PulpFiction

The Bonny Situation ...

Jules takes out a cellular phone and starts punching digits.

VINCENT
Who ya callin'?

JULES
A buddy of mine in Toluca Lake.

VINCENT
Where's Toluca Lake.

JULES
On the other side of the hill, by
Burbank Studios. If Jimmie's ass
ain't home, I don't know what the
fuck we're gonna go. I ain't got
any other partners in 818.
(into phone)
Jimmie! How you doin' man, it's
Jules.
(pause)
Listen up man, me an' my homeboy
are in some serious shit. We're in
a car we gotta get off the road,
pronto! I need to use your garage
for a couple hours.
(pause)
Jimmie, you know I can't get into
this shit on a cellular fuckin'
phone. But what I can say is my
ass is out in the cold and I'm
askin' you for some sanctuary 'til
our people can bring us in.
(pause)
I appreciate this, man --
(pause)
We'll be gone by then.
(pause)
-- Jimmie, I'm aware of your
situation. I ain't gonna fuck
things up for you. I give you my
word, partner, she'll never know we
were there.
(pause)
Five minutes. Later.

He folds up the phone, turns to Vincent.

JULES
We're set. But his wife come home
from work in an hour and a half and
we gotta be outta there by then,

73. EXT. JIMMIE'S HOUSE – MORNING 73.

The Nova pulls into the garage of a two-bedroom suburban
house.

74. INT. JIMMIE'S BATHROOM – DAY 74.

Jules is bent over a sink, washing his bloody hands while
Vincent stands behind him.

JULES
We gotta be real fuckin' delicate
with this Jimmie's situation. He's
one remark away from kickin' our
asses out the door.

VINCENT
If he kicks us out, whadda we do?

JULES
Well, we ain't leavin' 'til we made
a couple phone calls. But I never
want it to reach that pitch.
Jimmie's my friend and you don't
bust in your friend's house and
start tellin' 'im what's what.

Jules rises and dries his hands. Vincent takes his place at
the sink.

VINCENT
Just tell 'im not to be abusive.
He kinda freaked out back there
when he saw Marvin.

JULES
Put yourself in his position. It's
eight o'clock in the morning. He
just woke up, he wasn't prepared
for this shit. Don't forget who's
doin' who a favor.

Vincent finishes, then dries his hands on a white towel.

VINCENT
If the price of that favor is I
gotta take shit, he can stick his
favor straight up his ass.

When Vincent is finished drying his hands, the towel is
stained with red.

JULES
What the fuck did you just do to
his towel?

VINCENT
I was just dryin' my hands.

JULES
You're supposed to wash 'em first.

VINCENT
You watched me wash 'em.

JULES
I watched you get 'em wet.

VINCENT
I washed 'em. Blood's real hard to
get off. Maybe if he had some
Lava, I coulda done a better job.

JULES
I used the same soap you did and
when I dried my hands, the towel
didn't look like a fuckin' Maxie
pad. Look, fuck it, alright. Who
cares? But it's shit like this
that's gonna bring this situation
to a boil. If he were to come in
here and see that towel like
that...I'm tellin' you Vincent, you
best be cool. 'Cause if I gotta
get in to it with Jimmie on account
of you....Look, I ain't threatenin'
you, I respect you an' all, just
don't put me in that position.

JULES
Jules, you ask me nice like that,
no problem. He's your friend, you
handle him.

75. INT. JIMMIE'S KITCHEN – MORNING 75.

Three men are standing in Jimmie's kitchen, each with a mug of
coffee. Jules, Vincent and JIMMIE DIMMICK, a young man in his
late-20s dressed in a bathrobe.

JULES
Goddamn Jimmie, this is some
serious gourmet shit. Me an'
Vincent woulda been satisfied with
freeze-dried Tasters Choice. You
spring this gourmet fuckin' shit on
us. What flavor is this?

JIMMIE
Knock it off, Julie.

JULES
What?

JIMMIE
I'm not a cobb or corn, so you can
stop butterin' me up. I don't need
you to tell me how good my coffee
is. I'm the one who buys it, I
know how fuckin' good it is. When
Bonnie goes shoppin;, she buys
shit. I buy the gourmet expensive
stuff 'cause when I drink it, I
wanna taste it. But what's on my
mind at this moment isn't the
coffee in my kitchen, it's the dead
nigger in my garage.

