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True Romance
True Romance, directed by Tony Scott, is a hilarious, twisted road movie about which Interview raved, "A pop-crazy, instant B classic with A clout." Alabama, a hooker, and Clarence, a comic-book store clerk, fall in love and hit the road in a purple Cadillac. They are going to Los Angeles to start a new life -- with a suitcase full of cocaine accidentally stolen from Alabama's defunct ex-pimp. Guided by the spirit of Elvis, Clarence attempts to sell the coke to a top Hollywood director, putting the young lovers in the middle of a standoff between the narcs and the Sicilian gangsters who rightfully own the cocaine. This publication of Tarantino's first screenplay, written when he was still a video-store clerk, contains the original ending and Tarantino's "answers first, questions later" structure, both of which were altered by Scott.
144 pages, Paperback
First published January 1, 1995
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About the author
Quentin Tarantino
54 books1,756 followersQuentin Jerome Tarantino is an Academy Award- and Palme d'Or-winning American film director, screenwriter and actor. He rose to fame in the early 1990s as an independent filmmaker whose films used nonlinear storylines and stylized violence. His films include Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Kill Bill (Vol. 1 2003, Vol. 2 2004), Death Proof (2007), and Inglourious Basterds (2009).
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Displaying 1 - 30 of 31 reviews
May 30, 2022
A strong script, with sophisticated management of the dramatic tension.
January 23, 2022
super short and easy read
was so engrossed and gripped by it!
was so engrossed and gripped by it!
April 10, 2022
A good screenplay that got turned into a great movie.
May 7, 2019
A quick, fun read. Tony Scott definitely elavated this story with his flashy directing and script changes.
It's also interesting to see how much an actor can change your perception of a character. On page Clarence is far from likeable but Christian Slater really brought him to life and made him a great character in the movie.
It's also interesting to see how much an actor can change your perception of a character. On page Clarence is far from likeable but Christian Slater really brought him to life and made him a great character in the movie.
March 30, 2022
I have to say wow even more to Tony Scott after reading this. I like all his little additions to the script. Been meaning to read this for ages to break down what ideas were Tony's and which were Quentins.
First thing I was curious about was how the script starts. The movie has those iconic shots of poor people in Detroit whilst Hans Zimmers version of the Badlands theme plays. Wonderfully selected song choice as it harkens back to Tarantinos influence when he wrote this and Natural Born Killers (another script I'm curious about to see how it compares, meant to be radically different). I wondered how Tarantino would kick things off because it's not like he's gonna write "hans zimmer does an updated version of Badlands theme". Ok so he did have the poor people in Detroit, that was him. What was his music choice though? He opts for Percy Sledges "when a man loves a woman". I can't tell if Tarantino is a genius (I know he's a genius, it was an expression) who knew this is the song to start your movie or if he was stealing this from The Crying Game. If you've ever seen it you'll know how it begins with that beautiful establishing shot and Percy blaring out. Arguably the greatest opening to any film ever. I'm normally a fan of Tarantino sampling but this would be straight up theft. Crying Game actually came out in 92 and True Romance 93. Who knows whether Tarantino had the idea originally. I wouldn't be surprised. My man probably thought he had gold here and then it had to be changed once crying game had come out.
Scott interprets what Tarantino was going for and adds in even more goofiness to the romance and adds a bit of pace especially in the early scenes of Clarence and Alabama meeting. Scott gets you high on the romance and cruises on it whereas this script is a little more stop start at first. We don't need to hear about nick fury as well as spiderman. Fair to Scott for getting to the sex faster and skipping the in sex dialogue for some proper 80s looking montage sex. Had they not a new a style of montage sex at this point in the 90s? That billboard above the balcony was Tarantinos idea. Wasn't sure who that was but it works with the whole American dreamy/Road movie side to it all. Didn't like that Tarantino broke the scene up. Honestly, this scene in the movie always puts a silly grin on my face and gets me bloody emotional. Clarence just being the centre of attention and some voice for Tarantino and finally Alabama gets to actually speak. It's like a fucking melodrama or something it full on assaults you with this kind of cornball dialogue. I fall for it every time in the movie. Gets me all giddie. True romance.
