Pulp Fiction
Writers: Quentin Tarantino, Roger Avary
Genres: Action, Crime, Drama, Thriller
"PULP FICTION"
By
Quentin Tarantino & Roger Avary
PULP [pulp] n.
1. A soft, moist, shapeless mass or matter.
2. A magazine or book containing lurid subject matter and
being characteristically printed on rough, unfinished paper.
American Heritage Dictionary: New College Edition
INT. COFFEE SHOP – MORNING
A normal Denny's, Spires-like coffee shop in Los Angeles.
It's about 9:00 in the morning. While the place isn't jammed,
there's a healthy number of people drinking coffee, munching
on bacon and eating eggs.
Two of these people are a YOUNG MAN and a YOUNG WOMAN. The
Young Man has a slight working-class English accent and,
like his fellow countryman, smokes cigarettes like they're
going out of style.
It is impossible to tell where the Young Woman is from or
how old she is; everything she does contradicts something
she did. The boy and girl sit in a booth. Their dialogue is
to be said in a rapid pace "HIS GIRL FRIDAY" fashion.
YOUNG MAN
No, forget it, it's too risky. I'm
through doin' that shit.
YOUNG WOMAN
You always say that, the same thing
every time: never again, I'm through,
too dangerous.
YOUNG MAN
I know that's what I always say. I'm
always right too, but –
YOUNG WOMAN
– but you forget about it in a day
or two -
YOUNG MAN
– yeah, well, the days of me
forgittin' are over, and the days of
me rememberin' have just begun.
YOUNG WOMAN
When you go on like this, you know
what you sound like?
YOUNG MAN
I sound like a sensible fucking man,
is what I sound like.
YOUNG WOMAN
You sound like a duck.
(imitates a duck)
Quack, quack, quack, quack, quack,
quack, quack...
YOUNG MAN
Well take heart, 'cause you're never
gonna hafta hear it again. Because
since I'm never gonna do it again,
you're never gonna hafta hear me
quack about how I'm never gonna do
it again.
YOUNG WOMAN
After tonight.
The boy and girl laugh, their laughter putting a pause in
there, back and forth.
YOUNG MAN
(with a smile)
Correct. I got all tonight to quack.
A WAITRESS comes by with a pot of coffee.
WAITRESS
Can I get anybody anymore coffee?
YOUNG WOMAN
Oh yes, thank you.
The Waitress pours the Young Woman's coffee. The Young Man
lights up another cigarette.
YOUNG MAN
I'm doin' fine.
The Waitress leaves. The Young Man takes a drag off of his
smoke.
The Young Woman pours a ton of cream and sugar into her
coffee.
The Young Man goes right back into it.
YOUNG MAN
I mean the way it is now, you're
takin' the same fuckin' risk as when
you rob a bank. You take more of a
risk. Banks are easier! Federal
banks aren't supposed to stop you
anyway, during a robbery. They're
insured, why should they care? You
don't even need a gun in a federal
bank. I heard about this guy, walked
into a federal bank with a portable
phone, handed the phone to the teller,
the guy on the other end of the phone
said: "We got this guy's little girl,
and if you don't give him all your
money, we're gonna kill 'er."
YOUNG WOMAN
Did it work?
YOUNG MAN
Fuckin' A it worked, that's what I'm
talkin' about! Knucklehead walks in
a bank with a telephone, not a pistol,
not a shotgun, but a fuckin' phone,
cleans the place out, and they don't
lift a fuckin' finger.
YOUNG WOMAN
Did they hurt the little girl?
YOUNG MAN
I don't know. There probably never
was a little girl – the point of the
story isn't the little girl. The
point of the story is they robbed
the bank with a telephone.
YOUNG WOMAN
You wanna rob banks?
YOUNG MAN
I'm not sayin' I wanna rob banks,
I'm just illustrating that if we
did, it would be easier than what we
been doin'.
YOUNG WOMAN
So you don't want to be a bank robber?
YOUNG MAN
Naw, all those guys are goin' down
the same road, either dead or servin'
twenty.
YOUNG WOMAN
And no more liquor stores?
YOUNG MAN
What have we been talking about?
Yeah, no more-liquor-stores. Besides,
it ain't the giggle it usta be. Too
many foreigners own liquor stores.
Vietnamese, Koreans, they can't
fuckin' speak English. You tell 'em:
"Empty out the register," and they
don't know what it fuckin' means.
They make it too personal. We keep
on, one of those gook motherfuckers'
gonna make us kill 'em.
YOUNG WOMAN
I'm not gonna kill anybody.
YOUNG MAN
I don't wanna kill anybody either.
But they'll probably put us in a
situation where it's us of them. And
if it's not the gooks, it these old
Jews who've owned the store for
fifteen fuckin' generations. Ya got
Grandpa Irving sittin' behind the
counter with a fuckin' Magnum. Try
walkin' into one of those stores
with nothin' but a telephone, see
how far it gets you. Fuck it, forget
it, we're out of it.
YOUNG WOMAN
Well, what else is there, day jobs?
YOUNG MAN
(laughing)
Not this life.
YOUNG WOMAN
Well what then?
He calls to the Waitress.
YOUNG MAN
Garcon! Coffee!
Then looks to his girl.
YOUNG MAN
This place.
The Waitress comes by, pouring him some more.
WAITRESS
(snotty)
"Garcon" means boy.
She splits.
YOUNG WOMAN
Here? It's a coffee shop.
YOUNG MAN
What's wrong with that? People never
rob restaurants, why not? Bars, liquor
stores, gas stations, you get your
head blown off stickin' up one of
them. Restaurants, on the other hand,
you catch with their pants down.
They're not expecting to get robbed,
or not as expecting.
YOUNG WOMAN
(taking to idea)
I bet in places like this you could
cut down on the hero factor.
YOUNG MAN
Correct. Just like banks, these places
are insured. The managers don't give
a fuck, they're just tryin' to get
ya out the door before you start
pluggin' diners. Waitresses, forget
it, they ain't takin' a bullet for
the register. Busboys, some wetback
gettin' paid a dollar fifty a hour
gonna really give a fuck you're
stealin' from the owner. Customers
are sittin' there with food in their
mouths, they don't know what's goin'
on. One minute they're havin' a Denver
omelet, next minute somebody's
stickin' a gun in their face.
The Young Woman visibly takes in the idea. The Young Man
continues in a low voice.
YOUNG MAN
See, I got the idea last liquor store
we stuck up. 'Member all those
customers kept comin' in?
YOUNG WOMAN
Yeah.
YOUNG MAN
Then you got the idea to take
everybody's wallet.
YOUNG WOMAN
Uh-huh.
YOUNG MAN
That was a good idea.
YOUNG WOMAN
Thanks.
YOUNG MAN
We made more from the wallets then
we did the register.
YOUNG WOMAN
Yes we did.
YOUNG MAN
A lot of people go to restaurants.
YOUNG WOMAN
A lot of wallets.
YOUNG MAN
Pretty smart, huh?
The Young Woman scans the restaurant with this new
information.
She sees all the PATRONS eating, lost in conversations. The
tired WAITRESS, taking orders. The BUSBOYS going through the
motions, collecting dishes. The MANAGER complaining to the
COOK about something. A smiles breaks out on the Young Woman's
face.
YOUNG WOMAN
Pretty smart.
(into it)
I'm ready, let's go, right here,
right now.
YOUNG MAN
Remember, same as before, you're
crowd control, I handle the employees.
YOUNG WOMAN
Got it.
They both take out their .32-caliber pistols and lay them on
the table. He looks at her and she back at him.
YOUNG WOMAN
I love you, Pumpkin.
YOUNG MAN
I love you, Honey Bunny.
And with that, Pumpkin and Honey Bunny grab their weapons,
stand up and rob the restaurant. Pumpkin's robbery persona
is that of the in-control professional. Honey Bunny's is
that of the psychopathic, hair-triggered, loose cannon.
