Pulp Fiction Page #10

Synopsis: Vincent Vega (John Travolta) and Jules Winnfield (Samuel L. Jackson) are hitmen with a penchant for philosophical discussions. In this ultra-hip, multi-strand crime movie, their storyline is interwoven with those of their boss, gangster Marsellus Wallace (Ving Rhames) ; his actress wife, Mia (Uma Thurman) ; struggling boxer Butch Coolidge (Bruce Willis) ; master fixer Winston Wolfe (Harvey Keitel) and a nervous pair of armed robbers, "Pumpkin" (Tim Roth) and "Honey Bunny" (Amanda Plummer).
Genre: Crime, Drama
Director(s): Quentin Tarantino
Production: Miramax Films
  Won 1 Oscar. Another 62 wins & 69 nominations.
 
IMDB:
8.9
Metacritic:
94
Rotten Tomatoes:
94%
R
Year:
1994
154 min
32,769 Views


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 sh*t 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 f***er did to it

the other day?

LANCE:

What?

VINCENT:

F***in' keyed it.

LANCE:

Oh man, that's f***ed up.

VINCENT:

Tell me about it. I had the Goddamn

thing in storage three years. It's out

five f***in' days... Five days and some

dickless piece of sh*t fucks with it.

LANCE:

They should be f***in' 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 sh*t. You don't f***

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 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.

Rate this script:3.8 / 57 votes

Quentin Tarantino

Quentin Jerome Tarantino (born March 27, 1963) is an American director, writer, and actor. His films are characterized by nonlinear storylines, satirical subject matter, an aestheticization of violence, extended scenes of dialogue, ensemble casts consisting of established and lesser-known performers, references to popular culture, soundtracks primarily containing songs and score pieces from the 1960s to the 1980s, and features of neo-noir film. He is widely considered one of the greatest filmmakers of his generation. more…

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Submitted by acronimous on March 30, 2016

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