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Het Pulp Fiction script

                           

P U L P F I C T I O N

written & directed

by

Quentin Tarantino




stories
by

Quentin Tarantino
&
Roger Roberts Avery


THREE STORIES...

ABOUT ONE STORY...





May 1993
last draft

------------------------------------------------------------------------------

PULP (pulp) n. 1. A soft, moist, shapeless
mass or matter.

2. A magazine or book containing lurid
subject matter and being characteristically
printed on rough, unfinished paper.

American Heritage Dictionary
New College Edition

------------------------------------------------------------------------------

TABLE OF CONTENTS

1. PROLOGUE

2. VINCENT VEGA & MARSELLUS WALLACE'S WIFE

3. THE GOLD WATCH

4. JULES, VINCENT, JIMMIE & THE WOLF

5. EPILOGUE

------------------------------------------------------------------------------

1. INT. COFFEE SHOP - MORNING 1.

A normal Denny's, Spires-like coffee shop in Los Angeles.
It's about 9:00 in the morning. While the place isn't jammed,
there's a healthy number of people drinking coffee, munching
on bacon and eating eggs.

Two of these people are a YOUNG MAN and a YOUNG WOMAN. The
Young Man has a slight working-class English accent and, like
his fellow countryman, smokes cigarettes like they're going
out of style.

It is impossible to tell where the Young Woman is from or how
old she is; everything she does contradicts something she did.
The boy and girl sit in a booth. Their dialogue is to be said
in a rapid-pace "HIS GIRL FRIDAY" fashion.

YOUNG MAN
No, forget it, it's too risky. I'm
through doin' that shit.

YOUNG WOMAN
You always say that, the same thing
every time: never again, I'm
through, too dangerous.

YOUNG MAN
I know that's what I always say.
I'm always right too, but --

YOUNG WOMAN
-- but you forget about it in a day
or two --

YOUNG MAN
-- yeah, well, the days of me
forgittin' are over, and the days
of me rememberin' have just begun.

YOUNG WOMAN
When you go on like this, you know
what you sound like?

YOUNG MAN
I sound like a sensible fucking
man, is what I sound like.

YOUNG WOMAN
You sound like a duck.
(imitates a duck)
Quack, quack, quack, quack, quack,
quack, quack...

YOUNG MAN
Well take heart, 'cause you're
never gonna hafta hear it again.
Because since I'm never gonna do it
again, you're never gonna hafta
hear me quack about how I'm never
gonna do it again.

YOUNG WOMAN
After tonight.

The boy and girl laugh, their laughter putting a pause in
there, back and forth.

YOUNG MAN
(with a smile)
Correct. I got all tonight to
quack.

A WAITRESS comes by with a pot of coffee.

WAITRESS
Can I get anybody anymore coffee?

YOUNG WOMAN
Oh yes, thank you.

The Waitress pours the Young Woman's coffee. The Young Man
lights up another cigarette.

YOUNG MAN
I'm doin' fine.

The Waitress leaves. The Young Man takes a drag off of his
smoke. The Young Woman pours a ton of cream and sugar into
her coffee.

The Young Man goes right back into it.

YOUNG MAN
I mean the way it is now, you're
takin' the same fuckin' risk as
when you rob a bank. You take more
of a risk. Banks are easier!
Federal banks aren't supposed to
stop you anyway, during a robbery.
They're insured, why should they
care? You don't even need a gun in
a federal bank.
I heard about this guy, walked into
a federal bank with a portable
phone, handed the phone to the
teller, the guy on the other end of
the phone said: "We got this guy's
little girl, and if you don't give
him all your money, we're gonna
kill 'er."

YOUNG WOMAN
Did it work?

YOUNG MAN
Fuckin' A it worked, that's what
I'm talkin' about! Knucklehead
walks in a bank with a telephone,
not a pistol, not a shotgun, but a
fuckin' phone, cleans the place
out, and they don't lift a fuckin'
finger.

YOUNG WOMAN
Did they hurt the little girl?

YOUNG MAN
I don't know. There probably never
was a little girl -- the point of
the story isn't the little girl.
The point of the story is they
robbed the bank with a telephone.

YOUNG WOMAN
You wanna rob banks?

YOUNG MAN
I'm not sayin' I wanna rob banks,
I'm just illustrating that if we
did, it would be easier than what
we been doin'.

YOUNG WOMAN
So you don't want to be a bank
robber?

YOUNG MAN
Naw, all those guys are goin' down
the same road, either dead or
servin' twenty.

YOUNG WOMAN
And no more liquor stores?

YOUNG MAN
What have we been talking about?
Yeah, no-more-liquor-stores.
Besides, it ain't the giggle it
usta be. Too many foreigners own
liquor stores. Vietnamese,
Koreans, they can't fuckin' speak
English. You tell 'em: "Empty out
the register," and they don't know
what it fuckin' means. They make
it too personal. We keep on, one
of those gook motherfuckers' gonna
make us kill 'em.

YOUNG WOMAN
I'm not gonna kill anybody.

YOUNG MAN
I don't wanna kill anybody either.
But they'll probably put us in a
situation where it's us of them.
And if it's not the gooks, it these
old Jews who've owned the store for
fifteen fuckin' generations. Ya
got Grandpa Irving sittin' behind
the counter with a fuckin' Magnum.
Try walkin' into one of those
stores with nothin' but a
telephone, see how far it gets you.
Fuck it, forget it, we're out of
it.

YOUNG WOMAN
Well, what else is there, day jobs?

YOUNG MAN
(laughing)
Not this life.

YOUNG WOMAN
Well what then?

He calls to the Waitress.

YOUNG MAN
Garcon! Coffee!

Then looks to his girl.

YOUNG MAN
This place.

The Waitress comes by, pouring him some more.

WAITRESS
(snotty)
"Garcon" means boy.

She splits.

YOUNG WOMAN
Here? It's a coffee shop.

YOUNG MAN
What's wrong with that? People
never rob restaurants, why not?
Bars, liquor stores, gas stations,
you get your head blown off
stickin' up one of them.
Restaurants, on the other hand, you
catch with their pants down.
They're not expecting to get
robbed, or not as expecting.

YOUNG WOMAN
(taking to idea)
I bet in places like this you could
cut down on the hero factor.

YOUNG MAN
Correct. Just like banks, these
places are insured. The managers
don't give a fuck, they're just
tryin' to get ya out the door
before you start pluggin' diners.
Waitresses, forget it, they ain't
takin' a bullet for the register.
Busboys, some wetback gettin' paid
a dollar fifty a hour gonna really
give a fuck you're stealin' from
the owner. Customers are sittin'
there with food in their mouths,
they don't know what's goin' on.
One minute they're havin' a Denver
omelette, next minute somebody's
stickin' a gun in their face.

The Young Woman visibly takes in the idea. The Young Man
continues in a low voice.

YOUNG MAN
See, I got the idea last liquor
store we stuck up. 'Member all
those customers kept comin' in?

YOUNG WOMAN
Yeah.

YOUNG MAN
They you got the idea to take
everybody's wallet.

YOUNG WOMAN
Uh-huh.

YOUNG MAN
That was a good idea.

YOUNG WOMAN
Thank you.

YOUNG MAN
We made more from the wallets then
we did the register.

YOUNG WOMAN
Yes we did.

YOUNG MAN
A lot of people go to restaurants.

YOUNG WOMAN
A lot of wallets.

YOUNG MAN
Pretty smart, huh?

The Young Woman scans the restaurant with this new
information. She sees all the PATRONS eating, lost in
conversations. The tires WAITRESS, taking orders. The
BUSBOYS going through the motions, collecting dishes. The
MANAGER complaining to the COOK about something. A smiles
breaks out on the Young Woman's face.

YOUNG WOMAN
Pretty smart.
(into it)
I'm ready, let's go, right here,
right now.

YOUNG MAN
Remember, same as before, you're
crowd control, I handle the
employees.

YOUNG WOMAN
Got it.

They both take out their .32-caliber pistols and lay them on
the table. He looks at her and she back at him.

YOUNG WOMAN
I love you, Pumpkin.

YOUNG MAN
I love you, Honey Bunny.

And with that, Pumpkin and Honey Bunny grab their weapons,
stand up and rob the restaurant. Pumpkin's robbery persona is
that of the in-control professional. Honey Bunny's is that of
the psychopathic, hair-triggered, loose cannon.

PUMPKIN
(yelling to all)
Everybody be cool this is a
robbery!

HONEY BUNNY
Any of you fuckin' pricks move and
I'll execute every one of you
motherfuckers! Got that?

CUT TO:

CREDIT SEQUENCE:

PULP FICTION


2. INT. '74 CHEVY (MOVING) - MORNING 2.

An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down
a homeless-ridden street in Hollywood. In the front seat are
two young fellas -- one white, one black -- both wearing cheap
black suits with thin black ties under long green dusters.
Their names are VINCENT VEGA (white) and JULES WINNFIELD
(black). Jules is behind the wheel.

JULES
-- okay now, tell me about the hash
bars?

VINCENT
What so you want to know?

JULES
Well, hash is legal there, right?

VINCENT
Yeah, it's legal, but is ain't a
hundred percent legal. I mean you
can't walk into a restaurant, roll
a joint, and start puffin' away.
You're only supposed to smoke in
your home or certain designated
places.

JULES
Those are hash bars?

VINCENT
Yeah, it breaks down like this:
it's legal to buy it, it's legal to
own it and, if you're the
proprietor of a hash bar, it's
legal to sell it. It's legal to
carry it, which doesn't really
matter 'cause -- get a load of this
-- if the cops stop you, it's
illegal for this to search you.
Searching you is a right that the
cops in Amsterdam don't have.

JULES
That did it, man -- I'm fuckin'
goin', that's all there is to it.

VINCENT
You'll dig it the most. But you
know what the funniest thing about
Europe is?

JULES
What?

VINCENT
It's the little differences. A
lotta the same shit we got here,
they got there, but there they're a
little different.

JULES
Examples?

VINCENT
Well, in Amsterdam, you can buy
beer in a movie theatre. And I
don't mean in a paper cup either.
They give you a glass of beer, like
in a bar. In Paris, you can buy
beer at MacDonald's. Also, you
know what they call a Quarter
Pounder with Cheese in Paris?

JULES
They don't call it a Quarter
Pounder with Cheese?

VINCENT
No, they got the metric system
there, they wouldn't know what the
fuck a Quarter Pounder is.

JULES
What'd they call it?

VINCENT
Royale with Cheese.

JULES
(repeating)
Royale with Cheese. What'd they
call a Big Mac?

VINCENT
Big Mac's a Big Mac, but they call
it Le Big Mac.

JULES
What do they call a Whopper?

VINCENT
I dunno, I didn't go into a Burger
King. But you know what they put
on french fries in Holland instead
of ketchup?

JULES
What?

VINCENT
Mayonnaise.

JULES
Goddamn!

VINCENT
I seen 'em do it. And I don't mean
a little bit on the side of the
plate, they fuckin' drown 'em in
it.

JULES
Uuccch!

CUT TO:

3. INT. CHEVY (TRUNK) - MORNING 3.

The trunk of the Chevy OPENS UP, Jules and Vincent reach
inside, taking out two .45 Automatics, loading and cocking
them.

JULES
We should have shotguns for this
kind of deal.

VINCENT
How many up there?

JULES
Three or four.

VINCENT
Counting our guy?

JULES
I'm not sure.

VINCENT
So there could be five guys up
there?

JULES
It's possible.

VINCENT
We should have fuckin' shotguns.

They CLOSE the trunk.

CUT TO:

4. EXT. APARTMENT BUILDING COURTYARD - MORNING 4.

Vincent and Jules, their long matching overcoats practically
dragging on the ground, walk through the courtyard of what
looks like a hacienda-style Hollywood apartment building.

We TRACK alongside.

VINCENT
What's her name?

JULES
Mia.

VINCENT
How did Marsellus and her meet?

JULES
I dunno, however people meet
people. She usta be an actress.

VINCENT
She ever do anything I woulda saw?

JULES
I think her biggest deal was she
starred in a pilot.

VINCENT
What's a pilot?

JULES
Well, you know the shows on TV?

VINCENT
I don't watch TV.

JULES
Yes, but you're aware that there's
an invention called television, and
on that invention they show shows?

VINCENT
Yeah.

JULES
Well, the way they pick the shows
on TV is they make one show, and
that show's called a pilot. And
they show that one show to the
people who pick the shows, and on
the strength of that one show, they
decide if they want to make more
shows. Some get accepted and
become TV programs, and some don't,
and become nothing. She starred in
one of the ones that became
nothing.

They enter the apartment building.


5. INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING 5.

Vincent and Jules walk through the reception area and wait for
the elevator.

JULES
You remember Antwan Rockamora?
Half-black, half-Samoan, usta call
him Tony Rocky Horror.

VINCENT
Yeah maybe, fat right?

JULES
I wouldn't go so far as to call the
brother fat. He's got a weight
problem. What's the nigger gonna
do, he's Samoan.

VINCENT
I think I know who you mean, what
about him?

JULES
Well, Marsellus fucked his ass up
good. And word around the
campfire, it was on account of
Marsellus Wallace's wife.

The elevator arrives, the men step inside.


6. INT. ELEVATOR - MORNING 6.

VINCENT
What'd he do, fuck her?

JULES
No no no no no no no, nothin' that
bad.

VINCENT
Well what then?

JULES
He gave her a foot massage.

VINCENT
A foot massage?

Jules nods his head: "Yes."

VINCENT
That's all?

Jules nods his head: "Yes."

VINCENT
What did Marsellus do?

JULES
Sent a couple of guys over to his
place. They took him out on the
patio of his apartment, threw his
ass over the balcony. Nigger fell
four stories. They had this garden
at the bottom, enclosed in glass,
like one of them greenhouses --
nigger fell through that. Since
then, he's kinda developed a speech
impediment.

The elevator doors open, Jules and Vincent exit.

VINCENT
That's a damn shame.


7. INT. APARTMENT BUILDING HALLWAY - MORNING 7.

STEADICAM in front of Jules and Vincent as they make a beeline
down the hall.

VINCENT
Still I hafta say, play with
matches, ya get burned.

JULES
Whaddya mean?

VINCENT
You don't be givin' Marsellus
Wallace's new bride a foot massage.

JULES
You don't think he overreacted?

VINCENT
Antwan probably didn't expect
Marsellus to react like he did, but
he had to expect a reaction.

JULES
It was a foot massage, a foot
massage is nothing, I give my
mother a foot massage.

VINCENT
It's laying hands on Marsellus
Wallace's new wife in a familiar
way. Is it as bad as eatin' her
out -- no, but you're in the same
fuckin' ballpark.

Jules stops Vincent.

JULES
Whoa...whoa...whoa...stop right
there. Eatin' a bitch out, and
givin' a bitch a foot massage ain't
even the same fuckin' thing.

VINCENT
Not the same thing, the same
ballpark.

JULES
It ain't no ballpark either. Look
maybe your method of massage
differs from mine, but touchin' his
lady's feet, and stickin' your
tongue in her holyiest of holyies,
ain't the same ballpark, ain't the
same league, ain't even the same
fuckin' sport. Foot massages don't
mean shit.

VINCENT
Have you ever given a foot massage?

JULES
Don't be tellin' me about foot
massages -- I'm the fuckin' foot
master.

VINCENT
Given a lot of 'em?

JULES
Shit yeah. I got my technique down
man, I don't tickle or nothin'.

VINCENT
Have you ever given a guy a foot
massage?

Jules looks at him a long moment -- he's been set up.

JULES
Fuck you.

He starts walking down the hall. Vincent, smiling, walks a
little bit behind.

VINCENT
How many?

JULES
Fuck you.

VINCENT
Would you give me a foot massage --
I'm kinda tired.

JULES
Man, you best back off, I'm gittin'
pissed -- this is the door.

The two men stand in front of the door numbered "49." They
whisper.

JULES
What time is it?

VINCENT
(checking his watch)
Seven-twenty-two in the morning.

JULES
It ain't quite time, let's hang
back.

They move a little away from the door, facing each other,
still whispering.

JULES
Look, just because I wouldn't give
no man a foot massage, don't make
it right for Marsellus to throw
Antwan off a building into a glass-
motherfuckin-house, fuckin' up the
way the nigger talks. That ain't
right, man. Motherfucker do that
to me, he better paralyze my ass,
'cause I'd kill'a motherfucker.

VINCENT
I'm not sayin' he was right, but
you're sayin' a foot massage don't
mean nothing, and I'm sayin' it
does. I've given a million ladies
a million foot massages and they
all meant somethin'. We act like
they don't, but they do. That's
what's so fuckin' cool about 'em.
This sensual thing's goin' on that
nobody's talkin about, but you know
it and she knows it, fuckin'
Marsellus knew it, and Antwan
shoulda known fuckin' better.
That's his fuckin' wife, man. He
ain't gonna have a sense of humor
about that shit.

JULES
That's an interesting point, but
let's get into character.

VINCENT
What's her name again?

JULES
Mia. Why you so interested in big
man's wife?

VINCENT
Well, Marsellus is leavin' for
Florida and when he's gone, he
wants me to take care of Mia.

JULES
Take care of her?

Making a gun out of his finger and placing it to his head.

VINCENT
Not that! Take her out. Show her
a good time. Don't let her get
lonely.

JULES
You're gonna be takin' Mia Wallace
out on a date?

VINCENT
It ain't a date. It's like when
you and your buddy's wife go to a
movie or somethin'. It's just...
you know...good company.

Jules just looks at him.

VINCENT
It's not a date.

Jules just looks at him.

VINCENT
I'm not gonna be a bad boy.

Jules shakes his head and mumbles to himself.

JULES
Bitch gonna kill more niggers than
time.

VINCENT
What was that?

JULES
Nothin'. Let's get into character.