It's no secret Tarantino likes to ramble. My guy like myself, out stays his welcome whenever possible. Scott seems to have found some more natural places to end conversations and some don't sound as silly. For example when The Mack is mentioned in the movie it seems a lot more natural. Clarence says something like he saw the movie 7 years ago. Tarantino explains it in the most Tarantino way by saying like "the mack with max Julian, directed by... Produced by... Distributed by... In the year....".
One scene I was really looking out for was when Clarence goes over to Drexyls. These are really random things to point out but in the script Drexyl is initially at the door and walks over to the sofa. Now in the movie, he's always sitting down from the moment the scene begins. This gives him a lot more power and adds something sinister from the outset. Makes their mind games work better because Drexyl hasn't moved. Their dialogue here is incredible because its all about who's done what since the scene began. Body language being massively important. Those observations seem more realistic and work better because of the levels they're on.
Now for ages, I have wanted to find out who came up with the swinging light bulb. An incredible tension builder. I can now confirm, that was Scott's idea. I guessed the track choice was his with Nymphomania's I want your body just because he has a similar sort of vibe for a scene in Man On Fire. The song choice and the editing in that scene is very Scott. He displays violence in a more real and ugly manner. His editing and staging of the fight scene is a lot more brutal and horribly shot. Horribly shot in a good way though, it suggests the gnarliness. You can't quite see everything but it works because it gives off the impression that it's rough. Tarantino does violence a lot different. He approaches it in a more cartoon over the top body horror way likes he's Cronenberg or Carpenter.
Structurally this is when the script starts to go in a couple of other directions and not so straight forward linear conventional. Had Tarantino directed I'm sure I'd have loved the movie too. However, there really is something to be said about Scotts less broken up and playful style. It allows me to engage with the romance more and emotionally it has greater effect. Tarantino is more about making you aware of the craft and messing about with the content. Scotts skill was keeping the essence of the dialogue and upping the cheesy drunkenness of it all. I get high off it. They do keep in that brave way that new characters (dick and Clarence's da) are introduced (or rather not introduced atleast in a classic film sense) which I respect. Well placed too structurally. Allows the film to move naturally along whilst not repeating itself. You get the sense some time has passed, you get to go somewhere else for a moment and you don't have to hear characters recite plot we have seen.
White wedding was Tarantinos idea it turns out. Next up on my things I looked out for was the Hopper and Walken scene. You can talk about writing all day long (and it truly is one of the best written things not just in Tarantinos career but of all time) yet it really does become something else in the hands of two unbelievably good actors. It gets to a point when what they're saying becomes almost irrelevant in that scene. After the big history lesson is given, the two actors mainly laugh at each other and trade off some things not written in the script. In my head that scene goes on longer and a lot more was said. The way these two actors laugh at each other but you can definitely read further layers in to it adds a great deal. Their reacting off each other and the way its editing so precisely the atmosphere comes unbearable.
The choice of location for the meeting with elliot in the movie I found to be pretty absurd and different. Went well with the giddie vibe to the movie. Alternatively, Tarantino goes for a zoo. Cool place for a meeting but not as wild or original as rollercoasters. Rollercoasters emphasised the amateurish nature and kiddiness of those arranging it. Around this time we're introduced to Floyd properly. Brad Pitt brought a lot to the character. He's not written as the classic stoner we remember. Was Brad too who came up with his character being on acid for the final act of once upon a time in Hollywood. Wouldn't be surprised if the stoner thing was his idea.
For some reason in this script, Gandolfinis character Virgil is some mad kung fu enthusiast throwing roundhouse kicks. I quite like it. Some dude the mafia send in to fuck people up and he's a kung fu man. Very different to how Gandolfini plays it. Doubt he has the figure to throwing out roundhouse kicks. Everyone always criticises this scene for typical unnecessary Tarantino violence. I think you can criticise the script for overuse of the n word but the so called unnecessary violence of this scene isn't all him. I've seen so many people write about how all Virgil needed to do was do a little bit of looking and he'd find the case under the bed. In the script, he is looking for the case. I prefer the movie though, gandolfini sat in the chair is so much colder. I love his speech about watching the expression change. In the movie him sitting down works for me because it's like he's not one for looking around. He expects Alabama to tell him everything. He's not used to putting in any more work than a couple of punches. So he's sat down exhausted with nowhere else to go.