JULES
Jimmie --

JIMMIE
-- I'm talkin'. Now let me ask you
a question, Jules. When you drove
in here, did you notice a sign out
front that said, "Dead nigger
storage?"

Jules starts to »Jimmie« him --

JIMMIE
-- answer to question. Did you see
a sign out in front of my house
that said, »Dead nigger storage?«

JULES
(playing along)
Naw man, I didn't.

JIMMIE
You know why you didn't see that
sign?

JULES
Why?

JIMMIE
'Cause storin' dead niggers ain't
my fuckin' business!

Jules starts to »Jimmie« him.

JIMMIE
-- I ain't through! Now don't you
understand that if Bonnie comes
home and finds a dead body in her
house, I'm gonna get divorced. No
marriage counselor, no trial
separation – fuckin' divorced.
And I don't wanna get fuckin'
divorced. The last time me an'
Bonnie talked about this shit was
gonna be the last time me an'
Bonnie talked about this shit. Now
I wanna help ya out Julie, I really
do. But I ain't gonna lose my wife
doin' it.

JULES
Jimmie --

JIMMIE
-- don't fuckin' Jimmie me, man, I
can't be Jimmied. There's nothin'
you can say that's gonna make me
forget I love my wife. Now she's
workin' the graveyard shift at the
hospital. She'll be comin' home in
less than an hour and a half. Make
your phone calls, talk to your
people, than get the fuck out of my
house.

JULES
That's all we want. We don't wanna
fuck up your shit, We just need to
call our people to bring us in.

JIMMIE
Then I suggest you get to it.
Phone's in my bedroom.

As Jules crosses the room, exiting.

JULES
(calling behind him)
You're a friend, Jimmie, you're a
good fuckin' friend!

JIMMIE
(to himself)
Yeah, yeah, yeah, yeah, yeah. I'm
a real good friend. Good friend,
bad husband, soon to be ex-husband.
(look up and sees
Vincent)
Who the fuck are you?

VINCENT
I'm Vincent. And Jimmie, thank a
bunch,

The two men laugh.

JIMMIE
Don't mention it.

76. INT. MARSELLUS WALLACE'S DINING ROOM – MORNING 76.

Marsellus Wallace sits at his dining table in a big comfy
robe, eating his large breakfast, while talking on the phone.

MARSELLUS
...well, say she comes home.
Whaddya think she'll do?
(pause)
No fuckin' shit she'll freak. That
ain't no kinda answer. You know
'er, I don't. How bad, a lot or a
little?

77. INT. JIMMIE'S BEDROOM – MORNING 77.

Jules paces around in Jimmie's bedroom on the phone.

JULES
You got to appreciate what an
explosive element this Bonnie
situation is. If she comes home
from a hard day's work and finds a
bunch of gangsters doin' a bunch of
gangsta' shit in her kitchen, ain't
no tellin' what she's apt to do.

MARSELLUS
Let us speak of the unspeakable.

JULES
Possibility exists, but unlikely.

MARSELLUS
Why possible but unlikely?

JULES
'Cause if push met shove, you know
I'll take care of business. But
push ain't never gonna meet shove.
Because You're gonna solve this
shit for us. You're gonna take our
asses outta the cold and bring it
inside where it's warm. 'Cause if
I gotta get into it with my friend
about his wife over your boy
Vincent, I'm gonna have bad
feelings.

MARSELLUS
I've grasped that, Jules. All I'm
doin' is contemplating the »ifs.«

JULES
I don't wanna hear about no
motherfuckin' »ifs.« What I wanna
hear from your ass is: "you ain't
got no problems, Jules. I'm on the
motherfucker. Go back in there,
chill them niggers out and wait for
the cavalry, which should be comin'
directly."

MARSELLUS
You ain't got no problems, Jules.
I'm on the motherfucker. Go back
in there, chill them niggers out
and wait for The Wolf, who should
be comin' directly.

JULES
You sendin' The Wolf?

