Pulp Fiction

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 Antwan 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 world-famous 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 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:

INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) – NIGHT

Vincent stands at the sink, washing his hands, talking to himself in the mirror.

VINCENT

One drink and leave. Don't be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.

LIVING ROOM

Mia has the unbeknownst-to-her heroin cut up into big lines on her glass top coffee table. Taking her trusty hundred dollar bill like a human Dust-Buster, she quickly snorts the fat line.

CLOSEUP – MIA

Her head JERKS back. Her hands go to her nose (which feels like it's on fucking fire), something is terribly wrong. Then... the rush hits...

BATHROOM

Vincent dries his hands on a towel while he continues his dialogue with the mirror.

VINCENT

... It's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful.

LIVING ROOM

Mia is on all fours trying to crawl to the bathroom, but it's like she's trying to crawl with the bones removed from her knees. Blood begins to drip from Mia's nose. Then her stomach gets into the act and she VOMITS.

BATHROOM

Vince continues.

VINCENT

So you're gonna go out there, drink your drink, say "Goodnight, I've had a very lovely evening," go home, and jack off. And that's all you're gonna do.

Now that he's given himself a little pep talk, Vincent's ready for whatever's waiting for him on the other side of that door. So he goes through it.

LIVING ROOM

We follow behind Vincent as he walks from the bathroom to the living room, where he finds Mia lying on the floor like a rag doll. She's twisted on her back. Blood and puke are down her front. And her face is contorted. Not out of the tightness of pain, but just the opposite, the muscles in her face are so relaxed, she lies still with her mouth wide open. Slack-jawed.

VINCENT

Jesus Christ!

Vincent moves like greased lightning to Mia's fallen body. Bending down where she lays, he puts his fingers on her neck to check her pulse. She slightly stirs.

Mia is aware of Vincent over her, speaking to her.

VINCENT

(sounding weird)

Mia! MIA! What the hell happened?

But she's unable to communicate Mia makes a few lost mumbles, but they're not distinctive enough to be called words.

Vincent props her eyelids open and sees the story.

VINCENT

(to himself)

I'll be a son-of-a-bitch.

(to Mia)

Mia! MIA! What did you take? Answer me honey, what did you take?

Mia is incapable of answering. He SLAPS her face hard.

Vincent SPRINGS up and RUNS to his overcoat, hanging on the rack. He goes through the pockets FRANTICALLY. It's gone. Vincent makes a beeline to Mia. We follow.

VINCENT

(yelling to Mia)

Okay honey, we're getting you on your feet.

He reaches her and hoists the dead weight up in his arms.

VINCENT

We're on our feet now, and now we're gonna talk out to the car. Here we go, watch us walk.

We follow behind as he hurriedly walks the practically-unconscious Mia through the house and out the front door.

EXT.VINCENT'S HOT ROD (MOVING) – NIGHT

INSERT SPEEDOMETER: red needle on a hundred.

Vincent driving like a madman in a town without traffic laws, speeds the car into turns and up and over hills.

INT. VINCENT'S HOT ROD (MOVING) – NIGHT

Vincent, one hand firmly on the wheel, the other shifting like Robocop, both eyes staring straight ahead except when he glances over at Mia.

Mia, slack-jawed expression, mouth gaping, posture of a bag of water.

Vincent takes a cellular phone out of his pocket. He punches a number.

INT. LANCE'S HOUSE – NIGHT

At this late hour, LANCE has transformed from a bon vivant drug dealer to a bathrobe creature.

He sits in a big comfy chair, ratty blue gym pants, a worn-out but comfortable tee-shirt that has, written on it, "TAFT, CALIFORNIA", and a moth-ridden terry cloth robe. In his hand is a bowl of Cap'n Crunch with Crunch Berries. In front of him on the coffee table is a jug of milk, the box the Cap'n Crunch with Crunch Berries came out of, and a hash pipe in an ashtray.