Before the Mexican stand off, couldn't tell you why but I always smile at the mafia dude combing his hair in preparation. Don't know why I love that one but I do. Not in the script that. When the cops test the wire that whole vibe is different. Nowhere near as serious in the movie. Instead of elliot testing the wire with Shakespeare it's replaced with some nonsense about selling cookies with the girl scouts. A hell of a lot funnier than him reciting Shakespeare lines. Sorry Tarantino. I approve of the substituting movies for drugs and all the analogies about being the leading man or whatever but Shakespeare? Nerdy that. The combination of drugs and the movies is what makes the movie so cool but Shakespeare is a step too far. Glad they swapped that. Do like the Miami Vice reference in the script, can't remember if that's in the movie. Come to think of it the thing that's really crazy about the movie is how it seems to ride this line between goofy and cringey. Transcends both which is amazing but occasionally can go too far. In the script, there's this line that "red light means love baby". Clarence and Alabama have this game where they have to kiss at every light stop. This blew me head off. Can't even tell if that's goofy or cringey. Na I think I loved that one. So silly.
I noticed in the lift scene "nick carter" is changed to "nick fury" in the movie with regards to the line "as nick carter used to say: if I'm wrong I'll apologise". Assume it's to avoid any political commentary. Whilst it's a strange change as nick fury never said it, it fits the tone of the movie. Every time I hear the line it blows me head off cause you've got a guy pointing a gun in someone's face and quoting nick fury. Insane that Tarantino didn't have that. Is very Tarantino to just throw in such a silly reference in such a tense moment. Once again, the cops play it a lot more comedic in this moment. I'm usually in hysterics when they're saying, "I love this guy" about Clarence.
The meeting with Lee donovitz has a couple of things I picked up on too. Firstly, the dailies in the background not being in the script. I dunno why but I'm a fan of that. Leads in to the conversation better and sets Donovitz up as this big shot better. When I watched the movie I recently I did enjoy the dialogue here even more, especially when Tarantino describes the Oscar movies as "geriatric coffee table dog shit". I'm pretty sure they removed the films he's talking about. Not very brave. "Sophies choice, ordinary people, Kramer vs Kramer, Gandhi" are all discussed. Would have check what studios did these movies but Warner bros wouldn't bad mouth their own movies. Either that or they generally didn't want to disrespect these movies so head on. Dunno but me and Tarantino definitely park our cars in the same garage on this subject. The movie does include a greater piece of tension by having Lee and Clarence leave the room and elliot scratching his balls. Cops eagerly trying to get everything. Comedy wise, throughout the movie there's plenty of jokes about dicks acting abilities. Love those, just makes me warm to him. Wholesome.
In both script and film, Boris hates cops. On board with that attitude. It's rare to see in the movies. Not since Robocop have I felt that energy and believed it. After the shootout, dick runs off and in the script he has this line, "I swear to god ill never fuck up again. Please just let me get to TJ Hooker on Monday". Its funny that line is removed in the movie but I felt that vibe the whole time. Every time I watch it I'm like please let dick survive this shootout, let him make it for his scene! Interestingly, the script tackles something I never understood. Before the drug deal, dick says he needs to tell Clarence something but then leaves it. Call me dumb or whatever but I never got why. Maybe the movie intends to make it more mystical. In my head, I always left it open what he wanted to say. The script explains that he didn't want to go to the drug deal. This makes total sense except I'm quite annoyed because I found it really beautiful that it's just left unsaid. I need to ask someone about this but does the movie make the way he drops the conversation a lot more mystical.
Surprised the line during the shootout of "I'll call you a hearse" wasn't in the script. Tickles me that one. Right now we get to the big one. Tarantinos ending is famously different. In his verison, Clarence dies. They suggest it for a moment in the film and I still remember so clearly my initial reaction. I was like how fucking dare you. You've killed the dream. You can't have a movie with a tone this goofy that's pure ecstasy and make this the end. Would have lowered my score if that was the case. It wasn't was set up from the start and it would have killed the vision. It didn't fit. This is why I'm a little shocked that the billboard poster when the couple first announce their love for each other is in the script. That sort of fantasy bullshit works more for Tony Scotts vision.
