written & directed
by
Quentin Tarantino
stories
by
Quentin Tarantino
&
Roger Roberts Avery
THREE STORIES...
ABOUT ONE STORY...
May 1993
last draft
------------------------------------------------------------------------©
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
------------------------------------------------------------------------
TABLE OF CONTENTS
1. PROLOGUE
2. VINCENT VEGA & MARSELLUS WALLACE'S WIFE
3. THE GOLD WATCH
4. JULES, VINCENT, JIMMIE & THE WOLF
5. EPILOGUE
------------------------------------------------------------------------
1. 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
omelette, 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
They you got the idea to take
everybody's wallet.
YOUNG WOMAN
Uh-huh.
YOUNG MAN
That was a good idea.
YOUNG WOMAN
Thank you.
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 tires 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
2. 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
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:
3. 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:
4. 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.
5. 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.
6. 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.
7. 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 fuckin' foot
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.
VINCENT
I'm not gonna be a bad boy.
Jules shakes his head and mumbles to himself.
JULES
Bitch gonna kill more niggers than
time.
VINCENT
What was that?
JULES
Nothin'. Let's get into character.
VINCENT
What'd you say?
JULES
I didn't say shit. Let's go to
work.
VINCENT
Don't play with me, you said
somethin', now what was it?
JULES
(referring to the job)
Do you wanna do this?
VINCENT
I want you to repeat what you said.
JULES
That door's gonna open in about
thirty seconds, so git yourself
together --
VINCENT
-- my self is together --
JULES
-- bullshit it is. Stop thinkin'
'bout that Ho, and get yourself
together like a qualified pro.
8. 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...tall --
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.
When they are finished, the bullet-ridden carcass just sits
there for a moment, then TOPPLES over.
All is quiet.
The only SOUND is Marvin MUTTERING in the corner.
MARVIN
...goddamn...goddamn...that was
fucked up...goddamn, that was cold-
blooded...
VINCENT
(pointing to Marvin)
Friend of yours?
JULES
Yeah, Marvin-Vincent-Vincent-
Marvin.
VINCENT
Tell 'em to shut up, he's gettin'
on my nerves.
JULES
Marvin, I'd knock that shit off if
I was you.
Then suddenly the bathroom door BURSTS OPEN, and a FOURTH MAN
(as young as the rest) comes CHARGING out, a silver Magnum in
his hand.
We DOLLY into a MEDIUM on him.
FOURTH MAN
Die...die...die...die...die...die!
The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in
the direction of Vincent and Jules. He SCREAMS a maniacal cry
of revenge until he's DRY FIRING.
Then...his face does a complete change of expression. It goes
from a "Vengeance is mine" expression, to a "What the fuck"
blank look.
FOURTH MAN
I don't understand --
The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by
bullets that TEAR HIM TO SHREDS.
He leaves the FRAME EMPTY.
FADE TO BLACK
Against black, TITLE CARD:
"VINCENT VEGA
AND
MARSELLUS WALLACE'S WIFE"
FADE IN:
9. 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 (OS)
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 (OS)
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 (OS)
In the fifth, your ass goes down.
Butch nods his head: "yes."
MARSELLUS (OS)
Say it!
BUTCH
In the fifth, my ass goes down.
CUT TO:
10. 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.
11. EXT. SALLY LeROY'S - DAY
Sally LeRoy's is a large topless bat 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.
12. 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 (OS)
Hand 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 ol'
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 burn toward Vincent.
BUTCH
What was that?
VINCENT
I think ya heard me just fine,
punchy.
Butch turns his body to Vincent, when...
MARSELLUS (OS)
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 (OS)
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:
13. INT. LANCE'S HOUSE (KITCHEN) - NIGHT
CU 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 names 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 (OS)
Vince, you can come in now!
14. 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.
CU - THE NEEDLE
going into Vincent's vein.
CU - BLOOD
spurting back into the syringe, mixing with the heroin.
CU OF VINCENT'S THUMB
pushing down on the plunger.
CUT TO:
15. EXT. MARSELLUS WALLACE'S HOUSE - NIGHT
Vincent walks up to the driveway leading to Marsellus
Wallace's front door. When he gets to the door, he hears
MUSIC on the other side, and a note in plain view taped to it.
He rips it off.
CU - NOTE
"Hi Vincent,
I'm getting dressed. The door's
open. Come inside and make
yourself a drink.
Mia"
Vincent neatly folds the note up, sticks it in his pocket,
takes a here-goes-nothing breath and turns the knob.