PUMPKIN
(yelling to all)
Everybody be cool this is a robbery!
HONEY BUNNY
Any of you fuckin' pricks move and
I'll execute every one of you
motherfuckers! Got that?
CUT TO:
CREDIT SEQUENCE:
"PULP FICTION"
INT. '74 CHEVY (MOVING) – MORNING
An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS
down a homeless-ridden street in Hollywood. In the front
seat are two young fellas – one white, one black – both
wearing cheap black suits with thin black ties under long
green dusters. Their names are VINCENT VEGA (white) and JULES
WINNFIELD (black). Jules is behind the wheel.
JULES
– Okay now, tell me about the hash
bars?
VINCENT
What so you want to know?
JULES
Well, hash is legal there, right?
VINCENT
Yeah, it's legal, but is ain't a
hundred percent legal. I mean you
can't walk into a restaurant, roll a
joint, and start puffin' away. You're
only supposed to smoke in your home
or certain designated places.
JULES
Those are hash bars?
VINCENT
Yeah, it breaks down like this: it's
legal to buy it, it's legal to own
it and, if you're the proprietor of
a hash bar, it's legal to sell it.
It's legal to carry it, which doesn't
really matter 'cause – get a load of
this – if the cops stop you, it's
illegal for this to search you.
Searching you is a right that the
cops in Amsterdam don't have.
JULES
That did it, man – I'm fuckin' goin',
that's all there is to it.
VINCENT
You'll dig it the most. But you know
what the funniest thing about Europe
is?
JULES
What?
VINCENT
It's the little differences. A lotta
the same shit we got here, they got
there, but there they're a little
different.
JULES
Examples?
VINCENT
Well, in Amsterdam, you can buy beer
in a movie theatre. And I don't mean
in a paper cup either. They give you
a glass of beer, like in a bar. In
Paris, you can buy beer at
MacDonald's. Also, you know what
they call a Quarter Pounder with
Cheese in Paris?
JULES
They don't call it a Quarter Pounder
with Cheese?
VINCENT
No, they got the metric system there,
they wouldn't know what the fuck a
Quarter Pounder is.
JULES
What'd they call it?
VINCENT
Royale with Cheese.
JULES
(repeating)
Royale with Cheese. What'd they call
a Big Mac?
VINCENT
Big Mac's a Big Mac, but they call
it Le Big Mac.
JULES
Le Big Mac. What do they call a
Whopper?
VINCENT
I dunno, I didn't go into a Burger
King. But you know what they put on
french fries in Holland instead of
ketchup?
JULES
What?
VINCENT
Mayonnaise.
JULES
Goddamn!
VINCENT
I seen 'em do it. And I don't mean a
little bit on the side of the plate,
they fuckin' drown 'em in it.
JULES
Uuccch!
CUT TO:
INT. CHEVY (TRUNK) – MORNING
The trunk of the Chevy OPENS UP, Jules and Vincent reach
inside, taking out two .45 Automatics, loading and cocking
them.
JULES
We should have shotguns for this
kind of deal.
VINCENT
How many up there?
JULES
Three or four.
VINCENT
Counting our guy?
JULES
I'm not sure.
VINCENT
So there could be five guys up there?
JULES
It's possible.
VINCENT
We should have fuckin' shotguns.
They CLOSE the trunk.
CUT TO:
EXT. APARTMENT BUILDING COURTYARD – MORNING
Vincent and Jules, their long matching overcoats practically
dragging on the ground, walk through the courtyard of what
looks like a hacienda-style Hollywood apartment building.
We TRACK alongside.
VINCENT
What's her name?
JULES
Mia.
VINCENT
How did Marsellus and her meet?
JULES
I dunno, however people meet people.
She usta be an actress.
VINCENT
She ever do anything I woulda saw?
JULES
I think her biggest deal was she
starred in a pilot.
VINCENT
What's a pilot?
JULES
Well, you know the shows on TV?
VINCENT
I don't watch TV.
JULES
Yes, but you're aware that there's
an invention called television, and
on that invention they show shows?
VINCENT
Yeah.
JULES
Well, the way they pick the shows on
TV is they make one show, and that
show's called a pilot. And they show
that one show to the people who pick
the shows, and on the strength of
that one show, they decide if they
want to make more shows. Some get
accepted and become TV programs, and
some don't, and become nothing. She
starred in one of the ones that became
nothing.
They enter the apartment building.
INT. RECEPTION AREA (APARTMENT BUILDING) – MORNING
Vincent and Jules walk through the reception area and wait
for the elevator.
JULES
You remember Antwan Rockamora? Half-
black, half-Samoan, usta call him
Tony Rocky Horror.
VINCENT
Yeah maybe, fat right?
JULES
I wouldn't go so far as to call the
brother fat. He's got a weight
problem. What's the nigger gonna
do, he's Samoan.
VINCENT
I think I know who you mean, what
about him?
JULES
Well, Marsellus fucked his ass up
good. And word around the campfire,
it was on account of Marsellus
Wallace's wife.
The elevator arrives, the men step inside.
INT. ELEVATOR – MORNING
VINCENT
What'd he do, fuck her?
JULES
No no no no no no no, nothin' that
bad.
VINCENT
Well what then?
JULES
He gave her a foot massage.
VINCENT
A foot massage?
Jules nods his head: "Yes."
VINCENT
That's all?
Jules nods his head: "Yes."
VINCENT
What did Marsellus do?
JULES
Sent a couple of guys over to his
place. They took him out on the
patio of his apartment, threw his
ass over the balcony. Nigger fell
four stories. They had this garden
at the bottom, enclosed in glass,
like one of them greenhouses – nigger
fell through that. Since then, he's
kinda developed a speech impediment.
The elevator doors open, Jules and Vincent exit.
VINCENT
That's a damn shame.
INT. APARTMENT BUILDING HALLWAY – MORNING
STEADICAM in front of Jules and Vincent as they make a beeline
down the hall.
VINCENT
Still I hafta say, play with matches,
ya get burned.
JULES
Whaddya mean?
VINCENT
You don't be givin' Marsellus
Wallace's new bride a foot massage.
JULES
You don't think he overreacted?
VINCENT
Antwan probably didn't expect
Marsellus to react like he did, but
he had to expect a reaction.
JULES
It was a foot massage, a foot massage
is nothing, I give my mother a foot
massage.
VINCENT
It's laying hands on Marsellus
Wallace's new wife in a familiar
way. Is it as bad as eatin' her out
– no, but you're in the same fuckin'
ballpark.
Jules stops Vincent.
JULES
Whoa... whoa... whoa... stop right
there. Eatin' a bitch out, and givin'
a bitch a foot massage ain't even
the same fuckin' thing.
VINCENT
Not the same thing, the same ballpark.
JULES
It ain't no ballpark either. Look
maybe your method of massage differs
from mine, but touchin' his lady's
feet, and stickin' your tongue in
her holyiest of holyies, ain't the
same ballpark, ain't the same league,
ain't even the same fuckin' sport.
Foot massages don't mean shit.
VINCENT
Have you ever given a foot massage?
JULES
Don't be tellin' me about foot
massages – I'm the foot fuckin'
master.
VINCENT
Given a lot of 'em?
JULES
Shit yeah. I got my technique down
man, I don't tickle or nothin'.
VINCENT
Have you ever given a guy a foot
massage?
Jules looks at him a long moment – he's been set up.
JULES
Fuck you.
He starts walking down the hall. Vincent, smiling, walks a
little bit behind.
VINCENT
How many?
JULES
Fuck you.
VINCENT
Would you give me a foot massage –
I'm kinda tired.
JULES
Man, you best back off, I'm gittin'
pissed – this is the door.
The two men stand in front of the door numbered "49." They
whisper.
JULES
What time is it?
VINCENT
(checking his watch)
Seven-twenty-two in the morning.
JULES
It ain't quite time, let's hang back.
They move a little away from the door, facing each other,
still whispering.