Weirdly, Tarantinos version didn't frustrate me as much because his whole vision was slightly different. As I said earlier, he's more about breaking up the film and making you aware of itself rather than getting you high on romance. Also fits better in to the TCU (yes Tarantino cinematic universe) because Alabama comes a criminal after the fate of Clarence and even works with Harvey Keitels character in Reservoir Dogs. As he mentions in that movie, he did a few jobs with Alabama. All this works because Tarantino has this in mind from the outset. Whereas, Scotts doesn't. Respect to both of them for having their own visions and sticking to them.
Overall, an aspect I admire from Tarantino is his ability on this to juggle such differing tones. There's the shocking violence and the romance. It goes between the two and somehow never feels that out of balance. Not like he makes it easy for himself either. It walks the line so well. Not many people could handle the joy of this movie with its darker elements. I mentioned before as well the way it transcends goofy and cringey. The ending being a fantastic example of what he's managed to do so well throughout. Alabama, picks up that copy of the nick fury comic, Clarence gave her to keep. Both silly and undeniably wholesome at the same time. I'll say it again. True Romance.
First thing I was curious about was how the script starts. The movie has those iconic shots of poor people in Detroit whilst Hans Zimmers version of the Badlands theme plays. Wonderfully selected song choice as it harkens back to Tarantinos influence when he wrote this and Natural Born Killers (another script I'm curious about to see how it compares, meant to be radically different). I wondered how Tarantino would kick things off because it's not like he's gonna write "hans zimmer does an updated version of Badlands theme". Ok so he did have the poor people in Detroit, that was him. What was his music choice though? He opts for Percy Sledges "when a man loves a woman". I can't tell if Tarantino is a genius (I know he's a genius, it was an expression) who knew this is the song to start your movie or if he was stealing this from The Crying Game. If you've ever seen it you'll know how it begins with that beautiful establishing shot and Percy blaring out. Arguably the greatest opening to any film ever. I'm normally a fan of Tarantino sampling but this would be straight up theft. Crying Game actually came out in 92 and True Romance 93. Who knows whether Tarantino had the idea originally. I wouldn't be surprised. My man probably thought he had gold here and then it had to be changed once crying game had come out.
Scott interprets what Tarantino was going for and adds in even more goofiness to the romance and adds a bit of pace especially in the early scenes of Clarence and Alabama meeting. Scott gets you high on the romance and cruises on it whereas this script is a little more stop start at first. We don't need to hear about nick fury as well as spiderman. Fair to Scott for getting to the sex faster and skipping the in sex dialogue for some proper 80s looking montage sex. Had they not a new a style of montage sex at this point in the 90s? That billboard above the balcony was Tarantinos idea. Wasn't sure who that was but it works with the whole American dreamy/Road movie side to it all. Didn't like that Tarantino broke the scene up. Honestly, this scene in the movie always puts a silly grin on my face and gets me bloody emotional. Clarence just being the centre of attention and some voice for Tarantino and finally Alabama gets to actually speak. It's like a fucking melodrama or something it full on assaults you with this kind of cornball dialogue. I fall for it every time in the movie. Gets me all giddie. True romance.
It's no secret Tarantino likes to ramble. My guy like myself, out stays his welcome whenever possible. Scott seems to have found some more natural places to end conversations and some don't sound as silly. For example when The Mack is mentioned in the movie it seems a lot more natural. Clarence says something like he saw the movie 7 years ago. Tarantino explains it in the most Tarantino way by saying like "the mack with max Julian, directed by... Produced by... Distributed by... In the year....".
One scene I was really looking out for was when Clarence goes over to Drexyls. These are really random things to point out but in the script Drexyl is initially at the door and walks over to the sofa. Now in the movie, he's always sitting down from the moment the scene begins. This gives him a lot more power and adds something sinister from the outset. Makes their mind games work better because Drexyl hasn't moved. Their dialogue here is incredible because its all about who's done what since the scene began. Body language being massively important. Those observations seem more realistic and work better because of the levels they're on.