On the big-screen TV in front of the table is the Three Stooges, and they're getting married.

PREACHER (EMIL SIMKUS)

(on TV)

Hold hands, you love birds.

The phone RINGS.

Lance puts down his cereal and makes his way to the phone.

It RINGS again.

Jody, his wife, CALLS from the bedroom, obviously woken up.

JODY (O.S.)

Lance! The phone's ringing!

LANCE

(calling back)

I can hear it!

JODY (O.S.)

I thought you told those fuckin' assholes never to call this late!

LANCE

(by the phone)

I told 'em and that's what I'm gonna tell this fuckin' asshole right now!

(he answers the phone)

Hello, do you know how late it is? You're not supposed to be callin' me this fuckin' late.

BACK TO:

VINCENT IN THE MALIBU

Vincent is still driving like a stripe-assed ape, clutching the phone to his ear. WE CUT BACK AND FORTH during the conversation.

VINCENT

Lance, this is Vincent, I'm in big fuckin' trouble man, I'm on my way to your place.

LANCE

Whoa, hold you horses man, what's the problem?

VINCENT

You still got an adrenalin shot?

LANCE

(dawning on him)

Maybe.

VINCENT

I need it man, I got a chick she's fuckin' ODing on me.

LANCE

Don't bring her here! I'm not even fuckin' joking with you, don't you be bringing some fucked up pooh-butt to my house!

VINCENT

No choice.

LANCE

She's ODin'?

VINCENT

Yeah. She's dyin'.

LANCE

Then bite the fuckin' bullet, take 'er to a hospital and call a lawyer!

VINCENT

Negative.

LANCE

She ain't my fuckin' problem, you fucked her up, you deal with it – are you talkin' to me on a cellular phone?

VINCENT

Sorry.

LANCE

I don't know you, who is this, don't come here, I'm hangin' up.

VINCENT

Too late, I'm already here.

At that moment insideLance's house, WE HEARVINCENT's Malibu coming up the street. Lance hangs up the phone, goes to his curtains and YANKS the cord. The curtains open with a WHOOSH in time to see Vincent's Malibu DRIVING UP on his front lawn and CRASHING into his house. The window Lance is looking out of SHATTERS from the impact.

JODY (O.S.)

What the hell was that?

Lance CHARGES from the window, out the door to his front lawn.

EXT. LANCE'S HOUSE – NIGHT

Vincent is already out of the car, working on getting Mia out.

LANCE

Have you lost your mind?! You crashed your car in my fuckin' house! You talk about drug shit on a cellular fuckin' phone –

VINCENT

If you're through havin' your little hissy fit, this chick is dyin', get your needle and git it now!

LANCE

Are you deaf? You're not bringin' that fucked up bitch in my house!

VINCENT

This fucked up bitch is Marsellus Wallace's wife. Now if she fuckin' croaks on me, I'm a grease spot. But before he turns me into a bar soap, I'm gonna be forced to tell 'im about how you coulda saved her life, but instead you let her die on your front lawn.

INT. LANCE'S HOUSE – NIGHT

WE START in Lance's and Jody's bedroom.

Jody, in bed, throws off the covers and stands up. She's wearing a long tee-shirt with a picture of Fred Flintstone on it.

We follow HANDHELD behind her as she opens the door, walking through the hall into the living room.

JODY

It's only one-thirty in the goddamn mornin'! What the fuck's goin' on out here?

As she walks in the living room, she sees Vincent and Lance standing over Mia, who's lying on the floor in the middle of the room.

From here on in, everything in this scene is frantic, like a DOCUMENTARY in an emergency ward, with the big difference here being nobody knows what the fuck they're doing.

JODY

Who's she?

Lance looks up at Jody.

LANCE

Get that black box in the bedroom I have with the adrenaline shot.

JODY

What's wrong with her?

VINCENT

She's ODing on us.

JODY

Well get her the hell outta here!

LANCE ANDVINCENT

(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.