MARSELLUS
Feel better?

JULES
Shit Negro, that's all you had to
say.

78. INT. HOTEL SUITE – MORNING 78.

The CAMERA looks through the bedroom doorway of a hotel suite
into the main area. We SEE a crap game being played on a
fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in
fancy evening gowns. The CAMERA PANS to the right revealing:
sitting on a bed, phone in hand with his back to us, the
tuxedo-clad WINSTON WOLF aka »THE WOLF.«

We also see The Wolf has a small notepad that he jots details
in.

THE WOLF
(into phone)
Is she the hysterical type?
(pause)
When she due?
(jotting down)
Give me the principals' names
again?
(jots down)
Jules....

We SEE his book. The page has written on it:

1265 Riverside Drive
Toluca Lake
1 body (no head)
Bloody shot-up car
Jules (black)

THE WOLF
...Vincent...Jimmie...Bonnie....

He writes:

Vincent (Dean Martin)
Jimmie (house)
Bonnie (9:30)

THE WOLF
Expect a call around 10:30. It's
about thirty minutes away. I'll be
there in ten.

He hangs up. We never see his face.

CUT TO:

TITLE CARD OVER BLACK:

»NINE MINUTES AND THIRTY-SEVEN SECONDS LATER«

CUT TO:

79. EXT. JIMMIE'S STREET – MORNING 79.

A silver Porsche WHIPS the corner leading to Jimmie's home, in
HYPER DRIVE. Easily doing 135 mph, the Porsche stops on a
dime in front of Jimmie's house.

A ringed finger touches the doorbell: DING DONG.

80. INT. JIMMIE'S HOUSE – MORNING 80.

Jimmie opens the door. We see, standing in the doorway, the
tuxedo-clad man. He looks down to his notebook, then up at
Jimmie.

THE WOLF
You're Jimmie, right? This is your
house?

JIMMIE
Yeah.

THE WOLF
(stick his hand out)
I'm Winston Wolf, I solve problems.

JIMMIE
Good, 'cause we got one.

THE WOLF
So I heard. May I come in?

JIMMIE
Please do.

The two men walk to the dining room.

THE WOLF
I want to convey Mr. Wallace's
gratitude with the help you're
providing on this matter. Let me
assure you Jimmie, Mr. Wallace's
gratitude is worth having.

In the dining room, Jules and Vincent stand up.

THE WOLF
You must be Jules, which would make
you Vincent. Let's get down to
brass tacks, gentlemen. If I was
informed correctly, the clock is
ticking, is that right, Jimmie?

JIMMIE
100%.

THE WOLF
Your wife, Bonnie...
(refers to his pad)
...comes home at 9:30 in the AM, is
that correct?

JIMMIE
Uh-huh.

THE WOLF
I was led to believe if she comes
home and finds us here, she
wouldn't appreciate it none too
much.

JIMMMIE
She won't at that.

THE WOLF
That give use forty minutes to get
the fuck outta Dodge, which, if you
do what I say when I say it, should
by plenty. Now you got a corpse in
a car, minus a head, in a garage.
Take me to it.

81. INT. JIMMIE'S GARAGE – MORNING 82.

The three men hand back as The Wolf examines the car. He
studies the car in silence, opening the door, looking inside,
circling it.

THE WOLF
Jimmie?

JIMMIE
Yes.

THE WOLF
Do me a favor, will ya? Thought I
smelled some coffee in there.
Would you make me a cup?

JIMMIE
Sure, how do you take it?

THE WOLF
Lotsa cream, lotsa sugar.

Jimmie exists. The Wolf continues his examination.

THE WOLF
About the car, is there anything I
need to know? Does it stall, does
it make a lot of noise, does it
smoke, is there gas in it,
anything?

JULES
Aside from how it looks, the car's
cool.

THE WOLF
Positive? Don't get me out on the
road and I find out the brake
lights don't work.

JULES
Hey man, as far as I know, the
motherfucker's tip-top.

THE WOLF
Good enough, let's go back to the
kitchen.

82. INT. KITCHEN – MORNING 82.

Jimmie hands The Wolf a cup of coffee.

THE WOLF
Thank you, Jimmie.

