE
I certainly hope so.

DICK
You've got a helluva lotta coke there, man!

CLARENCE
I know.

DICK
Do you have any idea how much fuckin' coke you got?

CLARENCE
Tell me.

DICK
I don't know! A fuckin' lot!

He downs his wine. Clarence fills his glass.

DICK
This is Drexl's coke?

CLARENCE
Drexl's dead. This is Clarence's coke and Clarence can do whatever he 
wants with it. And what Clarence wants to do is sell it. Then me and Bama 
are gonna leave on a jet plane and spend the rest of our lives spendin'. So, 
you got my letter, have you lined up any buyers?

DICK
Look, Clarence, I'm not Joe Cocaine.

Dick gulps half of his wine. Clarence fills up.

CLARENCE
But you're an actor. I hear these Hollywood guys have it delivered to the 
set.

DICK
Yeah, they do. And maybe when I start being a successful actor I'll know 
those guys. But most of the people I know are like me. They ain't got a pot 
to piss in or a window to throw it out of. Now, if you want to sell a little bit 
at a time 

CLARENCE
No way! The whole enchilada in one shot.

DICK
Do you have any idea how difficult that's gonna be?

CLARENCE
I'm offering a half a million dollars worth of white for two hundred 
thousand. How difficult can that be?

DICK
It's difficult because you're sellin' it to a particular group. Big shots. Fat 
cats. Guys who can use that kind of quantity. Guys who can afford two 
hundred thousand. Basically, guys I don't know. You don't know. And, 
more important, they don't know you. I did talk with one guy who could 
possibly help you.

CLARENCE
Is he big league?

DICK
He's nothing. He's in my acting class. But he works as an assistant to a very 
powerful movie producer named Lee Donowitz. I thought Donowitz could 
be interested in a deal like this. He could use it. He could afford it.

CLARENCE
What'd'ya tell 'em?

DICK
Hardly anything. I wasn't sure from your letter what was bullshit, and 
what wasn't.

CLARENCE
What's this acting class guy's name?

DICK
Elliot.

CLARENCE
Elliot what?

DICK
Elliot Blitzer.

CLARENCE
OK, call 'im up and arrange a meeting, so we can get through all the 
getting to know you stuff.

DICK
Where?

CLARENCE
(to Alabama)
The zoo.

CLARENCE
(to Dick)
The zoo.
(pause)
What are you waiting for?

DICK
Would you just shut up a minute and let me think?

CLARENCE
What's to think about?

DICK
Shut up! First you come waltzing into my life after two years. You're 
married. You killed a guy.

CLARENCE
Two guys.

DICK
Two guys. Now you want me to help you with some big drug deal. Fuck, 
Clarence, you killed somebody and you're blowin' it off like it don't mean 
shit.

CLARENCE
Don't expect me to be all broken up over poor Drexl. I think he was a 
fuckin', freeloadin', parasitic scumbag, and he got exactly what he 
deserved. I got no pity for a mad dog like that. I think I should get a merit 
badge or somethin'.

Dick rests his head in his hands.

CLARENCE
Look, buddy, I realize I'm layin' some pretty heavy shit on ya, but I need 
you to rise to the occasion. So, drink some more wine. Get used to the idea, 
and get your friend to the phone.


EXT. LOS ANGELES ZOO  DAY

CLOSEUP  A black panther, the four-legged kind, paces back and forth.

Clarence, Alabama, Dick and ELLIOT BLITZER are walking through the zoo. 
One look at Elliot and you can see what type of actor he is, a real GQ, blow-dry 
boy. As they walk and talk, Clarence is eating a box of animal crackers and 
Alabama is blowing soap bubbles.

ELLIOT
So you guys got five hundred thousand dollars worth of cola that you're 
unloading 

CLARENCE
Want an animal cracker?

ELLIOT
Yeah, OK.

He takes one.

CLARENCE
Leave the gorillas.

ELLIOT
 that you're unloading for two hundred thousand dollars 

CLARENCE
Unloading? That's a helluva way to describe the bargain of a lifetime.

DICK
(trying to chill him out)
Clarence...

ELLIOT
Where did you get it?

CLARENCE
I grow it on my window-sill. The lights really great there and I'm up high 
enough so you can't see it from the street.

ELLIOT
(forcing a laugh)
Ha ha ha. No really, where does it come from?

CLARENCE
Coco leaves. You see, they take the leaves and mash it down until it's kind 
of a paste 

ELLIOT
(turning to Dick)
Look, Dick, I don't 

CLARENCE
(laughing)
No problem, Elliot. I'm just fuckin' wit ya, that's all. Actually, I'll tell you 
but you gotta keep it quiet. Understand, if Dick didn't assure me you're 
good people I'd just tell ya, none of your fuckin' business. But, as a sign of 
good faith, here it goes: I gotta friend in the department.

ELLIOT
What department?

CLARENCE
What do you think, eightball?

ELLIOT
The police department?

CLARENCE
Duh. What else would I be talking about? Now stop askin' stupid doorknob 
questions. Well, a year and a half ago, this friend of mine got access to the 
evidence room for an hour. He snagged this coke. But, he's a good cop with 
a wife and a kid, so he sat on it for a year and a half until he found a guy he 
could trust.

ELLIOT
He trusts you?

CLARENCE
We were in Four H together. We've known each other since childhood. So, 
I'm handling the sales part. He's my silent partner and he knows if I get 
fucked up, I won't drop dime on him. I didn't tell you nothin' and you 
didn't hear nothin'.

ELLIOT
Sure. I didn't hear anything.

Elliot is more than satisfied. Clarence makes a comical face at Dick when 
Elliot's not looking. Dick is wearing I-don't-believe-this-guy expresion. 
Alabama is forever blowing bubbles.

CUT TO:


EXT. LOS ANGELES ZOO  SNACK BAR  DAY

We're in the snack bar area of the zoo. Alabama, Dick, and Elliot are sitting 
around a plastic outdoor table. Clarence is pacing around the table as he talks. 
Alabama is still blowing bubbles.

CLARENCE
(to Elliot)
Do I look like a beautiful blond with big tits and an ass that tastes like 
French vanilla ice-cream?

Elliot hasn't the slightest idea what that is supposed to mean.

ELLIOT
What?

CLARENCE
Do I look like a beautiful blond with big tits and an ass that tastes like 
French vanilla ice-cream?

ELLIOT
(with conviction)
No. No, you don't.

CLARENCE
Then why are you telling me all this bullshit just so you can fuck me?

DICK
Clarence...

CLARENCE
(to Dick)
Let me handle this.

ELLIOT
Get it straight, Lee isn't into taking risks. He deals with a couple of guys, 
and he's been dealing with them for years. They're reliable. They're 
dependable. And, they're safe.

CLARENCE
Riddle me this, Batman. If you're all so much in love with each other, what 
the fuck are you doing here? I'm sure you got better things to do with your 
time than walk around in circles starin' up a panther's ass. Your guy's 
interested because with that much shit at his fingertips he can play Joe 
fuckin' Hollywood till the wheels come off. He can sell it, he can snort it, he 
can play Santa Claus with it. At the price he's payin', he'll be everybody's 
best friend. And, you know, that's what we're talkin' about here. I'm not 
puttin' him down. Hey, let him run wild. Have a ball, it's his money. But, 
don't expect me to hang around forever waitin' for you guys to grow some 
guts.

Elliot has been silenced. He nods his head in agreement.


INT. PORSCHE  MOVING  MULHOLLAND DRIVE  DAY

Movie producer, LEE DONOWITZ, is driving his Porsche through the winding 
Hollywood hills, just enjoying being rich and powerful. His cellular car phone 
rings, he answers.

LEE
Hello.
(pause)
Elliot, it's Sunday. Why am I talkin' to you on Sunday? I don't see enough 
of you during the week I gotta talk to you on Sunday? Why is it you always 
call me when I'm on the windiest street in L.A.?

BACK TO:


ELLIOT

Elliot is on the zoo payphone. Clarence is next to him. Dick is next to Clarence. 
Alabama is next to Dick, blowing bubbles.

ELLIOT
(on phone)
I'm with that party you wanted me to get together with. Do you know what 
I'm talking about, Lee?

BACK TO:


LEE

Store-fronts whiz by in the background.

LEE
Why the hell are you calling my phone to talk about that?

BACK TO:


ELLIOT

ELLIOT
Well, he'd here right now, and he insists on talking to you.

BACK TO:


LEE

In the 7th street tunnel. Lee'svoice echoes.

LEE
Are you outta your fuckin' mind?

BACK TO:


ELLIOT

ELLIOT
You said if I didn't get you on the 

Clarence takes the receiverout of Elliot's hand.

CLARENCE
(into phone)
Hello, Lee, it's Clarence. At last we meet.