JULES
Look, just because I wouldn't give
no man a foot massage, don't make it
right for Marsellus to throw Antwan
off a building into a glass-
motherfuckin-house, fuckin' up the
way the nigger talks. That ain't
right, man. Motherfucker do that to
me, he better paralyze my ass, 'cause
I'd kill'a motherfucker.
VINCENT
I'm not sayin' he was right, but
you're sayin' a foot massage don't
mean nothing, and I'm sayin' it does.
I've given a million ladies a million
foot massages and they all meant
somethin'. We act like they don't,
but they do. That's what's so fuckin'
cool about 'em. This sensual thing's
goin' on that nobody's talkin about,
but you know it and she knows it,
fuckin' Marsellus knew it, and Antwan
shoulda known fuckin' better. That's
his fuckin' wife, man. He ain't gonna
have a sense of humor about that
shit.
JULES
That's an interesting point, but
let's get into character.
VINCENT
What's her name again?
JULES
Mia. Why you so interested in big
man's wife?
VINCENT
Well, Marsellus is leavin' for Florida
and when he's gone, he wants me to
take care of Mia.
JULES
Take care of her?
Making a gun out of his finger and placing it to his head.
VINCENT
Not that! Take her out. Show her a
good time. Don't let her get lonely.
JULES
You're gonna be takin' Mia Wallace
out on a date?
VINCENT
It ain't a date. It's like when you
and your buddy's wife go to a movie
or somethin'. It's just... you know...
good company.
Jules just looks at him.
VINCENT
It's not a date.
Jules just looks at him.
INT. APARTMENT (ROOM 49) – MORNING
THREE YOUNG GUYS, obviously in over their heads, sit at a
table with hamburgers, french fries and soda pops laid out.
One of them flips the LOUD BOLT on the door, opening it to
REVEAL Jules and Vincent in the hallway.
JULES
Hey kids.
The two men stroll inside.
The three young caught-off-guard Guys are:
MARVIN, the black young man, who open the door, will, as the
scene progresses, back into the corner.
ROGER, a young blond-haired surfer kid with a "Flock of
Seagulls" haircut, who has yet to say a word, sits at the
table with a big sloppy hamburger in his hand.
BRETT, a white, preppy-looking sort with a blow-dry haircut.
Vincent and Jules take in the place, with their hands in
their pockets. Jules is the one who does the talking.
JULES
How you boys doin'?
No answer.
JULES
(to Brett)
Am I trippin', or did I just ask you
a question.
BRETT
We're doin' okay.
As Jules and Brett talk, Vincent moves behind the young Guys.
JULES
Do you know who we are?
Brett shakes his head: "No."
JULES
We're associates of your business
partner Marsellus Wallace, you
remember your business partner
dont'ya?
No answer.
JULES
(to Brett)
Now I'm gonna take a wild guess here:
you're Brett, right?
BRETT
I'm Brett.
JULES
I thought so. Well, you remember
your business partner Marsellus
Wallace, dont'ya Brett?
BRETT
I remember him.
JULES
Good for you. Looks like me and
Vincent caught you at breakfast,
sorry 'bout that. What'cha eatin'?
BRETT
Hamburgers.
JULES
Hamburgers. The cornerstone of any
nutritious breakfast. What kinda
hamburgers?
BRETT
Cheeseburgers.
JULES
No, I mean where did you get'em?
MacDonald's, Wendy's, Jack-in-the-
Box, where?
BRETT
Big Kahuna Burger.
JULES
Big Kahuna Burger. That's that
Hawaiian burger joint. I heard they
got some tasty burgers. I ain't never
had one myself, how are they?
BRETT
They're good.
JULES
Mind if I try one of yours?
BRETT
No.
JULES
Yours is this one, right?
BRETT
Yeah.
Jules grabs the burger and take a bite of it.
JULES
Uuummmm, that's a tasty burger.
(to Vincent)
Vince, you ever try a Big Kahuna
Burger?
VINCENT
No.
Jules holds out the Big Kahuna.
JULES
You wanna bite, they're real good.
VINCENT
I ain't hungry.
JULES
Well, if you like hamburgers give
'em a try sometime. Me, I can't
usually eat 'em 'cause my girlfriend's
a vegetarian. Which more or less
makes me a vegetarian, but I sure
love the taste of a good burger.
(to Brett)
You know what they call a Quarter
Pounder with Cheese in France?
BRETT
No.
JULES
Tell 'em, Vincent.
VINCENT
Royale with Cheese.
JULES
Royale with Cheese, you know why
they call it that?
BRETT
Because of the metric system?
JULES
Check out the big brain on Brett.
You'a smart motherfucker, that's
right. The metric system.
(he points to a fast
food drink cup)
What's in this?
BRETT
Sprite.
JULES
Sprite, good, mind if I have some of
your tasty beverage to wash this
down with?
BRETT
Sure.
Jules grabs the cup and takes a sip.
JULES
Uuuuummmm, hit's the spot!
(to Roger)
You, Flock of Seagulls, you know
what we're here for?
Roger nods his head: "Yes."
JULES
Then why don't you tell my boy here
Vince, where you got the shit hid.
MARVIN
It's under the be –
JULES
– I don't remember askin' you a
goddamn thing.
(to Roger)
You were sayin'?
ROGER
It's under the bed.
Vincent moves to the bed, reaches underneath it, pulling out
a black snap briefcase.
VINCENT
Got it.
Vincent flips the two locks, opening the case. We can't see
what's inside, but a small glow emits from the case. Vincent
just stares at it, transfixed.
JULES
We happy?
No answer from the transfixed Vincent.
JULES
Vincent!
Vincent looks up at Jules.
JULES
We happy?
Closing the case.
VINCENT
We're happy.
BRETT
(to Jules)
Look, what's your name? I got his
name's Vincent, but what's yours?
JULES
My name's Pitt, and you ain't talkin'
your ass outta this shit.
BRETT
I just want you to know how sorry we
are about how fucked up things got
between us and Mr. Wallace. When we
entered into this thing, we only had
the best intentions –
As Brett talks, Jules takes out his gun and SHOOTS Roger
three times in the chest, BLOWING him out of his chair.
Vince smiles to himself. Jules has got style.
Brett has just shit his pants. He's not crying or whimpering,
but he's so full of fear, it's as if his body is imploding.
JULES
(to Brett)
Oh, I'm sorry. Did that break your
concentration? I didn't mean to do
that. Please, continue. I believe
you were saying something about "best
intentions."
Brett can't say a word.
JULES
Whatsamatter? Oh, you were through
anyway. Well, let me retort. Would
you describe for me what Marsellus
Wallace looks like?
Brett still can't speak.
Jules SNAPS, SAVAGELY TIPPING the card table over, removing
the only barrier between himself and Brett. Brett now sits
in a lone chair before Jules like a political prisoner in
front of an interrogator.
JULES
What country you from!
BRETT
(petrified)
What?
JULES
"What" ain't no country I know! Do
they speak English in "What?"
BRETT
(near heart attack)
What?
JULES
English-motherfucker-can-you-speak-
it?
BRETT
Yes.
JULES
Then you understand what I'm sayin'?
BRETT
Yes.
JULES
Now describe what Marsellus Wallace
looks like!
BRETT
(out of fear)
What?
Jules takes his .45 and PRESSES the barrel HARD in Brett's
cheek.
JULES
Say "What" again! C'mon, say "What"
again! I dare ya, I double dare ya
motherfucker, say "What" one more
goddamn time!
Brett is regressing on the spot.
JULES
Now describe to me what Marsellus
Wallace looks like!
Brett does his best.
BRETT
Well he's... he's... black –
JULES
– go on!
BRETT
...and he's... he's... bald –
JULES
– does he look like a bitch?!
BRETT
(without thinking)
What?
Jules' eyes go to Vincent, Vincent smirks, Jules rolls his
eyes and SHOOT Brett in the shoulder.
Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in
the chair.
JULES
Does-he-look-like-a-bitch?!