16. INT. MARSELLUS WALLACE'S HOUSE - NIGHT
As Vincent steps inside, the MUSIC that was behind the door,
SWELLS drastically. Vincent, hands in pockets, strolls
inside, checking out his boss' home.
VINCENT
(yelling)
Hello! I'm here!
We hear a DOOR OPEN, Vincent turns in its direction.
17. INT. DRESSING ROOM - NIGHT
We're inside the room where the MUSIC is PLAYING. In the f.g.
MIA WALLACE, naked with her back to us, talks to Vincent
through a crack in the door. The door shields the front of
her body from Vincent.
MIA
Vincent Vega?
VINCENT
I'm Vincent, you Mia?
MIA
That's me, pleased to meetcha. I'm
still getting dressed. To your
left, past the kitchen, is a bar.
Why don't you make yourself a
drink, have a seat in the living
room, and I'll be out within three
shakes of a lamb's tail.
VINCENT
Take your time.
Mia closes the door. Before she can fully turn around and
show us her face...
WE CUT:
BACK TO VINCENT
standing where he was, MUSIC beating, looking at the closed
door. We slowly ZOOM to the door.
We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he
contemplates what's on the other side of the door. When we
reach a CU, he walks OUT OF FRAME, breaking the spell.
Vincent walks to the bar and pours himself a drink.
WE JUXTAPOSE
as the MUSIC plays.
Mia's dress selection is taken out of the closet.
Vincent, drink in hand, moves into the living room.
Mia, her back to CAMERA, dressed in her pretty dress, checks
herself in the mirror. We DOLLY towards her. Her face is
still obscured.
CU - PORTRAIT OF MIA
hanging on the living room wall, showing Mia sensually
reclining on a couch.
HIGH ANGLE SHOT OF VINCENT
looking up at the portrait.
CU - Mia cutting a huge line of coke on her vanity table with
a credit card.
Vincent sits on a plush, comfy couch.
CU - MIA'S NOSE
snorting the line from a rolled up dollar bill.
Vincent on the couch, drink in hand. The SONG abruptly CUTS
OFF.
CU - CD PLAYER OPENING
Mia's hand comes in and takes the CD out.
The CAMERA follows behind Mia's bare feet as she walks out of
the dressing room, through the dining room, through the
kitchen and into the living room.
SHOT THROUGH A VIDEO CAMERA
Mia has a camcorder and is videotaping Vincent on the couch.
He looks up and sees her.
MIA (OS)
Smile, you're on Mia's camera!
VINCENT
Ready to go?
MIA (OS)
Not yet. I'm going to interview you
first. Are you any relation to
Suzanne Vega?
VINCENT
Yeah, she's my cousin.
MIA (OS)
Suzanne Vega the folk singer is
your cousin?
VINCENT
Suzanne Vega's my cousin. If she's
become a folk singer, I sure as
hell don't know nothin' about it.
But then I haven't been to too many
Thanksgivings lately.
MIA (OS)
Now I'm gonna ask you a bunch of
quick questions I've come up with
that more of less tell me what kind
of person I'm having dinner with.
My theory is that when it comes to
important subjects, there's only
two ways a person can answer. For
instance, there's two kinds of
people in this world, Elvis people
and Beatles people. Now Beatles
people can like Elvis. And Elvis
people can like the Beatles. But
nobody likes them both equally.
Somewhere you have to make a
choice. And that choice tells me
who you are.
VINCENT
I can dig it.
MIA (OS)
I knew you could. First question,
Brady Bunch or the Partridge
Family?
VINCENT
The Partridge Family all the way,
no comparison.
MIA (OS)
On "Rich Man, Poor Man," who did
you like, Peter Strauss or Nick
Nolte?
VINCENT
Nick Nolte, of course.
MIA (OS)
Are you a "Bewitched" man, or a
"Jeannie" man?
VINCENT
"Bewitched," all the way, though I
always dug how Jeannie always
called Larry Hagman "master."
MIA (OS)
If you were "Archie," who would you
fuck first, Betty or Veronica?
VINCENT
Betty. I never understood Veronica
attraction.
MIA (OS)
Have you ever fantasized about
being beaten up by a girl?
VINCENT
Sure.
MIA (OS)
Who?
VINCENT
Emma Peel on "The Avengers." That
tough girl who usta hang out with
Encyclopedia Brown. And Arlene
Motika.
MIA (OS)
Who's Arlene Motika?
VINCENT
Girl from sixth grade, you don't
know her.
CU - MIA
lowers the camcorder from in front of her face and we get our
first full-on look at her. When we do, we get a pretty good
idea why Marsellus feels the way he does. She breaks out in a
blinding smile.
MIA
Cut. Print. Let's go eat.