VINCENT
What'd you say?

JULES
I didn't say shit. Let's go to
work.

VINCENT
Don't play with me, you said
somethin', now what was it?

JULES
(referring to the job)
Do you wanna do this?

VINCENT
I want you to repeat what you said.

JULES
That door's gonna open in about
thirty seconds, so git yourself
together --

VINCENT
-- my self is together --

JULES
-- bullshit it is. Stop thinkin'
'bout that Ho, and get yourself
together like a qualified pro.


8. INT. APARTMENT (ROOM 49) - MORNING 8.

THREE YOUNG GUYS, obviously in over their heads, sit at a
table with hamburgers, french fries and soda pops laid out.

One of them flips the LOUD BOLT on the door, opening it to
REVEAL Jules and Vincent in the hallway.

JULES
Hey kids.

The two men stroll inside.

The three young caught-off-guard Guys are:

MARVIN
The black young man, who open the door, will, as the scene
progresses, back into the corner.

ROGER
A young blond-haired surfer kid with a "Flock of Seagulls"
haircut, who has yet to say a word, sits at the table with a
big sloppy hamburger in his hand.

BRETT
A white, preppy-looking sort with a blow-dry haircut.

Vincent and Jules take in the place, with their hands in their
pockets. Jules is the one who does the talking.

JULES
How you boys doin'?

No answer.

JULES
(to Brett)
Am I trippin', or did I just ask
you a question.

BRETT
We're doin' okay.

As Jules and Brett talk, Vincent moves behind the young Guys.

JULES
Do you know who we are?

Brett shakes his head: "No."

JULES
We're associates of your business
partner Marsellus Wallace, you
remember your business partner
dont'ya?

No answer.

JULES
(to Brett)
Now I'm gonna take a wild guess
here: you're Brett, right?

BRETT
I'm Brett.

JULES
I thought so. Well, you remember
your business partner Marsellus
Wallace, dont'ya Brett?

BRETT
I remember him.

JULES
Good for you. Looks like me and
Vincent caught you at breakfast,
sorry 'bout that. What'cha eatin'?

BRETT
Hamburgers.

JULES
Hamburgers. The cornerstone of any
nutritious breakfast. What kinda
hamburgers?

BRETT
Cheeseburgers.

JULES
No, I mean where did you get'em?
MacDonald's, Wendy's, Jack-in-the-
Box, where?

BRETT
Big Kahuna Burger.

JULES
Big Kahuna Burger. That's that
Hawaiian burger joint. I heard
they got some tasty burgers. I
ain't never had one myself, how are
they?

BRETT
They're good.

JULES
Mind if I try one of yours?

BRETT
No.

JULES
Yours is this one, right?

BRETT
Yeah.

Jules grabs the burger and take a bite of it.

JULES
Uuummmm, that's a tasty burger.
(to Vincent)
Vince, you ever try a Big Kahuna
Burger?

VINCENT
No.

Jules holds out the Big Kahuna.

JULES
You wanna bite, they're real good.

VINCENT
I ain't hungry.

JULES
Well, if you like hamburgers give
'em a try sometime. Me, I can't
usually eat 'em 'cause my
girlfriend's a vegetarian. Which
more or less makes me a vegetarian,
but I sure love the taste of a good
burger.
(to Brett)
You know what they call a Quarter
Pounder with Cheese in France?

BRETT
No.

JULES
Tell 'em, Vincent.

VINCENT
Royale with Cheese.

JULES
Royale with Cheese, you know why
they call it that?

BRETT
Because of the metric system?

JULES
Check out the big brain on Brett.
You'a smart motherfucker, that's
right. The metric system.
(he points to a fast
food drink cup)
What's in this?

BRETT
Sprite.

JULES
Sprite, good, mind if I have some
of your tasty beverage to wash this
down with?

BRETT
Sure.

Jules grabs the cup and takes a sip.

JULES
Uuuuummmm, hit's the spot!
(to Roger)
You, Flock of Seagulls, you know
what we're here for?

Roger nods his head: "Yes."

JULES
Then why don't you tell my boy here
Vince, where you got the shit hid.

MARVIN
It's under the be --

JULES
-- I don't remember askin' you a
goddamn thing.
(to Roger)
You were sayin'?

ROGER
It's under the bed.

Vincent moves to the bed, reaches underneath it, pulling out a
black snap briefcase.

VINCENT
Got it.

Vincent flips the two locks, opening the case. We can't see
what's inside, but a small glow emits from the case. Vincent
just stares at it, transfixed.

JULES
We happy?

No answer from the transfixed Vincent.

JULES
Vincent!

Vincent looks up at Jules.

JULES
We happy?

Closing the case.

VINCENT
We're happy.

BRETT
(to Jules)
Look, what's your name? I got his
name's Vincent, but what's yours?

JULES
My name's Pitt, and you ain't
talkin' your ass outta this shit.

BRETT
I just want you to know how sorry
we are about how fucked up things
got between us and Mr. Wallace.
When we entered into this thing, we
only had the best intentions --

As Brett talks, Jules takes out his gun and SHOOTS Roger three
times in the chest, BLOWING him out of his chair.

Vince smiles to himself. Jules has got style.

Brett has just shit his pants. He's not crying or whimpering,
but he's so full of fear, it's as if his body is imploding.

JULES
(to Brett)
Oh, I'm sorry. Did that break your
concentration? I didn't mean to do
that. Please, continue. I believe
you were saying something about
"best intentions."

Brett can't say a word.

JULES
Whatsamatter? Oh, you were through
anyway. Well, let me retort.
Would you describe for me what
Marsellus Wallace looks like?

Brett still can't speak.

Jules SNAPS, SAVAGELY TIPPING the card table over, removing
the only barrier between himself and Brett. Brett now sits in
a lone chair before Jules like a political prisoner in front
of an interrogator.

JULES
What country you from!

BRETT
(petrified)
What?

JULES
"What" ain't no country I know! Do
they speak English in "What?"

BRETT
(near heart attack)
What?

JULES
English-motherfucker-can-you-speak-
it?

BRETT
Yes.

JULES
Then you understand what I'm
sayin'?

BRETT
Yes.

JULES
Now describe what Marsellus Wallace
looks like!

BRETT
(out of fear)
What?

Jules takes his .45 and PRESSES the barrel HARD in Brett's
cheek.

JULES
Say "What" again! C'mon, say
"What" again! I dare ya, I double
dare ya motherfucker, say "What"
one more goddamn time!

Brett is regressing on the spot.

JULES
Now describe to me what Marsellus
Wallace looks like!

Brett does his best.

BRETT
Well he's ...he's...black --

JULES
-- go on!

BRETT
...and he's...he's...tall --

JULES
-- does he look like a bitch?!

BRETT
(without thinking)
What?

Jules' eyes go to Vincent, Vincent smirks, Jules rolls his
eyes and SHOOT Brett in the shoulder.

Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in the
chair.

JULES
Does-he-look-like-a-bitch?!

BRETT
(in agony)
No.

JULES
Then why did you try to fuck 'im
like a bitch?!

BRETT
(in spasm)
I didn't.

Now in a lower voice.

JULES
Yes ya did Brett. Ya tried ta fuck
'im. You ever read the Bible,
Brett?

BRETT
(in spasm)
Yes.

JULES
There's a passage I got memorized,
seems appropriate for this
situation: Ezekiel 25:17. "The path
of the righteous man is beset on
all sides by the inequities of the
selfish and the tyranny of evil
men. Blessed is he who, in the
name of charity and good will,
shepherds the weak through the
valley of darkness, for he is truly
his brother's keeper and the finder
of lost children. And I will
strike down upon thee with great
vengeance and furious anger those
who attempt to poison and destroy
my brothers. And you will know my
name is the Lord when I lay my
vengeance upon you."

The two men EMPTY their guns at the same time on the sitting
Brett.

When they are finished, the bullet-ridden carcass just sits
there for a moment, then TOPPLES over.

All is quiet.

The only SOUND is Marvin MUTTERING in the corner.

MARVIN
...goddamn...goddamn...that was
fucked up...goddamn, that was cold-
blooded...

VINCENT
(pointing to Marvin)
Friend of yours?

JULES
Yeah, Marvin-Vincent-Vincent-
Marvin.

VINCENT
Tell 'em to shut up, he's gettin'
on my nerves.

JULES
Marvin, I'd knock that shit off if
I was you.

Then suddenly the bathroom door BURSTS OPEN, and a FOURTH MAN
(as young as the rest) comes CHARGING out, a silver Magnum in
his hand.

We DOLLY into a MEDIUM on him.

FOURTH MAN
Die...die...die...die...die...die!

The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in
the direction of Vincent and Jules. He SCREAMS a maniacal cry
of revenge until he's DRY FIRING.

Then...his face does a complete change of expression. It goes
from a "Vengeance is mine" expression, to a "What the fuck"
blank look.

FOURTH MAN
I don't understand --

The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by
bullets that TEAR HIM TO SHREDS.

He leaves the FRAME EMPTY.

FADE TO BLACK

Against black, TITLE CARD:

"VINCENT VEGA
AND
MARSELLUS WALLACE'S WIFE"

FADE IN:

9. MEDIUM SHOT - BUTCH COOLIDGE 9.
We FADE UP on Butch Coolidge, a white, 26-year-old
prizefighter. Butch sits at a table wearing a red and blue
high school athletic jacket. Talking to him OFF SCREEN is
everybody's boss MARSELLUS WALLACE. The black man sounds like
a cross between a gangster and a king.

MARSELLUS (OS)
I think you're gonna find -- when
all this shit is over and done -- I
think you're gonna find yourself
one smilin' motherfucker. Thing is
Butch, right now you got ability.
But painful as it may be, ability
don't last. Now that's a hard
motherfuckin' fact of life, but
it's a fact of life your ass is
gonna hafta git realistic about.
This business is filled to the brim
with unrealistic motherfuckers who
thought their ass aged like wine.
Besides, even if you went all the
way, what would you be? Feather-
weight champion of the world. Who
gives a shit? I doubt you can even
get a credit card based on that.

A hand lays an envelope full of money on the table in front of
Butch. Butch picks it up.

MARSELLUS (OS)
Now the night of the fight, you may
fell a slight sting, that's pride
fuckin' wit ya. Fuck pride! Pride
only hurts, it never helps. Fight
through that shit. 'Cause a year
from now, when you're kickin' it in
the Caribbean you're gonna say,
"Marsellus Wallace was right."

BUTCH
I got no problem with that.

MARSELLUS (OS)
In the fifth, your ass goes down.

Butch nods his head: "yes."

MARSELLUS (OS)
Say it!

BUTCH
In the fifth, my ass goes down.

CUT TO:

10. INT. CAR (MOVING) - DAY 10.

Vincent Vega looks really cool behind the wheel of a 1964
cherry-red Chevy Malibu convertible. From the car radio,
ROCKABILLY MUSIC PLAYS. The b.g. is a COLORFUL PROCESS SHOT.


11. EXT. SALLY LeROY'S - DAY 11.

Sally LeRoy's is a large topless bat by LAX that Marsellus
owns.

Vincent's classic Malibu WHIPS into the near empty parking lot
and parks next to a white Honda Civic.

Vince knocks on the door. The front entrance is unlocked,
revealing the Dapper Dan fellow on the inside: ENGLISH DAVE.
Dave isn't really English, he's a young black man from Baldwin
Park, who has run a few clubs for Marsellus, including Sally
LeRoy's.

ENGLISH DAVE
Vincent Vega, our man in Amsterdam,
git your ass on in here.

Vincent, carrying the black briefcase from the scene between
Vincent and Jules, steps inside. English Dave SLAMS the door
in our faces.


12. INT. SALLY LeROY'S - DAY 12.

The spacious club is empty this time of day. English Dave
crosses to the bar, and Vince follows.

VINCENT
Where's the big man?

ENGLISH DAVE
He's over there, finishing up some
business.

VINCENT'S POV:
Butch shakes hands with a huge figure with his back to us.
The huge figure is the infamous and as of yet still UNSEEN
Marsellus.

ENGLISH DAVE (OS)
Hand back for a second or two, and
when you see the white boy leave,
go on over. In the meanwhile, can
I make you an espresso?

VINCENT
How 'bout a cup of just plain ol'
American?

ENGLISH DAVE
Comin' up. I hear you're taking
Mia out tomorrow?

VINCENT
At Marsellus' request.

ENGLISH DAVE
Have you met Mia?

VINCENT
Not yet.

English Dave smiles to himself.

VINCENT
What's so funny?

ENGLISH DAVE
Not a goddamn thing.

VINCENT
Look, I'm not a idiot. She's the
big man's fuckin' wife. I'm gonna
sit across a table, chew my food
with my mouth closed, laugh at her
jokes and that's all I'm gonna do.

English Dave puts Vince's coffee in front of him.

ENGLISH DAVE
My name's Paul, and this is between
y'all.

Butch bellies up to the bar next to Vincent, drinking his cup
of "plain ol' American."

BUTCH
(to English Dave)
Can I get a pack'a Red Apples?

ENGLISH DAVE
Filters?

BUTCH
Non.

While Butch waits for his smokes, Vincent just sips his
coffee, staring at him. Butch looks over at him.

BUTCH
Lookin' at somethin', friend?

VINCENT
I ain't your friend, palooka.

Butch does a slow burn toward Vincent.

BUTCH
What was that?

VINCENT
I think ya heard me just fine,
punchy.

Butch turns his body to Vincent, when...

MARSELLUS (OS)
Vincent Vega has entered the
building, git your ass over here!

Vincent walks forward OUT OF FRAME, never giving Butch another
glance. We DOLLY INTO CU on Butch, left alone in the FRAME,
looking like he's ready to go into the manners-teaching
business.

BUTCH'S POV:
Vincent hugging and kissing the obscured figure that is
Marsellus.

Butch makes the wise decision that is this asshole's a friend
of Marsellus, he better let it go -- for now.

ENGLISH DAVE (OS)
Pack of Red Apples, dollar-forty.

Butch is snapped out of his ass-kicking thoughts. He pays
English Dave and walks out of the SHOT.

DISSOLVE TO:

13. INT. LANCE'S HOUSE (KITCHEN) - NIGHT 13.

CU JODY
a woman who appears to have a fondness for earrings. Both of
her ears are pierced five times. She also sports rings in her
lips, eyebrows and nose.

JODY
...I'll lend it to you. It's a
great book on body piercing.

Jody, Vincent and a young woman names TRUDI sit at the kitchen
table of a suburban house in Echo Park. Even though Vince is
at the same table, he's not included in the conversation.

TRUDI
You know how they use that gun when
they pierce your ears? They don't
use that when they pierce your
nipples, do they?

JODY
Forget that gun. That gun goes
against the entire idea behind
piercing. All of my piercing,
sixteen places on my body, every
one of 'em done with a needle.
Five in each ear. One through the
nipple on my left breast. One
through my right nostril. One
through my left eyebrow. One
through my lip. One in my clit.
And I wear a stud in my tongue.

Vince has been letting this conversation go through one ear
and out the other, until that last remark.

VINCENT
(interrupting)
Excuse me, sorry to interrupt. I'm
curious, why would you get a stud
in your tongue?

Jody looks at him and says as if it were the most obvious
thing in the world.

JODY
It's a sex thing. It helps
fellatio.

That thought never occurred to Vincent, but he can't deny it
makes sense. Jody continues talking to Trudi, leaving Vincent
to ponder the truth of her statement.

LANCE (OS)
Vince, you can come in now!


14. INT. LANCE'S BEDROOM - NIGHT 14.

Lance, late-20s, is a young man with a wild and woolly
appearance that goes hand-in-hand with his wild and woolly
personality. Lance has been selling drugs his entire adult
life. He's never had a day job, never filed a tax return and
has never been arrested. He wears a red flannel shirt over a
"Speed Racer" tee-shirt.

Three bags of heroin lie on Lance's bed.

Lance and Vincent stand at the foot of the bed.

LANCE
Now this is Panda, from Mexico.
Very good stuff. This is Bava,
different, but equally good. And
this is Choco from the Hartz
Mountains of Germany. Now the
first two are the same, forty-five
an ounce -- those are friend prices
-- but this one...
(pointing to the Choco)
...this one's a little more
expensive. It's fifty-five. But
when you shoot it, you'll know
where that extra money went.
Nothing wrong with the first two.
It's real, real, real, good shit.
But this one's a fuckin' madman.

VINCENT
Remember, I just got back from
Amsterdam.

LANCE
Am I a nigger? Are you in
Inglewood? No. You're in my
house. White people who know the
difference between good shit and
bad shit, this is the house they
come to. My shit, I'll take the
Pepsi Challenge with Amsterdam shit
any ol' day of the fuckin' week.

VINCENT
That's a bold statement.

LANCE
This ain't Amsterdam, Vince. This
is a seller's market. Coke is
fuckin' dead as disco. Heroin's
comin' back in a big fuckin' way.
It's this whole seventies retro.
Bell bottoms, heroin, they're as
hot as hell.

Vincent takes out a roll of money that would choke a horse to
death.

VINCENT
Give me three hundred worth of the
madman. If it's as good as you
say, I'll be back for a thousand.

LANCE
I just hope I still have it.
Whaddya think of Trudi? She ain't
got a boyfriend, wanna hand out an'
get high?

VINCENT
Which one's Trudi? The one with
all the shit in her face?

LANCE
No, that's Jody. That's my wife.

Vincent and Lance giggle at the "faux pas."

VINCENT
I'm on my way somewhere. I got a
dinner engagement. Rain check?

LANCE
No problem?

Vincent takes out his case of the works (utensils for shooting
up).

VINCENT
You don't mind if I shoot up here?

LANCE
Me casa, su casa.

VINCENT
Mucho gracias.

Vincent takes his works out of his case and, as the two
continue to talk, Vince shoots up.

LANCE
Still got your Malibu?