BRETT
(in agony)
No.
JULES
Then why did you try to fuck 'im
like a bitch?!
BRETT
(in spasm)
I didn't.
Now in a lower voice.
JULES
Yes ya did Brett. Ya tried ta fuck
'im. You ever read the Bible, Brett?
BRETT
(in spasm)
Yes.
JULES
There's a passage I got memorized,
seems appropriate for this situation:
Ezekiel 25:17. "The path of the
righteous man is beset on all sides
by the inequities of the selfish and
the tyranny of evil men. Blessed is
he who, in the name of charity and
good will, shepherds the weak through
the valley of darkness, for he is
truly his brother's keeper and the
finder of lost children. And I will
strike down upon thee with great
vengeance and furious anger those
who attempt to poison and destroy my
brothers. And you will know my name
is the Lord when I lay my vengeance
upon you."
The two men EMPTY their guns at the same time on the sitting
Brett.
AGAINST BLACK, TITLE CARD:
"VINCENT VEGA AND MARSELLUS WALLACE'S WIFE"
FADE IN:
MEDIUM SHOT – BUTCH COOLIDGE
We FADE UP on BUTCH COOLIDGE, a white, 26-year-old
prizefighter. Butch sits at a table wearing a red and blue
high school athletic jacket. Talking to him OFF SCREEN is
everybody's boss MARSELLUS WALLACE. The black man sounds
like a cross between a gangster and a king.
MARSELLUS (O.S.)
I think you're gonna find – when all
this shit is over and done – I think
you're gonna find yourself one smilin'
motherfucker. Thing is Butch, right
now you got ability. But painful as
it may be, ability don't last. Now
that's a hard motherfuckin' fact of
life, but it's a fact of life your
ass is gonna hafta git realistic
about. This business is filled to
the brim with unrealistic
motherfuckers who thought their ass
aged like wine. Besides, even if
you went all the way, what would you
be? Feather-weight champion of the
world. Who gives a shit? I doubt you
can even get a credit card based on
that.
A hand lays an envelope full of money on the table in front
of Butch. Butch picks it up.
MARSELLUS (O.S.)
Now the night of the fight, you may
fell a slight sting, that's pride
fuckin' wit ya. Fuck pride! Pride
only hurts, it never helps. Fight
through that shit. 'Cause a year
from now, when you're kickin' it in
the Caribbean you're gonna say,
"Marsellus Wallace was right."
BUTCH
I got no problem with that.
MARSELLUS (O.S.)
In the fifth, your ass goes down.
Butch nods his head: "yes."
MARSELLUS (O.S.)
Say it!
BUTCH
In the fifth, my ass goes down.
CUT TO:
INT. CAR (MOVING) – DAY
Vincent Vega looks really cool behind the wheel of a 1964
cherry red Chevy Malibu convertible. From the car radio,
ROCKABILLY MUSIC PLAYS. The b.g. is a COLORFUL PROCESS SHOT.
EXT. SALLY LEROY'S – DAY
Sally LeRoy's is a large topless bar by LAX that Marsellus
owns.
Vincent's classic Malibu WHIPS into the near empty parking
lot and parks next to a white Honda Civic.
Vince knocks on the door. The front entrance is unlocked,
revealing the Dapper Dan fellow on the inside: ENGLISH DAVE.
Dave isn't really English, he's a young black man from Baldwin
Park, who has run a few clubs for Marsellus, including Sally
LeRoy's.
ENGLISH DAVE
Vincent Vega, our man in Amsterdam,
git your ass on in here.
Vincent, carrying the black briefcase from the scene between
Vincent and Jules, steps inside. English Dave SLAMS the door
in our faces.
INT. SALLY LEROY'S – DAY
The spacious club is empty this time of day. English Dave
crosses to the bar, and Vince follows.
VINCENT
Where's the big man?
ENGLISH DAVE
He's over there, finishing up some
business.
VINCENT'S POV: Butch shakes hands with a huge figure with
his back to us. The huge figure is the infamous and as of
yet still UNSEEN Marsellus.
ENGLISH DAVE (O.S.)
Hang back for a second or two, and
when you see the white boy leave, go
on over. In the meanwhile, can I
make you an espresso?
VINCENT
How 'bout a cup of just plain lo'
American?
ENGLISH DAVE
Comin' up. I hear you're taking Mia
out tomorrow?
VINCENT
At Marsellus' request.
ENGLISH DAVE
Have you met Mia?
VINCENT
Not yet.
English Dave smiles to himself.
VINCENT
What's so funny?
ENGLISH DAVE
Not a goddamn thing.
VINCENT
Look, I'm not a idiot. She's the big
man's fuckin' wife. I'm gonna sit
across a table, chew my food with my
mouth closed, laugh at her jokes and
that's all I'm gonna do.
English Dave puts Vince's coffee in front of him.
ENGLISH DAVE
My name's Paul, and this is between
y'all.
Butch bellies up to the bar next to Vincent, drinking his
cup of "Plain ol' American."
BUTCH
(to English Dave)
Can I get a pack'a Red Apples?
ENGLISH DAVE
Filters?
BUTCH
Non.
While Butch waits for his smokes, Vincent just sips his
coffee, staring at him. Butch looks over at him.
BUTCH
Lookin' at somethin', friend?
VINCENT
I ain't your friend, palooka.
Butch does a slow turn toward Vincent.
BUTCH
What was that?
VINCENT
I think ya heard me just fine, punchy.
Butch turns his body to Vincent, when...
MARSELLUS (O.S.)
Vincent Vega has entered the building,
git your ass over here!
Vincent walks forward OUT OF FRAME, never giving Butch another
glance. We DOLLY INTO CU on Butch, left alone in the FRAME,
looking like he's ready to go into the manners-teaching
business.
BUTCH'S POV: Vincent hugging and kissing the obscured figure
that is Marsellus.
Butch makes the wise decision that is this asshole's a friend
of Marsellus, he better let it go – for now.
ENGLISH DAVE (O.S.)
Pack of Red Apples, dollar-forty.
Butch is snapped out of his ass-kicking thoughts. He pays
English Dave and walks out of the SHOT.
DISSOLVE TO:
INT. LANCE'S HOUSE (KITCHEN) – NIGHT
CLOSEUP – JODY
A woman who appears to have a fondness for earrings. Both of
her ears are pierced five times. She also sports rings in
her lips, eyebrows and nose.
JODY
...I'll lend it to you. It's a great
book on body piercing.
Jody, Vincent and a young woman named TRUDI sit at the kitchen
table of a suburban house in Echo Park. Even though Vince is
at the same table, he's not included in the conversation.
TRUDI
You know how they use that gun when
they pierce your ears? They don't
use that when they pierce your
nipples, do they?
JODY
Forget that gun. That gun goes against
the entire idea behind piercing. All
of my piercing, sixteen places on my
body, every one of 'em done with a
needle. Five in each ear. One through
the nipple on my left breast. One
through my right nostril. One through
my left eyebrow. One through my lip.
One in my clit. And I wear a stud in
my tongue.
Vince has been letting this conversation go through one ear
and out the other, until that last remark.
VINCENT
(interrupting)
Excuse me, sorry to interrupt. I'm
curious, why would you get a stud in
your tongue?
Jody looks at him and says as if it were the most obvious
thing in the world.
JODY
It's a sex thing. It helps fellatio.
That thought never occurred to Vincent, but he can't deny it
makes sense. Jody continues talking to Trudi, leaving Vincent
to ponder the truth of her statement.
LANCE (O.S.)
Vince, you can come in now!
INT. LANCE'S BEDROOM – NIGHT
Lance, late 20s, is a young man with a wild and woolly
appearance that goes hand-in-hand with his wild and woolly
personality. LANCE has been selling drugs his entire adult
life. He's never had a day job, never filed a tax return and
has never been arrested. He wears a red flannel shirt over a
"Speed Racer" tee-shirt.