He takes a sip, then, pacing as he thinks, lays out for the
three men the plan of action.

THE WOLF
Okay first thing, you two.
(meaning Jules and
Vincent)
Take the body, stick it in the
trunk. Now Jimmie, this looks to
be a pretty domesticated house.
That would lead me to believe that
in the garage or under the sink,
you got a bunch of cleaners and
cleaners and shit like that, am I
correct?

JIMMIE
Yeah. Exactly. Under the sink.

THE WOLF
Good. What I need you two fellas
to do is take those cleaning
products and clean the inside of
the car. And I'm talkin' fast,
fast, fast. You need to go in the
backseat, scoop up all those little
pieces of brain and skull. Get it
out of there. Wipe down the
upholstery – now when it comes to
upholstery, it don't need to be
spic and span, you don't need to
eat off in. Give it a good once
over. What you need to take care
of are the really messy parts. The
pools of blood that have collected,
you gotta soak that shit up. But
the windows are a different story.
Them you really clean. Get the
Windex, do a good job. Now Jimmie,
we need to raid your linen closet.
I need blankets, I need comforters,
I need quilts, I need bedspreads.
The thicker the better, the darker
the better. No whites, can't use
'em. We need to camouflage the
interior of the car. We're gonna
line the front seat and the
backseat and the floor boards with
quilts and blankets. If a cop
stops us and starts stickin' his
big snout in the car, the
subterfuge won't last. But at a
glance, the car will appear to be
normal. Jimmie – lead the way,
boys – get to work.

The Wolf and Jimmie turn, heading for the bedroom, leaving
Vincent and Jules standing in the kitchen.

VINCENT
(calling after him)
A »please« would be nice.

The Wolf stops and turns around.

THE WOLF
Come again?

VINCENT
I said a »please« would be nice.

The Wolf takes a step toward him.

THE WOLF
Set is straight, Buster. I'm not
here to say »please.« I'm here to
tell you want to do. And if self-
preservation is an instinct you
possess, you better fuckin' do it
and do it quick. I'm here to help.
If my help's not appreciated, lotsa
luck gentlemen.

JULES
It ain't that way, Mr. Wolf. Your
help is definitely appreciated.

VINCENT
I don't mean any disrespect. I
just don't like people barkin'
orders at me.

THE WOLF
If I'm curt with you, it's because
time is a factor. I think fast, I
talk fast, and I need you guys to
act fast if you want to get out of
this. So pretty please, with sugar
on top, clean the fuckin' car.

83. INT. JIMMIE'S BEDROOM – MORNING 83.

Jimmie's gathering all the bedspreads, quilts and linen he
has. The Wolf is on the phone.

THE WOLF
(into phone)
It's a 1974 Chevy Nova.
(pause)
White.
(pause)
Nothin', except for the mess
inside.
(pause)
About twenty minutes.
(pause)
Nobody who'll be missed.
(pause)
You're a good man, Joe. See ya
soon.
(he looks at Jimmie)
How we comin', Jimmie?

Jimmie comes over with a handful of linen.

JIMMIE
Mr. Wolf, you gotta understand
somethin' --

THE WOLF
-- Winston, Jimmie – please,
Winston.

JIMMIE
You gotta understand something,
Winston. I want to help you guys
out and all, but that's my best
linen. It was a wedding present
from my Uncle Conrad and Aunt
Ginny, and they ain't with us
anymore --

THE WOLF
-- let me ask you a question, if
you don't mind?

JIMMIE
Sure.

THE WOLF
Were you Uncle Conrad and Aunt
Ginny millionaires?

JIMMIE
No.

THE WOLF
Well, your Uncle Marsellus is. And
I'm positive if Uncle Conrad and
Aunt Ginny were millionaires, they
would've furnished you with a whole
bedroom set, which your Uncle
Marsellus is more than happy to do.
(takes out a roll of
bills)
I like oak myself, that's what's in
my bedroom. How 'bout you Jimmie,
you an oak man?

JIMMIE
Oak's nice.