Now for ages, I have wanted to find out who came up with the swinging light bulb. An incredible tension builder. I can now confirm, that was Scott's idea. I guessed the track choice was his with Nymphomania's I want your body just because he has a similar sort of vibe for a scene in Man On Fire. The song choice and the editing in that scene is very Scott. He displays violence in a more real and ugly manner. His editing and staging of the fight scene is a lot more brutal and horribly shot. Horribly shot in a good way though, it suggests the gnarliness. You can't quite see everything but it works because it gives off the impression that it's rough. Tarantino does violence a lot different. He approaches it in a more cartoon over the top body horror way likes he's Cronenberg or Carpenter.
Structurally this is when the script starts to go in a couple of other directions and not so straight forward linear conventional. Had Tarantino directed I'm sure I'd have loved the movie too. However, there really is something to be said about Scotts less broken up and playful style. It allows me to engage with the romance more and emotionally it has greater effect. Tarantino is more about making you aware of the craft and messing about with the content. Scotts skill was keeping the essence of the dialogue and upping the cheesy drunkenness of it all. I get high off it. They do keep in that brave way that new characters (dick and Clarence's da) are introduced (or rather not introduced atleast in a classic film sense) which I respect. Well placed too structurally. Allows the film to move naturally along whilst not repeating itself. You get the sense some time has passed, you get to go somewhere else for a moment and you don't have to hear characters recite plot we have seen.
White wedding was Tarantinos idea it turns out. Next up on my things I looked out for was the Hopper and Walken scene. You can talk about writing all day long (and it truly is one of the best written things not just in Tarantinos career but of all time) yet it really does become something else in the hands of two unbelievably good actors. It gets to a point when what they're saying becomes almost irrelevant in that scene. After the big history lesson is given, the two actors mainly laugh at each other and trade off some things not written in the script. In my head that scene goes on longer and a lot more was said. The way these two actors laugh at each other but you can definitely read further layers in to it adds a great deal. Their reacting off each other and the way its editing so precisely the atmosphere comes unbearable.
The choice of location for the meeting with elliot in the movie I found to be pretty absurd and different. Went well with the giddie vibe to the movie. Alternatively, Tarantino goes for a zoo. Cool place for a meeting but not as wild or original as rollercoasters. Rollercoasters emphasised the amateurish nature and kiddiness of those arranging it. Around this time we're introduced to Floyd properly. Brad Pitt brought a lot to the character. He's not written as the classic stoner we remember. Was Brad too who came up with his character being on acid for the final act of once upon a time in Hollywood. Wouldn't be surprised if the stoner thing was his idea.
For some reason in this script, Gandolfinis character Virgil is some mad kung fu enthusiast throwing roundhouse kicks. I quite like it. Some dude the mafia send in to fuck people up and he's a kung fu man. Very different to how Gandolfini plays it. Doubt he has the figure to throwing out roundhouse kicks. Everyone always criticises this scene for typical unnecessary Tarantino violence. I think you can criticise the script for overuse of the n word but the so called unnecessary violence of this scene isn't all him. I've seen so many people write about how all Virgil needed to do was do a little bit of looking and he'd find the case under the bed. In the script, he is looking for the case. I prefer the movie though, gandolfini sat in the chair is so much colder. I love his speech about watching the expression change. In the movie him sitting down works for me because it's like he's not one for looking around. He expects Alabama to tell him everything. He's not used to putting in any more work than a couple of punches. So he's sat down exhausted with nowhere else to go.
Before the Mexican stand off, couldn't tell you why but I always smile at the mafia dude combing his hair in preparation. Don't know why I love that one but I do. Not in the script that. When the cops test the wire that whole vibe is different. Nowhere near as serious in the movie. Instead of elliot testing the wire with Shakespeare it's replaced with some nonsense about selling cookies with the girl scouts. A hell of a lot funnier than him reciting Shakespeare lines. Sorry Tarantino. I approve of the substituting movies for drugs and all the analogies about being the leading man or whatever but Shakespeare? Nerdy that. The combination of drugs and the movies is what makes the movie so cool but Shakespeare is a step too far. Glad they swapped that. Do like the Miami Vice reference in the script, can't remember if that's in the movie. Come to think of it the thing that's really crazy about the movie is how it seems to ride this line between goofy and cringey. Transcends both which is amazing but occasionally can go too far. In the script, there's this line that "red light means love baby". Clarence and Alabama have this game where they have to kiss at every light stop. This blew me head off. Can't even tell if that's goofy or cringey. Na I think I loved that one. So silly.