Three bags of heroin lie on Lance's bed.
Lance and Vincent stand at the foot of the bed.
LANCE
Now this is Panda, from Mexico. Very
good stuff. This is Bava, different,
but equally good. And this is Choco
from the Hartz Mountains of Germany.
Now the first two are the same, forty-
five an ounce – those are friend
prices – but this one...
(pointing to the Choco)
...this one's a little more expensive.
It's fifty-five. But when you shoot
it, you'll know where that extra
money went. Nothing wrong with the
first two. It's real, real, real,
good shit. But this one's a fuckin'
madman.
VINCENT
Remember, I just got back from
Amsterdam.
LANCE
Am I a nigger? Are you in Inglewood?
No. You're in my house. White people
who know the difference between good
shit and bad shit, this is the house
they come to. My shit, I'll take the
Pepsi Challenge with Amsterdam shit
any ol' day of the fuckin' week.
VINCENT
That's a bold statement.
LANCE
This ain't Amsterdam, Vince. This is
a seller's market. Coke is fuckin'
dead as disco. Heroin's comin' back
in a big fuckin' way. It's this whole
seventies retro. Bell bottoms, heroin,
they're as hot as hell.
Vincent takes out a roll of money that would choke a horse
to death.
VINCENT
Give me three hundred worth of the
madman. If it's as good as you say,
I'll be back for a thousand.
LANCE
I just hope I still have it. Whaddya
think of Trudi? She ain't got a
boyfriend, wanna hand out an' get
high?
VINCENT
Which one's Trudi? The one with all
the shit in her face?
LANCE
No, that's Jody. That's my wife.
Vincent and Lance giggle at the "faux pas."
VINCENT
I'm on my way somewhere. I got a
dinner engagement. Rain check?
LANCE
No problem?
Vincent takes out his case of the works (utensils for shooting
up).
VINCENT
You don't mind if I shoot up here?
LANCE
Me casa, su casa.
VINCENT
Mucho gracias.
Vincent takes his works out of his case and, as the two
continue to talk, Vince shoots up.
LANCE
Still got your Malibu?
VINCENT
You know what some fucker did to it
the other day?
LANCE
What?
VINCENT
Fuckin' keyed it.
LANCE
Oh man, that's fucked up.
VINCENT
Tell me about it. I had the goddamn
thing in storage three years. It's
out five fuckin' days – five days,
and some dickless piece of shit fucks
with it.
LANCE
They should be fuckin' killed. No
trial, no jury, straight to execution.
As he cooks his heroin...
VINCENT
I just wish I caught 'em doin' it,
ya know? Oh man, I'd give anything
to catch 'em doin' it. It'a been
worth his doin' it, if I coulda just
caught 'em, you know what I mean?
LANCE
It's chicken shit. You don't fuck
another man's vehicle.
CLOSEUP – THE NEEDLE
Going into Vincent's vein.
CLOSEUP – BLOOD
Spurting back into the syringe, mixing with the heroin.
CLOSEUP – VINCENT'S THUMB
Pushing down on the plunger.
CUT TO:
EXT. MARSELLUS WALLACE'S HOUSE – NIGHT
Vincent walks toward the house and pulls a note off the door
CLOSEUP – NOTE
The Note reads:
"Hi Vincent, I'm getting dressed. The door's open. Come inside
and make yourself a drink. Mia"
MIA (V.O.)
Hi, Vincent. I'm getting dressed.
The door's open. Come inside and
make yourself a drink.
FADE TO WHITE
Music in.
FADE TO:
INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
Vincent enters on the background.
VINCENT
Hello?
INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
MIA, Marcellus' beautiful young wife. Video screens are in
the background. Dusty Springfield is singing "SON OF A
PREACHER MAN".
Mia's mouth comes toward a microphone.
MIA
(into microphone)
Vincent.
INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
Vincent turns.
MIA
(over intercom)
Vincent. I'm on the intercom.
INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
MIA
(into microphone)
It's on the wall by the two African
fellas.
INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
MIA
(over intercom)
To your right.
Vincent walks.
MIA
...warm. Warmer. Disco.
Vincent finds the intercom on the wall.
VINCENT
Hello.
MIA
(over intercom)
Push the button if you want to talk.
VINCENT
(into intercom)
Hello.
INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
MIA
(into microphone)
Go make yourself a drink., and I'll
be down in two shakes of a lamb's
tail.
INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
MIA
(over intercom)
The bar's by the fireplace.
VINCENT
(into intercom)
Okay.
(licks lips)
INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
A video screen with an image of Vincent, walking. The Dusty
Springfield song continues.
Mia turns a knob which controls the movement of the video
camera in Marcellus' living room.
INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
Vincent picks up a bottle of scotch. He sniffs the bottle,
and then pours it into a glass.
INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
A razor blade cuts cocaine on a mirror.
INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
Vincent drinks a glass of scotch.
INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
Mia sniffs the cocaine.
INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
Vincent sips the drink and looks at a portrait of Mia on the
wall.
Mia walks into the room, and takes the needle off a record.
The Dusty Springfield song stops.
MIA
Let's go.
EXT. JACKRABBIT SLIM'S – NIGHT
In the past six years, 50's diners have sprung up all over
L.A., giving Thai restaurants a run for their money. They're
all basically the same. Decor out of an "Archie" comic book,
Golden Oldies constantly emanating from a bubbly Wurlitzer,
saucy waitresses in bobby socks, menus with items like the
Fats Domino Cheeseburger, or the Wolfman Jack Omelet, and
over prices that pay for all this bullshit.
But then there's JACKRABBIT SLIM'S, the big mama of 50's
diners.
Either the best or the worst, depending on your point of
view.
Vincent's Malibu pulls up to the restaurant. A big sign with
a neon figure of a cartoon surly cool cat jackrabbit in a
red windbreaker towers over the establishment. Underneath
the cartoon is the name: JACKRABBIT SLIM'S. Underneath that
is the slogan: "Next best thing to a time machine."
VINCENT
What the fuck is this place?
MIA
This is Jackrabbit Slim's. An Elvis
man should love it.
VINCENT
Come on, Mia, let's go get a steak.
MIA
You can get a steak here, daddy-o.
Don't be a...
Mia draws a square with her hands. Dotted lines appear on
the screen, forming a sqaure. The lines disperse.
VINCENT
After you, kitty-cat.
INT. JACKRABBIT SLIM'S – NIGHT
Compared to the interior, the exterior was that of a quaint
English pub. Posters from 50's A.I.P. movies are all over
the wall
("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF
THE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths that
the patrons sit in are made out of the cut up bodies of 50s
cars.
In the middle of the restaurant in a dance floor. A big sign
on the wall states, "No shoes allowed." Some wannabe beboppers
(actually Melrose-types), do the twist in their socks or
barefeet.
The picture windows don't look out the street, but instead,
B & W movies of 50's street scenes play behind them. The
WAITRESSES and WAITERS are made up as replicas of 50's icons:
MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and
LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing
appropriate costumes.
Vincent and Mia study the menu in a booth made out of a red
'59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting
a big button on his chest that says: "Hi I'm Buddy, pleasing
you please me."
BUDDY
Hi, I'm Buddy, what can I get'cha?
VINCENT
I'll have the Douglas Sirk steak.
BUDDY
How d'ya want it, burnt to a crisp,
or bloody as hell?
VINCENT
Bloody as hell. And to drink, a
vanilla coke.
BUDDY
How 'bout you, Peggy Sue?
MIA
I'll have the Durwood Kirby burger –
bloody – and a five-dollar shake.
BUDDY
How d'ya want that shake, Martin and
Lewis, or Amos and Andy?
MIA
Martin and Lewis.
VINCENT
Did you just order a five-dollar
shake?
MIA
Sure did.
VINCENT
A shake? Milk and ice cream?
MIA
Uh-huh.
VINCENT
It costs five dollars?
BUDDY
Yep.
