script1

Written and Directed by Quentin Tarantino

Vincent Vega and Marcellus Wallace's Wife

. EXT. MARSELLUS WALLACE'S HOUSE - NIGHT 15.

        Vincent walks up to the driveway leading to Marsellus
        Wallace's front door. When he gets to the door, he hears
        MUSIC on the other side, and a note in plain view taped to it.
        He rips it off.

CU - NOTE

"Hi Vincent,

                        I'm getting dressed. The door's
                        open. Come inside and make
                        yourself a drink.

Mia"

Vincent neatly folds the note up, sticks it in his pocket,
takes a here-goes-nothing breath and turns the knob.

16. INT. MARSELLUS WALLACE'S HOUSE - NIGHT 16.

        As Vincent steps inside, the MUSIC that was behind the door,
        SWELLS drastically. Vincent, hands in pockets, strolls
        inside, checking out his boss' home.

VINCENT

(yelling)
Hello! I'm here!

We hear a DOOR OPEN, Vincent turns in its direction.

17. INT. DRESSING ROOM - NIGHT 17.

        We're inside the room where the MUSIC is PLAYING. In the f.g.
        MIA WALLACE, naked with her back to us, talks to Vincent
        through a crack in the door. The door shields the front of
        her body from Vincent.

MIA

Vincent Vega?

VINCENT

I'm Vincent, you Mia?

MIA

                       That's me, pleased to meetcha. I'm
                       still getting dressed. To your
                       left, past the kitchen, is a bar.
                       Why don't you make yourself a
                       drink, have a seat in the living
                       room, and I'll be out within three
                       shakes of a lamb's tail.

VINCENT

Take your time.

Mia closes the door. Before she can fully turn around and
show us her face...

WE CUT:

        BACK TO VINCENT
        standing where he was, MUSIC beating, looking at the closed
        door. We slowly ZOOM to the door.

        We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he
        contemplates what's on the other side of the door. When we
        reach a CU, he walks OUT OF FRAME, breaking the spell.

Vincent walks to the bar and pours himself a drink.

WE JUXTAPOSE
as the MUSIC plays.

Mia's dress selection is taken out of the closet.

Vincent, drink in hand, moves into the living room.

        Mia, her back to CAMERA, dressed in her pretty dress, checks
        herself in the mirror. We DOLLY towards her. Her face is
        still obscured.

        CU - PORTRAIT OF MIA
        hanging on the living room wall, showing Mia sensually
        reclining on a couch.

HIGH ANGLE SHOT OF VINCENT
looking up at the portrait.

CU - Mia cutting a huge line of coke on her vanity table with
a credit card.

Vincent sits on a plush, comfy couch.

CU - MIA'S NOSE
snorting the line from a rolled up dollar bill.

Vincent on the couch, drink in hand. The SONG abruptly CUTS
OFF.

CU - CD PLAYER OPENING
Mia's hand comes in and takes the CD out.

        The CAMERA follows behind Mia's bare feet as she walks out of
        the dressing room, through the dining room, through the
        kitchen and into the living room.

        SHOT THROUGH A VIDEO CAMERA
        Mia has a camcorder and is videotaping Vincent on the couch.
        He looks up and sees her.

MIA (OS)

Smile, you're on Mia's camera!

VINCENT

Ready to go?

MIA (OS)

                       Not yet. I'm going to interview you
                       first. Are you any relation to
                       Suzanne Vega?

VINCENT

Yeah, she's my cousin.

MIA (OS)

Suzanne Vega the folk singer is
your cousin?

VINCENT

                       Suzanne Vega's my cousin. If she's
                       become a folk singer, I sure as
                       hell don't know nothin' about it.
                       But then I haven't been to too many
                       Thanksgivings lately.

MIA (OS)

                       Now I'm gonna ask you a bunch of
                       quick questions I've come up with
                       that more of less tell me what kind
                       of person I'm having dinner with.
                       My theory is that when it comes to
                       important subjects, there's only
                       two ways a person can answer. For
                       instance, there's two kinds of
                       people in this world, Elvis people
                       and Beatles people. Now Beatles
                       people can like Elvis. And Elvis
                       people can like the Beatles. But
                       nobody likes them both equally.
                       Somewhere you have to make a
                       choice. And that choice tells me
                       who you are.

VINCENT

I can dig it.

MIA (OS)

                       I knew you could. First question,
                       Brady Bunch or the Partridge
                       Family?

VINCENT

The Partridge Family all the way,
no comparison.