VINCENT
You know what some fucker did to it
the other day?

LANCE
What?

VINCENT
Fuckin' keyed it.

LANCE
Oh man, that's fucked up.

VINCENT
Tell me about it. I had the
goddamn thing in storage three
years. It's out five fuckin' days
-- five days, and some dickless
piece of shit fucks with it.

LANCE
They should be fuckin' killed. No
trial, no jury, straight to
execution.

As he cooks his heroin --

VINCENT
I just wish I caught 'em doin' it,
ya know? Oh man, I'd give anything
to catch 'em doin' it. It'a been
worth his doin' it, if I coulda
just caught 'em, you know what I
mean?

LANCE
It's chicken shit. You don't fuck
another man's vehicle.

CU - THE NEEDLE
going into Vincent's vein.

CU - BLOOD
spurting back into the syringe, mixing with the heroin.

CU OF VINCENT'S THUMB
pushing down on the plunger.

CUT TO:

15. 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.

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.


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

33. FADE UP: 33.

ON THE CARTOON "SPEED RACER."
Speed is giving a detailed description of all the features on
his race car "The Mac-5," which he does at the beginning of
every episode.

OFF SCREEN we hear a WOMAN'S VOICE....

WOMAN'S VOICE (OS)
Butch.

DISSOLVE TO:

BUTCH'S POV
We're in the living room of a modest two bedroom house in
Alhambra, California, in the year 1972.
BUTCH'S MOTHER, 35ish, stands in the doorway leading into the
living room. Next to her is a man dressed in the uniform of
an American Air Force officer. The CAMERA is the perspective
of a five-year old boy.

MOTHER
Butch, stop watching TV a second.
We got a special visitor. Now do
you remember when I told you your
daddy dies in a P.O.W. camp?

BUTCH (OS)
Uh-huh.

MOTHER
Well this here is Capt. Koons. He
was in the P.O.W. camp with Daddy.

CAPT. KOONS steps inside the room toward the little boy and
bends down on one knee to bring him even with the boy's
eyeline. When Koons speaks, he speaks with a slight Texas
accent.

CAPT. KOONS
Hello, little man. Boy I sure
heard a bunch about you. See, I
was a good friend of your Daddy's.
We were in that Hanoi pit of hell
over five years together.
Hopefully, you'll never have to
experience this yourself, but when
two men are in a situation like me
and your Daddy were, for as long as
we were, you take on certain
responsibilities of the other. If
it had been me who had not made it,
Major Coolidge would be talkin'
right now to my son Jim. But the
way it worked out is I'm talkin' to
you, Butch. I got somethin' for
ya.

The Captain pulls a gold wrist watch out of his pocket.

CAPT. KOONS
This watch I got here was first
purchased by your great-granddaddy.
It was bought during the First
World War in a little general store
in Knoxville, Tennessee. It was
bought by private Doughboy Ernie
Coolidge the day he set sail for
Paris. It was your great-
granddaddy's war watch, made by the
first company to ever make wrist
watches. You see, up until then,
people just carried pocket watches.
Your great-granddaddy wore that
watch every day he was in the war.
Then when he had done his duty, he
went home to your great-
grandmother, took the watch off his
wrist and put it in an ol' coffee
can. And in that can it stayed
'til your grandfather Dane Coolidge
was called upon by his country to
go overseas and fight the Germans
once again. This time they called
it World War Two.
Your great-granddaddy gave it to
your granddad for good luck.
Unfortunately, Dane's luck wasn't
as good as his old man's. Your
granddad was a Marine and he was
killed with all the other Marines
at the battle of Wake Island. Your
granddad was facing death and he
knew it. None of those boys had
any illusions about ever leavin'
that island alive. So three days
before the Japanese took the
island, your 22-year old
grandfather asked a gunner on an
Air Force transport named Winocki,
a man he had never met before in
his life, to deliver to his infant
son, who he had never seen in the
flesh, his gold watch. Three days
later, your grandfather was dead.
But Winocki kept his word. After
the war was over, he paid a visit
to your grandmother, delivering to
your infant father, his Dad's gold
watch. This watch. This watch was
on your Daddy's wrist when he was
shot down over Hanoi. He was
captured and put in a Vietnamese
prison camp. Now he knew if the
gooks ever saw the watch it's be
confiscated. The way your Daddy
looked at it, that watch was your
birthright. And he'd be damned if
and slopeheads were gonna put their
greasy yella hands on his boy's
birthright. So he hid it in the
one place he knew he could hide
somethin'. His ass. Five long
years, he wore this watch up his
ass. Then when he died of
disentary, he gave me the watch. I
hid with uncomfortable hunk of
metal up my ass for two years.
Then, after seven years, I was sent
home to my family. And now, little
man, I give the watch to you.

Capt. Koons hands the watch to Butch. A little hand comes
into FRAME to accept it.

CUT TO:

34. INT. LOCKER ROOM - NIGHT 34.

The 27-year old Butch Coolidge is dressed in boxing regalia:
trunks, shoes and gloves. He lies on a table catching a few
zzzzzz's before his big fight. Almost as soon as WE CUT to
him, he wakes up with a start. Shaken by the bizarre memory,
he wipes his sweaty face with his boxing glove.

His trainer KLONDIKE, an older fireplug, opens the door a
little, sticking his head in the room. Pandemonium seems to
be breaking out behind Klondike in the hallway.

KLONDIKE
It's time, Butch.

BUTCH
I'm ready.

Klondike steps inside, closing the door on the WILD MOB
outside. He goes to the long yellow robe hanging on a hook.
Butch hops off the table and, without a word, Klondike helps
him on with the robe, which says on the back: "BATTLING BUTCH
COOLIDGE."

The two men head for the door. Klondike opens the door for
Butch. As Butch steps into the hallway, the Crowd goes
apeshit. Klondike closes the door behind him, leaving us in
the quiet, empty locker room.

FADE TO BLACK

TITLE CARD:

"THE GOLD WATCH"

WE HEAR OVER THE BLACK AND TITLE:

SPORTSCASTER #1 (OS)
-- well Dan, that had to be the
bloodiest and, hands-down, the most
brutal fight this city has ever
seen.

The SOUND of chaos in the b.g.


FADE IN:

35. EXT. ALLEY (RAINING) - NIGHT 35.

A taxi is parked in a dark alley next to an auditorium. The
sky is PISSIN' DOWN RAIN. WE SLOWLY DOLLY toward the parked
car. The SOUND of the CAR RADIO can be heard coming from
inside.

SPORTSCASTER #1 (OS)
...Coolidge was out of there faster
than I've ever seen a victorious
boxer vacate the ring. Do you
think he knew Willis was dead?

SPORTSCASTER #2 (OS)
My guess would be yes, Richard. I
could see from my position here,
the frenzy in his eyes give way to
the realization of what he was
doing. I think any man would've
left the ring that fast.

DISSOLVE TO:

36. INT. TAXI (PARKED/RAINING) - NIGHT 38.

Inside the taxi, behind the wheel, is a female cabbie named
ESMARELDA VILLALOBOS. A young woman, with Spanish looks, sits
parked, drinking a steaming hot cup of coffee out of a white
styrofoam cup.

The Sportscasters continue their coverage.

SPORTSCASTER #1 (OS)
Do you feel this ring death tragedy
will have an effect on the world of
boxing?

SPORTSCASTER #2 (OS)
Oh Dan, a tragedy like this can't
help but shake the world of boxing
to its very foundation. But it's
of paramount importance that during
the sad weeks ahead, the eyes of
the W.B.A. remain firmly fixed on
the -- CLICK --

Esmarelda shuts off the radio.

She takes a sip of coffee, then hears a NOISE behind her in
the alley. She sticks her head out of the car door to see:


37. A window about three stories high opens on the auditorium-side
of the alley. A gym bag is tossed out into a garbage dumpster
below the window. Then, Butch Coolidge, still dressed in
boxing trunks, shoes, gloves and yellow robe, LEAPS to the
dumpster below.

ESMARELDA'S REACTION takes in the strangeness of this sight.

Gym bag in hand, Butch CLIMBS out of the dumpster and RUNS to
the taxi. Before he climbs in, he takes off his robe and
throws it to the ground.


38. INT. TAXI (PARKED/RAINING) - NIGHT 38.

Butch, soaking wet, naked except for trunks, shoes and gloves,
HOPS in the backseat, SLAMMING the door.

Esmarelda, staring straight ahead, talks to Butch through the
rearview mirror:

ESMARELDA
(Spanish accent)
Are you the man I was supposed to
pick up?

BUTCH
If you're the cab I called, I'm the
guy you're supposed to pick up.

ESMARELDA
Where to?

BUTCH
Outta here.

The ignition key is TWISTED. The engine ROARS to life.

The meter is FLIPPED on.

Esmarelda's bare foot STOMPS on the gas pedal.


39. EXT. BOXING AUDITORIUM (RAINING) - NIGHT 39.

The cab WHIPS out of the alley, FISH-TAILING on the wet
pavement in front of the auditorium at a rapid pace.


40. INT. WILLIS LOCKER ROOM (AUDITORIUM) - NIGHT 40.

Locker room door opens, English Dave fights his way through
the pandemonium which is going on outside in the hall,
shutting the door on the madness. Once inside, English Dave
takes time to adjust his suit and tie.

In the room, black boxer FLOYD RAY WILLIS lies on a table --
dead. His face looks like he went dunking for bees. His
TRAINER is on his knees, head on Floyd's chest, crying over
the body.

The huge figure that is Marsellus Wallace stands at the table,
hand on the Trainer's shoulder, lending emotional support. We
still do not see Marsellus clearly, only that he is big.

Mia sits in a chair at the far end of the room.

Marsellus looks up, sees English Dave and walks over to him.

MARSELLUS (OS)
What'cha got?

ENGLISH DAVE
He booked.

MARSELLUS (OS)
I'm prepared to scour the earth for
this motherfucker. If Butch goes
to Indo China, I want a nigger
hidin' in a bowl of rice, ready to
pop a cap in his ass.

ENGLISH DAVE
I'll take care of it.

41. INT. CAB (MOVING/RAINING) - NIGHT 41.

Butch gets one of his boxing gloves off.

Esmarelda watches in the rearview mirror.

He tries to roll down one of the backseat windows, but can't
find the roll bar.

BUTCH
Hey, how do I open the window back
here?

ESMARELDA
I have to do it.

She presses a button and the back window moves down. Butch
tosses his boxing glove out the window, then starts untying
the other one.

Esmarelda can't keep quiet anymore.

ESMARELDA
Hey, mister?

BUTCH
(still working on the
glove)
What?

ESMARELDA
You were in that fight? The fight
on the radio -- you're the fighter?

As he tosses his other glove out the window.

BUTCH
Whatever gave you that idea?

ESMARELDA
No c'mon, you're him, I know you're
him, tell me you're him.

BUTCH
(drying himself with a
gym towel)
I'm him.

ESMARELDA
You killed the other boxing man.

BUTCH
He's dead?

ESMARELDA
The radio said he was dead.

He finished wiping himself down.

BUTCH
(to himself)
Sorry 'bout that, Floyd.

He tosses the towel out the window.

Silence, as Butch digs in his bag for a tee-shirt.

ESMARELDA
What does it feel like?

BUTCH
(finds his shirt)
What does what feel like?

ESMARELDA
Killing a man. Beating another man
to death with your bare hands.

Butch pulls on his tee-shirt.

BUTCH
Are you some kinda weirdo?

ESMARELDA
No, it's a subject I have much
interest in. You are the first
person I ever met who has killed
somebody. So, what was it like to
kill a man?

BUTCH
Tell ya what, you give me one of
them cigarettes, I'll give you an
answer.

Esmarelda bounces in her seat with excitment.

ESMARELDA
Deal!

Butch leans forward. Esmarelda, keeping her eyes on the road,
passes a cigarette back to him. He takes it. Then, still not
looking behind her, she brings up her hand, a lit match in it.
Butch lights his smoke, then blows out the match.

He takes a long drag.

BUTCH
So....

He looks at her license

BUTCH
...Esmarelda Villalobos -- is that
Mexican?

ESMARELDA
The name is Spanish, but I'm
Columbian.

BUTCH
It's a very pretty name.

ESMARELDA
It mean "Esmarelda of the wolves."

BUTCH
That's one hell of a name you got
there, sister.

ESMARELDA
Thank you. And what is your name?

BUTCH
Butch.

ESMARELDA
Butch. What does it mean?

BUTCH
I'm an American, our names don't
mean shit. Anyway, moving right
along, what is it you wanna know,
Esmarelda?

ESMARELDA
I want to know what it feels like
to kill a man --

BUTCH
-- I couldn't tell ya. I didn't
know he was dead 'til you told me
he was dead. Now I know he's dead,
do you wanna know how I feel about
it?

Esmarelda nods her head: "yes."

BUTCH
I don't feel the least little bit
bad. You wanna know why,
Esmarelda?

Esmarelda nods her head: "yes."

BUTCH
'Cause I'm a boxer. And after
you've said that, you've said
pretty much all there is to say
about me. Now maybe that son-of-a-
bitch tonight was once at one time
a boxer. If he was, then he was
dead before his ass ever stepped in
the ring. I just put the poor
bastard outta his misery. And if
he never was a boxer --
(Butch takes a drag)
That's what he gets for fuckin' up
my sport.


42. EXT. PHONE BOOTH (RAINING) - NIGHT 42.

We DOLLY around a phone booth as Butch talks inside.

BUTCH
(into phone)
What's I tell ya, soon as the word
got out a fix was in, the odds
would be outta control.
Hey, if he was a better fighter
he's be alive. If he never laced
up his gloves in the first place,
which he never shoulda done, he'd
be alive. Enough about the poor
unfortunate Mr. Floyd, let's talk
about the rich and prosperous Mr.
Butch. How many bookies you spread
it around with?
(pause)
Eight? How long to collect?
(pause)
So by tomorrow evening, you'll have
it all?
(pause)
Good news Scotty, real good news --
I understand a few stragglers
aside. Me an' Fabian're gonna
leave in the morning. It should
take us a couple days to get into
Knoxville. Next time we see each
other, it'll be on Tennessee time.

Butch hangs up the phone. He looks at the cab waiting to take
him wherever he wants to go.

BUTCH
(to himself in French
with English
subtitles)
Fabian my love, our adventure
begins.

CUT TO:

43. EXT. MOTEL (STOPPED RAINING) - NIGHT 43.

Esmarelda's tax pulled into the motel parking lot. The rain
has stopped, but the night is still soaked. Butch gets out,
now fully dressed in tee-shirt, jeans and high school athletic
jacket. He leans in the driver's side window.

ESMARELDA
Forty-five sixty.

Handing her the money.

BUTCH
Merci beaucoup. And here's a
little something for the effort.

Butch holds up a hundred dollar bill.

Esmarelda's eyes light up. She goes to take it. Butch holds
it out of reach.

BUTCH
Now if anybody should ask you about
who your fare was tonight, what're
you gonna tell 'em?

ESMARELDA
The truth. Three well-dressed,
slightly toasted, Mexicans.

He gives her the bill.

BUTCH
Bon soir, Esmarelda.

ESMARELDA
(in Spanish)
Sleep well, Butch.

He tweaks her nose, she smiles, and he turns and walks away.
She drives off.


44. INT. MOTEL (ROOM SIX) - NIGHT 44.

Butch enters and turns on the light.

Lying curled up on the bed, fully dressed, with her back to us
is Butch's French girlfriend, FABIAN.

FABIAN
Keep the light off.

Butch flicks the switch back, making the room dark again.

BUTCH
Is that better, sugar pop?

FABIAN
Oui. Hard day at the office?

BUTCH
Pretty hard. I got into a fight.

FABIAN
Poor baby. Can we make spoons?

Butch climbs into bed, spooning Fabian from behind.

When Butch and Fabian speak to each other, they speak in baby-
talk.

FABIAN
I was looking at myself in the
mirror.

BUTCH
Uh-huh?

FABIAN
I wish I had a pot.

BUTCH
You were lookin' in the mirror and
you wish you had some pot?

FABIAN
A pot. A pot belly. Pot bellies
are sexy.

BUTCH
Well you should be happy, 'cause
you do.

FABIAN
Shut up, Fatso! I don't have a
pot! I have a bit of a tummy, like
Madonna when she did "Lucky Star,"
it's not the same thing.

BUTCH
I didn't realize there was a
difference between a tummy and a
pot belly.

FABIAN
The difference is huge.

BUTCH
You want me to have a pot?

FABIAN
No. Pot bellies make a man look
either oafish, or like a gorilla.
But on a woman, a pot belly is very
sexy. The rest of you is normal.
Normal face, normal legs, normal
hips, normal ass, but with a big,
perfectly round pot belly. If I
had one, I'd wear a tee-shirt two
sizes too small to accentuate it.

BUTCH
You think guys would find that
attractive?

FABIAN
I don't give a damn what men find
attractive. It's unfortunate what
we find pleasing to the touch and
pleasing to the eye is seldom the
same.

BUTCH
If I had a pot belly, I'd punch you
in it.

FABIAN
You'd punch me in my belly?

BUTCH
Right in the belly.

FABIAN
I'd smother you. I'd drop it on
your right on your face 'til you
couldn't breathe.

BUTCH
You'd do that to me?

FABIAN
Yes!

BUTCH
Did you get everything, sugar pop?

FABIAN
Yes, I did.

BUTCH
Good job.

FABIAN
Did everything go as planned?

BUTCH
You didn't listen to the radio?

FABIAN
I never listen to your fights.
Were you the winner?

BUTCH
I won alright.

FABIAN
Are you still retiring?

BUTCH
Sure am.

FABIAN
What about the man you fought?

BUTCH
Floyd retired too.

FABIAN
(smiling)
Really?! He won't be fighting no
more?!

BUTCH
Not no more.