VINCENT
You don't put bourbon in it or
anything?
BUDDY
Nope.
VINCENT
Just checking.
Buddy exits.
Vincent takes a look around the place. The YUPPIES are
dancing, the DINERS are biting into big, juicy hamburgers,
and the icons are playing their parts. Marilyn is squealing,
The Midget is paging Philip Morris, Donna Reed is making her
customers drink their milk, and Dean and Jerry are acting a
fool.
MIA
Whaddya think?
VINCENT
It's like a wax museum with a pulse
rate.
Vincent takes out his pouch of tobacco and begins rolling
himself a smoke.
After a second of watching him –
MIA
What are you doing?
VINCENT
Rollin' a smoke.
MIA
Here?
VINCENT
It's just tobacco.
MIA
Oh. Well in that case, will you roll
me one, cowboy?
As he finishes licking it –
VINCENT
You can have this one, cowgirl.
He hands her the rolled smoke. She takes it, putting it to
her lips. Out of nowhere appears a Zippo lighter in Vincent's
hand. He lights it.
MIA
Thanks.
VINCENT
Think nothing of it.
He begins rolling one for himself.
As this time, the SOUND of a subway car fills the diner,
making everything SHAKE and RATTLE. Marilyn Monroe runs to a
square vent in the floor. An imaginary subway train BLOWS
the skirt of her white dress around her ears as she lets out
a squeal. The entire restaurant applauds.
Back to Mia and Vincent.
MIA
Marsellus said you just got back
from Amsterdam.
VINCENT
Sure did. I heard you did a pilot.
MIA
That was my fifteen minutes.
VINCENT
What was it?
MIA
It was show about a team of female
secret agents called "Fox Force Five."
VINCENT
What?
MIA
"Fox Force Five." Fox, as in we're a
bunch of foxy chicks. Force, as in
we're a force to be reckoned with.
Five, as in there's one... two ...
three... four... five of us. There
was a blonde one, Sommerset O'Neal
from that show "Baton Rouge," she
was the leader. A Japanese one, a
black one, a French one and a brunette
one, me. We all had special skills.
Sommerset had a photographic memory,
the Japanese fox was a kung fu master,
the black girl was a demolition
expert, the French fox' specialty
was sex...
VINCENT
What was your specialty?
MIA
Knives. The character I played, Raven
McCoy, her background was she was
raised by circus performers. So she
grew up doing a knife act. According
to the show, she was the deadliest
woman in the world with a knife. But
because she grew up in a circus, she
was also something of an acrobat.
She could do illusions, she was a
trapeze artist – when you're keeping
the world safe from evil, you never
know when being a trapeze artist's
gonna come in handy. And she knew a
zillion old jokes her grandfather,
an old vaudevillian, taught her. If
we woulda got picked up, they woulda
worked in a gimmick where every
episode I woulda told and ol joke.
VINCENT
Do you remember any of the jokes?
MIA
Well I only got the chance to say
one, 'cause we only did one show.
VINCENT
Tell me.
MIA
No. It's really corny.
VINCENT
C'mon, don't be that way.
MIA
No. You won't like it and I'll be
embarrassed.
VINCENT
You told it in front of fifty million
people and you can't tell it to me?
I promise I won't laugh.
MIA
(laughing)
That's what I'm afraid of.
VINCENT
That's not what I meant and you know
it.
MIA
You're quite the silver tongue devil,
aren't you?
VINCENT
I meant I wouldn't laugh at you.
MIA
That's not what you said Vince. Well
now I'm definitely not gonna tell
ya, 'cause it's been built up too
much.
VINCENT
What a gyp.
Buddy comes back with the drinks. Mia wraps her lips around
the straw of her shake.
MIA
Yummy!
VINCENT
Can I have a sip of that? I'd like
to know what a five-dollar shake
tastes like.
MIA
Be my guest.
She slides the shake over to him.
MIA
You can use my straw, I don't have
kooties.
Vincent smiles.
VINCENT
Yeah, but maybe I do.
MIA
Kooties I can handle.
He takes a sip.
VINCENT
Goddamn! That's a pretty fuckin'
good milk shake.
MIA
Told ya.
VINCENT
I don't know if it's worth five
dollars, but it's pretty fuckin'
good.
He slides the shake back.
Then the first of an uncomfortable silence happens.
MIA
Don't you hate that?
VINCENT
What?
MIA
Uncomfortable silences. Why do we
feel it's necessary to yak about
bullshit in order to be comfortable?
VINCENT
I don't know.
MIA
That's when you know you found
somebody special. When you can just
shit the fuck up for a minute, and
comfortably share silence.
VINCENT
I don't think we're there yet. But
don't feel bad, we just met each
other.
MIA
Well I'll tell you what, I'll go to
the bathroom and powder my nose,
while you sit here and think of
something to say.
VINCENT
I'll do that.
INT. JACKRABBIT SLIM'S (LADIES ROOM) – NIGHT
Mia powders her nose by doing a big line of coke off the
bathroom sink. Her head jerks up from the rush.
MIA
(imitating Steppenwolf)
I said goddamn!
INT. JACKRABBIT SLIM'S (DINING AREA) – NIGHT
Vincent digs into his Douglas Sirk steak. As he chews, his
eyes scan the Hellsapopinish restaurant.
Mia comes back to the table.
MIA
Don't you love it when you go to the
bathroom and you come back to find
your food waiting for you?
VINCENT
We're lucky we got it at all. Buddy
Holly doesn't seem to be much of a
waiter. We shoulda sat in Marilyn
Monroe's section.
MIA
Which one, there's two Marilyn
Monroes.
VINCENT
No there's not.
Pointing at Marilyn in the white dress serving a table.
VINCENT
That's Marilyn Monroe...
Then, pointing at a BLONDE WAITRESS in a tight sweater and
capri pants, taking an order from a bunch of FILM GEEKS –
VINCENT
... and that's Mamie Van Doren. I
don't see Jayne Mansfield, so it
must be her night off.
MIA
Pretty smart.
VINCENT
I have moments.
MIA
Did ya think of something to say?
VINCENT
Actually, there's something I've
wanted to ask you about, but you
seem like a nice person, and I didn't
want to offend you.
MIA
Oooohhhh, this doesn't sound like
mindless, boring, getting-to-know-
you chit-chat. This sounds like you
actually have something to say.
VINCENT
Only if you promise not to get
offended.
MIA
You can't promise something like
that. I have no idea what you're
gonna ask. You could ask me what
you're gonna ask me, and my natural
response could be to be offended.
Then, through no fault of my own, I
woulda broken my promise.
VINCENT
Then let's just forget it.
MIA
That is an impossibility. Trying to
forget anything as intriguing as
this would be an exercise in futility.
VINCENT
Is that a fact?
Mia nods her head: "Yes."
MIA
Besides, it's more exciting when you
don't have permission.
VINCENT
What do you think about what happened
to Antwan?
MIA
Who's Antwan?
VINCENT
Tony Rocky Horror.
MIA
He fell out of a window.
VINCENT
That's one way to say it. Another
way is, he was thrown out. Another
was is, he was thrown out by
Marsellus. And even another way is,
he was thrown out of a window by
Marsellus because of you.
MIA
Is that a fact?
VINCENT
No it's not, it's just what I heard.
MIA
Who told you this?
VINCENT
They.
Mia and Vincent smile.
MIA
They talk a lot, don't they?
VINCENT
They certainly do.
MIA
Well don't by shy Vincent, what
exactly did they say?
Vincent is slow to answer.
MIA
Let me help you Bashful, did it
involve the F-word?
VINCENT
No. They just said Rocky Horror gave
you a foot massage.
MIA
And...?
VINCENT
No and, that's it.
MIA
You heard Marsellus threw Rocky Horror
out of a four-story window because
he massaged my feet?
VINCENT
Yeah.
MIA
And you believed that?
VINCENT
At the time I was told, it seemed
reasonable.