EXT. DICK'S APARTMENT  DAY

Virgil's knocking on Dick's door. Floyd (Dick's room-mate) answers.

VIRGIL
Hello, is Dick Ritchie here?

FLOYD
Naw, he ain't home right now.

VIRGIL
Do you live here?

FLOYD
Yeah, I live here.

VIRGIL
Sorta room-mates?

FLOYD
Exactly room-mates.

VIRGIL
Maybe you can help me. Actually, who I'm looking for is a friend of ours 
from Detroit. Clarence Worley? I heard he was in town. Might be 
travelling with a pretty girl named Alabama. Have you seen him? Are they 
stayin' here?

FLOYD
Naw, they ain't stayin' here. But, I know who you're talkin' about. They're 
stayin' at the Hollywood Holiday Inn.

VIRGIL
How do you know? You been there?

FLOYD
No, I ain't been there. But I heard him say. Hollywood Holiday Inn. Kinda 
easy to remember.

VIRGIL
You're right. It is.


EXT. LOS ANGELES ZOO  PAYPHONE  DAY

Clarence is still on the phone with Lee.

CLARENCE
Lee, the reason I'm talkin' with you is I want to open "Doctor Zhivago" in 
L.A. And I want you to distribute it.

BACK TO:


LEE

Stopped in the traffic on Sunset Boulevard.

LEE
I don't know, Clarence, "Doctor Zhivago" is a pretty big movie.

BACK TO:


CLARENCE

CLARENCE
The biggest. The biggest movie you've ever dealt with, Lee. We're talkin' a 
lot of film. A man'd have ta be an idiot not to be a little cautious about a 
movie like that. And Lee, you're no idiot.

BACK TO:


LEE

He's still on Sunset Boulevard, the traffic's moving better now.

LEE
I'm not sayin' I'm not interested. But being a distributer's not what I'm all 
about. I'm a film producer, I'm on this world to make good movies. 
Nothing more. Now, having my big toe dipped into the distribution end 
helps me on many levels.

Traffic breaks and Lee speeds along. The background whizzes past him.

LEE
(continuing)
But the bottom line is: I'm not Paramount. I have a select group of 
distributers I deal with. I buy their little movies. Accomplish what I wanna 
accomplish, end of story. Easy, business-like, very little risk.

BACK TO:


CLARENCE

CLARENCE
Now that's bullshit, Lee. Every time you buy one of those little movies it's a 
risk. I'm not sellin' you something that's gonna play two weeks, six weeks, 
then go straight to cable. This is "Doctor Zhivago". This'll be packin' 'em 
in for a year and a half. Two years! That's two years you don't have to 
work with anybody's movie but mine.

BACK TO:


LEE

Speeding down a benchside road.

LEE
Well, then, what's the hurry? Is it true the rights to "Doctor Zhivago" are 
in arbitration?

BACK TO:


CLARENCE

CLARENCE
I wanna be able to announce this deal at Cannes. If I had time for a 
courtship, Lee, I would. I'd take ya out, I'd hold your hand, I'd kiss you on 
the cheek at the door. But, I'm not in that position. I need to know if we're 
in bed together, or not. If you want my movie, Lee, you're just gonna have 
to come to terms with your Fear and Desire.

Pause. Clarence hands the phone to Elliot.

CLARENCE
(to Elliot)
He wants to talk ya.

ELLIOT
(into phone)
Mr. Donowitz?
(pause)
I told you, through Dick.
(pause)
He's in my acting class.
(pause)
About a year.
(pause)
Yeah, he's good.
(pause)
They grew up together.
(pause)
Sure thing.

Elliot hangs up the phone.

ELLIOT
He says Wednesday at three o'clock at the Beverly Wilshire. He wants 
everybody there.
(pointing to Clarence)
He'll talk to you. If after talkin' to you he's convinced you're OK, he'll do 
business. If not, he'll say fuck it and walk out the door. He also wants a 
sample bag.

CLARENCE
No problems on both counts.

He offers Elliot the animal crackers.

CLARENCE
Have a cookie.

Elliot takes one.

ELLIOT
Thanks.

He puts it in the mouth.

CLARENCE
That wasn't a gorilla, was it?


EXT. HOLIDAY INN  DAY

The red Mustang with Clarence and Alabama pulls up to the hotel. Alabama 
hops out. Clarence stays in.

ALABAMA
You did it, Quickdraw. I'm so proud of you. You were like a ninja. Did I do 
my part OK?

CLARENCE
Babalouey, you were perfect, I could hardly keep from busting up.

ALABAMA
I felt so stupid just blowing those bubbles.

CLARENCE
You were chillin', kind of creepy even. You totally fucked with his head. 
I'm gonna go grab dinner.

ALABAMA
I'm gonna hop in the tub and get all wet, and slippery, and soapy. Then I'm 
gonna lie in the waterbed, not even both to dry off, and watch X-rated 
movies till you get your ass back to my lovin' arms.

They kiss.

CLARENCE
We now return to "Bullit" already in progress.

He slams the Mustang in reverse and peels out of the hotel. Alabama walks her 
little walk from the parking lot to the pool area. Somebody whistles at her, she 
turns to them.

ALABAMA
Thank you.

She gets to her door, takes out the key, and opens the door.


INT. HOLLYWOOD HOLIDAY INN  CALRENCE'S ROOM  DAY

She steps in only to find Virgil sitting on a chair placed in front of the door with 
a sawed-off shotgun aimed right at her.

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 play 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 fuck 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 shit for you? 
Dream on, cunt. You're nothin' but a fuckin' fool. And your pretty face is 
gonna turn awful goddamn ugly in about two seconds. Now, where's my 
fuckin' 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 shit. 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 fuck her with Pat Boone's dick.

Clarence and the Customer laugh.


INT. HOLLYWOOD HOLIDAY INN  CLARENCE'S ROOM  DAY

Alabama's pretty beat up. She has a fat lip and her face is black and blue. She's 
crawling around on the floor. Virgil is tearing the place apart looking for the 
cocaine. He's also carrying on a running commentary.

VIRGIL
Now the first guy you kill is always the hardest. I don't care if you're the 
Boston Strangler or Wyatt Earp. You can bet that Texas boy, Charles 
Whitman, the fella who shot all them guys from that tower, I'll bet you 
green money that that first little black dot that he took a bead on, was the 
bitch of the bunch. No foolin' the first one's a tough row to hoe. Now, the 
second one, while it ain't no Mardi Gras, it ain't half as tough row to hoe. 
You still feel somethin' but it's just so deluted this time around. Then you 
completely level off on the third one. The third one's easy. It's gotten to the 
point now I'll do it just to watch their expressions change.

He's tearing the motel room up in general. Then he flips the matress up off the 
bed, and the black suitcase is right there.

Alabama's crawling, unnoticed to where her purse is lying. Virgil flips open the 
black case and almost goes snow blind.

VIRGIL
Well, well, well, looky here. I guess I just reached journey's end. Great. 
One less thing I gotta worry about.

Virgil closes the case. Alabama sifts through her purse.

She pulls out her Swiss army knife, opens it up. Virgil turns toward her.

VIRGIL
OK, Sugarpop, we've come to what I like to call the moment of truth 

Alabama slowly rises clutching the thrust-out knife in both hands. Mr. Karate-
man smiles.

VIRGIL
Kid, you got a lotta heart.

He moves toward her.

Alabama's hands are shaking.

VIRGIL
Tell you what I'm gonna do. I'm gonna give you a free swing. Now, I only 
do that for people I like.

He moves close.

Alabama's eyes study him. He grabs the front of his shirt and rips it open. 
Buttons fly everywhere.

VIRGIL
Go ahead, girl, take a stab at it.
(giggling)
You don't have anything to lose.

CLOSEUP  Alabama's face. Virgil's right, she doesn't have anything to lose. 
Virgil's also right about his being the moment of truth. The ferocity in women 
that comes out at certain times, and is just here under the surface in many 
women all of the time, is unleashed. The absolute feeling of helplessness she felt 
only a moment ago has taken a one hundred and eighty degree turn into "I'll 
take this motherfucker with me if it's the last thing I do" seething hatred.

Letting out a bloodcurling yell, she raises the knfe high above her head, then 
drops to her knees and plunges it deep into Virgil's right foot.


CLOSEUP  VIRGIL'S FACE

Talk about bloodcurling yells.

Virgil bends down and carefully pulls the knife from his foot, tears running 
down his face.

While Virgil's bent down, Alabama smashes an Elvis Presley whiskey decanter 
that Clarence bought her in Oklahoma over his head. It's only made of plaster, 
so it doesn't kill him.

Virgil's moving toward Alabama, limping on his bad foot.

VIRGIL
OK, no more Mr. Nice-guy.