I noticed in the lift scene "nick carter" is changed to "nick fury" in the movie with regards to the line "as nick carter used to say: if I'm wrong I'll apologise". Assume it's to avoid any political commentary. Whilst it's a strange change as nick fury never said it, it fits the tone of the movie. Every time I hear the line it blows me head off cause you've got a guy pointing a gun in someone's face and quoting nick fury. Insane that Tarantino didn't have that. Is very Tarantino to just throw in such a silly reference in such a tense moment. Once again, the cops play it a lot more comedic in this moment. I'm usually in hysterics when they're saying, "I love this guy" about Clarence.
The meeting with Lee donovitz has a couple of things I picked up on too. Firstly, the dailies in the background not being in the script. I dunno why but I'm a fan of that. Leads in to the conversation better and sets Donovitz up as this big shot better. When I watched the movie I recently I did enjoy the dialogue here even more, especially when Tarantino describes the Oscar movies as "geriatric coffee table dog shit". I'm pretty sure they removed the films he's talking about. Not very brave. "Sophies choice, ordinary people, Kramer vs Kramer, Gandhi" are all discussed. Would have check what studios did these movies but Warner bros wouldn't bad mouth their own movies. Either that or they generally didn't want to disrespect these movies so head on. Dunno but me and Tarantino definitely park our cars in the same garage on this subject. The movie does include a greater piece of tension by having Lee and Clarence leave the room and elliot scratching his balls. Cops eagerly trying to get everything. Comedy wise, throughout the movie there's plenty of jokes about dicks acting abilities. Love those, just makes me warm to him. Wholesome.
In both script and film, Boris hates cops. On board with that attitude. It's rare to see in the movies. Not since Robocop have I felt that energy and believed it. After the shootout, dick runs off and in the script he has this line, "I swear to god ill never fuck up again. Please just let me get to TJ Hooker on Monday". Its funny that line is removed in the movie but I felt that vibe the whole time. Every time I watch it I'm like please let dick survive this shootout, let him make it for his scene! Interestingly, the script tackles something I never understood. Before the drug deal, dick says he needs to tell Clarence something but then leaves it. Call me dumb or whatever but I never got why. Maybe the movie intends to make it more mystical. In my head, I always left it open what he wanted to say. The script explains that he didn't want to go to the drug deal. This makes total sense except I'm quite annoyed because I found it really beautiful that it's just left unsaid. I need to ask someone about this but does the movie make the way he drops the conversation a lot more mystical.
Surprised the line during the shootout of "I'll call you a hearse" wasn't in the script. Tickles me that one. Right now we get to the big one. Tarantinos ending is famously different. In his verison, Clarence dies. They suggest it for a moment in the film and I still remember so clearly my initial reaction. I was like how fucking dare you. You've killed the dream. You can't have a movie with a tone this goofy that's pure ecstasy and make this the end. Would have lowered my score if that was the case. It wasn't was set up from the start and it would have killed the vision. It didn't fit. This is why I'm a little shocked that the billboard poster when the couple first announce their love for each other is in the script. That sort of fantasy bullshit works more for Tony Scotts vision.
Weirdly, Tarantinos version didn't frustrate me as much because his whole vision was slightly different. As I said earlier, he's more about breaking up the film and making you aware of itself rather than getting you high on romance. Also fits better in to the TCU (yes Tarantino cinematic universe) because Alabama comes a criminal after the fate of Clarence and even works with Harvey Keitels character in Reservoir Dogs. As he mentions in that movie, he did a few jobs with Alabama. All this works because Tarantino has this in mind from the outset. Whereas, Scotts doesn't. Respect to both of them for having their own visions and sticking to them.
Overall, an aspect I admire from Tarantino is his ability on this to juggle such differing tones. There's the shocking violence and the romance. It goes between the two and somehow never feels that out of balance. Not like he makes it easy for himself either. It walks the line so well. Not many people could handle the joy of this movie with its darker elements. I mentioned before as well the way it transcends goofy and cringey. The ending being a fantastic example of what he's managed to do so well throughout. Alabama, picks up that copy of the nick fury comic, Clarence gave her to keep. Both silly and undeniably wholesome at the same time. I'll say it again. True Romance.