MIA (OS)

                       On "Rich Man, Poor Man," who did
                       you like, Peter Strauss or Nick
                       Nolte?

VINCENT

Nick Nolte, of course.

MIA (OS)

Are you a "Bewitched" man, or a
"Jeannie" man?

VINCENT

                       "Bewitched," all the way, though I
                       always dug how Jeannie always
                       called Larry Hagman "master."

MIA (OS)

If you were "Archie," who would you
fuck first, Betty or Veronica?

VINCENT

Betty. I never understood Veronica
attraction.

MIA (OS)

Have you ever fantasized about
being beaten up by a girl?

VINCENT

Sure.

MIA (OS)

Who?

VINCENT

                       Emma Peel on "The Avengers." That
                       tough girl who usta hang out with
                       Encyclopedia Brown. And Arlene
                       Motika.

MIA (OS)

Who's Arlene Motika?

VINCENT

Girl from sixth grade, you don't
know her.

        CU - MIA
        lowers the camcorder from in front of her face and we get our
        first full-on look at her. When we do, we get a pretty good
        idea why Marsellus feels the way he does. She breaks out in a
        blinding smile.

MIA

Cut. Print. Let's go eat.

18. EXT. JACKRABBIT SLIM'S - NIGHT 18.

        In the past six years, 50's diners have sprung up all over LA,
        giving Thai restaurants a run for their money. They're all
        basically the same. Decor out of an "Archie" comic book,
        Golden Oldies constantly emanating from a bubbly Wurlitzer,
        saucy waitresses in bobby socks, menus with items like the
        Fats Domino Cheeseburger, or the Wolfman Jack Omelette, and
        over prices that pay for all this bullshit.

        But then there's JACKRABBIT SLIM'S, the big mama of 50's
        diners. Either the best or the worst, depending on your point
        of view.

        Vincent's Malibu pulls up to the restaurant. A big sign with
        a neon figure of a cartoon surly cool cat jackrabbit in a red
        windbreaker towers over the establishment. Underneath the
        cartoon is the name: JACKRABBIT SLIM'S. Underneath that is
        the slogan: "Next best thing to a time machine."

19. INT. JACKRABBIT SLIM'S - NIGHT 19.

        Compared to the interior, the exterior was that of a quaint
        English pub. Posters from 50's A.I.P. movies are all over the
        wall ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF
        THE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths that
        the patrons sit in are made out of the cut up bodies of 50s
        cars.

        In the middle of the restaurant in a dance floor. A big sign
        on the wall states, "No shoes allowed." So wannabe beboppers
        (actually Melrose-types), do the twist in their socks or
        barefeet.

        The picture windows don't look out the street, but instead,
        B & W movies of 50's street scenes play behind them. The
        WAITRESSES and WAITERS are made up as replicas of 50's icons:
        MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and
        LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing
        appropriate costumes.

        Vincent and Mia study the menu in a booth made out of a red
        '59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting a
        big button on his chest that says: "Hi I'm Buddy, pleasing
        you please me."

BUDDY

Hi I'm Buddy, what can I get'cha?

VINCENT

I'll have the Douglas Sirk steak.

BUDDY

How d'ya want it, burnt to a crisp,
or bloody as hell?

VINCENT

Bloody as hell. And to drink, a
vanilla coke.

BUDDY

How 'bout you, Peggy Sue?

MIA

                       I'll have the Durwood Kirby burger
                       -- bloody -- and a five-dollar
                       shake.

BUDDY

How d'ya want that shake, Martin
and Lewis, or Amos and Andy?

MIA

Martin and Lewis.

VINCENT

Did you just order a five-dollar
shake?

MIA

Sure did.

VINCENT

A shake? Milk and ice cream?

MIA

Uh-huh.

VINCENT

It costs five dollars?

BUDDY

Yep.

VINCENT

You don't put bourbon in it or
anything?

BUDDY

Nope.

VINCENT

Just checking.

Buddy exits.

        Vincent takes a look around the place. The YUPPIES are
        dancing, the DINERS are biting into big, juicy hamburgers, and
        the icons are playing their parts. Marilyn is squealing, The
        Midget is paging Philip Morris, Donna Reed is making her
        customers drink their milk, and Dean and Jerry are acting a
        fool.

MIA

Whaddya think?

VINCENT

It's like a wax museum with a pulse
rate.

Vincent takes out his pouch of tobacco and begins rolling
himself a smoke.

After a second of watching him --

MIA

What are you doing?

VINCENT

Rollin' a smoke.

MIA

Here?