Alabama picks up the hotel TV and tosses it to him. He instinctively catches it 
and, with his arms full of television, Alabama cold-cocks him with her fist in the 
nose, breaking it.

Her eyes go straight to the door, then to the sawed-off shotgun by it. She runs to 
it, bends over the chair for the gun. Virgil's left foot kicks her in the back, 
sending her flying over the chair and smashing into the door.

Virgil furiously throws the chair out of the way and stands over Alabama. 
Alabama's lying on the ground laughing. Virgil has killed a lot of people, but 
not one of them has ever laughed before he did it.

VIRGIL
What's so fuckin' funny?!!

ALABAMA
(laughing)
You look so ridiculous.

She laughs louder. Virgil's insane. He picks her off the floor, then lifts her off 
the ground and throws her through the glass shower door in the bathroom.

VIRGIL
Laugh it up, cunt. You were in hysterics a minute ago. Why ain't you 
laughing now?

Alabama, lying in the bathtub, grabs a small bottle of hotel shampoo and 
squeezes it out in her hand.

Virgil reaches in the shower and grabs hold of her hair.

Alabama rubs the shampoo in his face. He lets go of her and his hands go to his 
eyes.

VIRGIL
Oh Jesus!

She grabs hold of a hefty piece of broken glass and plunges it into his face.

VIRGIL
Oh Mary, help me!

The battered and bruised and bloody Alabama emerges from the shower. She's 
clutching a big, bloody piece of broken glass. She's vaguely reminiscent of a 
Tasmanian devil. Poor Virgil can't see very well, but he sees her figure coming 
toward him. He lets out a wild haymaker that catches her in the jaw and knocks 
her into the toilet.

Ahe recovers almost immediately and takes the porcelain lid off the back of the 
toilet tank.

Virgil whips out a .45 automatic from his shoulder holster, just as Alabama 
brings the lid down on his head. He's pressed up against the wall with this toilet 
lid hitting him. He can't get a good shot in this tight environment, but he fires 
anyway, hitting the floor, the all, the toilet, and the sink.

The toilet lid finally shatters against Virgil's head. He falls to the ground.

Alabama goes to the medicine cabinet and whips out a big can of Final Net 
hairspray. She pulls a Bic lighter out of her pocket, and, just as Virgil raises his 
gun at her, she flicks the Bic and sends a stream of hairspray through the flame, 
which results in a big ball of fire that hits Virgil right in the face.

He fires off two shots. One hits the wall, another hits the sink pipe, sending 
water spraying.

Upon getting his face fried Virgil screams and jumps up, knocking Alabama 
down, and runs out of the bathroom.

Virgil collapses on the floor of the living room. Then, he sees the sawed-off 
laying on the ground. He crawls toward it.

Alabama, in the bathroom, sees where he's heading. She picks up the .45 
automatic and fires at him. It's empty. She's on her feet and into the room.

He reaches the shotgun, his hands grasp it.

Alabama spots and picks up the bloody Swiss army knife. She takes a knife-first-
running-dive at Virgil's back. She hits him.

He arches up, firing the sawed-off into the ceiling, dropping the gun, and 
sending a cloud of plaster and stucco all over the room.

Alabama snatches the shotgun.

Arched over on his back Virgil and Alabama make eye contact.

The first blast hits him in the shoulder, almost tearing his arm off. The second 
hits him in the knee. The third plays hell with his chest.

Alabama then runs at him, hitting him in the head with the butt of the shotgun.

Ever since he's been firing it's as if some other part of her brain has been 
functioning independently. She's been absent-mindedly saying the prayer of 
Saint Francis of Assisi.

ALABAMA
Lord, make me an instrument of Thy peace;
where there is hatred, let me sow love;
where there is injury, pardon;
where there is doubt, faith;
where there is despair, hope;
where there is darkness, light;
and where there is sadness, joy.
O Divine Master, grant that I may not
so much seek to be consoled as to console;
to be understood as to understand;
to be loved as to love;
for it is in giving that we receive,
it is pardoning that we are pardoned,
and it is in dying that we are born
to eternal life.

Clarence, who's been hearing gunshots, bursts through the door, gun drawn, 
only to see Alabama, hitting a dead guy on the head, with a shotgun.

CLARENCE
Honey?

She continues. He puts his gun away.

CLARENCE
Sweetheart? Cops are gonna be here any minute,

She continues. He takes the gun away from her, and she falls to the ground. She 
lies on the floor trembling, continuing with the downward swings of her arms.

Clarence grabs the shotgun and the cocaine, and tosses Alabama over his 
shoulder.

CUT TO:


EXT. HOLLYWOOD HOLIDAY INN  DAY

Everybody is outside their rooms wathcing as Clarence walks through the pool 
area with his bundle. Sirens can be heard.


EXT. MOVING RED MUSTANG  DAY

Clarence is driving like mad. Alabama's passed out in the passenger seat. She's 
muttering to herself. Clarence has one hand on the steering wheel and the other 
strokes Alabama's hair.

CLARENCE
Sleep baby. Don't dream. Don't worry. Just sleep. You deserve better than 
this. I'm so sorry. Sleep my angel. Sleep peacefully.


EXT. MOTEL 6  NIGHT

A new motel. Clarence's red Mustang is parked outside.


INT. MOTEL 6  CLARENCE'S ROOM  NIGHT

Alabama, with a fat lip and a black and blue face, is asleep in bed.


INT. NOWHERE

Clarence is in a nondescript room speaking directly to the camera. He's in a 
headshot.

CLARENCE
I feel so horrible about what she went through. That fucker really beat the 
shit out of her. She never told him where I was. It's like I always felt that 
the way she felt about me was a mistake. She couldn't really care that 
much. I always felt in the back of my mind, I don't know, she was jokin'. 
But, to go through that and remain loyal, it's very easy to be unraptured 
with words, but to remain loyal when it's easier, even excusable, not to  
that's a test of oneself. That's a true romance. I swear to God, I'll cut off my 
hands and gouge out my eyes before I'll every let anything happen to that 
lady again.

CUT TO:


EXT. HOLLYWOOD HILLS  NIGHT

A wonderful, gracefully flowing shot of the Hollywood Hills. Off in the distance 
we hear the roar of a car engine.


EXT. MULLHOLLAND DRIVE  NIGHT

Vaaarrroooooommmm!!! A silver Porsche is driving hells bells, taking quick 
corners, pushing it to the edge.


INT. MOVING PORSCHE  NIGHT

Elliot Blitzer is the driver, standing on it. A blond, glitzy COKE WHORE is 
sitting next to him. They're having a ball. Then they're seeing a red and blue 
light flashing in the rear-view window. It's the cops.

ELLIOT
Fuck! I knew it! I fucking knew it! I should have my head examined, 
driving like this!
(he pulls over)
Kandi, you gotta help me.

KANDI
What can I do?

He pulls out the sample bag of cocaine that Clarence gave him earlier.

ELLIOT
You gotta hold this for me.

KANDI
You must be high. Uh-huh. No way.

ELLIOT
(frantically)
Just put it in your purse.

KANDI
I'm not gonna put that shit in my purse.

ELLIOT
They won't search you. I promise. You haven't done anything.

KANDI
No way, Jose.

ELLIOT
Please, they'll be here any minute. Just put it in your bra.

KANDI
I'm not wearing a bra.

ELLIOT
(pleading)
Put it in your pants.

KANDI
No.

ELLIOT
You're the one who wanted to drive fast.

KANDI
Read my lips.

She mouths the word "no".

ELLIOT
After all I've done for you, you fuckin' whore!!

She goes to slap him, she hits the bag of cocaine instead. It rips open. Cocaine 
completely covers his blue suit. At that moment Elliot turns to face a flashing 
beam. Tears fill his eyes.


INT. POLICE STATION  INTERROGATION ROOM  DAY

Elliot is sitting in a chair at the table. Two young, good-looking, casually 
dressed, Starsky and Hutch-type POLICE DETECTIVES are questioning him. 
They're known in the department as Nicholson and Dimes. The dark-haired one 
is Cody Nicholson, and the blond is Nicky Dimes.

NICHOLSON
Look, sunshine, we found a sandwich bag of uncut cocaine 

DIMES
Not a tiny little vial 

NICHOLSON
But a fuckin' baggie.

DIMES
No don't sit here and feed us some shit.

NICHOLSON
You got caught. It's all fun and fuckin' games till you get caught. But now 
we gotcha. OK, Mr. Elliot actor, you've just made the big time 

DIMES
You're no longer an extra 

NICHOLSON
Or a bit player 

DIMES
Or a supporting actor 

NICHOLSON
You're a fuckin' star! And you're gonna be playin' your little one-man 
show nightly for the next two fuckin' years for a captive audience 

DIMES
But there is a bright side though. If you ever have to play a part of a guy 
who gets fucked in the ass on a daily basis by throat-slitting niggers, you'll 
have so much experience to draw on 

NICHOLSON
And just think, when you get out in a few years, you'll meet some girl, get 
married, and you'll be so understanding to your wife's needs, because 
you'll know what it's like to be a woman.