January 27, 2022
Actually sitting down and reading this screenplay reaffirmed what I’ve thought about QT for many years: He’s an endlessly entertaining, yet terribly limited writer. True Romance was sold before he had that Stephen King clout that prevents any suit from telling him no about anything. So, there are major differences between his script and the film Tony Scott directed.
A reading of QT’s initial vision crystallizes the fact that he’s never lived an actual life. Every touchstone is cinema. Every character trait a pop culture reference.
TR is the story of QT meeting and falling in love with QT, and the two QT’s going off and doing shit QT likes seeing in movies. Standing on its own, it could be accepted as ironic or an artistic statement. Knowing all the work that followed, it’s obviously all the man knows. For example, all the white people in TR are racist. That’s because QT spent most of his life watching blaxploitation films, in which all white folks are racist.
Again, the guy’s limitations don’t prevent him from rendering an unforgettable thrill ride.
One particularly surprising item:
Brad Pitt’s character on the page is bland and lifeless. Must have been Pitt or Scott who decided to make him a stoner. One of the more memorable, realistic characters in the movie.
A reading of QT’s initial vision crystallizes the fact that he’s never lived an actual life. Every touchstone is cinema. Every character trait a pop culture reference.
TR is the story of QT meeting and falling in love with QT, and the two QT’s going off and doing shit QT likes seeing in movies. Standing on its own, it could be accepted as ironic or an artistic statement. Knowing all the work that followed, it’s obviously all the man knows. For example, all the white people in TR are racist. That’s because QT spent most of his life watching blaxploitation films, in which all white folks are racist.
Again, the guy’s limitations don’t prevent him from rendering an unforgettable thrill ride.
One particularly surprising item:
Brad Pitt’s character on the page is bland and lifeless. Must have been Pitt or Scott who decided to make him a stoner. One of the more memorable, realistic characters in the movie.
February 9, 2016
The screenplay of True Romance is written in the great style of QT!! It starts in the middle and has a totally different ending but True Romance was sold to the late Tony Scott brother of Ridley Scott and NBK was sold to Oliver Stone so Quention could make is dream Script Reservoir Dogs but I would suggest to all fans to read the screenplays .. You will see some of the smallest changes to a dramatic change in True Romance and yes I agree with someone that said THIS IS NOT A MOVIE Review bc if you watch the Tony Scotts version and try to do a review of the movie u are going to give yourself away that u have never read but watched and thought the two were the same !! The timelines are totally different and a great ending that's very different so do yourself a favor and read before reviewing!! I do not claim to be smart but I have read the classics from Proust to Joyce and have read DW and other great writers and I never started to read until I was out of school and it became one of my biggest passions and have taught me more than any schooling ever did. Just Read
This entire review has been hidden because of spoilers.
December 20, 2023
Yo this guys a really good writer, he should make some movies 😳
Yeah no from start to finish, this shit was ELECTRIC. I could not put it down; the amount of talent that exuberates from his text is so gripping, it’s no surprise he became the absolute film monster he is today, in both direction and writing. He clearly has such a passion for film that he can’t help but output his nerdiness and love into this script, and it all translates so well. This guy definitely knows how to write a MOVIE, and NOT a film. He packs a punch with not only some nail-biting thrilling crime, but tinges of slapstick humor, enthralling characters, and easily some of the best and quippy dialogue you can find in Hollywood. I found myself laughing out loud to myself while reading this, the charm works so naturally it’s scary. This man gets it. (Also please get me another copy of this screenplay with a diff cover, this shi was a lil embarrassing to read in public with his face all in the open like that, no offense Quentin 🙏)
Yeah no from start to finish, this shit was ELECTRIC. I could not put it down; the amount of talent that exuberates from his text is so gripping, it’s no surprise he became the absolute film monster he is today, in both direction and writing. He clearly has such a passion for film that he can’t help but output his nerdiness and love into this script, and it all translates so well. This guy definitely knows how to write a MOVIE, and NOT a film. He packs a punch with not only some nail-biting thrilling crime, but tinges of slapstick humor, enthralling characters, and easily some of the best and quippy dialogue you can find in Hollywood. I found myself laughing out loud to myself while reading this, the charm works so naturally it’s scary. This man gets it. (Also please get me another copy of this screenplay with a diff cover, this shi was a lil embarrassing to read in public with his face all in the open like that, no offense Quentin 🙏)
April 10, 2019
This is the first time I read a movie screenplay, I think. Fortunately, it's been decades since I watched Tony Scott's rendition of it, so I remembered close to nothing, and had few preconceived notions about the story.
