Pulp Fiction《PULP FICTION--script》

"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 ***ing 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 ***in' 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 ***in' phone

cleans the place out and they don't

lift a ***in' 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

***in' speak English. You tell 'em:

"Empty out the register" and they

don't know what it ***in' means.

They make it too personal. We keep

on one of those gook mother***ers'

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 ***in' generations. Ya got

Grandpa Irving sittin' behind the

counter with a ***in' 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 *** 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 *** 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 ***in' pricks move and

I'll execute every one of you

mother***ers! 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 ***in' 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 *** 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 ***in' 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 ***in' 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 ***ed 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 *** 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 ***in'

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 ***in' 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 ***in' 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 ***in'

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-

mother***in-house ***in' up the

way the nigger talks. That ain't

right man. Mother***er do that to

me he better paralyze my ass 'cause

I'd kill'a mother***er.

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 ***in'

cool about 'em. This sensual thing's

goin' on that nobody's talkin about

but you know it and she knows it

***in' Marsellus knew it and Antwan

shoulda known ***in' better. That's

his ***in' 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 mother***er 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 ***ed 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-mother***er-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

mother***er 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 *** 'im

like a bitch?!

BRETT

(in spasm)

I didn't.

Now in a lower voice.

JULES

Yes ya did Brett. Ya tried ta ***

'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'

mother***er. Thing is Butch right

now you got ability. But painful as

it may be ability don't last. Now

that's a hard mother***in' 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

mother***ers 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

***in' 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 ***in' 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 ***

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 *** 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 ***in'

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 ***in' week.

VINCENT

That's a bold statement.

LANCE

This ain't Amsterdam Vince. This is

a seller's market. Coke is ***in'

dead as disco. Heroin's comin' back

in a big ***in' way. It's this whole

seventies retro. Bell bottoms ***

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 ***er did to it

the other day?

LANCE

What?

VINCENT

Fuckin' keyed it.

LANCE

Oh man that's ***ed up.

VINCENT

Tell me about it. I had the goddamn

thing in storage three years. It's

out five ***in' days ?five days

and some dickless piece of shit ***s

with it.

LANCE

They should be ***in' killed. No

trial no jury straight to execution.

As he cooks his ***...

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 ***

another man's vehicle.

CLOSEUP ?THE NEEDLE

Going into Vincent's vein.

CLOSEUP ?BLOOD

Spurting back into the syringe mixing with the ***.

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 ***e on a mirror.

INT. MARCELLUS' HOUSE / LIVING ROOM ?NIGHT

Vincent drinks a glass of scotch.

INT. MARCELLUS' HOUSE / DRESSING ROOM ?NIGHT

Mia sniffs the ***e.

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 *** 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 ***in'

good milk shake.

MIA

Told ya.

VINCENT

I don't know if it's worth five

dollars but it's pretty ***in'

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 *** 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 *** 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 *** 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 ***ing 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