DIMES
'Course you'll wanna fuck her in the ass. Pussy just won't feed right 
anymore 

NICHOLSON
That is, of course, if you don't catch Aids from all your anal intrusions.

Elliot starts crying. Nicholson and Dimes exchange looks and smile. Mission 
accomplished.


INT. POLICE STATION  CAPTAIN KRINKLE'S OFFICE  DAY

CAPTAIN BUFFORD KRINKLE is sitting behind his desk, where he spends 
about seventy-five percent of his day. He's you standard rough, gruff, no-
nonsense, by-the-book-type police captain.

KRINKLE
Nicholson! Dimes! Het in here!

The two casually dressed, sneaker-wearing cops rush in, both shouting at once.


NICHOLSON
Krinkle, this is it. We got it, man. And it's all ours. I mean talk about fallin' 
into somethin'. You shoulda seen it, it was beautiful. Dimes is hittin' him 
from the left about being fucked in the ass by niggers, I'm hittin' him form 
the right about not likin' pussy anymore, finally he starts cryin', and then it 
was all over 

DIMES
Krinkle, you're lookin' at the two future cops of the month. We have it, and 
if I say we, I don't mean me and him, I'm referring to the whole 
department. Haven't had a decent bust this whole month. Well, we mighta 
come in like a lamb, but we're goin' out like a lion 

KRINKLE
Both you, idiots shut up, I can't understand shit! Now, what's happened, 
what's going on, and what are you talking about?

DIMES
Okee-dokee. It's like this, Krinkle; a patrol car stops this dork for 
speeding, they walk up to window and the guy's covered in coke. So they 
bring his ass in and me an' Nicholson go to work on him.

NICHOLSON
Nicholson and I.

DIMES
Nicholson and I go to work on him. Now er know somthing's rotten in 
Denmark, 'cause this dickhead had a big bag, and it's uncut, too, so we're 
sweatin' him, trying to find out where he got it. Scarin' the shit outta him.

NICHOLSON
Which wasn't too hard, the guy was a real squid.

DIMES
So we got this guy scared shitless and he starts talkin'. And, Krinkle, you 
ain't gonna fuckin' believe it.

CUT TO:


INT. RESTAURANT  DAY

Detroit. Very fancy restaurant. FOUR WISE-GUY HOODS, one older, the 
other three, youngsters, are seated at the table with Mr. Coccotti.

COCCOTTI
 And so, tomorrow morning comes, and no Virgil. I check with Nick 
Cardella, who Virgil was supposed to leave my narcotics with, he never 
shows. Now, children, somebody is stickin' a red-hot poker up my asshole 
and what I don't know is whose hand's on the handle.

YOUNG WISE-GUY #1 (FRANKIE)
You think Virgil started gettin' big ideas?

COCCOTTI
It's possible. Anybody can be carried away with delusions of grandeur. But 
after that incident in Ann Arbor, I trust Virgil.

YOUNG WISE-GUY #2 (DARIO)
What happened?

OLD WISE-GUY(LENNY)
Virgil got picked up in a warehouse shakedown. He got five years, he 
served three.

COCCOTTI
Anybody who clams up and does hid time, I don't care how I feel about him 
personally, he's OK.

BACK TO:


KRINKLE'S OFFICE

NICHOLSON
It seems a cop from some department, we don't know where, stole a half a 
million dollars of coke from the property cage and he's been sittin' on it for 
a year and a half. Now the cops got this weirdo 

DIMES
Suspect's words 

NICHOLSON
To front for him. So Elliot is workin' out the deal between them and his 
boss, a big movie producer named Lee Donowitz.

DIMES
He produced "Coming Home in a Body Bag".

KRINKLE
That Vietnam movie?

NICHOLSON
Uh-huh.

KRINKLE
That was a good fuckin' movie.

DIMES
Sure was.

KRINKLE
Do you believe him?

NICHOLSON
I believe he believes him.

DIMES
He's so spooked he'd turn over his momma, his daddy, his two-panny 
granny, and Anna and the King of Siam if he had anything on him.

NICHOLSON
This rabbit'll do anything not to do time, including wearing a wire.

KRINKLE
He'll wear a wire?

DIMES
We talked him into it.

KRINKLE
Dirty cops. We'll have to bring in internal affairs on this.

NICHOLSON
Look, we don't care if you bring in the state milita, the volunteer fire 
department, the L.A. Thunderbirds, the ghost of Steve McQueen, and the 
twelve Roman gladiators, so long as we get credit for the bust.

DIMES
Cocaine. Dirty cops. Hollywood. This is Crocket and Tubbs all the way. 
And we found it, so we want the fuckin' collar.

BACK TO:


INT. RESTAURANT  DAY

YOUNG WISE-GUY #3 (MARVIN)
Maybe Virgil dropped it off at Cardella's. Cardella turns Virgil's switch 
off, and Cardella decides to open up his own fruit stand.

LENNY
Excuse me, Mr. Coccotti.
(to Marvin)
Do you know Nick Cardella?

MARVIN
No.

LENNY
Then where the hell do you get off talkin' that kind of talk?

MARVIN
I didn't mean 

LENNY
Shut your mouth. Nick Cardella was provin' what his words was worth 
before you were in your daddy's nutsack. What sun do you walk under you 
can throw a shadow on Nick Cardella? Nick Cardella's a stand-up guy.

COCCOTTI
Children, we're digressing. Another possibility is that rat-fuck whore and 
her wack-a-doo cowboy boyfriend out-aped Virgil. Knowing Virgil, I find 
that hard to believe. But they sent Drexl to hell, and Drexl was no faggot. 
So you see, children, I got a lot of questions and no answers. Find out who 
this wing-and-a-prayer artist is and take him off at the neck.

TITLE CARD: "THE BIG DAY"


EXT. IMPERIAL HIGHWAY  SUNRISE

Clarence's red Mustang is parked on top of a hill just off of Imperial Highway. 
As luck would have it, somebody has abandoned a ratty old sofa on the side of 
the road. Clarence and Alabama sit on the sofa, sharing a Jumbo Java, and 
enjoying the sunrise and wonderful view of the LAX Airport runways, where 
planes are taking off and landing. A plane takes off, and they stop and watch.

CLARENCE
Ya know, I used to fuckin' hate airports.

ALABAMA
Really?

CLARENCE
With a vengeance, I hated them.

ALABAMA
How come?

CLARENCE
I used to live by one back in Dearborn. It's real frustratin' to be 
surrounded by airplanes when you ain't got shit. I hated where I was, but I 
couldn't do anythin' about it. I didn't have enough money. It was tough 
enough just tryin' to pay my rent every month, an' here I was livin' next to 
an airport. Whenever I went outside, I saw fuckin' planes take off drownin' 
out my show. All day long I'm seein', hearin' people doin' what I wanted to 
do most, but couldn't.

ALABAMA
What?

CLARENCE
Leavin' Detroit. Goin' off on vacations, startin' new lives, business trips. 
Fun, fun, fun, fun.

Another plane takes off.

CLARENCE
But knowin' me and you gonna be nigger-rich gives me a whole new 
outlook. I love airports now. Me 'n' you can get on any one of those planes 
out there, and go anywhere we ant.

ALABAMA
You ain't kiddin', we got lives to start over, we should go somewhere where 
we can really start from scatch.

CLARENCE
I been in America all my life. I'm due for a change. I wanna see what TV in 
other countries is like. Besides, it's more dramatic. Where should we fly off 
to, my little turtledove?

ALABAMA
Cancoon.

CLARENCE
Why Cancoon?

ALABAMA
It's got a nice ring to it. It sounds like a movie. "Clarence and Alabama Go 
to Cancoon". Don't 'cha think?

CLARENCE
But in my movie, baby, you get the top billing.

They kiss.

CLARENCE
Don't you worry 'bout anything. It's all gonna work out for us. We deserve 
it.


INT. DICK'S APARTMENT  DAY

Dick, Clarence and Alabama are just getting ready to leave for the drug deal. 
Floyd lays on the couch watching TV. Alabama's wearing dark glasses because 
of the black eye she has.

CLARENCE
(to Floyd)
You sure that's how you get to the Beverly Wilshire?

FLOYD
I've partied there twice. Yeah, I'm sure.

DICK
Yeah, well if we got lost, it's your ass.
(to Clarence)
Come on, Clarence, lets go. Elliot's going to meet us in the lobby.

CLARENCE
I'm just makin' sure we got everything.
(pointing to Alabama)
You got yours?

