Pulp Fiction

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.)

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 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 CLOSEUP on Butch, left alone in the FRAME, looking like he's ready to go into the manners-teaching business.

BUTCH'S POV

Vincent hugging and kissing the obscured figure that is Marsellus.

Butch makes the wise decision that is this asshole's a friend of Marsellus, he better let it go – for now.

ENGLISH DAVE (O.S.)

Pack of Red Apples, dollar-forty.

Butch is snapped out of his ass-kicking thoughts. He pays English Dave and walks out of the SHOT.

DISSOLVE TO:

INT. LANCE'S HOUSE (KITCHEN) – NIGHT

CLOSEUP – JODY

A woman who appears to have a fondness for earrings. Both of her ears are pierced five times. She also sports rings in her lips, eyebrows and nose.

JODY

... I'll lend it to you. It's a great book on body piercing.

Jody, Vincent and a young woman named TRUDI sit at the kitchen table of a suburban house in Echo Park. Even though Vince is at the same table, he's not included in the conversation.

TRUDI

You know how they use that gun when they pierce your ears? They don't use that when they pierce your nipples, do they?

JODY
Forget that gun. That gun goes against the entire idea behind piercing. All of my piercing, sixteen places on my body, every one of 'em done with a needle. Five in each ear. One through the nipple on my left breast. One through my right nostril. One through my left eyebrow. One through my lip. One in my clit. And I wear a stud in my tongue.

Vince has been letting this conversation go through one ear and out the other, until that last remark.

VINCENT

(interrupting)

Excuse me, sorry to interrupt. I'm curious, why would you get a stud in your tongue?

Jody looks at him and says as if it were the most obvious thing in the world.

JODY

It's a sex thing. It helps fellatio.

That thought never occurred to Vincent, but he can't deny it makes sense. Jody continues talking to Trudi, leaving Vincent to ponder the truth of her statement.

LANCE (O.S.)

Vince, you can come in now!

INT. LANCE'S BEDROOM – NIGHT

Lance, late 20s, is a young man with a wild and woolly appearance that goes hand-in-hand with his wild and woolly personality. LANCE has been selling drugs his entire adult life. He's never had a day job, never filed a tax return and has never been arrested. He wears a red flannel shirt over a "Speed Racer" tee-shirt.

Three bags of heroin lie on Lance's bed.

Lance and Vincent stand at the foot of the bed.

LANCE

Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty-five an ounce – those are friend prices – but this one...

(pointing to the Choco)

... this one's a little more expensive. It's fifty-five. But when you shoot it, you'll know where that extra money went. Nothing wrong with the first two. It's real, real, real, good shit. But this one's a fuckin' madman.

VINCENT

Remember, I just got back from Amsterdam.

LANCE

Am I a nigger? Are you in Inglewood? No. You're in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I'll take the Pepsi Challenge with Amsterdam shit any ol' day of the fuckin' week.

VINCENT

That's a bold statement.

LANCE

This ain't Amsterdam, Vince. This is a seller's market. Coke is fuckin' dead as disco. Heroin's comin' back in a big fuckin' way. It's this whole seventies retro. Bell bottoms, heroin, they're as hot as hell.

Vincent takes out a roll of money that would choke a horse to death.

VINCENT

Give me three hundred worth of the madman. If it's as good as you say, I'll be back for a thousand.

LANCE

I just hope I still have it. Whaddya think of Trudi? She ain't got a boyfriend, wanna hand out an' get high?

VINCENT

Which one's Trudi? The one with all the shit in her face?

LANCE

No, that's Jody. That's my wife.

Vincent and Lance giggle at the "faux pas."

VINCENT

I'm on my way somewhere. I got a dinner engagement. Rain check?

LANCE

No problem?

Vincent takes out his case of the works (utensils for shooting up).

VINCENT

You don't mind if I shoot up here?

LANCE

Me casa, su casa.

VINCENT

Mucho gracias.

Vincent takes his works out of his case and, as the two continue to talk, Vince shoots up.

LANCE

Still got your Malibu?

VINCENT

You know what some fucker did to it the other day?

LANCE

What?

VINCENT

Fuckin' keyed it.

LANCE

Oh man, that's fucked up.

VINCENT

Tell me about it. I had the goddamn thing in storage three years. It's out five fuckin' days – five days, and some dickless piece of shit fucks with it.

LANCE

They should be fuckin' killed. No trial, no jury, straight to execution.

As he cooks his heroin...

VINCENT

I just wish I caught 'em doin' it, ya know? Oh man, I'd give anything to catch 'em doin' it. It'a been worth his doin' it, if I coulda just caught 'em, you know what I mean?

LANCE

It's chicken shit. You don't fuck another man's vehicle.

CLOSEUP – THE NEEDLE

Going into Vincent's vein.

CLOSEUP – BLOOD

Spurting back into the syringe, mixing with the heroin.

CLOSEUP – VINCENT'S THUMB

Pushing down on the plunger.

CUT TO:

EXT. MARSELLUS WALLACE'S HOUSE – NIGHT

Vincent walks toward the house and pulls a note off the door

CLOSEUP – NOTE

The Not 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

FADE TO:

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent enters on the background.

VINCENT

Hello?

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

MIA, Marcellus' beautiful young wife. Video screens are in the background. Dusty Springfield is singing "Son of a Preacher Man". Mia's mouth comes toward a microphone.

MIA

(into microphone)

Vincent.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent turns.

MIA

(over intercom)

Vincent. I'm on the intercom.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

MIA

(into microphone)

It's on the wall by the two African fellas.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

MIA

(over intercom)

To your right.

Vincent walks.

MIA

... warm. Warmer. Disco.

Vincent finds the intercom on the wall.

VINCENT

Hello.

MIA

(over intercom)

Push the button if you want to talk.

VINCENT

(into intercom)

Hello.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

MIA

(into microphone)

Go make yourself a drink., and I'll be down in two shakes of a lamb's tail.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

MIA

(over intercom)

The bar's by the fireplace.

VINCENT

(into intercom)

Okay.

(licks lips)

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

A video screen with an image of Vincent, walking. The Dusty Springfield song continues.

Mia turns a knob which controls the movement of the video camera in Marcellus' living room.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent picks up a bottle of scotch. He sniffs the bottle, and then pours it into a glass.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

A razor blade cuts cocaine on a mirror.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent drinks a glass of scotch.

INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT

Mia sniffs the cocaine.

INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT

Vincent ips 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.