84. INT. GARAGE – MORNING 84.

Both Jules and Vincent are inside the car cleaning it up.
Vincent is in the front seat washing windows, while Jules is
in the backseat, picking up little pieces of skull and gobs of
brain. Both are twice as bloody as they were before.

JULES
I will never forgive your ass for
this shit. This is some fucked-up
repugnant shit!

VINCENT
Did you ever hear the philosophy
that once a man admits he's wrong,
he's immediately forgiven for all
wrong-doings?

JULES
Man, get outta my face with that
shit! The motherfucker who said
that never had to pick up itty-
bitty pieces of skull with his
fingers on account of your dumb
ass.

VINCENT
I got a threshold, Jules. I got a
threshold for the abuse I'll take.
And you're crossin' it. I'm a race
car and you got me in the red.
Redline 7000, that's where you are.
Just know, it's fuckin' dangerous
to be drivin' a race car when it's
in the red. It could blow.

JULES
You're gettin' ready to blow? I'm
a mushroom-cloud-layin'
motherfucker! Every time my
fingers touch brain I'm "SUPERFLY
T.N.T,» I'm the «GUNS OF NAVARONE."
I'm what Jimmie Walker usta talk
about. In fact, what the fuck am I
doin' in the back? You're the
motherfucker should be on brain
detail. We're tradin'. I'm
washin' windows and you're pickin'
up this nigger's skull.

85. INT. CHEVY NOVA – MORNING 85.

The interior of the car has been cleaned and lined with
bedspreads and quilts. Believe it or not, what looked like a
portable slaughterhouse can actually pass for a non-descript
vehicle.

The Wolf circles the car examining it.

Jules and Vincent stand aside, their clothes are literally a
bloody mess, but they do have a sense of pride in what a good
job they've done.

THE WOLF
Fine job, gentlemen. We may get
out of this yet.

JIMMIE
I can't believe that's the same
car.

THE WOLF
Well, let's not start suckin' each
other's dicks quite yet. Phase one
is complete, clean the car, which
moves us right along to phase two,
clean you two.

86. EXT. JIMMIE'S BACKYARD – MORNING 86.

Jules and Vincent stand side by side in their black suits,
covered in blood, in Jimmie's backyard. Jimmie holds a
plastic Hefty trash bag, while The Wolf holds a garden hose
with one of those guns nossles attached.

THE WOLF
Strip.

VINCENT
All the way?

THE WOLF
To your bare ass.

As they follow directions, The Wolf enjoys a smoke.

THE WOLF
Quickly gentlemen, we got about
fifteen minutes before Jimmie's
better-half comes pulling into the
driveway.

JULES
This morning air is some chilly
shit.

VINCENT
Are you sure this is absolutely
necessary?

THE WOLF
You know what you two look like?

VINCENT
What?

THE WOLF
Like a couple of guys who just blew
off somebody's head. Yes,
strippin' off those bloody rags is
absolutely necessary. Toss the
clothes in Jim's garbage bag.

JULES
Now Jimmie, don't do nothin' stupid
like puttin' that out in front of
your house for Elmo the garbage man
to take away.

THE WOLF
Don't worry, we're takin' it with
us. Jim, the soap.

He hands the now-naked men a bar of soap.

THE WOLF
Okay gentlemen, you're both been to
County before, I'm sure. Here it
comes.

He hits the trigger, water SHOOTS OUT, SMACKING both men.

JULES
Goddamn, that water's fuckin' cold!

THE WOLF
Better you than me, gentlemen.

The two men, trembling, scrub themselves.

THE WOLF
Don't be afraid of the soap, spread
it around.

The Wolf stops the hose, tossing it on the ground.

THE WOLF
Towel 'em.

Jimmie tosses them each a towel, which they rub furiously
across their bodies.

THE WOLF
You're dry enough, give 'em their
clothes.

JIMMIE
Okay fellas, in the one-size-fits-
all category, we got swim trunks,
one red – one white. And two
extra-large tee-shirts. A UC Santa
Cruz shirt and an »I'm with Stupid«
shirt.

JULES
I get the »I'm with Stupid« shirt.

FADE UP ON:

87. JULES AND VINCENT 87.
in their tee-shirts and swim trunks. They look a million
miles away from the black-suited, bad-asses we first met.