She holds up the suitcase. The phone rings. The three pile out the door. Floyd 
picks up the phone.

FLOYD
Hello?

He puts his hand over the receiver.

FLOYD
Dick, it's for you. You here?

DICK
No. I left.

He starts to close the door then opens it again.

DICK
I'll take it.
(he takes the receiver)
Hello.
(pause)
Hi, Catherine, I was just walkin' out the 
(pause)
Really?
(pause)
I don't believe it.
(pause)
She really said that?
(pause)
I'll be by first thing.
(pause)
No, thank you for sending me out.
(pause)
Bye-bye.

He hangs up and looks to Clarence.

DICK
(stunned)
I got the part on "T.J. Hooker".

CLARENCE
No shit? Dick, that's great!

Clarence and Alabama are jumping around. Floyd even smiles.

DICK
(still stunned)
They didn't even want a callback. They just hired me like that. Me and 
Peter Breck are the two heavies. We start shooting Monday. My call is for 
seven o'clock in the morning.

CLARENCE
Ah, Dick, let's talk about it in the car. We can't be late.

Dick looks at Clarence. He doesn't want to go.

DICK
Clarence.

CLARENCE
Yeah?

DICK
Um, nothing, let's go?

They exit.


EXT. LAX AIRPORT  HOTEL  DAY

We see the airport and move in closer on a hotel on a landscape.


INT. LAX AIRPORT  HOTEL ROOM  DAY

Lenny can be seen putting a shotgun together. He is sitting on a bed.

Dario enters the frame with his own shotgun. He goes over to Lenny and gives 
him some shells.

Marvin walks through the frame cocking his own shotgun.

The bathroom door opens behind Lenny and Frankie walks out twirling a 
couple of .45 automatics in his hands.


INT. BEVERLY WILSHIRE  COP S' HOTEL ROOM  DAY

Nicholson and Dimes and FOUR DETECTIVES from internal affairs are in a 
room on the same floor as Donowitz. They have just put a wire on Elliot.

NICHOLSON
OK, say something.

ELLIOT
(talking loud into the wire)
Hello! Hello! Hello! How now brown cow!

DIMES
Just talk regular.

ELLIOT
(normal tone)
"But soft! What light through yonder window breaks?
It is the east and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief "

NICHOLSON
Are you gettin' this shit?

DETECTIVE BY TAPE MACHINE
Clear as a bell.

Nicholson, Dime, and the head IA Officer, Wurlitzer, huddle by Elliot.

DIMES
Now, remember, we'll be monitoring just down the hall.

ELLIOT
And if there's any sign of trouble you'll come in.

NICHOLSON
Like gang-busters. Now, remember, if you don't want to go to jail, we gotta 
put your boss in jail.

DIMES
We have to show in court that, without a doubt, a successful man, an 
important figure in the Hollywood community, is also dealing cocaine.

NICHOLSON
So you gotta get him to admit on tape that he's buying this coke.

WURLITZER
And this fellow Clarence?

ELLIOT
Yeah, Clarence.

WURLITZER
You gotta get him name the police officer behind all this.

ELLIOT
I'll try.

DIMES
You do more than try.

NICHOLSON
You do.

DIMES
Hope you're a good actor, Elliot.


INT. MOVING RED MUSTANG  DAY

Clarence, Dick and Alabama en route.

DICK
You got that playing basketball?

ALABAMA
Yeah. I got elbowed right in the eye. And if that wasn't enough, I got hurled 
the ball when I'm not looking. Wam! Right in my face.

They stop at a red light. Clarence looks at Alabama.

CLARENCE
Red light means love, baby.

Ha and Alabama start kissing.


INT. MOVING CADILLAC  DAY

Marvin, Frankie, Lenny and Dario in a rented Caddy.


INT. BEVERLY WILSHIRE PARKING LOT  DAY

Clarence, Alabama, and Dick get out of the red Mustang. Dick takes the 
suitcase.

CLARENCE
I'll take that. Now, remember, both of you, let me do the talking.

Clarence takes out his .38. Dick reacts. They walk and talk.

DICK
What the fuck did you bring that for.

CLARENCE
In case.

DICK
In case of what?

CLARENCE
In case they try to kill us. I don't know, what do you want me to say?

DICK
Look, Dillinger, Lee Donowitz is not a pimp 

CLARENCE
I know that Richard. I don't think I'll need it. But something this last week 
has taught me, it's better to have a gun and not to need it than to need a 
gun and not to have it.

Pause. Clarence stops walking.

CLARENCE
Hold it, guys. I don't know about the rest of you, but I'm pretty scared. 
What say we forget the whole thing.

Dick and Alabama are both surprised and relieved.

DICK
Do you really mean it?

CLARENCE
No, I don't really mean it. Well, I mean, this is our last chance to think 
about it. How 'bout you, Bama?

ALABAMA
I thought it was what you wanted, Clarence.

CLARENCE
It is what I want. But I don't want to spend the next ten years in jail. I don't 
want you guys to go to jail. We don't know what could be waiting for us up 
there. It'll probably be just what it's supposed to be. The only thing that's 
waiting for us is two hundred thousand dollars. I'm just looking at the 
downside.

DICK
Now's a helluva time to play "what if".

CLARENCE
This is our last chance to play "what if". I want to do it. I'm just scared of 
getting caught.

ALABAMA
It's been fun thinking about the money but I can walk away from it, honey.

CLARENCE
That rhymes.

He kisses her.

DICK
Well, if we're not gonna do it, let's just get in the car and get the fuck outta 
here.

CLARENCE
Yeah, let's just get outta here.

The three walk back to the car. Clarence gets behind the wheel. The other two 
climb in. Clarence hops back out.

CLARENCE
I'm sorry guys, I gotta do it. As petrified as I am, I just can't walk away. 
I'm gonna be kicking myself in the ass for the rest of my life if I don't go in 
there. Lee Donowitz isn't a gangster lookin' to skin us, and he's not a cop, 
he's a famous movie producer lookin' to get high. And I'm just the man 
who can get him there. So what say we throw caution to the wind and let 
the chips fall where they may.

Clarence grabs the suitcase and makes a beeline for the hotel. Dick and 
Alabama exchange looks and follow.


INT. BEVERLY WILSHIRE  LOBBY  DAY

Elliot's walking around the lobby. He's very nervous, so he's singing to himself.

ELLIOT
(singing)
There's a man who leads a life of danger,
To everyone he meets
he stays a stranger.
Be careful what you say,
you'll give yourself away...


INT. BEVERLY WILSHIRE  COPS' HOTEL ROOM  DAY

Nicholson, Dimes, Wurlitzer, and the three other Detectives surround the tape 
machine. Coming from the machine:

ELLIOT'S VOICE
(off)
... odds are you won't live
to see tomorrow,
secret agent man,
secret agent man....

Nicholson looks at Dimes.

NICHOLSON
Why, all of the sudden, have I got a bad feeling?

BACK TO:


LOBBY

Clarence enters the lobby alone, he's carrying the suitcase. He spots Elliot and 
goes in his direction. Elliot sees Clarence approaching him. He says to himself, 
quietly:

ELLIOT
Elliot, your motivation is to stay out of jail.

Clarence walks up to Elliot, they shake hands.

ELLIOT
Where's everybody else?

CLARENCE
They'll be along.

Alabama and Dick enter the lobby, they join up with Clarence and Elliot.

ELLIOT
Hi, Dick.

DICK
How you doin', Elliot?

CLARENCE
Well, I guess it's about that time.

ELLIOT
I guess so. Follow me.


INT. BEVERLY WILSHIRE  ELEVATOR  DAY

The four of them are riding in the elevator. As luck would have it, they have the 
car to themselves. Rinky-drink elevator Muzak is playing. They are all silent.

CLARENCE
Elliot.

ELLIOT
Yeah?

CLARENCE
Get on your knees.

Not sure he heard him right.

ELLIOT
What?

Clarence hits the stop button on the elevator panel and whips out his .38.

CLARENCE
I said get on your fuckin' knees.

Elliot does it immediately. Dick and Alabama react.

CLARENCE
Shut up, both of you, I know what I'm doin'.

BACK TO:


COPS' ROOM

Pandemonium.

DIMES
He knows.

NICHOLSON
How the fuck could he know?

DIMES
He saw the wire.

NICHOLSON
How's he supposed to see the wire?

DIMES
He knows something's up.

BACK TO:


ELEVATOR

Clarence puts the .38 against Elliot's forehead.

CLARENCE
You must think I'm pretty stupid, don't you?

No answer.

CLARENCE
Don't you?

ELLIOT
(petrified)
No.

CLARENCE
(yelling)
Don't lie to me, motherfucker. You apparently think I'm the dumbest 
motherfucker in the world! Don't you? Say: Clarence, you are without a 
doubt, the dumbest motherfucker in the whole wide world. Say it!

