Poniżej znajdziesz siódmą część oryginalnego scenariusza Pulp Fiction. Od wiezienia przez Vincenta nocą samochodem nieprzytomnej Mii do Lance’a do rozstania się Vincenta i Mii przed jej mieszkaniem.
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.
FADE TO BLACK
Podobne strony:
- Pulp Fiction – ogólne informacje
- Strona rusza!
- Przyjęcie filmu i jego wpływy
- Scenariusz – część 15
- Scenariusz – część 1