THE WOLF
Perfect. Perfect. We couldn't've
planned this better. You guys look
like...what do they look like,
Jimmie?

JIMMIE
Dorks. They look like a couple of
dorks.

The Wolf and Jimmie laugh.

JULES
Ha ha ha. They're your clothes,
motherfucker.

JIMMIE
I guess you just gotta know how to
wear them.

JULES
Yeah, well, out asses ain't the
expert on wearin' dorky shit that
your is.

THE WOLF
C'mon, gentlemen, we're laughin'
and jokin' our way into prison.
Don't make me beg.

They start walking through the house to the garage.

JIMMIE
Wait a minute, before you guys
split, I wanna get a picture of
this.

JULES
Jimmie, have you forgotten about
your wife comin' home?

JIMMIE
It won't take a second.

VINCENT
I don't like this photograph shit.

JIMMIE
Sorry – my house, my rules.

88. INT. JIMMIE'S GARAGE – MORNING 88.

The garbage bag is tossed in the car trunk on top of Marvin.
The Wolf SLAMS is closed.

THE WOLF
Gentlemen, let's get our rules of
the road straight. We're going to
a place called Monster Joe's Truck
and Tow. Monster Joe and his
daughter Raquel are sympathetic to
out dilemma. The place is North
Hollywood, so a few twist and turns
aside, we'll be goin' up Hollywood
Way. Now I'll drive the tainted
car. Jules, you ride with me.
Vincent, you follow in my Porsche.
Now if we cross the path of any
John Q. Laws, nobody does a fuckin'
thing 'til I do something.
(to Jules)
What did I say?

JULES
Don't do shit unless --

THE WOLF
-- unless what?

JULES
Unless you do it first.

THE WOLF
Spoken like a true prodigy.
(to Vincent)
How 'bout you, Lash Larue? Can you
keep your spurs from jingling and
jangling?

VINCENT
I'm cool, Mr. Wolf. My gun just
went off, I dunno how.

THE WOLF
Fair enough.
(he throws Vince his
car keys)
I drive real fuckin' fast, so keep
up. If I get my car back any
different than I gave it, Monster
Joe's gonna be disposing of two
bodies.

JULES
Why do you drive fast?

THE WOLF
Because it's a lot of fun.

Jules and Vincent laugh.

THE WOLF
Let's move.

Jimmie comes through the door, camera in hand.

JIMMIE
Wait a minute, I wanna take a
picture.

JULES
We ain't got time, man.

JIMMIE
We got time for one picture. You
and Vincent get together.

Jules and Vincent stand next to each other.

JIMMIE
Okay, you guys put your arms around
each other.

The two men look at each other and, after a long beat, a smile
breaks out. They put their arms around each other.

JIMMIE
Okay Winston, get in there.

THE WOLF
I ain't no model.

JIMMIE
After what a cool guy I've been, I
can't believe you do me like this.
It's the only thing I asked.

JULES & VINCENT
C'mon, Mr. Wolf....

THE WOLF
Okay, one photo and we go.

SLOW DOLLY TOWARD A LONE CAMERA

JIMMIE (OS)
Everybody say Pepsi.

JULES (OS)
I ain't fuckin' sayin' Pepsi.

JIMMIE (OS)
Smile, Winston.

THE WOLF
I don't smile in pictures.

The camera goes off, FLASHING THE SCREEN WHITE.

THE PHOTO FADES UP OVER WHITE.
it's Jules and Vincent, their arms around each other, next to
Jimmie' whose arm is around The Wolf. Everyone is smiling
except you-know-who.

Vincent Vega und Marsellus Wallace's Frau


Against black, TITLE CARD:

"VINCENT VEGA
AND
MARSELLUS WALLACE'S WIFE"

FADE IN:

9. MEDIUM SHOT – BUTCH COOLIDGE 9.
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 10.

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 11.

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 12.

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 13.

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 14.

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 15.

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 16.

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 17.

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 18.

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 19.

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 his 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 20.

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 21.

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 22.

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 23.

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 24.

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 25.

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 26.

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 27.

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 28.

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 29.
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 30.
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 31.

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 32.

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.