BACK TO:


COPS' ROOM

DIMES
We gotta get him outta there.

NICHOLSON
Whatta we gonna do? He's in an elevator.

BACK TO:


ELEVATOR

CLARENCE
Say it, goddamn it!

ELLIOT
You are the dumbest person in the world.

CLARENCE
Apparently I'm not as dumb as you thought I am.

ELLIOT
No. No you're not.

CLARENCE
What's waiting for us up there. Tell me or I'll pump two right in your face.

BACK TO:


COPS

NICHOLSON
He's bluffin ya, Elliot. Can't you see that? You're an actor, remember, the 
show must go on.

DIMES
This guy's gonna kill him.

BACK TO:


ELEVATOR

CLARENCE
Stand up.

Elliot does. The .38 is still pressed against his forehead.

CLARENCE
Like Nick Carter used to say: I I'm wrong, I'll apologize. I want you to tell 
me what's waiting for us up there. Something's amiss. I can feel it. If 
anything out of the ordinary goes down, believe this, you're gonna be the 
first one shot. Trust me, I am AIDS, you fuck with me, you die. Now quit 
making me mad and tell me why I'm so fucking nervous.

BACK TO:


COPS' ROOM

NICHOLSON
He's bluffin', I knew it. He doesn't know shit.

DIMES
Don't blow it, Elliot. He's bluffin'. He just told you so himself.

NICHOLSON
You're am actor, so act, motherfucker.

BACK TO:


ELEVATOR

Elliot still hasn't answered.

CLARENCE
OK.

With the .38 up against Elliot's head Clarence puts his palm over the top of the 
gun to shield himself from the splatter. Alabama and Dick can't believe what 
he's gonna do.

Elliot, tears running down, starts talking for the benefit of the people at the 
other end of the wire. He sounds like a little boy.

ELLIOT
I don't wanna be here. I wanna go home. I wish somebody would just come 
and get me 'cause I don't like this. This is not what I thought it would be. 
And I wish somebody would just take me away. Just take me away Come 
and get me. 'Cause I don't like this anymore. I can't take this. I'm sorry but 
I just can't. So, if somebody would just come to my rescue, everything 
would be alright.

BACK TO:


COPS' ROOM

Nicholson and Dimes shake their hands, They have a "well, that's that" 
expression an their faces.

BACK TO:


ELEVATOR

Clarence puts down the gun and hugs Elliot.

CLARENCE
Sorry, Elliot. Nothing personal. I just hadda make sure you're all right. I'm 
sure. I really apologize for scaring you so bad, but believe me, I'm just as 
scared as you. Friends?

Elliot, in a state of shock, takes Clarence's hand. Dick and Alabama are 
relieved.

BACK TO:


COPS' ROOM

Nicholson and Dimes listen open-mouthed, not believing what they're hearing.


INT. DICK'S APARTMENT  DAY

Floyd still lying on the couch watching TV. He hasn't moved since we last saw 
him.

There is a knock from the door.

FLOYD
(not turning away from TV)
It's open.

The front door flies open and the four Wise-guys rapidly enter the room. The 
door slams shut. All have their sawed-offs drawn and pointing at Floyd.

FLOYD
Yes.

LENNY
Are you Dick Ritchie?

FLOYD
No.

LENNY
Do you know a Clarence Worley?

FLOYD
Yes.

LENNY
Do you know where we can find him?

FLOYD
He's at the Beverly Wilshire.

LENNY
Where's that?

FLOYD
Well, you go down Beechwood...


INT. BEVERLY WILSHIRE  - LEE'S HOTEL ROOM  DAY

The door opens and reveals an EXTREMELY MUSCULAR GUY with an Uzi 
strapped to his shoulder standing in the doorway, his name is Monty.

MONTY
Hi, Elliot. Are these your friends?

ELLIOT
You could say that. Everybody, this is Monty.

MONTY
C'mon in. Lee's in the can. He'll be out in a quick.

They all move into the room, it is very luxurious.

ANOTHER INCREDIBLY MUSCULAR GUY, Boris, is sitting on the sofa, he 
too has an Uzi. Monty begins patting everybody down.

MONTY
Sorry, nothin personal.

He starts to search Clarence. Clarence back away.

CLARENCE
No need to search me, daredevil. All you'll find is a .38 calibre.

Boris gets up from the couch.

BORIS
What compelled you to bring that along?

CLARENCE
The same thing that compelled you, Beastmaster, to bring rapid-fire 
weaponry to a business meeting.

BORIS
I'll take that.

CLARENCE
You'll have to.

The toilet flushes in the bathroom. The door swings open and Lee Donowitz 
emerges.

LEE
They're here. Who's who?

ELLIOT
Lee, this is my friend Dick, and these are his friends, Clarence and 
Alabama.

BORIS
(pointing at Clarence)
This guy's packin'.

LEE
Really?

CLARENCE
Well, I have to admit, walkin' through the door and seein' these "Soldier of 
Fortune" poster boys made me a bit nervous. But, Lee, I'm fairly confident 
that you came here to do business, not to be a wise-guy. So, if you want, I'll 
put the gun on the table.

LEE
I don't think that'll be necessary. Let's all have a seat. Boris, why don't you 
be nice and get coffee for everybody.

They all sit around a fancy glass table except for Boris, who's getting the coffee, 
and Monty, who's standing behind Lee's chair.

CLARENCE
Oh, Mr. Donowitz 

LEE
Lee, Clarence . Please don't insult me. Call me Lee.

CLARENCE
OK, sorry, Lee. I just wanna tell you "Coming Home in a Body Bag" is one 
of my favorite movies. After "Apocalypse Now" I think it's the best 
Vietnam movie ever.

LEE
Thank you very much, Clarence.

CLARENCE
You know, most movies that win a lot of Oscars, I can't stand. "Sophie's 
Choice", "Ordinary People", "Kramer vs. Kramer", "Gandhi". All that 
stuff is safe, geriatric, coffee-table dog shit.

LEE
I hear you talkin' Clarence. We park our cars in the same garage.

CLARENCE
Like that Merchant-Ivory clap-trap. All those assholes make are 
unwatchable movies from unreadable books.

Boris starts placing clear-glass coffee cups in front of everybody and fills 
everybody's cup from a fancy coffee pot that he handles like an expert.

LEE
Clarence, there might be somebody somewhere that agrees with you more 
than I do, but I wouldn't count on it.

Clarence is on a roll and he knows it.

CLARENCE
They ain't plays, they ain't books, they certainly ain't movies, they're films. 
And do you know what films are? They're for people who don't like 
movies. "Mad Max", that's a movie. "The Good, the Bad, and the Ugly", 
that's a movie. "Rio Bravo", that's a movie. "Rumble Fish", that's a 
fuckin' movie. And, "Coming Home in a Body Bag", that's a movie. It was 
the first movie with balls to win a lot of Oscars since the "The Deer 
Hunter".

BACK TO:


COPS' ROOM

They're all listening to this.

DIMES
What's this guy doin'? Makin' a drug deal or gettin' a job on the "New 
Yorker"?

BACK TO:


LEE'S ROOM

CLARENCE
My uncle Roger and uncle Cliff, both of which were in Nam, saw "Coming 
Home in a Body Bag" and thought it was the most accurate Vietnam film 
they'd ever seen.

LEE
You know, Clarence, when a veteran of that bullshit wars says that, it 
makes the whole project worthwhile. Clarence, my friend, and I call you 
my friend because we have similar interests, let's take a look at what you 
have for me.

BACK TO:


COPS' ROOM

NICHOLSON
Thank God.

BACK TO:


LEE'S ROOM

Clarence puts the suitcase on the table.

CLARENCE
Lee, when you see this you're gonna shit.

BACK TO:


LOBBY

The four Wise-guys are at the desk.

LENNY
(quietly to the others)
What was the Jew-boy's name?

MARVIN
Donowitz, he said.

FRONT-DESK GUY
How can I help you, Gentlemen?

LENNY
Yeah, we're from Warner Bros. What room is Mr. Donowitz in?

BACK TO:


LEE'S ROOM

Lee's looking over the cocaine and sampling it.

CLARENCE
Now, that's practically uncut. You could, if you so desire, cut it a helluva lot 
more.

LEE
Don't worry, I'll desire. Boris, could I have some more coffee.

CLARENCE
Me too, Boris.

Boris fills both of their cups. They both, calm as a lake, take cream and sugar. 
All eyes are on them. Lee uses light cream and sugar, he begins stirring this 
cup. Clarence uses very heavy cream and sugar.

LEE
(stirring loudly)
You like a little coffee with your cream and sugar?

CLARENCE
I'm not satisfied till the spoon stands straight up.

Both are cool as cucumbers.