FABIAN
So it all worked out in the finish?

BUTCH
We ain't at the finish, baby.

Fabian rolls over and Butch gets on top of her. They kiss.

FABIAN
We're in a lot of danger, aren't
we?

Butch nods his head: "yes."

FABIAN
If they find us, they'll kill us,
won't they?

Butch nods his head: "yes."

FABIAN
But they won't find us, will they?

Butch nods his head: "no."

FABIAN
Do you still want me to go with
you?

Butch nods his head: "yes."

FABIAN
I don't want to be a burden or a
nuisance --

Butch's hand goes out of frame and starts massaging her
crotch.

Fabian reacts.

FABIAN
Say it!

BUTCH
Fabian, I want you to be with me.

FABIAN
Forever?

BUTCH
...and ever.

Fabian lies her head back.

Butch continues to massage her crotch.

FABIAN
Do you love me?

BUTCH
Oui.

FABIAN
Butch? Will you give me oral
pleasure?

Butch kisses her on the mouth.

BUTCH
Will you kiss it?

She nods her head: "yes."

FABIAN
But you first.

Butch's head goes down out of frame to carry out the oral
pleasure. Fabian's face is alone in the frame.

FABIAN
(in French, with
English subtitles)
Butch my love, the adventure
begins

FADE TO BLACK

FADE UP:

45. MOTEL ROOM 45.

Same motel room, except empty. WE HEAR THE SHOWER RUNNING in
the bathroom. The CAMERA MOVES to the bathroom doorway. We
see Fabian in a white terry cloth robe that seems to swallow
her up. She's drying her head with a towel. Butch is inside
the shower washing up. We see the outline of his naked body
through the smoky glass of the shower door. Steam fills the
bathroom. Butch turns the shower off and opens the door,
popping his head out.

BUTCH
I think I cracked a rib.

FABIAN
Giving me oral pleasure?

BUTCH
No retard, from the fight.

FABIAN
Don't call me retard.

BUTCH
(in a Mongoloid voice)
My name is Fabby! My name is
Fabby!

FABIAN
Shut up fuck head! I hate that
Mongoloid voice.

BUTCH
Okay, sorry, sorry, sorry, I take
it back! Can I have a towel
please, Miss Beautiful Tulip.

FABIAN
Oh I like that, I like being called
a tulip. Tulip is much better than
Mongoloid.

She finishes drying her hair and wraps the towel like a turban
on her head.

BUTCH
I didn't call you a Mongoloid, I
called you a retard, but I took it
back.

She hands him a towel.

BUTCH
Merci beaucoup.

FABIAN
Butch?

BUTCH
(drying his head)
Yes, lemon pie.

FABIAN
Where are we going to go?

BUTCH
I'm not sure yet. Wherever you
want. We're gonna get a lot of
money from this. But it ain't
gonna be so much, we can live like
hogs in the fat house forever. I
was thinking we could go somewhere
in the South Pacific. The kinda
money we'll have'll carry us a long
way down there.

FABIAN
So if we wanted, we could live in
Bora Bora?

BUTCH
You betcha. And if after awhile
you don't dig Bora Bora, then we
can move over to Tahiti or Mexico.

FABIAN
But I do not speak Spanish.

BUTCH
You don't speak Bora Boran either.
Besides, Mexican is easy: Donde
esta el zapataria?

FABIAN
What does that mean?

BUTCH
Where's the shoe store?

FABIAN
Donde esta el zapataria?

BUTCH
Excellent pronunciation. You'll be
my little mama ceta in no time.

Butch exits the bathroom. We stay on FAbian as she brushes
her teeth.

Butch keeps on from the other room.

BUTCH (OS)
Que hora es?

FABIAN
Que hora es?

BUTCH (OS)
What time is it?

FABIAN
What time is it?

BUTCH (OS)
Time for bed. Sweet dream,
jellybean.

Fabian brushes her teeth. We watch her for a moment or two,
then she remember something.

FABIAN
Butch.

She walks out of the bathroom to ask Butch a question, only to
find him sound asleep in bed.

She looks at him for a moment.

FABIAN
Forget it.

She exits frame, going back in the bathroom. WE STAY on the
WIDE SHOT of the unconscious Butch in bed.

FADE TO BLACK

FADE UP:

46. MOTEL ROOM - MORNING 46.

SAME SHOT AS BEFORE, the next morning. We find Butch still
asleep in bed.

Fabian brushes her teeth half in and half out of the bathroom
so she can watch TV at the same time. She still wears the
terry cloth robe from the night before.

ON TV: WILLIAM SMITH and a bunch of Hell's Angels are taking
on the entire Vietnamese army in the film "THE LOSERS."

Butch wakes from his sleep, as if a scary monster was chasing
him. His start startles Fabian.

FABIAN
Merde! You startled me. Did you
have a bad dream?

Butch squints down the front of the bed at her, trying to
focus.

BUTCH
...yeah...are you still brushing
your teeth?

FABIAN
This is me. I brush my teeth all
night long and into the early
morning. Do you think I have a
problem?

Fabian goes back into the bathroom to spit.

If that was supposed to be sarcasm, it was lost on Butch at
this early hour.

Butch, still trying to chase the cobwebs away, sees on TV
Hell's Angels tear-assin' through a Vietnamese prison camp.

BUTCH
What are you watching?

FABIAN
A motorcycle movie, I'm not sure
the name.

BUTCH
Are you watchin' it?

Fabian enters the room.

FABIAN
In a way. Why? Would you like for
me to switch it off?

BUTCH
Would you please?

She reaches over and turns off the TV.

BUTCH
It's a little too early in the
morning for explosions and war.

FABIAN
What was it about?

BUTCH
How should I know, you were the one
watchin' it.

Fabian laughs.

FABIAN
No, imbecile, what was your dream
about?

BUTCH
Oh, I...don't remember. It's
really rare I remember a dream.

FABIAN
You just woke up from it.

BUTCH
Fabian, I'm not lying to you, I
don't remember.

FABIAN
Well, let's look at the grumpy man
in the morning. I didn't say you
were lying, it's just odd you don't
remember your dreams. I always
remember mine. Did you know you
talk in your sleep?

BUTCH
I don't talk in my sleep, do I talk
in my sleep?

FABIAN
You did last night.

BUTCH
What did I say?

Laying on top of him.

FABIAN
I don't know. I couldn't
understand you.

She kisses Butch.

FABIAN
Why don't you get up and we'll get
some breakfast at that breakfast
place with the pancakes.

BUTCH
One more kiss and I'll get up.

Fabian gives Butch a sweet long kiss.

FABIAN
Satisfied?

BUTCH
Yep.

FABIAN
Then get up, lazy bones.

Butch climbs out of bed and starts pulling clothes out of the
suitcase that Fabian brought.

BUTCH
What time is it?

FABIAN
Almost nine in the morning. What
time does our train arrive?

BUTCH
Eleven.

Seeing him looking at a pair of pants.

FABIAN
Those pants are very nice. Can you
wear those with that nice blue
shirt you have?

He pulls a blue shirt of the suitcase.

BUTCH
This one?

FABIAN
That's the one. That matches.

BUTCH
Okay.

He puts the cloths on.

FABIAN
I'm gonna order a big plate of
blueberry pancakes with maple
syrup, eggs over easy, and five
sausages.

BUTCH
(surprised at her
potential appetite)
Anything to drink with that?

Butch is finished dressing.

FABIAN
(referring to his
clothes)
Oh yes, that looks nice. To drink,
a tall glass or orange juice and a
black cup of coffee. After that,
I'm going to have a slice of pie.

As he goes through the suitcase.

BUTCH
Pie for breakfast?

FABIAN
Any time of the day is a good time
for pie. Blueberry pie to go with
the pancakes. And on top, a thin
slice of melted cheese --

BUTCH
-- where's my watch?

FABIAN
It's there.

BUTCH
No, it's not. It's not here.

FABIAN
Have you looked?

By now, Butch is frantically rummaging through the suitcase.

BUTCH
Yes I've fuckin' looked!!

He's now throwing clothes.

BUTCH
What the fuck do you think I'm
doing?! Are you sure you got it?

Fabian can hardly speak, she's never seen Butch this way.

FABIAN
Uhhh...yes...beside the table
drawer --

BUTCH
-- on the little kangaroo.

FABIAN
Yes, it was on your little
kangaroo.

BUTCH
Well it's not here!

FABIAN
(on the verge of tears)
Well it should be!

BUTCH
Oh it most definitely should be
here, but it's not. So where is
it?

Fabian is crying and scared.

Butch lowers his voice, which only serves to make him more
menacing.

BUTCH
Fabian, that was my father's
fuckin' watch. You know what my
father went through to git me that
watch?...I don't wanna get into it
right now...but he went through a
lot. Now all this other shit, you
coulda set on fire, but I
specifically reminded you not to
forget my father's watch. Now
think, did you get it?

FABIAN
I believe so....

BUTCH
You believe so? You either did, or
you didn't, now which one is it?

FABIAN
Then I did.

BUTCH
Are you sure?

FABIAN
(shaking)
No.

Butch freaks out, he punches the air.

Fabian SCREAMS and backs into a corner,

Butch picks up the motel TV and THROWS IT AGAINST the wall.

Fabian SCREAMS IN HORROR.

Butch looks toward her, suddenly calm.

BUTCH
(to Fabian)
No! It's not your fault.
(he approached her)
You left it at the apartment.

He bends down in front of the woman who has sunk to the floor.

He touches her hand, she flinches.

BUTCH
If you did leave it at the
apartment, it's not your fault. I
had you bring a bunch of stuff. I
reminded you about it, but I didn't
illustrate how personal the watch
was to me. If all I gave a fuck
about was my watch, I should've
told you. You ain't a mind reader.

He kisses her hand. Then rises.

Fabian is still sniffling.

Butch goes to the closet.

FABIAN
I'm sorry.

Butch puts on his high school jacket.

BUTCH
Don't be. It just means I won't be
able to eat breakfast with you.

FABIAN
Why does it mean that?

BUTCH
Because I'm going back to my
apartment to get my watch.

FABIAN
Won't the gangsters be looking for
you there?

BUTCH
That's what I'm gonna find out. If
they are, and I don't think I can
handle it, I'll split.

Rising from the floor.

FABIAN
My darling, I don't want you to be
murdered over a silly watch.

BUTCH
One, it's not a silly watch. Two,
I'm not gonna be murdered. And
three, don't be scared. I won't
let anything get in the way of us
living a happy life together.

Butch brings her close and puts his hands on her face.

BUTCH
Don't feel bad, sugar pop. Nothing
you could ever do would make me
permanently angry at you.
(pause)
I love you, remember?
(he digs some money out
of his wallet)
Now here's some money, order those
pancakes and have a great
breakfast.

FABIAN
Don't go.

BUTCH
I'll be back before you can say,
blueberry pie.

FABIAN
Blueberry pie.

BUTCH
Well maybe not that fast, but fast.
Okay? Okay?

FABIAN
Okay.

He kisses her once more and heads for the door.

BUTCH
Bye-bye, sugar pop.

FABIAN
Bye.

BUTCH
I'm gonna take your Honda.

FABIAN
Okay.

And with that, he's out the door.

Fabian sits on the bed and looks at the money he gave her.


47. INT. HONDA (MOVING) - DAY 47.

Butch is beating the steering wheel and the dash with his
fists as he drives down the street.

BUTCH
Of all the fuckin' things she
coulda forgot, she forgets my
father's watch. I specifically
reminded her not to forget it.
"Bedside table -- on the kangaroo."
I said the words: "Don't forget my
father's watch."


48. EXT. CITY STREET - DAY 48.

The little Honda races toward its destination as fast as its
little engine will take it.


49. INT. HONDA (MOVING) - DAY 49.

Butch continues:

BUTCH
What the fuck am I doin'? Have I
taken one too many hits to the
head? That's gotta be it. Brain
damage is the only excuse for this
dumb a move. Stop the car, Butch.
(he keeps on driving)
Stop the car, Butch.
(he pays no attention
to himself)
Butch, I'm talkin' to you. Put-
your-foot-on-the-break!

Butch's foot SLAMS down hard on the break.


50. EXT. CITY STREET - DAY 50.

The little Honda SKIDS to a stop in the middle of the street.
Butch HOPS out of the car like it was on fire.

Butch begins PACING back and forth, talking to himself,
oblivious to PASSERSBY and traffic.

BUTCH
I ain't gonna do this. This is a
punchy move and I ain't punchy!
Daddy would totally fuckin'
understand. If he was here right
now, he'd say, "Butch, git a grip.
It's a fuckin' watch, man. You
lose one, ya git another. This is
your life you're fuckin' around
with, which you shouldn't be doin'
'cause you only got one.

Butch continues to pace, but now he's silent. Then....

BUTCH
This is my war. You see, Butch,
what you're forgettin' is this
watch isn't just a device that
enables you to keep track of time.
This watch is a symbol. It's a
symbol of how your father, and his
father before him, and his father
before him, distinguished
themselves in war. And when I took
Marsellus Wallace's money, I
started a war. This is my World
War Two. That apartment in North
Hollywood, that's my Wake Island.
In fact, if you look at it that
way, it's almost kismet that Fabian
left it behind. And using that
perspective, going back for it
isn't stupid. It may be dangerous,
but it's not stupid. Because there
are certain things in this world
that are worth going back for.

That's it, Butch has talked himself into it again. He HOPS in
the car, starts it up and TAKES OFF.

CUT TO:

A parking meter red flag rises up, then out, leaving the arrow
pointing at one hour.


51. EXT. RESIDENTIAL STREET CORNER - DAY 51.

Butch isn't completely reckless. He has parked his car a
couple of blocks from his apartment to check things out before
he goes boppin' through the front door.


52. EXT. ALLEY - DAY 52.

Butch walks down the alley until he gets to another street,
then he discreetly glances out.


53. EXT. STREET - BUTCH'S APARTMENT - DAY 53.

Everything seems normal. More or less the right number of
cars in the street. None of the parked cars appear out of
place. None of them have a couple of goons sitting inside.
Basically, it looks like normal morning activity in front of
Butch's home.

Butch peers around a wall, taking in the vital information.

BUTCH
(to himself)
Everything looks hunky dorie.
Looks can be deceiving, but this
time I don't think they are. Why
waste the manpower to stake out my
place. I'd have to be a fuckin'
idiot to come back here. That's
how you're gonna beat 'em Butch,
they keep underestimating you.

Butch walks out of the alley and is ready for anything. He
crosses the street and enters his apartment courtyard.

Across the street from Butch's building, on the corner, is a
combination donut shop and Japanese restaurant. A big sign
sticks up in the air, with the name "Teriyaki Donut" and a
graphic of a donut sticking out of a bowl of rice.


54. EXT. BUTCH'S APARTMENT COURTYARD - DAY 54.

Butch is in the courtyard of his North Hollywood apartment
building. Once again, everything appears normal -- the
laundry room, the pool, his apartment door -- nothing appears
disturbed.

Butch climbs the stairs leading to his apartment, number 12.
He steps outside the door and listens inside. Nothing.

Butch slowly inserts the key into the door, quietly opening
it.


55. INT. BUTCH'S APARTMENT - DAY 55.

His apartment hasn't been touched.

He cautiously steps inside, shuts the door and takes a quick
look around. Obviously, no one is there.

Butch walks into his modest kitchen, and opens the
refrigerator. He takes out a carton of milk and drinks from
it.

With carton in hard, Butch surveys the apartment. Then he
goes to the bedroom.

His bedroom is like the rest of the apartment -- neat, clean
and anonymous. The only things personal in his room are a few
boxing trophies, an Olympic silver medal, a framed issue of
"Ring Magazine" with Butch on the cover, and a poster of Jerry
Quarry and one of George Chuvalo.

Sure enough, there's the watch just like he said it was: on
the bedside table, hanging on his little kangaroo statue.

He walks through the apartment and back into the kitchen. He
opens a cupboard and takes out a box of Pop Tarts. Putting
down the milk, he opens the box, takes out two Pop Tarts and
puts them in the toaster.

Butch glances to his right, his eyes fall on something.

What he sees is a small compact Czech M61 submachine gun with
a huge silencer on it, lying on his kitchen counter.

BUTCH
(softly)
Holy shit.

He picks up the intimidating peace of weaponary and examines
it.

Then...a toilet FLUSHES.

Butch looks up to the bathroom door, which is parallel to the
kitchen. There is someone behind it.

Like a rabbit caught in a radish patch, Butch freezes, not
knowing what to do.

The bathroom door opens and Vincent Vega steps out of the
bathroom, tightening his belt. In his hand is the book
"MODESTY BLAISE" by Peter O'Donnell.

Vincent and Butch lock eyes.

Vincent freezes.

Butch doesn't move, except to point the M61 in Vincent's
direction.

Neither man opens his mouth.

Then...the toaster LOUDLY kicks up the Pop Tarts.

That's all the situation needed.

Butch's finger HITS the trigger.

MUFFLED FIRE SHOOTS out of the end of the gun.

Vincent is seemingly WRACKED with twenty bullets
SIMULTANEOUSLY -- LIFTING him off his feet, PROPELLING him
through the air and CRASHING through the glass shower door at
the end of the bathroom.

By the time Butch removes his finger from the trigger, Vincent
is annihilated.

Butch stands frozen, amazed at what just happened. His look
goes from the grease spot in the bathroom that was once
Vincent, down to the powerful piece of artillery in his grip.

With the respect it deserves, Butch carefully places the M61
back on the kitchen counter.

Then he exits the apartment, quickly.


56. EXT. APARTMENT COURTYARD - DAY 56.

Butch, not running, but walking very rapidly, crosses the
courtyard....

...comes out of the apartment building, crosses the street....

...goes through the alley....

...and into his car in one STEADICAM SHOT.