MIA
Marsellus throwing Tony out of a
four story window for giving me a
foot massage seemed reasonable?
VINCENT
No, it seemed excessive. But that
doesn't mean it didn't happen. I
heard Marsellus is very protective
of you.
MIA
A husband being protective of his
wife is one thing. A husband almost
killing another man for touching his
wife's feet is something else.
VINCENT
But did it happen?
MIA
The only thing Antwan ever touched
of mine was my hand, when he shook
it. I met Anwan once – at my wedding
– then never again. The truth is,
nobody knows why Marsellus tossed
Tony Rocky Horror out of that window
except Marsellus and Tony Rocky
Horror. But when you scamps get
together, you're worse than a sewing
circle.
CUT TO:
ED SULLIVAN AND MARILYN MONROE STAND ON STAGE
ED SULLIVAN
(into microphone)
Ladies and gentlemen, now the moment
you've all been waiting for, the
worldfamous Jackrabbit Slim's twist
contest.
Patrons cheer.
Ed Sullivan is with Marilyn Monroe, who holds a trophy.
ED SULLIVAN
...One lucky couple will win this
handsome trophy that Marilyn here is
holding.
Marilyn holds the trophy.
ED SULLIVAN
...Now, who will be our first
contestants?
Mia holds her hand.
MIA
Right here.
Vincent reacts.
MIA
I wanna dance.
VINCENT
No, no, no no, no, no, no, no.
MIA
(overlapping)
No, no, no, no, no, no, no. I do
believe Marsellus, my husband, your
boss, told you to take me out and do
whatever I wanted, Now, I want to
dance. I want to win. I want that
trophy.
VINCENT
(sighs)
All right.
MIA
So, dance good.
VINCENT
All right, you asked for it.
Vincent and Mia walk onto the dance floor, toward Ed Sullivan.
ED SULLIVAN
(into microphone)
Let's hear it for our first
contestants.
Patrons cheer.
Vincent and Mia walk up to the microphone.
ED SULLIVAN
Now let's meet our first contestants
here this evening. Young lady, what
is your name?
MIA
(into microphone)
Missus Mia Wallace.
ED SULLIVAN
(into microphone)
And, uh, how 'bout your fella here?
MIA
(into microphone)
Vincent Vega.
ED SULLIVAN
(into microphone)
All right, let's see what you can
do. Take it away!
Mia and Vincent dance to Chuck Berry's "YOU NEVER CAN TELL".
They make hand movements as they dance.
INT. MARSELLUS WALLACE'S HOME – NIGHT
The front door FLINGS open, and Mia and Vincent dance tango-
style into the house, singing a cappella the song from the
previous scene. They finish their little dance, laughing.
Then...
The two just stand face to face looking at each other.
VINCENT
Was than an uncomfortable silence?
MIA
I don't know what that was.
(pause)
Music and drinks!
Mia moves away to attend to both. Vincent hangs up his
overcoat on a big bronze coat rack in the alcove.
VINCENT
I'm gonna take a piss.
MIA
That was a little bit more information
than I needed to know, but go right
ahead.
Vincent shuffles off to the john.
Mia moves to her CD player, thumbs through a stack of CDs
and selects one: k.d. lang. The speakers BLAST OUT a high
energy country number, which Mia plays air-guitar to. She
dances her way around the room and finds herself by Vincent's
overcoat hanging on the rack. She touches its sleeve. It
feels good.
Her hand hoes in its pocket and pulls out his tobacco pouch.
Like a little girl playing cowboy, she spreads the tobacco
on some rolling paper. Imitating what he did earlier, licks
the paper and rolls it into a pretty good cigarette. Maybe a
little too fat, but not bad for a first try. Mia thinks so
anyway. Her hand reaches back in the pocket and pulls out
his Zippo lighter. She SLAPS the lighter against her leg,
trying to light it fancy-style like Vince did. What do you
know, she did it! Mia's one happy clam. She triumphantly
brings the fat flame up to her fat smoke, lighting it up,
then LOUDLY SNAPS the Zippo closed.
The Mia-made cigarette is brought up to her lips, and she
takes a long, cool drag. Her hand slides the Zippo back in
the overcoat pocket. But wait, her fingers touch something
else. Those fingers bring out a plastic bag with white powder
inside, the madman that Vincent bought earlier from Lance.
Wearing a big smile, Mia brings the bag of heroin up to her
face.
MIA
(like you would say
Bingo!)
Disco! Vince, you little cola nut,
you've been holding out on me.
CUT TO:
INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) – NIGHT
Vincent stands at the sink, washing his hands, talking to
himself in the mirror.
VINCENT
One drink and leave. Don't be rude,
but drink your drink quickly, say
goodbye, walk out the door, get in
your car, and go down the road.
LIVING ROOM
Mia has the unbeknownst-to-her heroin cut up into big lines
on her glass top coffee table. Taking her trusty hundred
dollar bill like a human Dust-Buster, she quickly snorts the
fat line.
CLOSEUP – MIA
Her head JERKS back. Her hands go to her nose (which feels
like it's on fucking fire), something is terribly wrong.
Then... the rush hits...
BATHROOM
Vincent dries his hands on a towel while he continues his
dialogue with the mirror.
VINCENT
...It's a moral test of yourself,
whether or not you can maintain
loyalty. Because when people are
loyal to each other, that's very
meaningful.
LIVING ROOM
Mia is on all fours trying to crawl to the bathroom, but
it's like she's trying to crawl with the bones removed from
her knees. Blood begins to drip from Mia's nose. Then her
stomach gets into the act and she VOMITS.
BATHROOM
Vince continues.
VINCENT
So you're gonna go out there, drink
your drink, say "Goodnight, I've had
a very lovely evening," go home, and
jack off. And that's all you're
gonna do.
Now that he's given himself a little pep talk, Vincent's
ready for whatever's waiting for him on the other side of
that door. So he goes through it.
LIVING ROOM
We follow behind Vincent as he walks from the bathroom to
the living room, where he finds Mia lying on the floor like
a rag doll. She's twisted on her back. Blood and puke are
down her front. And her face is contorted. Not out of the
tightness of pain, but just the opposite, the muscles in her
face are so relaxed, she lies still with her mouth wide open.
Slack-jawed.
VINCENT
Jesus Christ!
Vincent moves like greased lightning to Mia's fallen body.
Bending down where she lays, he puts his fingers on her neck
to check her pulse. She slightly stirs.
Mia is aware of Vincent over her, speaking to her.
VINCENT
(sounding weird)
Mia! MIA! What the hell happened?
But she's unable to communicate Mia makes a few lost mumbles,
but they're not distinctive enough to be called words.
Vincent props her eyelids open and sees the story.
VINCENT
(to himself)
I'll be a son-of-a-bitch.
(to Mia)
Mia! MIA! What did you take? Answer
me honey, what did you take?
Mia is incapable of answering. He SLAPS her face hard.
Vincent SPRINGS up and RUNS to his overcoat, hanging on the
rack.
He goes through the pockets FRANTICALLY. It's gone. Vincent
makes a beeline to Mia. We follow.
VINCENT
(yelling to Mia)
Okay honey, we're getting you on
your feet.
He reaches her and hoists the dead weight up in his arms.
VINCENT
We're on our feet now, and now we're
gonna talk out to the car. Here we
go, watch us walk.
We follow behind as he hurriedly walks the practically-
unconscious Mia through the house and out the front door.
EXT. VINCENT'S HOT ROD (MOVING) – NIGHT
INSERT SPEEDOMETER: red needle on a hundred.
Vincent driving like a madman in a town without traffic laws,
speeds the car into turns and up and over hills.
INT.VINCENT'S HOT ROD (MOVING) – NIGHT
Vincent, one hand firmly on the wheel, the other shifting
like Robocop, both eyes staring straight ahead except when
he glances over at Mia.
Mia, slack-jawed expression, mouth gaping, posture of a bag
of water.
Vincent takes a cellular phone out of his pocket. He punches
a number.