LEE
I have to hand it to you, this is not nose garbage, this is quality. Can Boris 
make anybody a sandwich? I got all kinds of sandwich shit from Canters in 
there.

ALABAMA
No thank you.

DICK
No. But thanks.

CLARENCE
No thanks, my stomach's a little upset. I ate somethin' at a restaurant that 
made me a little sick.

LEE
Where'd you go?

CLARENCE
A Norms in Van Nuys.

LEE
Bastards. That's why I always eat at Lawreys.

Lee continues looking at the merchandise.

Alabama writes something in her napkin with a pencil. She slides the napkin 
over to Clarence. It says: "You're so cool" with a tiny heart drawn on the 
bottom of it. Clarence takes the pencil and draws an arrow through the heart. 
She takes the napkin and puts it in her pocket.

Lee looks up.

LEE
OK, Clarence, the merchandise is perfect. But, whenever I'm offered a deal 
that's too good to be true, it's because it's a lie. Convince me you're on the 
level.

BACK TO:


COPS' ROOM

NICHOLSON
If he don't bite, we ain't got shit except posession.

DIMES
Convince him.

BACK TO:


LEE'S ROOM

CLARENCE
Well, Lee, it's like this. You're getting the bargain of a lifetime because I 
don't know what the fuck I'm doing. You're used to dealin' with 
professionals. I'm not a professional. I'm a rank amateur. I could take that, 
and I could cut it, and I could sell it a little bit at a time, and make a 
helluva lot more money. But, in order to do that, I'd have to become a drug 
dealer. Deal with cut-throat junkies, killers, worry about getting busted all 
of the time. Just meeting you here today scares the shit outta me, and 
you're not a junkie, a killer or a cop, you're a fucking movie-maker. I like 
you, and I'm still scared. I'm a punk kid who picked up a rock in the street, 
only to find out it's the Hope Diamond. It's worth a million dollars, but I 
can't get the million dollars for it. But, you can. So, I'll sell it to you for a 
couple a hundred thousand. You go to make a million. It's all found money 
to me anyway. Me and my wife are minimum wage kids, two hundred 
thousand is the world.

LEE
Elliot tells me you're fronting for a dirty cop.

CLARENCE
Well, Elliot wasn't supposed to tell you anythin'.
(to Elliot)
Thanks a lot, bigmouth. I knew you were a squid the moment I laid eyes on 
you. In my book, buddy, you're a piece of shit.
(to Lee)
He's not a dirty cop, he's a good cop. He just saw his chance and he took it.

LEE
Why does he trust you?

CLARENCE
We grew up together.

LEE
If you don't know shit, ehy does he think you can sell it?

CLARENCE
I bullshitted him.

Lee starts laughing.

LEE
That's wild. This fucking guy's a madman. I love it. Monty, go in the other 
room and get the money.

Clarence, Alabama and Dick exchange looks.

BACK TO:


COPS' ROOM

Nicholson and Dimes exchange looks.

DIMES & NICHOLSON
Bingo!

BACK TO:


ELEVATOR

The four Wise-guys are coming up.

BACK TO:


LEE'S ROOM

LEE
(pointing to Alabama)
What's your part in this?

ALABAMA
I'm his wife.

LEE
(referring to Dick)
How 'bout you?

DICK
I know Elliot.

LEE
And Elliot knows me. Tell me, Clarence, what department does you friend 
work in?

Dick and Alabama panic.

CLARENCE
(without missing a beat)
Carson County Sheriffs.

BACK TO:


COPS' ROOM

The internal affairs officers high five.

BACK TO:


LEE'S ROOM

Monty brings in a briefcase of money and puts it down on the table.

LEE
Wanna count your money?

CLARENCE
Actually, they can count it. I'd like to use the little boy's room.

BACK TO:


COPS' ROOM

They all stand.

DIMES
OK, boys. Let's go get 'em.


INT. BEVERLY WILSHIRE  LEE'S HOTEL ROOM  BATHROOM  
DAY

Clarence steps inside the bathroom and shuts the door. As soon as it's shut he 
starts doing the twist. He can't believe he's pulled it off. He goes to the toilet 
and starts taking a piss. He turns and sees Elvis sitting on the sink.

ELVIS
Clarence, I gotta hand it to ya. You were cooler than cool.

CLARENCE
I was dying. I thought for sure everyone could see it on my face.

ELVIS
All anybody saw was Clint Eastwood drinkin' coffee.

CLARENCE
Can you develop an ulcer in two minutes? Being cool is hard on your body.

ELVIS
Oh, and your line to Charles Atlas in there: "I'll take that gun", "You'll 
have to".

CLARENCE
That was cool, wasn't it? You know, I don't even know where that came 
from. I just opened my mouth and it came out. After I said it I thought, 
that's a cool line, I gotta remember that.

BACK TO:


LEE'S ROOM

Everything's just as it was.

Sudenly, Nicholson, Dimes and the four Detectives break into the room with 
guns drawn.

DIMES & NICHOLSON
Police! Freeze, you're all under arrest!

Everybody at the table stands up. Boris and Monty stand ready with the Uzis.

NICHOLSON
You two! Put the guns on the floor and back away.

MONTY
Fuck you! All you pigs put your guns on the floor and back away.

LEE
Monty, what are you talking about? So what they say.

DIMES
This is your last warning! Drop those fuckin' guns!

BORIS
This is your last warning! We could kill all six of ya and ya fuckin' know it! 
Now get on the floor!

DICK
What the fuck am I doing here?

LEE
Boris! Everybody's gonna get killed! They're cops!

MONTY
So they're cops. Who gives a shit?

BORIS
Lee, something I never told you about me. I don't like cops.

DIMES
OK, let's everybody calm down and get nice. Nobody has to die. We don't 
want it, and you don't want it.

LEE
We don't want it.

The four Wise-guys burst through the door, shotguns drawn, except for Frankie, 
who has two .45 automatics, one in each hand.

Half of the cops spin around.

WURLITZER
Freeze!

LENNY
Who are you guys?

WURLITZER
Police.

DARIO
(to Lenny)
Do we get any extra if we have to kill cops?

BACK TO:


BATHROOM

Clarence and Elvis.

CLARENCE
How do you think I'm doin' with Lee?

ELVIS
Are you kiddin'? He loves you.

CLARENCE
You don't think I'm kissin' his ass, do you?

ELVIS
You're tellin' him what he wants to hear, but that ain't the same thing as 
kissin' his ass.

CLARENCE
I'm not lyin' to him. I mean it. I loved "Coming Home in a Body Bag".

ELVIS
That's why it doesn't come across as ass-kissin', because it's genuine, and 
he can see that.

Elvis fixes Clarence's collar.

ELVIS
I like ya, Clarence. Always have.

BACK TO:


LEE'S ROOM

This is a Mexican stand-off if there ever was one. Gangsters on one end with 
shotguns. Bodyguards with machine guns on the other. And cops with handguns 
in the middle.

Dick's ready to pass out.

Alabama's so scared she pees on herself.

For Elliot, this has been the worst day of his life, and he's just about had it.

ELLIOT
Officer Dimes? Officer Dimes.

Dimes looks at Elliot.

ELLIOT
This has nothing to do with me anymore. Can I just leave and you guys just 
settle it by yourselves?

DIMES
Elliot, shut the fuck up and stay put!

LEE
(to Elliot)
How did you know his name? How the fuck did he know your name? Why, 
you fuckin' little piece of shit!

ELLIOT
Lee, understand, I didn't want to 

NICHOLSON
Shut the fuck up!

LEE
Well, I hope you're not planning on acting any time in the next twenty 
years 'cause your career is over as of now! You might as weel burn you 
SAG card! To think I treated you as a son! And you stabbed me in the 
heart!

Lee can't control his anger any more. He grabs the coffee pot off the table and 
flings hot coffee into Elliot's face. Elliot screams and falls to his knees,

Instinctively, Nicholson shoots Lee twice.

Alabama screams.

Boris lets loose with his Uzi, pinting Nicholson red with bullets.

DIMES
(screaming)
Cody!!!

Nicholson flies backwards.

Marvin fires his shotgun, hits Nicholson in the back, Nicholson's body jerks 
back and forth then on the floor.

Clarence opens the bathroom door.

Dimes hits the ground firing.

A shot catches Clarence in the forehead.

Alabama screams.

Dario fires his sawed-off. It catches Clarence in the chest, hurling him on the 
bathroom sink, smashing the mirror.

It might have been a stand-off before, but once the firing starts everybody either 
hits the ground or runs for cover.

Dimes, Alabama, Dick, Lenny, an IA Officer and Wurtlitzer hit the ground.

Boris dives into the kitchen area.

Monty tips the table over.

Marvin dives behind the sofa.

Dario runs out of the door and down the hall.