57. EXT. HONDA - DAY 57.

Butch CRANKS the car into gear and drives away. The big wide
smile of a survivor breaks across his face.


58. EXT. APARTMENT BUILDING STREET - DAY 58.

The Honda turns down the alley and slowly cruises by his
apartment building.


59. INT. HONDA - DAY 59.

Butch looks out the window at his former home.

BUTCH
That's how you're gonna beat 'em,
Butch. They keep underestimatin'
ya.

This makes the boxer laugh out loud. As he laughs, he flips a
tape in the cassette player. When the MUSIC starts, he SINGS
along with it.

He drives by the apartment, but is stopped at the light on the
corner across from Teriyaki Donut.

Butch is still chuckling, singing along with the song, as we
see:

THROUGH THE WINDSHIELD
the big man himself, Marsellus Wallace, exit Teriyaki Donut,
carrying a box of a dozen donuts and two large styrofoam cups
of coffee. He steps off the curb, crossing the street in
front of Butch's car. This is the first time we see Marsellus
clearly.

Laughing boy stops when he sees the big man directly in front
of him.

When Marsellus is in front of Butch's car, he casually glances
to his left, sees Butch, continues walking...then STOPS!

DOUBLE-TAKE: "Am I really seeing what I'm seeing?"

Butch doesn't wait for the big man to answer his own question.
He STOMPS on the gas pedal.

The little Honda SLAMS into Marsellus, sending him, the donuts
and the coffee HITTING the pavement at thirty miles an hour.

Butch CUTS into cross traffic and is BROAD-SIDED by a gold
Camaro Z-28, BREAKING all the windows in the Honda and sending
it up on the sidewalk.

Butch sits dazed and confused in the crumpled mess of what at
one time was Fabian's Honda. Blood flows from his nostrils.
The still-functional tape player continues to play. A
PEDESTRIAN pokes his head inside.

PEDESTRIAN
Jesus, are you okay?

Butch look at him, spaced-out.

BUTCH
I guess.

Marsellus Wallace lies sprawled out in the street. GAWKERS
gather around the body.

GAWKER #1
(to the others)
He's dead! He's dead!

This jerk's yelling makes Marsellus come to.

TWO PEDESTRIANS help the shaken Butch out of the wreckage.

The woozy Marsellus gets to his feet.

GAWKER #2
If you need a witness in court,
I'll be glad to help. He was a
drunken maniac. He hit you and
crashed into that car.

MARSELLUS
(still incoherent)
Who?

GAWKER #2
(pointing at Butch)
Him.

Marsellus follows the Gawker's finger and sees Butch Coolidge
down the street, looking a shambles.

MARSELLUS
Well, I'll be damned.

The big man takes out a .45 Automatic and the Gawkers back
away. Marsellus starts moving toward Butch.

Butch sees the fierce figure making a wobbly bee-line toward
him.

BUTCH
Sacre bleu.

Marsellus brings up his weapon and FIRES, but he's so hurt,
shaky and dazed that his arm goes wild.

He HITS a LOOKY-LOO WOMAN in the hip. She falls to the
ground, screaming.

LOOKY-LOO WOMAN
Oh my God, I've been shot!

That's all Butch needs to see. He's outta here.

Marsellus RUNS after him.

The CROWD looks agape.

Butch is in a mad, limping RUN.

The big man's hot on his ass with a cockeyed wobbly run.

Butch cuts across traffic and dashes into a business with a
sign that reads "MASON-DIXIE PAWNSHOP."


60. INT. MASON-DIXIE PAWNSHOP - DAY 60.

MAYNARD, a hillbilly-lookin' boy, stands behind the counter of
his pawnshop when, all of a sudden, chaos in the form of Butch
RACES into his world.

MAYNARD
Can I help you wit' somethin'?

BUTCH
Shut up!

Butch quickly takes measure of the situation, than stands next
to the door.

MAYNARD
Now you just wait one goddamn
minute --

Before Maynard can finish his threat, Marsellus CHARGES in.
He doesn't get past the doorway because Butch LANDS his fist
in Marsellus' face.

The gangster's feet go out from under him and the big man
FALLS FLAT on his back.

Outside, two police cars with their SIRENS BLARING race by.

Butch POUNCES on the fallen body, PUNCHING him twice more in
the face.

Butch takes the gun out of Marsellus' hand, than grabs ahold
of his middle finger.

BUTCH
So you like chasing people, huh?

He BREAKS the finger. Marsellus lets out a pain sound. Butch
then places the barrel of the .45 between his eyes, PULLS back
the hammer and places his open hand behind the gun to shield
the splatter.

BUTCH
Well guess what, big man, you
caught me --

MAYNARD (OS)
-- hold it right there, godammit!

Butch and Marsellus look up at Maynard, who's brandishing a
pump-action shotgun, aimed at the two men.

BUTCH
Look mister, this ain't any of your
business --

MAYNARD
-- I'm makin' it my business! Now
toss that gun!

Butch does.

MAYNARD
Now you on top, stand up and come
to the counter.

Butch slowly gets up and moves to the counter. As soon as he
gets there, Maynard HAULS OFF, HITTING him hard in the face
with the butt of the shotgun, knocking Butch down and out.

After Butch goes down, Maynard calmly lays the shotgun on the
counter and moves to the telephone.

Marsellus Wallace, from his position on the floor, groggily
watches the pawnshop owner dial a number. Maynard waits on
the line while the other end rings. Then it picks up.

MAYNARD
Zed? It's Maynard. The spider
just caught a coupl'a flies.

Marsellus passes out.

FADE TO BLACK

FADE UP:

61. INT. PAWNSHOP BACK ROOM - DAY 61.

TWO SHOT - BUTCH AND MARSELLUS
are tied up in two separate chairs. In their mouths are two
S&M-style ball gags (a belt goes around their heads and a
little red ball sticks in their mouths). Both men are
unconscious. Maynard steps in with a fire extinguisher and
SPRAYS both guys until they're wide awake and wet as otters.
The two prisoners look up at their captors.

Maynard stands in front of them, fire extinguisher in one
hand, shotgun in the other, and Marsellus' .45 sticking in his
belt.

MAYNARD
Nobody kills anybody in my place of
business except me or Zed.

A BUZZER buzzes.

MAYNARD
That' Zed.

Without saying another word, Maynard climbs up the stairs that
lead to red curtains and goes through them.

WE HEAR, on the other side of the curtains, Maynard let Zed
inside the store.

Butch and Marsellus look around the room. The basement of the
pawnshop has been converted into a dungeon. After taking in
their predicament, Butch and Marsellus look at each other, all
traces of hostility gone, replaced by a terror they both share
at what they've gotten themselves into.

Maynard and ZED come through the curtains. Zed is an even
more intense version of Maynard, if such a thing is possible.
The two hillbillys are obviously brothers. Where Maynard is a
vicious pitbull, Zed is a deadly cobra. Zed walks in and
stands in front of the two captives. He inspects them for a
long time, then says:

ZED
(to Maynard)
You said you waited for me?

MAYNARD
I did.

ZED
Then how come they're all beat up?

MAYNARD
They did that to each other. They
was fightin' when they came in.
This one was gonna shoot that one.

ZED
(to Butch)
You were gonna shoot him?

Butch makes no reply.

ZED
Hey, is Grace gonna be okay in
front of this place?

MAYNARD
Yeah, it ain't Tuesday is it?

ZED
No, it's Thursday.

MAYNARD
Then she'll be fine.

ZED
Bring out The Gimp.

MAYNARD
I think The Gimp's asleep.

ZED
Well, I guess you'll just wake 'em
up then, won't you?

Maynard opens a trap door in the floor.

MAYNARD
(yelling in the hole)
Wake up!

Maynard reaches into the hole and comes back holding onto a
leash. He gives it a rough yank and, from below the floor,
rises THE GIMP.

The Gimp is a man they keep dressed from head to toe in black
leather bondage gear. There are zippers, buckles and studs
here and there on the body. On his head is a black leather
mask with two eye holes and a zipper (closed) for a mouth.
They keep him in a hole in the floor big enough for a large
dog.

Zed takes the chair, sits it in front of the two prisoners,
then lowers into it. Maynard hands The Gimp's leash to Zed,
then backs away.

MAYNARD
(to The Gimp)
Down!

The Gimp gets on its knees.

Maynard hangs back while Zed appraises the two men.

MAYNARD
Who's first?

ZED
I ain't fer sure yet.

Then with his little finger, Zed does a silent "Eenie, meany,
miney, moe..." just his mouth mouthing the words and his
finger going back and forth between the two.

Butch are Marsellus are terrified.

Maynard looks back and forth at the victims.

The Gimps's eyes go from one to the other inside the mask.

Zed continues his silent sing-song with his finger moving left
to right, then it stops.

TWO SHOT - BUTCH AND MARSELLUS
after a beat, THE CAMERA MOVES to the right, zeroing in on
Marsellus.

Zed stands up.

ZED
Wanna do it here?

MAYNARD
Naw, drag big boy to Russell's old
room.

Zed grabs Marsellus' chair and DRAGS him into Russell's old
room. Russell, no doubt, was some other poor bastard that has
the misfortune of stumbling into the Mason-Dixie pawnshop.
Whatever happened to Russell is known only to Maynard and Zed
because his old room, a back room in the back of the back
room, is empty.

As Marsellus is dragged away, he locks eyes with Butch before
he disappears behind the door of Russell's old room.

MAYNARD
(to The Gimp)
Up!

The Gimp rises. Maynard ties The Gimp's leash to a hook on
the ceiling.

MAYNARD
Keep an eye on this one.

The Gimp bows its head: "yes." Maynard disappears into
Russell's old room. There must be a stereo in there because
suddenly The Judds, singing in harmony, fills the air.

Butch looks at The Gimp. The Gimp giggles from underneath the
mask as if this were the funniest moment in the history of
comedy.

From behind the door we hear country MUSIC, struggling, and:

MAYNARD (OS)
Whoa, this boy's got a bit of fight
in 'em!

We the HEAR Maynard and Zed beat on Marsellus.

ZED (OS)
You wanna fight? You wanna fight?
Good, I like to fight!

Butch pauses, listens to the voices. Then, in a panic,
hurriedly struggles to get free.

The Gimp is laughing wildly.

The ropes are on too tight and Butch can't break free.

The Gimp slaps his knee laughing

In the back room, we hear:

MAYNARD (OS)
That's it...that's it boy, you're
goin' fine. Oooooooh, just like
that...that's good.
(grunting faster)
Stay still...stay still goddamn ya!
Zed goddammit, git over here and
hold 'em!

Butch stops struggling and lifts up on his arms. Then, quite
easily, the padded chair back slides up and off as if it were
never connected by a bolt.

The Gimp sees this and its eyes widen.

THE GIMP
Huhng?

The Gimp FLAILS WILDLY, trying to get the leash off the hook.
He tries to yell, but all that comes out are excited gurgles
and grunts.

Butch is out of his chair, quickly dispensing three BOXER'S
PUNCHES to its face. The punches knock The Gimp out, making
him fall to his knees, this HANGING HIMSELF by the leash
attached to the hook,

Butch removes the ball gag, then silently makes his way
through the red curtains.


62. INT. PAWNSHOP - DAY 62.

Butch sneaks to the door.

On the counter is a big set of keys with a large Z connected
to the ring. Grabbing them, he's about to go out when he
stops and listens to the hillbilly psychopaths having their
way with Marsellus.

Butch decides for the life of him, he can't leave anybody in a
situation like that. Se he begins rooting around the pawnshop
for a weapon to bash those hillbillies' heads in with.

He picks up a big destructive-looking hammer, then discards
it: not destructive enough. He picks up a chainsaw, thinks
about it for a moment, then puts it back. Next, a large
Louisville slugger he tries on for size. But then he spots
what he's been looking for:

A Samurai sword.

It hands in its hand-carved wood sheath from a nail on the
wall, next to a neon "DAD'S OLD-FASHIONED ROOT BEER" sign.
Butch takes the sword off the wall, removing it from its
sheath. It's a magnificent piece of steel. It seems to
glisten in the low-wattage light of the pawnshop. Butch
touches his thumb to the blade to see if the sword is just for
show. Not on your life. It's as sharp as it gets. This
weapon seems made to order for the Brothers Grimm downstairs.
Holding the sword pointed downward, Takakura Ken-style, he
disappears through the red curtains to take care of business.


63. INT. PAWNSHOP BACK ROOM - DAY 63.

Butch quietly sneaks down the stairs leading to the dungeon.
Sodomy and the Judds can still be heard going string behind
the closed door that leads to Russell's old room.


64. INT. RUSSELL'S OLD ROOM - DAY 64.

Butch's hand comes into frame, pushing the door open. It
swings open silently, revealing the rapists, who have switched
positions. Zed is now bent over Marsellus, who is bent over a
wooden horse. Maynard watches. Both have their backs to
Butch.

Maynard faces the CAMERA, grinning, while Butch comes up
behind him with the sword.

Miserable, violated, and looking like a rag doll, Marsellus,
red ball gag still in mouth, opens his watery eyes to see
Butch coming up behind Maynard. His eyes widen.

BUTCH
Hey hillbilly.

Maynard turns and sees Butch holding the sword.

Butch SCREAMS...with one mighty SWING, SLASHES Maynard across
the front, moving past him, eyes and blade now locked on Zed.

Maynard stands trembling, his front sliced open, in shock.

Butch, while never taking his eyes off Zed, THRUSTS the sword
behind him, SKEWERING Maynard, then EXTRACTS it, pointing the
blade toward Zed. Maynard COLLAPSES.

Zed disengages from Marsellus in a hurry and his eyes go from
the tip of Butch's sword to Marsellus' .45 Automatic, which
lies within reach.

Butch's eyes follow Zed's.

BUTCH
You want that gun, Zed? Pick it
up.

Zed's hand inches toward the weapon.

Butch GRIPS the sword tighter.

Zed studies Butch,

Butch looks hard at Zed.

Then a VOICE says:

MARSELLUS (OS)
Step aside, Butch.

Butch steps aside, REVEALING Marsellus standing behind him,
holding Maynard's pump-action shotgun.

KABOOM!!!!

Zed is BLASTED in the groin. Down he goes, SCREAMING in
AGONY.

Marsellus, looking down at his whimpering rapist, EJECTS the
used shotgun shell.

Butch lowers the sword and hangs back. Not a word, until:

BUTCH
You okay?

MARSELLUS
Naw man. I'm pretty fuckin' far
from okay!

Long pause.

BUTCH
What now?

MARSELLUS
What now? Well let me tell you
what now. I'm gonna call a couple
pipe-hittin' niggers, who'll go to
work on homes here with a pair of
pliers and a blow torch.
(to Zed)
Hear me talkin' hillbilly boy?! I
ain't through with you by a damn
sight. I'm gonna git Medieval on
your ass.

BUTCH
I meant what now, between me and
you?

MARSELLUS
Oh, that what now? Well, let me
tell ya what now between me an'
you. There is no me an' you. Not
no more.

BUTCH
So we're cool?

MARSELLUS
Yeah man, we're cool. One thing I
ask -- two things I ask: don't
tell nobody about this. This
shit's between me and you and the
soon-to-be-livin'-the-rest-of-his-
short-ass-life-in-agonizing-pain,
Mr. Rapist here. It ain't nobody
else's business. Two: leave town.
Tonight. Right now. And when
you're gone, stay gone. You've
lost your Los Angeles privileges.
Deal?

BUTCH
Deal.

The two men shake hands, then hug one another.

MARSELLUS
Go on now, get your ass outta here.

Butch leaves Russell's old room through the red curtains.
Marsellus walks over to a phone, dialing a number.

MARSELLUS
(into the phone)
Hello Mr. Wolf, it's Marsellus.
Gotta bit of a situation.


65. EXT. MASON-DIXIE PAWNSHOP - DAY 65.

Butch, still shaking in his boots, exits the pawnshop. He
looks ahead and sees, parked in front of the establishment,
Zed's Big Chrome Chopper with a teardrop gas tank that has the
name "GRACE" on it. He climbs aboard, takes out the keys with
the big Z on them and starts up the huge hog. It RUMBLES to
life, making sounds like a rocket fighting for orbit. Butch
twists the accelerator handle and SPEEDS off.

WE CUT BACK AND FORTH BETWEEN...


66. INT. BUTCH AND FABIAN'S HOTEL ROOM - DAY 66.

Fabian stands in front of a mirror wearing a "Frankie says,
Relax" tee-shirt, singing along with MUSIC coming from a BOOM
BOX.


67. EXT. CITY STREET - CHOPPER (MOVING) - DAY 67.

Butch drives down the street, humping a hot dog names "GRACE."
He checks his father's watch. It says: 10:30.

The SONG in the motel room PLAYS OVER this.


68. EXT. MOTEL ROOM - DAY 68.

Butch rides up on Grace. He hops off and runs inside the
motel room, while we stay outside with the bike.

FABIAN (OS)
Butch, I was so worried!

BUTCH
Honey, grab your radio and your
purse and let's go!

FABIAN (OS)
But what about all our bags?

BUTCH
Fuck the bags. We'll miss our
train if we don't split now.

FABIAN (OS)
Is everything well? Are we in
danger?

BUTCH
We're cool. In fact, we're super-
cool. But we gots to go. I'll
wait for you outside.

Butch runs out and hops back on the bike. Fabian exits the
motel room with the boom box and a large purse. When she sees
Butch on the chopper, she stops dead.

FABIAN
Where did you get this motorcycle?

BUTCH
(he KICK-STARTS it)
It's a chopper, baby, hop on.

Fabian slowly approaches the two-wheel demon.

FABIAN
What happened to my Honda?

BUTCH
Sorry baby, I crashed the Honda.

FABIAN
You're hurt?

BUTCH
I might've broke my nose, no
biggie. Hop on.

She doesn't move.

Butch looks at her.