18. EXT. JACKRABBIT SLIM'S - NIGHT
In the past six years, 50's diners have sprung up all over LA,
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 Omelette, 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."
19. 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." So 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.
20. 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!
21. 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.
VINCENT
Are you mad?
MIA
Not at all. Being the subject of
back-fence gossip goes with the
right, I guess.
She takes a sip of her five-dollar shake, and says:
MIA
Thanks.
VINCENT
What for?
MIA
Asking my side.
At that moment, a great oldie-but-goodie BLASTS from the
jukebox.
MIA
I wanna dance.
VINCENT
I'm not much of a dancer.
MIA
Now I'm the one gettin' gyped. I
do believe Marsellus told you to
take me out and do whatever I
wanted. Well, now I want to dance.
Vincent smiles and begins taking off his boots. Mia
triumphantly casts hers off. He takes her hand, escorting her
to the dance floor. The two face each other for that brief
moment before you begin to dance, than they both break into a
devilish twist. Mia's version of the twist is that of a sexy
cat. Vincent is pure Mr. Cool as he gets into a hip-
swivelling rhythm that would make Mr. Checker proud.
The OTHER DANCERS on the floor are trying to do the same
thing, but Vincent and Mia seem to be strangely shaking their
asses in sync. The two definitely share a rhythm and share
smiles as they SING ALONG with the last verse of the Golden
Oldie.
CUT TO:
22. 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 for 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:
23. 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.
CU - 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 sonofabitch.
(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.
24. 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.
25. 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.
26. 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 (OS)
Lance! The phone's ringing!
LANCE
(calling back)
I can hear it!
JODY (OS)
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 adrenalin shot?
LANCE
(dawning on him)
Maybe.
VINCENT
I need it man, I got a chick she's
fuckin' O.D.ing 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 O.D.in'?
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 (OS)
What the hell was that?
Lance CHARGES from the window, out the door to his front lawn.
27. 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.
28. 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 adrenalin shot.
JODY
What's wrong with her?
VINCENT
She's O.D.ing 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 adrenalin 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
joy-poppin' 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...
29. 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 (OS)
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 (OS)
What's he lookin' for?
VINCENT (OS)
I dunno, some medical book.
Jody calls to Lance.
JODY (OS)
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 (OS)
-- 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.
30. 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 (bills, papers, pens) spill to the floor.
The injection is ready. Lance hands Vincent the needle.
LANCE
It's ready, I'll tell you what to
do.
VINCENT
You're gonna give her the shot.
LANCE
No, you're gonna give her the shot.
VINCENT
I've never does this before.
LANCE
I've never does this before either,
and I ain't starting now. You
brought 'er here, that means you
give her the shot. The day I bring
an O.D.ing bitch to your place,
then I gotta give her the shot.
Jody hurriedly joins them in the huddle, a big fat red magic
marker in her hand.
JODY
Got it.
Vincent grabs the magic marker out of Jody's hand and makes a
big red dot in Mia's body where her heart is.
VINCENT
Okay, what do I do?
LANCE
Well, you're giving her an
injection of adrenalin straight to
her heart. But she's got a breast
plate in front of her heart, so you
gotta pierce through that. So what
you gotta do is bring the needle
down in a stabbing motion.
Lance demonstrates a stabbing motion, which looks like "The
Shape" killing its victims in "HALLOWEEN."
VINCENT
I gotta stab her?
LANCE
If you want the needle to pierce
through to her heart, you gotta
stab her hard. Then once you do,
push down on the plunger.
VINCENT
What happens after that?
LANCE
I'm curious about that myself.
VINCENT
This ain't a fuckin' joke man!
LANCE
She's supposed to come out of it
like --
(snaps his fingers)
-- that.
Vincent lifts the needle up above his head in a stabbing
motion. He looks down on Mia.
Mia is fading fast. Soon nothing will help her.
Vincent's eyes narrow, ready to do this.
VINCENT
Count to three.
Lance, on this knees right beside Vincent, does not know what
to expect.
LANCE
One...
RED DOT on Mia's body.
Needle raised ready to strike.
LANCE (OS)
...two...
Jody's face is alive with anticipation.
NEEDLE in that air, poised like a rattler ready to strike.
LANCE (OS)
...three!
The needle leaves frame, THRUSTING down hard.
Vincent brings the needle down hard, STABBING Mia in the
chest.
Mia's head if JOLTED from the impact.
The syringe plunger is pushed down, PUMPING the adrenalin out
through the needle.
Mia's eyes POP WIDE OPEN and she lets out a HELLISH cry of the
banshee. She BOLTS UP in a sitting position, needle stuck in
her chest -- SCREAMING.