With bullets flying this way and that, some don't have time to anything. Two IA 
Officers are shot right away.

Frankie takes an Uzi hit. He goes down firing both automatics.

Elliot gets it from both sides.

Alabama is crawling across the floor, like a soldier in war, towards the 
bathroom.

Clarence, still barely alive, lays on the sink, twitching. He moves and falls off.

Alabama continues crawling.

Marvin brings his sawed-off from behind the sofa and fires. The shotgun blast 
hits the glass table and Monty. Monty stands up screaming.

The Cops on the ground let loose, firing into Monty.

As Monty gets hit, his finger hits the trigger of the Uzi, spreading fire all over 
the apartment.


EXT. BEVERLY WILSHIRE  DAY

Cop cars start arriving in twos in front of the hotel.

BACK TO:


GUNFIGHT

Alabama crawling.

The suitcase full of cocaine is by Dick. Dick grabs it and tosses it in the air. 
Marvin comes from behind the sofa and fires. The suitcase is hit in mid-air. 
White powder goes everywhere. The room is enveloped in cocaine.

Dick takes this cue and makes a dash out the door.

An IA Officer goes after him.

Lenny makes a break for it.

Wurlitzer goes after him but is pinned down by Marvin.

Alabama reaches the bathroom and finds Clarence.

ALABAMA
Sweety?

Clarence's face is awash with blood.

CLARENCE
I... I can't see you... I've got blood in my eyes...

He dies.

Alabama tries to give him outh-to-mouth resuscitation.


INT. BEVERLY WILSHIRE  HALLWAY  DAY

Dario runs down the hall, right into a cluster of uniformed police.

He fires his shotgun, hitting two, just before the others chop him to ribbons.


INT. BEVERLY WILSHIRE  ANOTHER HALLWAY

The hallway's empty but we hear footsteps approaching fast. Dick comes 
around the corner, running as if on fire. Then we see the IA Officer turn the 
same corner.

IA OFFICER
(aiming gun)
Freeze!

Dick does.

DICK
I'm unarmed!

IA OFFICER
Put your hands on your head, you son-of-a-bitch!

He does. Then, from off screen, a shotgun blast tears into the IA Officer, 
sending him to the wall.

DICK
Oh shit.

He starts running again and runs out of frame, then Lenny turns around the 
corner and runs down the hall.

Dick runs into the elevator area, he hits the buttons, he's trapped, it's like a box.

Lenny catches up. Dick raises his hands. Lenny aimes his sawed-off.

DICK
Look, I don't know who you are, but whatever it was that I did to you, I'm 
sorry.

Two elevator doors on either side of them open.

Lenny looks at Dick. He drops his aim and says:

LENNY
Lotsa luck.

Lenny dives into one elevator car. Dick jumps into the other, just as the doors 
close.

BACK TO:


HOTEL ROOM

The Mexican stand-off has become two different groups of two pinning each 
other down.

Wurlitzer has Marvin pinned down behind the sofa and Dimes has Boris pinned 
down in the kitchen.

In the bathroom, Alabama's pounding on Clarence's bloody chest, trying to get 
his heart started. It's not working. She slaps him hard in the face a couple of 
times.

ALABAMA
Wake up, goddamn it!

Dimes discards his handgun and pulls one of the sawed-off shotguns from the 
grip of a dead Wise-guy.

Boris peeks around the wall to fire.

Dimes lets loose with a blast. A scream is heard.

BORIS
(off)
I'm shot! Stop!

DIMES
Throw out your gun, asshole!

The Uzi's tossed out.

Dimes goes to where Wurlitzer is.

DIMES
(to Marvin)
OK, black jacket! It's two against one now! Toss the gun and lie face down 
on the floor or die like all you friends.

The shotgun's tossed out from behind the sofa.


INT. BEVERLY WILSHIRE  ELEVATOR  DAY

Dick's sitting on the ground, he can't believe any of this. The doors open on the 
fourth floor. He runs out into the hallway.


HALLWAY

He starts trying the room doors for an open one.

DICK
Oh, God, if you just get me outta this I swear to God I'll never fuck up 
again. Please, just let me get to "T.J. Hooker" on Monday.


STEWARDESS'S ROOM  DAY

Dick steps in. THREE GORGEOUS GIRLS are doing a killer aerobics workout 
to a video on TV. The music is so loud they're so into their exercises, they don't 
hear Dick tiptoe behind them and crawl underneath the bed.


LEE'S ROOM

Boris has caught a lot of buckshots, but he'll live. He's lying on the kitchen 
floor. Dimes stands over him. He has the sawed-off in his hand.

DIMES
Don't even give me an excuse, motherfucker.

Dimes pats him down for other weapons, there are none.

Wurlitzer puts the cuffs on Marvin and sits him down on the couch.

Dimes looks in the bathroom and sees the dead Clarence with Alabama crying 
over him.

Dimes walks over to Wurlitzer.

DIMES
Everything's under control here.

WURLITZER
Sorry about Nicholson.

DIMES
Me too.

WURLITZER
I'm gonna go see what's goin' on outside.

DIMES
You do that.

Wurlitzer exits. Dimes grabs the phone.


LOBBY

Shotgun in hand, Lenny moves hurriedly down the lobby.

A COP yells out.

COP
You! Stop!

Lenny brings up his sawed-off and lets him have it. OTHER COPS rush 
forward. Lenny grabs a woman standing by.

LENNY
Get back or I'll blow this bitch's brains to kingdom come!


LEE'S ROOM

Dimes on the phone talking with the department. Boris is still moving on the 
floor. Marvin is sitting on the couch with his hands cuffed behind his back. 
Alabama is crying over Clarence, then she feels something in his jacket. She 
reaches in and pulls out his .38. She wipes her eyes. She holds the gun in her 
hand and remembers Clarence saying:

CLARENCE
(off)
She's a sixteen-calibre kitten, equally equipped for killin' an' lovin'! She 
carried a sawed-off shotgun in her purse, a black belt around her waist, 
and the white-hot fire of hate in her eyes! Alabama Whitman is Pam Grier! 
Pray for forgiveness, Rated R... for Ruthless Revenge!

Alabama steps out of the bathroom, gun in hand.

Marvin turns his head toward her. She shoots him twice.

Dimes, still on the phone, spins around in time to see her raise her gun. She 
fires. He's hit in the head and flung to the floor.

She sees Boris on the kitchen floor.

ALABAMA
Bye-bye, Boris. Good luck.

BORIS
You too, cutie.

She starts to leave and then spots the briefcase full of money. She takes it and 
walks out the door.


HALLWAY

The elevator opens and Wurlitzer steps out.

Alabama comes around the corner.

WURLITZER
Hey, you!

Alabama shoots him three times in the belly. She steps into the elevator, the 
doors close.


LOBBY

Alabama enters the lobby and proceeds to walk out. In the background, COPS 
are all over the place and Lenny is still yelling with the woman hostage.

LENNY
I wanna car here, takin' me to the airport, with a plane full of gas ready to 
take me to Kilimanjaro and... and a million bucks!
(pause)
Small bills!


EXT. BEVERLY WILSHIRE  PARKING LOT  DAY

Alabama puts the briefcase in the trunk. She gets into the Mustang and drives 
away.


INT. MUSTANG  MOVING  DAY

Alabama's driving fast down the freeway. The DJ on the radio is trying to be 
funny. She's muttering to herself.

ALABAMA
I could have walked away. I told you that. I told you I could have walked 
away. This is not my fault. I did not do this. You did this one hundred 
percent to yourself. I'm not gonna give you the satisfaction of feeling bad. I 
should laugh 'cause you don't deserve any better. I could get another guy 
like that. I'm hot lookin'. What are you? Dead! Dumb jerk. Asshole. You're 
a asshole, you're a asshole, you're a asshole. You wanted it all, didn't ya? 
Didn't ya? Well watcha got now? You ain't got the money. You ain't got 
me. You ain't even got your body anymore. You got nothin'. Nada. Zip. 
Goose egg. Nil. Donut.

The song "Little Arrows" by Leapy Lee comes on the radio. Alabama breaks 
down and starts crying. She pulls the car over to the side. The song continues. 
She wipes her eyes with a napkin that she pulls out her jacket. She tosses it on 
the dashboard. She picks up the .38 and sticks it in her mouth.

She pulls back hammer. She looks up and sees her reflection in the rear-view 
mirror. She turns it the other way. She looks straight ahead. Her finger tightens 
on the trigger. She sees the napkin on the dashboard. She opens it up and reads 
it: "You're so cool".

She tosses the gun aside, opens up the trunk, and takes out the briefcase. She 
looks around for, and finally finds, the "Sgt. Fury" comic book Clarence bought 
her.

And with comic book in one hand, and briefcase in the other, Bama walks away 
from the Mustang forever.

FADE OUT



THE END