BUTCH
Honey, we gotta hit the fuckin'
road!

Fabian starts to cry.

Butch realizes that this is not the way to get her on the
bike. He turns off the engine and reaches out, taking her
hand.

BUTCH
I'm sorry, baby-love.

FABIAN
(crying)
You were gone so long, I started to
think dreadful thoughts.

BUTCH
I'm sorry I worried you, sweetie.
Everything's fine. Hey, how was
breakfast?

FABIAN
(waterworks drying a
little)
It was good --

BUTCH
-- did you get the blueberry
pancakes?

FABIAN
No, they didn't have blueberry
pancakes, I had to get buttermilk
-- are you sure you're okay?

BUTCH
Baby-love, from the moment I left
you, this has been without a doubt
the single weirdest day of my
entire life. Climb on an' I'll
tell ya about it.

Fabian does climb on. Butch STARTS her up.

FABIAN
Butch, whose motorcycle is this?

BUTCH
It's a chopper.

FABIAN
Whose chopper is this?

BUTCH
Zed's.

FABIAN
Who's Zed?

BUTCH
Zed's dead, baby, Zed's dead.

And with that, the two lovebirds PEEL AWAY on Grace, as the
SONG on the BOOM BOX RISES.

FADE TO BLACK

TITLE CARD:

"JULES
VINCENT
JIMMIE
&
THE WOLF"

TITLE DISAPPEARS.

Over black, we can HEAR in the distance, men talking.

JULES (OS)
You ever read the Bible, Brett?

BRETT (OS)
Yes!

JULES (OS)
There's a passage I got memorized,
seems appropriate for this
situation: Ezekiel 25:17. "The
path of the righteous man is beset
on all sides by the inequities of
the selfish and the tyranny of evil
men...."

FADE UP:

69. INT. BATHROOM - DAY 69.

We're in the bathroom of the Hollywood apartment we were in
earlier. In fact, we're there at exactly the same time.
Except this time, we're in the bathroom with the FOURTH MAN.
The Fourth Man is pacing around the small room, listening hard
to what's being said on the other side of the door, tightly
CLUTCHING his huge silver ,357 Magnum.

JULES (OS)
"...blessed is he who, in the name
of charity and good will, shephered
the weak through the valley of
darkness. And I will strike down
upon thee with great vengeance and
furious anger those who attempt to
poison and destroy my brothers.
And you will know I am the Lord
when I lay my vengeance upon you."

BANG! BANG! BOOM! POW! BAM BAM BAM BAM BAM!

The Fourth Man freaks out. He THROWS himself against the back
wall, gun outstretched in front of him, a look of yellow fear
on his face, ready to blow in half anybody fool enough to
stick their head through that door.

Then he listens to them talk.

VINCENT (OS)
Friend of yours?

JULES (OS)
Yeah, Marvin-Vincent-Vincent-
Marvin.

Waiting for them isn't the smartest move. Bursting out the
door and blowing them all away while they're fuckin' around is
the way to go.


70. INT. APARTMENT - DAY 70.

The bathroom door BURSTS OPEN and the Fourth Man CHARGES out,
silver Magnum raised, FIRING SIX BOOMING SHOTS from his hand
cannon.

FOURTH MAN
Die...die...die...die...!

DOLLY INTO Fourth Man, same as before.

He SCREAM until he's dry firing. Then a look of confusion
crosses his face.

TWO SHOT - JULES AND VINCENT
standing next to each other, unharmed. Amazing as it seems,
none of the Fourth Man's shots appear to have hit anybody.
Jules and Vincent exchange looks like, "Are we hit?" They're
as confused at the shooter. After looking at each other, they
bring their looks up to the Fourth Man.

FOURTH MAN
I don't understand --

The Fourth Man is taken out of the scenario by the two men's
bullets who, unlike his, HIT their marks. He drops DEAD.

The two men lower their guns. Jules, obviously shaken, sits
down in a chair. Vincent, after a moment of respect, shrugs
it off. Then heads toward Marvin in the corner.


VINCENT
Why the fuck didn't you tell us
about that guy in the bathroom?
Slip your mind? Forget he was in
there with a goddamn hand cannon?

JULES
(to himself)
We should be fuckin' dead right
now.
(pause)
Did you see that gun he fired at
us? It was bigger than him.

VINCENT
.357.

JULES
We should be fuckin' dead!

VINCENT
Yeah, we were lucky.

Jules rises, moving toward Vincent.

JULES
That shit wasn't luck. That shit
was somethin' else.

Vincent prepares to leave.

VINCENT
Yeah, maybe.

JULES
That was...divine intervention.
You know what divine intervention
is?

VINCENT
Yeah, I think so. That means God
came down from Heaven and stopped
the bullets.

JULES
Yeah, man, that's what is means.
That's exactly what it means! God
came down from Heaven and stopped
the bullets.

VINCENT
I think we should be going now.

JULES
Don't do that! Don't you fuckin'
do that! Don't blow this shit off!
What just happened was a fuckin'
miracle!

VINCENT
Chill the fuck out, Jules, this
shit happens.

JULES
Wrong, wrong, this shit doesn't
just happen.

VINCENT
Do you wanna continue this
theological discussion in the car,
or at the jailhouse with the cops?

JULES
We should be fuckin' dead now, my
friend! We just witnessed a
miracle, and I want you to fuckin'
acknowledge it!

VINCENT
Okay man, it was a miracle, can we
leave now?


71. EXT. HOLLYWOOD APARTMENT BUILDING - MORNING 71.

The Chevy Nova PROPELS itself into traffic.


72. INT. NOVA (MOVING) - MORNING 72.

Jules is behind the wheel, Vincent in the passenger seat and
Marvin in the back.

VINCENT
...ever seen that show "COPS?" I
was watchin' it once and this cop
was on it who was talkin' about
this time he got into this gun
fight with a guy in a hallway. He
unloads on this guy and he doesn't
hit anything. And these guys were
in a hallway. It's a freak, but it
happens.

JULES
If you wanna play blind man, then
go walk with a Shepherd. But me,
my eyes are wide fuckin' open.

VINCENT
What the fuck does that mean?

JULES
That's it for me. For here on in,
you can consider my ass retired.

VINCENT
Jesus Christ!

JULES
Don't blaspheme!

VINCENT
Goddammit, Jules --

JULES
-- I said don't do that --

VINCENT
-- you're fuckin' freakin' out!

JULES
I'm tellin' Marsellus today I'm
through.

VINCENT
While you're at it, be sure to tell
'im why.

JULES
Don't worry, I will.

VINCENT
I'll bet ya ten thousand dollars,
he laughs his ass off.

JULES
I don't give a damn if he does.

Vincent turns to the backseat with the .45 casually in his
grip.

VINCENT
Marvin, what do you make of all
this?

MARVIN
I don't even have an opinion.

VINCENT
C'mon, Marvin. Do you think God
came down from Heaven and stopped
the bullets?

Vincent's .45 goes BANG!

Marvin is hit in the upper chest, below the throat. He
GURGLES blood and SHAKES.

JULES
What the fuck's happening?

VINCENT
I just accidentally shot Marvin in
the throat.

JULES
Why the fuck did you do that?

VINCENT
I didn't mean to do it. I said it
was an accident.

JULES
I've seen a lot of crazy-ass shit
in my time --

VINCENT
-- chill out, man, it was an
accident, okay? You hit a bump or
somethin' and the gun went off.

JULES
The car didn't hit no motherfuckin'
bump!

VINCENT
Look! I didn't mean to shoot this
son-of-a-bitch, the gun just went
off, don't ask me how! Now I think
the humane thing to do is put him
out of his misery.

JULES
(can't believe it)
You wanna shoot 'im again?

VINCENT
The guy's sufferin'. It's the
right thing to do.

Marvin, suffering though he is, is listening to this debate,
not believing what he's hearing.

JULES
This is really uncool.

Vincent turns to the backseat, places the barrel of the .45
against Marvin's forehead. Marvin's eyes are as big as
saucers. He tries to talk Vince out of this, but when he
opens his mouth, only GURGLES come out.

JULES
Marvin, I just wanna apologize. I
got nothin' to do with this shit.
And I want you to know I think it's
fucked up.

VINCENT
Okay, Pontius Pilot, when I count
three, honk your horn. One...
two...

CU of the steering wheel.

VINCENT (OS)
...three.

Jules presses down hard on the horn: HONK and BANG!

When we CUT BACK to the two men, the car is completely covered
in blood. It's all over everything, including Jules and
Vincent.

JULES
Jesus Christ Almighty!

VINCENT
(to himself)
Fuck.

JULES
Look at this mess! We're drivin'
around on a city street in broad
daylight --

VINCENT
-- I know, I know, I wasn't
thinkin' about the splatter.

JULES
Well you better be thinkin' about
it now, motherfucker! We gotta get
this car off the road. Cops tend
to notice shit like you're driving
a car drenched in fuckin' blood.

VINCENT
Can't we just take it to a friendly
place?

JULES
This is the Valley, Vincent.
Marsellus don't got no friendly
places in the Valley.

VINCENT
Well, don't look at me, this is
your town, Jules.

Jules takes out a cellular phone and starts punching digits.

VINCENT
Who ya callin'?

JULES
A buddy of mine in Toluca Lake.

VINCENT
Where's Toluca Lake.

JULES
On the other side of the hill, by
Burbank Studios. If Jimmie's ass
ain't home, I don't know what the
fuck we're gonna go. I ain't got
any other partners in 818.
(into phone)
Jimmie! How you doin' man, it's
Jules.
(pause)
Listen up man, me an' my homeboy
are in some serious shit. We're in
a car we gotta get off the road,
pronto! I need to use your garage
for a couple hours.
(pause)
Jimmie, you know I can't get into
this shit on a cellular fuckin'
phone. But what I can say is my
ass is out in the cold and I'm
askin' you for some sanctuary 'til
our people can bring us in.
(pause)
I appreciate this, man --
(pause)
We'll be gone by then.
(pause)
-- Jimmie, I'm aware of your
situation. I ain't gonna fuck
things up for you. I give you my
word, partner, she'll never know we
were there.
(pause)
Five minutes. Later.

He folds up the phone, turns to Vincent.

JULES
We're set. But his wife come home
from work in an hour and a half and
we gotta be outta there by then,


73. EXT. JIMMIE'S HOUSE - MORNING 73.

The Nova pulls into the garage of a two-bedroom suburban
house.


74. INT. JIMMIE'S BATHROOM - DAY 74.

Jules is bent over a sink, washing his bloody hands while
Vincent stands behind him.

JULES
We gotta be real fuckin' delicate
with this Jimmie's situation. He's
one remark away from kickin' our
asses out the door.

VINCENT
If he kicks us out, whadda we do?

JULES
Well, we ain't leavin' 'til we made
a couple phone calls. But I never
want it to reach that pitch.
Jimmie's my friend and you don't
bust in your friend's house and
start tellin' 'im what's what.

Jules rises and dries his hands. Vincent takes his place at
the sink.

VINCENT
Just tell 'im not to be abusive.
He kinda freaked out back there
when he saw Marvin.

JULES
Put yourself in his position. It's
eight o'clock in the morning. He
just woke up, he wasn't prepared
for this shit. Don't forget who's
doin' who a favor.

Vincent finishes, then dries his hands on a white towel.

VINCENT
If the price of that favor is I
gotta take shit, he can stick his
favor straight up his ass.

When Vincent is finished drying his hands, the towel is
stained with red.

JULES
What the fuck did you just do to
his towel?

VINCENT
I was just dryin' my hands.

JULES
You're supposed to wash 'em first.

VINCENT
You watched me wash 'em.

JULES
I watched you get 'em wet.

VINCENT
I washed 'em. Blood's real hard to
get off. Maybe if he had some
Lava, I coulda done a better job.

JULES
I used the same soap you did and
when I dried my hands, the towel
didn't look like a fuckin' Maxie
pad. Look, fuck it, alright. Who
cares? But it's shit like this
that's gonna bring this situation
to a boil. If he were to come in
here and see that towel like
that...I'm tellin' you Vincent, you
best be cool. 'Cause if I gotta
get in to it with Jimmie on account
of you....Look, I ain't threatenin'
you, I respect you an' all, just
don't put me in that position.

JULES
Jules, you ask me nice like that,
no problem. He's your friend, you
handle him.


75. INT. JIMMIE'S KITCHEN - MORNING 75.

Three men are standing in Jimmie's kitchen, each with a mug of
coffee. Jules, Vincent and JIMMIE DIMMICK, a young man in his
late-20s dressed in a bathrobe.

JULES
Goddamn Jimmie, this is some
serious gourmet shit. Me an'
Vincent woulda been satisfied with
freeze-dried Tasters Choice. You
spring this gourmet fuckin' shit on
us. What flavor is this?

JIMMIE
Knock it off, Julie.

JULES
What?

JIMMIE
I'm not a cobb or corn, so you can
stop butterin' me up. I don't need
you to tell me how good my coffee
is. I'm the one who buys it, I
know how fuckin' good it is. When
Bonnie goes shoppin;, she buys
shit. I buy the gourmet expensive
stuff 'cause when I drink it, I
wanna taste it. But what's on my
mind at this moment isn't the
coffee in my kitchen, it's the dead
nigger in my garage.

JULES
Jimmie --

JIMMIE
-- I'm talkin'. Now let me ask you
a question, Jules. When you drove
in here, did you notice a sign out
front that said, "Dead nigger
storage?"

Jules starts to "Jimmie" him --

JIMMIE
-- answer to question. Did you see
a sign out in front of my house
that said, "Dead nigger storage?"

JULES
(playing along)
Naw man, I didn't.

JIMMIE
You know why you didn't see that
sign?

JULES
Why?

JIMMIE
'Cause storin' dead niggers ain't
my fuckin' business!

Jules starts to "Jimmie" him.

JIMMIE
-- I ain't through! Now don't you
understand that if Bonnie comes
home and finds a dead body in her
house, I'm gonna get divorced. No
marriage counselor, no trial
separation -- fuckin' divorced.
And I don't wanna get fuckin'
divorced. The last time me an'
Bonnie talked about this shit was
gonna be the last time me an'
Bonnie talked about this shit. Now
I wanna help ya out Julie, I really
do. But I ain't gonna lose my wife
doin' it.

JULES
Jimmie --

JIMMIE
-- don't fuckin' Jimmie me, man, I
can't be Jimmied. There's nothin'
you can say that's gonna make me
forget I love my wife. Now she's
workin' the graveyard shift at the
hospital. She'll be comin' home in
less than an hour and a half. Make
your phone calls, talk to your
people, than get the fuck out of my
house.

JULES
That's all we want. We don't wanna
fuck up your shit, We just need to
call our people to bring us in.

JIMMIE
Then I suggest you get to it.
Phone's in my bedroom.

As Jules crosses the room, exiting.

JULES
(calling behind him)
You're a friend, Jimmie, you're a
good fuckin' friend!

JIMMIE
(to himself)
Yeah, yeah, yeah, yeah, yeah. I'm
a real good friend. Good friend,
bad husband, soon to be ex-husband.
(look up and sees
Vincent)
Who the fuck are you?

VINCENT
I'm Vincent. And Jimmie, thank a
bunch,

The two men laugh.

JIMMIE
Don't mention it.


76. INT. MARSELLUS WALLACE'S DINING ROOM - MORNING 76.

Marsellus Wallace sits at his dining table in a big comfy
robe, eating his large breakfast, while talking on the phone.

MARSELLUS
...well, say she comes home.
Whaddya think she'll do?
(pause)
No fuckin' shit she'll freak. That
ain't no kinda answer. You know
'er, I don't. How bad, a lot or a
little?


77. INT. JIMMIE'S BEDROOM - MORNING 77.

Jules paces around in Jimmie's bedroom on the phone.

JULES
You got to appreciate what an
explosive element this Bonnie
situation is. If she comes home
from a hard day's work and finds a
bunch of gangsters doin' a bunch of
gangsta' shit in her kitchen, ain't
no tellin' what she's apt to do.

MARSELLUS
Let us speak of the unspeakable.

JULES
Possibility exists, but unlikely.

MARSELLUS
Why possible but unlikely?

JULES
'Cause if push met shove, you know
I'll take care of business. But
push ain't never gonna meet shove.
Because You're gonna solve this
shit for us. You're gonna take our
asses outta the cold and bring it
inside where it's warm. 'Cause if
I gotta get into it with my friend
about his wife over your boy
Vincent, I'm gonna have bad
feelings.

MARSELLUS
I've grasped that, Jules. All I'm
doin' is contemplating the "ifs."

JULES
I don't wanna hear about no
motherfuckin' "ifs." What I wanna
hear from your ass is: "you ain't
got no problems, Jules. I'm on the
motherfucker. Go back in there,
chill them niggers out and wait for
the cavalry, which should be comin'
directly."

MARSELLUS
You ain't got no problems, Jules.
I'm on the motherfucker. Go back
in there, chill them niggers out
and wait for The Wolf, who should
be comin' directly.

JULES
You sendin' The Wolf?

MARSELLUS
Feel better?

JULES
Shit Negro, that's all you had to
say.


78. INT. HOTEL SUITE - MORNING 78.

The CAMERA looks through the bedroom doorway of a hotel suite
into the main area. We SEE a crap game being played on a
fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in
fancy evening gowns. The CAMERA PANS to the right revealing:
sitting on a bed, phone in hand with his back to us, the
tuxedo-clad WINSTON WOLF aka "THE WOLF."

We also see The Wolf has a small notepad that he jots details
in.

THE WOLF
(into phone)
Is she the hysterical type?
(pause)
When she due?
(jotting down)
Give me the principals' names
again?
(jots down)
Jules....

We SEE his book. The page has written on it:

1265 Riverside Drive
Toluca Lake
1 body (no head)
Bloody shot-up car
Jules (black)

THE WOLF
...Vincent...Jimmie...Bonnie....