This seems like proto-Tarantino, in that it has some of the quirkiness that his works have always exhibited, but fortunately without any of the long monologues. I was never much of a Tarantino fan.
This seems like proto-Tarantino, in that it has some of the quirkiness that his works have always exhibited, but fortunately without any of the long monologues. I was never much of a Tarantino fan.
May 29, 2018
4.5. Tarantino can do no wrong. While True Romance is certainly heightened and not exactly relatable, it's a fascinating character study and has a strong plot. Quentin is one of those rare screenwriters whose works not only serve as blueprints for films but also stand on their own, as amusing narratives in and of themselves.
September 21, 2020
fantastic. Just as good as the movie and real help and inspiration if your thinking of writing a screenplay yourself, don't just learn - learn from the master. fantastic dialogue, fast-paced and a short introduction from the man himself.
February 14, 2025
…I don’t know, this is the second 90’s Tarantino screenplay I’ve read and I really don’t see what made producers want to make his projects. He’s obviously good at the craft but… I guess I’m expecting these PERFECT screenplays given how people praise his writing.
March 3, 2021
Frantic and gripping. A non-linear screenplay that shows off his talent.
August 5, 2021
4.5 out of 5
August 6, 2021
One of my top 10 movies / screen plays of all time.
August 17, 2022
4.5 ⭐️’s* (Outstanding).
March 15, 2023
First screenplay I have read. Wanted to read one from a movie I have not seen yet. Quick short read, intense story looking forward to check out the film.
September 16, 2023
Tarantino is stupid good at writing a script, and the original ending is an interesting diversion from the movie.
December 21, 2023
Simply amazing. Love the timeline and the characters. Such a fun story and twist on a rom com chase movie.
August 31, 2024
Reads as well and engaging as if it were a novel and didn't want to put it down.
February 12, 2025
With hazy movie references, Quentin Tarantino's cult romantic crime drama True Romance is an exciting and distinctive screenplay. I heartily recommend this high-octane entertainer.
July 26, 2025
I haven’t rewatched the film in years & found this whilst tidying today and read it in one go. Not a fan of the original ending though
Read
November 18, 2025great script and without too many tarantino-isms
September 11, 2013
A superbly written screenplay, in my humble opinion. There's an energy here and a warmth that shines brightly as we come to the fairy tale-esque closing pages of a wild B/gangster classic. Tarantino does a fantastic job fleshing out his characters and damn if we don't feel for Alabama more than anybody else in the film. She has heart. Excellent screenplay.
July 23, 2011
Superb screenplay. Too bad it was not directed the way Tarantino wrote it. To the dumb-ass who wrote the description about the screenplay: you neglected to READ the screenplay because Clarence does not drive a purple Cadillac in the screenplay. READ the screenplay; this is not a movie review.
November 19, 2013
First experience reading a screenplay, read for Sixth form to compare with Romeo and Juliet. Just what you would expect from Tarantino, violence and amazing witty dialogue that was a times laugh out loud, however I do not think I enjoyed this as much as some of his other films that I have seen.
June 17, 2009
The movie was more graphic but less suspenceful than the screenplay. It is an okay read if you are into screenplays.
February 9, 2016
206 - 2016
Dibaca dalam rangka menjelang hari Valentine.
Romance sih... tapi romance-nya QT itu... hmm...
Oh yah, sudahlah...
Dibaca dalam rangka menjelang hari Valentine.
Romance sih... tapi romance-nya QT itu... hmm...
Oh yah, sudahlah...
September 8, 2016
Some deviations from the Tony Scott film. Such a great read even if most of it was familiar.
March 2, 2022
Super-doper Tarantino. Great characters and stunning dialogue. Wonderful insights into human foibles.
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