INT. LANCE'S HOUSE – NIGHT
At this late hour, LANCE has transformed from a bon vivant
drug dealer to a bathrobe creature.
He sits in a big comfy chair, ratty blue gym pants, a worn-
out but comfortable tee-shirt that has, written on it, "TAFT,
CALIFORNIA", and a moth-ridden terry cloth robe. In his hand
is a bowl of Cap'n Crunch with Crunch Berries. In front of
him on the coffee table is a jug of milk, the box the Cap'n
Crunch with Crunch Berries came out of, and a hash pipe in
an ashtray.
On the big-screen TV in front of the table is the Three
Stooges, and they're getting married.
PREACHER (EMIL SIMKUS)
(on TV)
Hold hands, you love birds.
The phone RINGS.
Lance puts down his cereal and makes his way to the phone.
It RINGS again.
Jody, his wife, CALLS from the bedroom, obviously woken up.
JODY (O.S.)
Lance! The phone's ringing!
LANCE
(calling back)
I can hear it!
JODY (O.S.)
I thought you told those fuckin'
assholes never to call this late!
LANCE
(by the phone)
I told 'em and that's what I'm gonna
tell this fuckin' asshole right now!
(he answers the phone)
Hello, do you know how late it is?
You're not supposed to be callin' me
this fuckin' late.
BACK TO:
VINCENT IN THE MALIBU
Vincent is still driving like a stripe-assed ape, clutching
the phone to his ear. WE CUT BACK AND FORTH during the
conversation.
VINCENT
Lance, this is Vincent, I'm in big
fuckin' trouble man, I'm on my way
to your place.
LANCE
Whoa, hold you horses man, what's
the problem?
VINCENT
You still got an adrenaline shot?
LANCE
(dawning on him)
Maybe.
VINCENT
I need it man, I got a chick she's
fuckin' Doing on me.
LANCE
Don't bring her here! I'm not even
fuckin' joking with you, don't you
be bringing some fucked up pooh-butt
to my house!
VINCENT
No choice.
LANCE
She's ODin'?
VINCENT
Yeah. She's dyin'.
LANCE
Then bite the fuckin' bullet, take
'er to a hospital and call a lawyer!
VINCENT
Negative.
LANCE
She ain't my fuckin' problem, you
fucked her up, you deal with it –
are you talkin' to me on a cellular
phone?
VINCENT
Sorry.
LANCE
I don't know you, who is this, don't
come here, I'm hangin' up.
VINCENT
Too late, I'm already here.
At that moment inside Lance's house, WE HEAR VINCENT's Malibu
coming up the street. Lance hangs up the phone, goes to his
curtains and YANKS the cord. The curtains open with a WHOOSH
in time to see Vincent's Malibu DRIVING UP on his front lawn
and CRASHING into his house. The window Lance is looking out
of SHATTERS from the impact.
JODY (O.S.)
What the hell was that?
Lance CHARGES from the window, out the door to his front
lawn.
EXT. LANCE'S HOUSE – NIGHT
Vincent is already out of the car, working on getting Mia
out.
LANCE
Have you lost your mind?! You crashed
your car in my fuckin' house! You
talk about drug shit on a cellular
fuckin' phone –
VINCENT
If you're through havin' your little
hissy fit, this chick is dyin', get
your needle and git it now!
LANCE
Are you deaf? You're not bringin'
that fucked up bitch in my house!
VINCENT
This fucked up bitch is Marsellus
Wallace's wife. Now if she fuckin'
croaks on me, I'm a grease spot. But
before he turns me into a bar soap,
I'm gonna be forced to tell 'im about
how you coulda saved her life, but
instead you let her die on your front
lawn.
INT. LANCE'S HOUSE – NIGHT
WE START in Lance's and Jody's bedroom.
Jody, in bed, throws off the covers and stands up. She's
wearing a long tee-shirt with a picture of Fred Flintstone
on it.
We follow HANDHELD behind her as she opens the door, walking
through the hall into the living room.
JODY
It's only one-thirty in the goddamn
mornin'! What the fuck's goin' on
out here?
As she walks in the living room, she sees Vincent and Lance
standing over Mia, who's lying on the floor in the middle of
the room.
From here on in, everything in this scene is frantic, like a
DOCUMENTARY in an emergency ward, with the big difference
here being nobody knows what the fuck they're doing.
JODY
Who's she?
Lance looks up at Jody.
LANCE
Get that black box in the bedroom I
have with the adrenaline shot.
JODY
What's wrong with her?
VINCENT
She's ODing on us.
JODY
Well get her the hell outta here!
LANCE AND VINCENT
(in stereo)
Get the fuckin' shot!
JODY
Don't yell and me!
She angrily turns and disappears into the bedroom looking
for the shot.
WE MOVE into the room with the two men.
VINCENT
(to Lance)
You two are a match made in heaven.
LANCE
Look, just keep talkin' to her, okay?
While she's gettin' the shot, I gotta
get a medical book.
VINCENT
What do you need a medical book for?
LANCE
To tell me how to do it. I've never
given an adrenaline shot before.
VINCENT
You've had that thing for six years
and you never used it?
LANCE
I never had to use it. I don't go
joypoppin' with bubble-gummers, all
of my friends can handle their highs!
VINCENT
Well then get it.
LANCE
I am, if you'll let me.
VINCENT
I'm not fuckin' stoppin' you.
LANCE
Stop talkin' to me, and start talkin'
to her.
WE FOLLOW Lance as he runs out of the living room into a...
INT. SPARE ROOM
With a bunch of junk in it. He frantically starts scanning
the junk for the book he's looking for, repeating the words,
"Come on," endlessly.
From OFF SCREEN we hear:
VINCENT (O.S.)
Hurry up man! We're losin' her!
LANCE
(calling back)
I'm looking as fast as I can!
Lance continues his frenzied search.
WE HEAR Jody in the living room now as she talks to Vincent.
JODY (O.S.)
What's he lookin' for?
VINCENT (O.S.)
I dunno, some medical book.
Jody calls to LANCE.
JODY (O.S.)
What are you lookin' for?
LANCE
My black medical book!
As he continues searching, flipping and knocking over shit,
Jody appears in the doorway.
JODY
Whata're you looking for?
LANCE
My black fuckin' medical book. It's
like a text book they give to nurses.
JODY
I never saw a medical book.
LANCE
Trust me, I have one.
JODY
Well if it's that important, why
didn't you keep it with the shot?
Lance spins toward her.
LANCE
I don't know! Stop bothering me!
JODY
While you're lookin' for it, that
girl's gonna die on our carpet. You're
never gonna find it in all this shit.
For six months now, I've been telling
you to clean this room –
VINCENT (O.S.)
– get your ass in here, fuck the
book!
Lance angrily knocks over a pile of shit and leaves the SHOT
heading for the living room.
LIVING ROOM
Vincent is bent over Mia, talking softly to her, when Lance
reenters the room.
VINCENT
Quit fuckin' around man and give her
the shot!
Lance bends down by the black case brought in by Jody. He
opens it and begins preparing the needle for injection.
LANCE
While I'm doing this, take her shirt
off and find her heart.
Vince rips her blouse open.
Jody stumbles back in the room, hanging back from the action.
VINCENT
Does it have to be exact?
LANCE
Yeah, it has to be exact! I'm giving
her an injection in the heart, so I
gotta exactly hit her in the heart.
VINCENT
Well, I don't know exactly where her
heart is, I think it's here.
Vince points to Mia's right breast. Lance glances over and
nods.
LANCE
That's it.
As Lance readies the injection, Vincent looks up at Jody.
VINCENT
I need a big fat magic marker, got
one?
JODY
What?
VINCENT
I need a big fat magic marker, any
felt pen'll do, but a magic marker
would be great.
JODY
Hold on.
Jody runs to the desk, opens the top drawer and, in her
enthusiasm, she pulls the drawer out of the desk, the contents
of which (b