He writes:

Vincent (Dean Martin)
Jimmie (house)
Bonnie (9:30)

THE WOLF
Expect a call around 10:30. It's
about thirty minutes away. I'll be
there in ten.

He hangs up. We never see his face.

CUT TO:

TITLE CARD OVER BLACK:

"NINE MINUTES AND THIRTY-SEVEN SECONDS LATER"

CUT TO:

79. EXT. JIMMIE'S STREET - MORNING 79.

A silver Porsche WHIPS the corner leading to Jimmie's home, in
HYPER DRIVE. Easily doing 135 mph, the Porsche stops on a
dime in front of Jimmie's house.

A ringed finger touches the doorbell: DING DONG.


80. INT. JIMMIE'S HOUSE - MORNING 80.

Jimmie opens the door. We see, standing in the doorway, the
tuxedo-clad man. He looks down to his notebook, then up at
Jimmie.

THE WOLF
You're Jimmie, right? This is your
house?

JIMMIE
Yeah.

THE WOLF
(stick his hand out)
I'm Winston Wolf, I solve problems.

JIMMIE
Good, 'cause we got one.

THE WOLF
So I heard. May I come in?

JIMMIE
Please do.

The two men walk to the dining room.

THE WOLF
I want to convey Mr. Wallace's
gratitude with the help you're
providing on this matter. Let me
assure you Jimmie, Mr. Wallace's
gratitude is worth having.

In the dining room, Jules and Vincent stand up.

THE WOLF
You must be Jules, which would make
you Vincent. Let's get down to
brass tacks, gentlemen. If I was
informed correctly, the clock is
ticking, is that right, Jimmie?

JIMMIE
100%.

THE WOLF
Your wife, Bonnie...
(refers to his pad)
...comes home at 9:30 in the AM, is
that correct?

JIMMIE
Uh-huh.

THE WOLF
I was led to believe if she comes
home and finds us here, she
wouldn't appreciate it none too
much.

JIMMMIE
She won't at that.

THE WOLF
That give use forty minutes to get
the fuck outta Dodge, which, if you
do what I say when I say it, should
by plenty. Now you got a corpse in
a car, minus a head, in a garage.
Take me to it.


81. INT. JIMMIE'S GARAGE - MORNING 82.

The three men hand back as The Wolf examines the car. He
studies the car in silence, opening the door, looking inside,
circling it.

THE WOLF
Jimmie?

JIMMIE
Yes.

THE WOLF
Do me a favor, will ya? Thought I
smelled some coffee in there.
Would you make me a cup?

JIMMIE
Sure, how do you take it?

THE WOLF
Lotsa cream, lotsa sugar.

Jimmie exists. The Wolf continues his examination.

THE WOLF
About the car, is there anything I
need to know? Does it stall, does
it make a lot of noise, does it
smoke, is there gas in it,
anything?

JULES
Aside from how it looks, the car's
cool.

THE WOLF
Positive? Don't get me out on the
road and I find out the brake
lights don't work.

JULES
Hey man, as far as I know, the
motherfucker's tip-top.

THE WOLF
Good enough, let's go back to the
kitchen.


82. INT. KITCHEN - MORNING 82.

Jimmie hands The Wolf a cup of coffee.

THE WOLF
Thank you, Jimmie.

He takes a sip, then, pacing as he thinks, lays out for the
three men the plan of action.

THE WOLF
Okay first thing, you two.
(meaning Jules and
Vincent)
Take the body, stick it in the
trunk. Now Jimmie, this looks to
be a pretty domesticated house.
That would lead me to believe that
in the garage or under the sink,
you got a bunch of cleaners and
cleaners and shit like that, am I
correct?

JIMMIE
Yeah. Exactly. Under the sink.

THE WOLF
Good. What I need you two fellas
to do is take those cleaning
products and clean the inside of
the car. And I'm talkin' fast,
fast, fast. You need to go in the
backseat, scoop up all those little
pieces of brain and skull. Get it
out of there. Wipe down the
upholstery -- now when it comes to
upholstery, it don't need to be
spic and span, you don't need to
eat off in. Give it a good once
over. What you need to take care
of are the really messy parts. The
pools of blood that have collected,
you gotta soak that shit up. But
the windows are a different story.
Them you really clean. Get the
Windex, do a good job. Now Jimmie,
we need to raid your linen closet.
I need blankets, I need comforters,
I need quilts, I need bedspreads.
The thicker the better, the darker
the better. No whites, can't use
'em. We need to camouflage the
interior of the car. We're gonna
line the front seat and the
backseat and the floor boards with
quilts and blankets. If a cop
stops us and starts stickin' his
big snout in the car, the
subterfuge won't last. But at a
glance, the car will appear to be
normal. Jimmie -- lead the way,
boys -- get to work.

The Wolf and Jimmie turn, heading for the bedroom, leaving
Vincent and Jules standing in the kitchen.

VINCENT
(calling after him)
A "please" would be nice.

The Wolf stops and turns around.

THE WOLF
Come again?

VINCENT
I said a "please" would be nice.

The Wolf takes a step toward him.

THE WOLF
Set is straight, Buster. I'm not
here to say "please." I'm here to
tell you want to do. And if self-
preservation is an instinct you
possess, you better fuckin' do it
and do it quick. I'm here to help.
If my help's not appreciated, lotsa
luck gentlemen.

JULES
It ain't that way, Mr. Wolf. Your
help is definitely appreciated.

VINCENT
I don't mean any disrespect. I
just don't like people barkin'
orders at me.

THE WOLF
If I'm curt with you, it's because
time is a factor. I think fast, I
talk fast, and I need you guys to
act fast if you want to get out of
this. So pretty please, with sugar
on top, clean the fuckin' car.


83. INT. JIMMIE'S BEDROOM - MORNING 83.

Jimmie's gathering all the bedspreads, quilts and linen he
has. The Wolf is on the phone.

THE WOLF
(into phone)
It's a 1974 Chevy Nova.
(pause)
White.
(pause)
Nothin', except for the mess
inside.
(pause)
About twenty minutes.
(pause)
Nobody who'll be missed.
(pause)
You're a good man, Joe. See ya
soon.
(he looks at Jimmie)
How we comin', Jimmie?

Jimmie comes over with a handful of linen.

JIMMIE
Mr. Wolf, you gotta understand
somethin' --

THE WOLF
-- Winston, Jimmie -- please,
Winston.

JIMMIE
You gotta understand something,
Winston. I want to help you guys
out and all, but that's my best
linen. It was a wedding present
from my Uncle Conrad and Aunt
Ginny, and they ain't with us
anymore --

THE WOLF
-- let me ask you a question, if
you don't mind?

JIMMIE
Sure.

THE WOLF
Were you Uncle Conrad and Aunt
Ginny millionaires?

JIMMIE
No.

THE WOLF
Well, your Uncle Marsellus is. And
I'm positive if Uncle Conrad and
Aunt Ginny were millionaires, they
would've furnished you with a whole
bedroom set, which your Uncle
Marsellus is more than happy to do.
(takes out a roll of
bills)
I like oak myself, that's what's in
my bedroom. How 'bout you Jimmie,
you an oak man?

JIMMIE
Oak's nice.


84. INT. GARAGE - MORNING 84.

Both Jules and Vincent are inside the car cleaning it up.
Vincent is in the front seat washing windows, while Jules is
in the backseat, picking up little pieces of skull and gobs of
brain. Both are twice as bloody as they were before.

JULES
I will never forgive your ass for
this shit. This is some fucked-up
repugnant shit!

VINCENT
Did you ever hear the philosophy
that once a man admits he's wrong,
he's immediately forgiven for all
wrong-doings?

JULES
Man, get outta my face with that
shit! The motherfucker who said
that never had to pick up itty-
bitty pieces of skull with his
fingers on account of your dumb
ass.

VINCENT
I got a threshold, Jules. I got a
threshold for the abuse I'll take.
And you're crossin' it. I'm a race
car and you got me in the red.
Redline 7000, that's where you are.
Just know, it's fuckin' dangerous
to be drivin' a race car when it's
in the red. It could blow.

JULES
You're gettin' ready to blow? I'm
a mushroom-cloud-layin'
motherfucker! Every time my
fingers touch brain I'm "SUPERFLY
T.N.T," I'm the "GUNS OF NAVARONE."
I'm what Jimmie Walker usta talk
about. In fact, what the fuck am I
doin' in the back? You're the
motherfucker should be on brain
detail. We're tradin'. I'm
washin' windows and you're pickin'
up this nigger's skull.


85. INT. CHEVY NOVA - MORNING 85.

The interior of the car has been cleaned and lined with
bedspreads and quilts. Believe it or not, what looked like a
portable slaughterhouse can actually pass for a non-descript
vehicle.

The Wolf circles the car examining it.

Jules and Vincent stand aside, their clothes are literally a
bloody mess, but they do have a sense of pride in what a good
job they've done.

THE WOLF
Fine job, gentlemen. We may get
out of this yet.

JIMMIE
I can't believe that's the same
car.

THE WOLF
Well, let's not start suckin' each
other's dicks quite yet. Phase one
is complete, clean the car, which
moves us right along to phase two,
clean you two.


86. EXT. JIMMIE'S BACKYARD - MORNING 86.

Jules and Vincent stand side by side in their black suits,
covered in blood, in Jimmie's backyard. Jimmie holds a
plastic Hefty trash bag, while The Wolf holds a garden hose
with one of those guns nossles attached.

THE WOLF
Strip.

VINCENT
All the way?

THE WOLF
To your bare ass.

As they follow directions, The Wolf enjoys a smoke.

THE WOLF
Quickly gentlemen, we got about
fifteen minutes before Jimmie's
better-half comes pulling into the
driveway.

JULES
This morning air is some chilly
shit.

VINCENT
Are you sure this is absolutely
necessary?

THE WOLF
You know what you two look like?

VINCENT
What?

THE WOLF
Like a couple of guys who just blew
off somebody's head. Yes,
strippin' off those bloody rags is
absolutely necessary. Toss the
clothes in Jim's garbage bag.

JULES
Now Jimmie, don't do nothin' stupid
like puttin' that out in front of
your house for Elmo the garbage man
to take away.

THE WOLF
Don't worry, we're takin' it with
us. Jim, the soap.

He hands the now-naked men a bar of soap.

THE WOLF
Okay gentlemen, you're both been to
County before, I'm sure. Here it
comes.

He hits the trigger, water SHOOTS OUT, SMACKING both men.

JULES
Goddamn, that water's fuckin' cold!

THE WOLF
Better you than me, gentlemen.

The two men, trembling, scrub themselves.

THE WOLF
Don't be afraid of the soap, spread
it around.

The Wolf stops the hose, tossing it on the ground.

THE WOLF
Towel 'em.

Jimmie tosses them each a towel, which they rub furiously
across their bodies.

THE WOLF
You're dry enough, give 'em their
clothes.

JIMMIE
Okay fellas, in the one-size-fits-
all category, we got swim trunks,
one red -- one white. And two
extra-large tee-shirts. A UC Santa
Cruz shirt and an "I'm with Stupid"
shirt.

JULES
I get the "I'm with Stupid" shirt.

FADE UP ON:

87. JULES AND VINCENT 87.
in their tee-shirts and swim trunks. They look a million
miles away from the black-suited, bad-asses we first met.

THE WOLF
Perfect. Perfect. We couldn't've
planned this better. You guys look
like...what do they look like,
Jimmie?

JIMMIE
Dorks. They look like a couple of
dorks.

The Wolf and Jimmie laugh.

JULES
Ha ha ha. They're your clothes,
motherfucker.

JIMMIE
I guess you just gotta know how to
wear them.

JULES
Yeah, well, out asses ain't the
expert on wearin' dorky shit that
your is.

THE WOLF
C'mon, gentlemen, we're laughin'
and jokin' our way into prison.
Don't make me beg.

They start walking through the house to the garage.

JIMMIE
Wait a minute, before you guys
split, I wanna get a picture of
this.

JULES
Jimmie, have you forgotten about
your wife comin' home?

JIMMIE
It won't take a second.

VINCENT
I don't like this photograph shit.

JIMMIE
Sorry -- my house, my rules.


88. INT. JIMMIE'S GARAGE - MORNING 88.

The garbage bag is tossed in the car trunk on top of Marvin.
The Wolf SLAMS is closed.

THE WOLF
Gentlemen, let's get our rules of
the road straight. We're going to
a place called Monster Joe's Truck
and Tow. Monster Joe and his
daughter Raquel are sympathetic to
out dilemma. The place is North
Hollywood, so a few twist and turns
aside, we'll be goin' up Hollywood
Way. Now I'll drive the tainted
car. Jules, you ride with me.
Vincent, you follow in my Porsche.
Now if we cross the path of any
John Q. Laws, nobody does a fuckin'
thing 'til I do something.
(to Jules)
What did I say?

JULES
Don't do shit unless --

THE WOLF
-- unless what?

JULES
Unless you do it first.

THE WOLF
Spoken like a true prodigy.
(to Vincent)
How 'bout you, Lash Larue? Can you
keep your spurs from jingling and
jangling?

VINCENT
I'm cool, Mr. Wolf. My gun just
went off, I dunno how.

THE WOLF
Fair enough.
(he throws Vince his
car keys)
I drive real fuckin' fast, so keep
up. If I get my car back any
different than I gave it, Monster
Joe's gonna be disposing of two
bodies.

JULES
Why do you drive fast?

THE WOLF
Because it's a lot of fun.

Jules and Vincent laugh.

THE WOLF
Let's move.

Jimmie comes through the door, camera in hand.

JIMMIE
Wait a minute, I wanna take a
picture.

JULES
We ain't got time, man.

JIMMIE
We got time for one picture. You
and Vincent get together.

Jules and Vincent stand next to each other.

JIMMIE
Okay, you guys put your arms around
each other.

The two men look at each other and, after a long beat, a smile
breaks out. They put their arms around each other.

JIMMIE
Okay Winston, get in there.

THE WOLF
I ain't no model.

JIMMIE
After what a cool guy I've been, I
can't believe you do me like this.
It's the only thing I asked.

JULES & VINCENT
C'mon, Mr. Wolf....

THE WOLF
Okay, one photo and we go.

SLOW DOLLY TOWARD A LONE CAMERA

JIMMIE (OS)
Everybody say Pepsi.

JULES (OS)
I ain't fuckin' sayin' Pepsi.

JIMMIE (OS)
Smile, Winston.

THE WOLF
I don't smile in pictures.

The camera goes off, FLASHING THE SCREEN WHITE.

THE PHOTO FADES UP OVER WHITE.
it's Jules and Vincent, their arms around each other, next to
Jimmie' whose arm is around The Wolf. Everyone is smiling
except you-know-who.


89. INT. MONSTER JOE'S TRUCK AND TOW - MORNING 89.

Winston is counting out three thousand dollars to an older man
in a dirty tee-shirt, MONSTER JOE. We're in Joe's office,
which looks like the office of every tow yard on the planet.
A filthy, disarrayed mess.

MONSTER JOE
I've said it before, I'll say it
again, your business is always
welcome.

WINSTON
I would think by now I've earned
the equivalent of Frequent Flyer
miles.

MONSTER JOE
I'll tell ya what, if you ever need
it, I'll dispose of a body part for
free.

WINSTON
How 'bout an upgrade, you dispose a
whole body for the price of a body
part.

The two men laugh.

MONSTER JOE
That one I need to speak with my
accountant on.

WINSTON
Where's that reprobate daughter of
yours?

MONSTER JOE
Out in the yard, up to no good.


90. EXT. MONSTER JOE'S TRUCK AND TOW - MORNING 90.

Winston steps outside and is joined by Monster Joe's daughter,
RAQUEL. They walk in step across the yard with their arms
around each other's waists.

RAQUEL
Hello, Boyfriend!

WINSTON
Hello, Girlfriend. I swear,
heartbreaker, Joe should change the
name of this place to Beauty and
the Beast Truck and Tow.

RAQUEL
You're prejudiced because you love
me.

WINSTON
Guilty.

RAQUEL
Now business is done, it's time for
pleasure.

WINSTON
The time it is, is time for bed.

RAQUEL
Contre senior Lobo.

WINSTON
Do you have a different idea?

RAQUEL
Most definitely.

WINSTON
What do you think?

RAQUEL
I think you're taking me out to
breakfast.

WINSTON
Well, you thought wrong.

RAQUEL
That's no fair! I never get to see
you.

WINSTON
Raquel, I been up all night. I
need sleep. You understand the
concept of sleep?

RAQUEL
Yes, sleep is what you do after
you've taken me to breakfast. Just
get used to the idea, indulging me
is the price of doing business at
Monster Joe's Truck and Tow.

WINSTON
Raquel --

RAQUEL
I haven't seen you in a long time.
I miss you, we're going to
breakfast. So it is written, so
shall it be done.

They exit the tow yard. Jules and Vincent wait by Winston's
Porsche.

JULES
We cool?

WINSTON
Like it never happened.

Jules and Vincent bump fists.

JULES
I apologize for bein' in your shit
like I was.

VINCENT
You had every right, I fucked up.

RAQUEL
(to Winston)
Are they having a moment?

WINSTON
Boys, this is Raquel. Someday, all
this will be hers.

RAQUEL
(to the boys)
Hi. You know, if they ever do "I
SPY: THE MOTION PICTURE," you guys,
I'd be great. What's with the
outfits. You guys going to a
volleyball game?

Winston laughs, the boys groan.

WINSTON
I'm takin' m'lady out to breakfast.
Maybe I can drop you two off.
Where do you live?

VINCENT
Redondo Beach.

JULES
Inglewood.

Winston grabs Jules' wrist and pantomimes like he's in a "DEAD
ZONE" trance.

