Poniżej znajdziesz szóstą część oryginalnego scenariusza Pulp Fiction. Od wciągnięcia koki przez Mię w toalecie Jackrabbit’s Slim do momentu przećpania przez Mię w swoim mieszkaniu.
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.
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