Vincent, Lance and Jody, who were in sitting positions in
front of Mia, JUMP BACK, scared to death.
Mia's scream runs out. She slowly starts taking breaths of
air.
The other three, now scooted halfway across the room, shaken
to their bones, look to see if she's alright.
LANCE
If you're okay, say something.
Mia, still breathing, not looking up at them, says in a
relatively normal voice.
MIA
Something.
Vincent and Lance collapse on their backs, exhausted and
shaking from how close to death Mia came.
JODY
Anybody want a beer?
CUT TO:
31. INT. VINCENT'S MALIBU (MOVING) - NIGHT
Vincent is behind the wheel driving Mia home. No one says
anything, both are still too shaken.
32. EXT. FRONT OF MARSELLUS WALLACE'S HOUSE - NIGHT
The Malibu pulls up to the front. Mia gets out without saying
a word (still in a daze) and begins walking down the walkway
toward her front door.
VINCENT (OS)
Mia!
She turns around.
Vincent's out of the car, standing on the walkway, a big
distance between the two.
VINCENT
What are your thoughts on how to
handle this?
MIA
What's yours?
VINCENT
Well I'm of the opinion that
Marsellus can live his whole live
and never ever hear of this
incident.
Mia smiles.
MIA
Don't worry about it. If Marsellus
ever heard of this, I'd be in as
much trouble as you.
VINCENT
I seriously doubt that.
MIA
If you can keep a secret, so can I.
VINCENT
Let's shake on it.
The two walk toward each other, holding out their hands to
shake and shake they do.
VINCENT
Mum's the word.
Mia lets go of Vincent's hand and silently makes the see-no-
evil, hear-no-evil, and speak-no-evil sign with her hands.
Vincent smiles.
VINCENT
If you'll excuse me, I gotta go
home and have a heart attack.
Mia giggles.
Vincent turns to leave.
MIA
You still wanna hear my "FOX FORCE
FIVE" joke?
Vincent turns around.
VINCENT
Sure, but I think I'm still a
little too petrified to laugh.
MIA
Uh-huh. You won't laugh because
it's not funny. But if you still
wanna hear it, I'll tell it.
VINCENT
I can't wait.
MIA
Three tomatoes are walking down the
street, a poppa tomato, a momma
tomato, and a little baby tomato.
The baby tomato is lagging behind
the poppa and momma tomato. The
poppa tomato gets mad, goes over to
the momma tomato and stamps on
him --
(STAMPS on the ground)
-- and says: catch up.
They both smile, but neither laugh.
MIA
See ya 'round, Vince.
Mia turns and walks inside her house.
CU - VINCENT
after Mia walks inside. Vincent continues to look at where
she was. He brings his hands to his lips and blows her a
kiss. Then exits FRAME leaving it empty. WE HEAR his Malibu
START UP and DRIVE AWAY.
FADE TO BLACK
33. FADE UP:
ON THE CARTOON "SPEED RACER."
Speed is giving a detailed description of all the features on
his race car "The Mac-5," which he does at the beginning of
every episode.
OFF SCREEN we hear a WOMAN'S VOICE....
WOMAN'S VOICE (OS)
Butch.
DISSOLVE TO:
BUTCH'S POV
We're in the living room of a modest two bedroom house in
Alhambra, California, in the year 1972.
BUTCH'S MOTHER, 35ish, stands in the doorway leading into the
living room. Next to her is a man dressed in the uniform of
an American Air Force officer. The CAMERA is the perspective
of a five-year old boy.
MOTHER
Butch, stop watching TV a second.
We got a special visitor. Now do
you remember when I told you your
daddy dies in a P.O.W. camp?
BUTCH (OS)
Uh-huh.
MOTHER
Well this here is Capt. Koons. He
was in the P.O.W. camp with Daddy.
CAPT. KOONS steps inside the room toward the little boy and
bends down on one knee to bring him even with the boy's
eyeline. When Koons speaks, he speaks with a slight Texas
accent.
CAPT. KOONS
Hello, little man. Boy I sure
heard a bunch about you. See, I
was a good friend of your Daddy's.
We were in that Hanoi pit of hell
over five years together.
Hopefully, you'll never have to
experience this yourself, but when
two men are in a situation like me
and your Daddy were, for as long as
we were, you take on certain
responsibilities of the other. If
it had been me who had not made it,
Major Coolidge would be talkin'
right now to my son Jim. But the
way it worked out is I'm talkin' to
you, Butch. I got somethin' for
ya.
The Captain pulls a gold wrist watch out of his pocket.