WINSTON
(painfully)
It's your future: I see...a cab
ride.
(dropping the act)
Sorry guys, move out of the sticks.
(to Raquel)
Say goodbye, Raquel

RAQUEL
Goodbye, Raquel.

WINSTON
I'll see you two around, and stay
outta trouble, you crazy kids.

Winston turns to leave.

JULES
Mr. Wolf.

He turns around.

JULES
I was a pleasure watchin' you
work.

The Wolf smiles.

WINSTON
Call me Winston.

He turns and banters with Raquel as they get in the Porsche.

WINSTON
You hear that, young lady?
Respect. You could lean a lot
from those two fine specimens.
Respect for one's elders shows
character.

RAQUEL
I have character.

WINSTON
Just because you are a character
doesn't mean you have character.

RAQUEL
Oh you're so funny, oh you're so
funny.

The Porsche SHOOTS OFF down the road.

The two men left alone look at each other.

JULES
Wanna share a cab?

VINCENT
You know I could go for some
breakfast. What to have breakfast
with me?

JULES
Sure.


91. INT. COFFEE SHOP - MORNING 91.

Jules and Vincent sit at a booth. In front of Vincent is a
big stack of pancakes and sausages, which he eats with gusto.
Jules, on the other hand, just has a cup of coffee and a
muffin. He seems far away in thought. The Waitress pours a
refill for both men,

VINCENT
Thanks a bunch.
(to Jules, who's
nursing his coffee)
Want a sausage?

JULES
Naw, I don't eat pork.

VINCENT
Are you Jewish?

JULES
I ain't Jewish man, I just don't
dig on swine.

VINCENT
Why not?

JULES
They're filthy animals. I don't
eat filthy animals.

VINCENT
Sausages taste good. Pork chops
taste good.

JULES
A sewer rat may taste like pumpkin
pie. I'll never know 'cause even
if it did, I wouldn't eat the
filthy motherfucker. Pigs sleep
and root in shit. That's a filthy
animal. I don't wanna eat nothin'
that ain't got enough sense to
disregard its own feces.

VINCENT
How about dogs? Dogs eat their own
feces.

JULES
I don't eat dog either.

VINCENT
Yes, but do you consider a dog to
be a filthy animal?

JULES
I wouldn't go so far as to call a
dog filthy, but they're definitely
dirty. But a dog's got
personality. And personality goes
a long way.

VINCENT
So by that rationale, if a pig had
a better personality, he's cease to
be a filthy animal?

JULES
We'd have to be talkin' 'bout one
motherfuckin' charmin' pig. It'd
have to be the Cary Grant of pigs.

The two men laugh.

VINCENT
Good for you. Lighten up a little.
You been sittin' there all quiet.

JULES
I just been sittin' here thinkin'.

VINCENT
(mouthful of food)
About what?

JULES
The miracle we witnessed.

VINCENT
The miracle you witnessed. I
witnessed a freak occurrence.

JULES
Do you know that a miracle is?

VINCENT
An act of God.

JULES
What's an act of God?

VINCENT
I guess it's when God makes the
impossible possible. And I'm sorry
Jules, but I don't think what
happened this morning qualifies.

JULES
Don't you see, Vince, that shit
don't matter. You're judging this
thing the wrong way. It's not
about what. It could be God
stopped the bullets, he changed
Coke into Pepsi, he found my
fuckin' car keys. You don't judge
shit like this based on merit.
Whether or not what we experienced
was an according-to-Hoyle miracle
is insignificant. What is
significant is I felt God's touch,
God got involved.

VINCENT
But why?

JULES
That's what's fuckin' wit' me! I
don't know why. But I can't go
back to sleep.

VINCENT
So you're serious, you're really
gonna quit?

JULES
The life, most definitely.

Vincent takes a bite of food. Jules takes a sip of coffee
In the b.g., we see a PATRON call the Waitress.

PATRON
Garcon! Coffee!

We recognize the patron to be Pumpkin from the first scene of
Pumpkin and Honey Bunny.

VINCENT
So if you're quitting the life,
what'll you do?

JULES
That's what I've been sitting here
contemplating. First, I'm gonna
deliver this case to Marsellus.
Then, basically, I'm gonna walk the
earth.

VINCENT
What do you mean, walk the earth?

JULES
You know, like Caine in "KUNG FU."
Just walk from town to town, meet
people, get in adventures.

VINCENT
How long do you intend to walk the
earth?

JULES
Until God puts me where he want me
to be.

VINCENT
What if he never does?

JULES
If it takes forever, I'll wait
forever.

VINCENT
So you decided to be a bum?

JULES
I'll just be Jules, Vincent -- no
more, no less.

VINCENT
No Jules, you're gonna be like
those pieces of shit out there who
beg for change. They walk around
like a bunch of fuckin' zombies,
they sleep in garbage bins, they
eat what I throw away, and dogs
piss on 'em. They got a word for
'em, they're called bums. And
without a job, residence, or legal
tender, that's what you're gonna be
-- a fuckin' bum!

JULES
Look my friend, this is just where
me and you differ --

VINCENT
-- what happened was peculiar -- no
doubt about it -- but it wasn't
water into wine.

JULES
All shapes and sizes, Vince.

VINCENT
Stop fuckin' talkin' like that!

JULES
If you find my answers frightening,
Vincent, you should cease askin'
scary questions.

VINCENT
When did you make this decision --
while you were sitting there eatin'
your muffin?

JULES
Yeah. I was just sitting here
drinking my coffee, eating my
muffin, playin' the incident in my
head, when I had what alcoholics
refer to as a "moment of clarity."

VINCENT
I gotta take a shit. To be
continued.

Vincent exits for the restroom.

Jules, alone, takes a mouthful of muffin, then...Pumpkin and
Honey Bunny rise with guns raised.

PUMPKIN
Everybody be cool, this is a
robbery!

HONEY BUNNY
Any of you fuckin' pricks move and
I'll execute every one of you
motherfuckers! Got that?!

Jules looks up, not believing what he's seeing. Under the
table, Jules' hand goes to his .45 Automatic. He pulls it
out, COCKING IT.

PUMPKIN
Customers stay seated, waitresses
on the floor.

HONEY BUNNY
Now mean fuckin' now! Do it or
die, do it or fucking die!

Like lightning, Pumpkin moves over to the kitchen. While
Honey Bunny SCREAMS out threats to the PATRONS, keeping them
terrified.

PUMPKIN
You Mexicans in the kitchen, get
out here! Asta luego!

Three COOKS and two BUSBOYS come out of the kitchen.

PUMPKIN
On the floor or I'll cook you ass,
comprende?

They comprende. The portly MANAGER speaks up.

MANAGER
I'm the manager here, there's no
problem, no problem at all --

Pumpkin head his way.

PUMPKIN
You're gonna give me a problem?

He reaches him and sticks the barrel of his gun hard in the
Manager's neck.

PUMPKIN
What? You said you're gonna give
me a problem?

MANAGER
No, I'm not. I'm not gonna give
you any problem!

PUMPKIN
I don't know, Honey Bunny. He
looks like the hero type to me!

HONEY BUNNY
Don't take any chances. Execute
him!

The Patrons SCREAM. Jules watches all this silently, his hand
tightly gripping the .45 Automatic under the table.

MANAGER
Please don't! I'm not a hero. I'm
just a coffee shop manager. Take
anything you want.

PUMPKIN
Tell everyone to cooperate and
it'll be all over.

MANAGER
Everybody just be calm and
cooperate with them and this will
be all over soon!

PUMPKIN
Well done, now git your fuckin' ass
on the ground.


92. INT. COFFEE SHOP BATHROOM - MORNING 92.

Vincent, on the toilet, oblivious to the pandemonium outside,
reads his "MODESTY BLAISE" book.


93. INT. COFFEE SHOP - MORNING 93.

Cash register drawer opens. Pumpkin stuffs the money from the
till in his pocket. Then walks from behind the counter with a
trash bag in his hand.

PUMPKIN
Okay people, I'm going to go 'round
and collect your wallets. Don't
talk, just toss 'em in the bag. We
clear?

Pumpkin goes around collecting wallets. Jules sits with his
.45 ready to spit under the table.

Pumpkin sees Jules sitting in his booth, holding his wallet,
briefcase next to him. Pumpkin crosses to him, his tone more
respectful, him manner more on guard.

PUMPKIN
In the bag.

Jules DROPS his wallet in the bag. Using his gun as a
pointer, Pumpkin points to the briefcase.

PUMPKIN
What's in that?

JULES
My boss' dirty laundry.

PUMPKIN
You boss makes you do his laundry?

JULES
When he wants it clean.

PUMPKIN
Sounds like a shit job.

JULES
Funny, I've been thinkin' the same
thing.

PUMPKIN
Open it up.

Jules' free hand lays palm flat on the briefcase.

JULES
'Fraid I can't do that.

Pumpkin is definitely surprised by his answer. He aims the
gun right in the middle of Jules' face and pulls back the
hammer.

PUMPKIN
I didn't hear you.

JULES
Yes, you did.

This exchange has been kind of quiet, not everybody heard it,
but Honey Bunny senses something's wrong.

HONEY BUNNY
What's goin' on?

PUMPKIN
Looks like we got a vigilante in
our midst.

HONEY BUNNY
Shoot 'em in the face!

JULES
I don't mean to shatter your ego,
but this ain't the first time I've
had gun pointed at me.

PUMPKIN
You don't open up that case, it's
gonna be the last.

MANAGER
(on the ground)
Quit causing problems, you'll get
us all killed! Give 'em what you
got and get 'em out of here.

JULES
Keep your fuckin' mouth closed, fat
man, this ain't any of your goddamn
business!

PUMPKIN
I'm countin' to three, and if your
hand ain't off that case, I'm gonna
unload right in your fuckin' face.
Clear? One...

Jules closes his eyes.

PUMPKIN
...two...

Jules SHOOTS Pumpkin twice, up through the table, sending him
to the floor. While still in the booth, he SWINGS around to
Honey Bunny, who has aimed at Jules, but slowed down by the
shock of Pumpkin getting shot. He FIRES three times.

Honey Bunny takes all three HITS in the chest. As she FALLS
SCREAMING, she FIRES wildly, HITTING a SURFER PATRON.

SURFER
She shot me! I'm dying! Sally!
Sally!

Jules now brings the gun down to Pumpkin's face. Pumpkin lies
shot on the floor at Jules' feet. Pumpkin looks up at the big
gun.

JULES
Wrong guy, Ringo.

Jules FIRES straight at the CAMERA, BLINDING UP with his
FLASH.

Jules' eyes, still closed, suddenly open.

Pumpkin still stands, holding the gun on him.

PUMPKIN
...three.

JULES
You win.

Jules raises his hand off the briefcase.

JULES
It's all yours, Ringo.

PUMPKIN
Open it.

Jules flips the locks and opens the case, revealing it to
Pumpkin but not to us. The same light SHINES from the case.
Pumpkin's expression goes to amazement. Honey Bunny, across
the room, can't see shit.

HONEY BUNNY
What is it? What is it?

PUMPKIN
(softly)
Is that what I think it is?

Jules nods his head: "yes."

PUMPKIN
It's beautiful.

Jules nods his head: "yes."

HONEY BUNNY
Goddammit, what is it?

Jules SLAMS the case closed, then sits back, as if offering
the case to Pumpkin. Pumpkin, one big smile, bends over to
pick up the case.

Like a rattlesnake, Jules' free hand GRABS the wrist of
Pumpkin's gun hand, SLAMMING it on the table. His other hand
comes from under the table and STICKS the barrel of his .45
hand under Pumpkin's chin.

Honey Bunny freaks out, waving his gun in Jules' direction.

HONEY BUNNY
Let him go! Let him go! I'll blow
your fuckin' head off! I'll kill
ya! I'll kill ya! You're gonna
die, you're gonna fuckin' die bad!

JULES
(to Pumpkin)
Tell that bitch to be cool! Say,
bitch be cool! Say, bitch be cool!

PUMPKIN
Chill out, honey!

HONEY BUNNY
Let him go!

JULES
(softly)
Tell her it's gonna be okay.

PUMPKIN
I'm gonna be okay.

JULES
Promise her.

PUMPKIN
I promise.

JULES
Tell her to chill.

PUMPKIN
Just chill out.

JULES
What's her name?

PUMPKIN
Yolanda.

Whenever Jules talks to Yolanda, he never looks at her, only
at Pumpkin.

JULES
(to Yolanda)
So, we cool Yolanda? We ain't
gonna do anything stupid, are we?

YOLANDA
(crying)
Don't you hurt him.

JULES
Nobody's gonna hurt anybody. We're
gonna be like three Fonzies. And
what' Fonzie like?

No answer,

JULES
C'mon Yolanda, what's Fonzie like?

YOLANDA
(through tears, unsure)
He's cool?

JULES
Correct-amundo! And that's what
we're gonna be, we're gonna be
cool.
(to Pumpkin)
Now Ringo, I'm gonna count to three
and I want you to let go your gun
and lay your palms flat on the
table. But when you do it, do it
cool. Ready?

Pumpkin looks at him.

JULES
One...two...three.

Pumpkin lets go of his gun and places both hands on the table.
Yolanda can't stand it anymore.

YOLANDA
Okay, now let him go!

JULES
Yolanda, I thought you were gonna
be cool. When you yell at me, it
makes me nervous. When I get
nervous, I get scared. And when
motherfuckers get scared, that's
when motherfuckers get accidentally
shot.

YOLANDA
(more conversational)
Just know: you hurt him, you die.

JULES
That seems to be the situation.
Now I don't want that and you don't
want that and Ringo here don't want
that. So let's see what we can do.
(to Ringo)
Now this is the situation.
Normally both of your asses would
be dead as fuckin' fried chicken.
But you happened to pull this shit
while I'm in a transitional period.
I don't wanna kill ya, I want to
help ya. But I'm afraid I can't
give you the case. It don't belong
to me. Besides, I went through too
much shit this morning on account
of this case to just hand it over
to your ass.

VINCENT (OS)
What the fuck's goin' on here?

Yolanda WHIPS her gun toward the stranger.

VINCENT, by the bathroom, has his gun out, dead-aimed at
Yolanda.

JULES
It's cool, Vincent! It's cool!
Don't do a goddamn thing. Yolanda,
it's cool baby, nothin's changed.
We're still just talkin',
(to Pumpkin)
Tell her we're still cool.

PUMPKIN
It's cool, Honey Bunny, we're still
cool.

VINCENT
(gun raised)
What the hell's goin' on, Jules?

JULES
Nothin' I can't handle. I want you
to just hang back and don't do shit
unless it's absolutely necessary.

VINCENT
Check.

JULES
Yolanda, how we doin, baby?

YOLANDA
I gotta go pee! I want to go home.

JULES
Just hang in there, baby, you're
doing' great, Ringo's proud of you
and so am I. It's almost over,
(to Pumpkin)
Now I want you to go in that bag
and find my wallet.

PUMPKIN
Which one is it?

JULES
It's the one that says Bad
Motherfucker on it.

Pumpkin looks in the bag and -- sure enough -- there's a
wallet with "Bad Motherfucker" embroidered on it.

JULES
That's my bad motherfucker. Now
open it up and take out the cash.
How much is there?

PUMPKIN
About fifteen hundred dollars.

JULES
Put it in your pocket, it's yours.
Now with the rest of them wallets
and the register, that makes this a
pretty successful little score.

VINCENT
Jules, if you give this nimrod
fifteen hundred buck, I'm gonna
shoot 'em on general principle.

JULES
You ain't gonna do a goddamn thing,
now hang back and shut the fuck up.
Besides, I ain't givin' it to him.
I'm buyin' somethin' for my money.
Wanna know what I'm buyin' Ringo?

PUMPKIN
What?

JULES
Your life. I'm givin' you that
money so I don't hafta kill your
ass. You read the Bible?

PUMPKIN
Not regularly.

JULES
There's a passage I got memorized.
Ezekiel 25:17. "The path of the
righteous man is beset on all sides
by the inequities of the selfish
and the tyranny of evil men.
Blessed is he who, in the name of
charity and good will, shepherds
the weak through the valley of the
darkness. For he is truly his
brother's keeper and the finder of
lost children.
And I will strike down upon thee
with great vengeance and furious
anger those who attempt to poison
and destroy my brothers. And you
will know I am the Lord when I lay
my vengeance upon you." I been
sayin' that shit for years. And if
you ever heard it, it meant your
ass. I never really questioned
what it meant. I thought it was
just a cold-blooded thing to say to
a motherfucker 'fore you popped a
cap in his ass. But I saw some
shit this mornin' made me think
twice. Now I'm thinkin', it could
mean you're the evil man. And I'm
the righteous man. And Mr. .45
here, he's the shepherd protecting
my righteous ass in the valley of
darkness. Or is could by you're
the righteous man and I'm the
shepherd and it's the world that's
evil and selfish. I'd like that.
But that shit ain't the truth. The
truth is you're the weak. And I'm
the tyranny of evil men. But I'm
tryin'. I'm tryin' real hard to be
a shepherd.

Jules lowers his gun, lying it on the table.

Pumpkin looks at him, to the money in his hand, then to
Yolanda. She looks back.

Grabbing the trash bag full of wallets, the two RUN out the
door.

Jules, who was never risen from his seat the whole time, takes
a sip of coffee.

JULES
(to himself)
It's cold.

He pushes it aside.

Vincent appears next to Jules.

VINCENT
I think we oughta leave now.

JULES
That's probably a good idea.

Vincent throws some money on the table and Jules grabs the
briefcase.

Then, to the amazement of the Patrons, the Waitresses, the
Cooks, the Bus Boys, and the Manager, these two bad-ass dudes
-- wearing UC Santa Cruz and "I'm with Stupid" tee-shirts,
swim trunks, thongs and packing .45 Automatics -- walk out of
the coffee shop together without saying a word.



THE END




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 Cult Kanaal