In 1941 New York City, Jewish playwright Barton Fink receives rave reviews for his Broadway play, Bare Ruined Choirs. At a celebratory dinner, Barton’s agent, Garland Stanford, informs him of a contract offer from Capitol Pictures. Barton rejects the assignment, that would pay $1,000 per week, insisting that he is on the brink of real success as a playwright. Stanford remarks that Barton is already experiencing success, but Barton argues that the kind of success he is talking about is not critical or commercial: He wants to create a new kind of theater, “of, about, and for the common man.” Stanford convinces Barton to take the Capitol Pictures deal as a means to support his other writing. In Los Angeles, California, Barton checks into the shabby residential Hotel Earle, and Chet, the desk clerk, assigns him room 621. There, Barton sets up his typewriter and is transfixed by a painting of a beautiful sunbather shielding her eyes while gazing at the ocean that hangs above the desk. The next day, Barton meets with Jack Lipnick, the head of Capitol Pictures, and his downtrodden assistant, Lou Breeze. Lipnick, a boisterous and mercurial man, claims to “run the town,” assigns Barton a wrestling picture to star Wallace Beery, and demands to see something “with that Barton Fink feeling” by the end of the week. Barton returns to the Earle Hotel to write, but types only a few sentences before becoming distracted by the sound of laughter next door. He calls Chet to complain, and the neighbor, an overweight insurance salesman named Charlie Meadows, comes to Barton’s room to apologize. Meadows offers Barton a drink, and asks him what he does for a living. Barton rhapsodizes that he writes about “the average working stiff.” Meadows interjects multiple times, assuring Barton he has interesting stories himself that might inspire his writing, but Barton ignores him, continuing his rant about creating a new theater based on the hopes and dreams of the common man. As Meadows leaves, Barton notices a piece of wallpaper coming unglued. The next day, Barton has lunch with Ben Geisler, assigned by Lipnick as his producer. Barton complains that he has been suffering from writer’s block. Uninterested, Geisler advises him to seek out another writer for support. In the bathroom, Barton overhears a man vomiting. The man emerges from the stall and introduces himself as the famous Southern novelist, W. P. “Bill” Mayhew. Barton fawns over Mayhew, telling him he is the finest novelist of their time, and asks for his advice on screenwriting. Mayhew agrees to meet him later in the day, but when Barton shows up at his office, Mayhew’s secretary and girl friend, Audrey Taylor, sends him away, apologizing that Mayhew is too drunk to see him. Back at the Earle, Charlie Meadows drops by Barton’s room for another visit. When they discuss Barton’s current assignment, Meadows offers to show him some wrestling moves and easily pins him to the ground. Later, Barton meets Bill Mayhew and Audrey Taylor for a picnic. Bill drunkenly declares that writing is peace, but Barton disagrees and states that writing is pain. Mayhew also tells Barton that he gives Audrey love but receives pity in return, then strikes her. Barton comes to Audrey’s aid as Mayhew stumbles away. She attempts to explain what she feels for Mayhew, arguing that empathy requires understanding. At the end of another unproductive day, Meadows stops by Barton’s room to complain about his lack of sales, pours Barton a drink, and says he will be going to New York City in a few days. Barton gives his neighbor the address of his parents and uncle, in case Meadows wants a home-cooked meal while in New York. More strips of wallpaper come unglued, and Meadows comments that the hotel is too hot. Barton meets Ben Geisler a second time, and learns that Lipnick wants to hear his story pitch the next morning. Barton confides that he is still suffering from writer’s block, and Geisler arranges for him to view dailies of another wrestling picture, Devil on a Canvas, currently in production. That night, Barton paces his room, unable to devise a story. He calls Audrey Taylor for help. She sneaks away from the drunken Mayhew and arrives at Barton’s room. Revealing that she has written, or heavily edited, much of Mayhew’s work, Audrey offers to do the same for Barton, but the two make love instead. Hours later, Barton wakes up to discover Audrey’s dead body lying next to him, covered in blood. He screams, and solicits the help of Meadows, who discourages him from calling the police. As Barton frets in the bathroom, Meadows removes Audrey’s body from Barton’s room. In shock, Barton shows up for his meeting with Lipnick and claims he does not like to talk about his works in progress. Lipnick’s aide, Lou Breeze, reprimands Barton, but Lipnick supports Barton’s artistry by firing Lou and kissing the bottom of Barton’s shoe. Later, Barton stares at the blood-stained mattress in his room. Meadows stops by on his way out of town, promises Barton everything has been dealt with, and gives him a box wrapped in paper for safe keeping. Barton cries that Meadows is the only person he can talk to, but Meadows promises to return soon. Later, Barton is called to the lobby to meet Los Angeles police detectives Mastrionotti and Deutsch, who inform him that Charlie Meadows is really Karl “Madman” Mundt, a serial killer who decapitates his victims. Barton lies that he has only spoken to Mundt a couple times. He returns to his room, shakes the wrapped box in an attempt to guess what is inside, then finds himself inspired to write. He sits down to the typewriter and begins typing non-stop, only taking a break to call his agent, Garland Stanford, and announce he is writing something very important. When he finishes the screenplay, Barton goes dancing to celebrate and incites a fight with several U.S. Navy officers. He returns to his room at the Earle and finds Mastrionotti and Deutsch waiting for him. The detectives inform Barton that Bill Mayhew has also been found murdered. They point to Barton’s blood-stained mattress, and accuse him of colluding with Madman Mundt. After handcuffing Barton to the bed, the detectives sense an overwhelming heat and wander into the hallway to find flames creeping up from the elevator shaft. Mundt emerges from the elevator and shoots both detectives dead, shouting, “I’ll show you the life of the mind.” With flames trailing behind him, he asserts that Barton knows nothing of pain, and calls him a “tourist with a typewriter.” Using his brute strength, Mundt frees Barton from the bedpost, then goes to his room, commenting that Barton’s parents were very hospitable in New York. He also mentions that the box he left behind is not really his. Barton collects the box and his finished screenplay, and walks out. Later, Barton tries calling his parents and uncle to no avail. He meets with Lipnick, who informs him that his screenplay is unacceptable, and tells him he will remain under contract but nothing he writes will be produced until he grows up. Barton stands by his belief that the wrestling screenplay is his best work to date, but Lipnick dismisses him as arrogant. Barton goes to the beach with the box Mundt gave him. There, he sees a beautiful sunbather who asks what is in the box, but Barton cannot answer. He compliments the woman and asks if she is an actress. She tells him not to be silly, then shields her eyes as she looks at the ocean, replicating the painting that hung above Barton’s desk at the Hotel Earle.