The Random Thread (My 5985)

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 go 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 adrenaline shot?

LANCE
(dawning on him)
Maybe.

VINCENT
I need it man, I got a chick she's
fuckin' Doing 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 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 (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.