VINCENT

It's just tobacco.

MIA

Oh. Well in that case, will you
roll me one, cowboy?

As he finishes licking it --

VINCENT

You can have his one, cowgirl.

        He hands her the rolled smoke. She takes it, putting it to
        her lips. Out of nowhere appears a Zippo lighter in Vincent's
        hand. He lights it.

MIA

Thanks.

VINCENT

Think nothing of it.

He begins rolling one for himself.

        As this time, the SOUND of a subway car fills the diner,
        making everything SHAKE and RATTLE. Marilyn Monroe runs to a
        square vent in the floor. An imaginary subway train BLOWS the
        skirt of her white dress around her ears as she lets out a
        squeal. The entire restaurant applauds.

Back to Mia and Vincent

MIA

Marsellus said you just got back
from Amsterdam.

VINCENT

Sure did. I heard you did a pilot.

MIA

That was my fifteen minutes.

VINCENT

What was it?

MIA

                       It was show about a team of female
                       secret agents called "Fox Force
                       Five."

VINCENT

What?

MIA

                       "Fox Force Five." Fox, as in we're
                       a bunch of foxy chicks. Force, as
                       in we're a force to be reckoned
                       with. Five, as in there's one..two
                       ..three..four..five of us. There
                       was a blonde one, Sommerset O'Neal
                       from that show "Baton Rouge," she
                       was the leader. A Japanese one, a
                       black one, a French one and a
                       brunette one, me. We all had
                       special skills. Sommerset had a
                       photographic memory, the Japanese
                       fox was a kung fu master, the black
                       girl was a demolition expert, the
                       French fox' specialty was sex...

VINCENT

What was your specialty?

MIA

                       Knives. The character I played,
                       Raven McCoy, her background was she
                       was raised by circus performers.
                       So she grew up doing a knife act.
                       According to the show, she was the
                       deadliest woman in the world with a
                       knife.
                       But because she grew up in a
                       circus, she was also something of
                       an acrobat. She could do
                       illusions, she was a trapeze artist
                       -- when you're keeping the world
                       safe from evil, you never know when
                       being a trapeze artist's gonna come
                       in handy. And she knew a zillion
                       old jokes her grandfather, an old
                       vaudevillian, taught her. If we
                       woulda got picked up, they woulda
                       worked in a gimmick where every
                       episode I woulda told and ol joke.

VINCENT

Do you remember any of the jokes?

MIA

Well I only got the chance to say
one, 'cause we only did one show.

VINCENT

Tell me.

MIA

No. It's really corny.

VINCENT

C'mon, don't be that way.

MIA

No. You won't like it and I'll be
embarrassed.

VINCENT

                       You told it in front of fifty
                       million people and you can't tell
                       it to me? I promise I won't laugh.

MIA
(laughing)

That's what I'm afraid of.

VINCENT

That's not what I meant and you
know it.

MIA

You're quite the silver tongue
devil, aren't you?

VINCENT

I meant I wouldn't laugh at you.

MIA

                       That's not what you said Vince.
                       Well now I'm definitely not gonna
                       tell ya, 'cause it's been built up
                       too much.

VINCENT

What a gyp.

Buddy comes back with the drinks. Mia wraps her lips around
the straw of her shake.

MIA

Yummy!

VINCENT

                       Can I have a sip of that? I'd like
                       to know what a five-dollar shake
                       tastes like.

MIA

Be my guest.

She slides the shake over to him.

MIA

You can use my straw, I don't have
kooties.

Vincent smiles.

VINCENT

Yeah, but maybe I do.

MIA

Kooties I can handle.

He takes a sip.

VINCENT

Goddamn! That's a pretty fuckin'
good milk shake.

MIA

Told ya.

VINCENT

                      I don't know if it's worth five
                      dollars, but it's pretty fuckin'
                      good.

He slides the shake back.

Then the first of an uncomfortable silence happens.

MIA

Don't you hate that?

VINCENT

What?

MIA

                       Uncomfortable silences. Why do we
                       feel it's necessary to yak about
                       bullshit in order to be
                       comfortable?

VINCENT

I don't know.

MIA

                       That's when you know you found
                       somebody special. When you can
                       just shit the fuck up for a minute,
                       and comfortably share silence.

VINCENT

                       I don't think we're there yet. But
                       don't feel bad, we just met each
                       other.

MIA

                       Well I'll tell you what, I'll go to
                       the bathroom and powder my nose,
                       while you sit here and think of
                       something to say.

VINCENT

I'll do that.

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.

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