> 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 > 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 > d 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 > me. 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 > 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 > ...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 ai > 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. > ) > 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! > 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. > 't > got a boyfriend, wanna han > 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- > 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. > 3 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 > o 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) > hould 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, > 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 > sellus 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. > ere 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 > e 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! > arts 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 > 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. > he 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. > OLF > 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. > Butch is in a mad, > 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 > his. > 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. > UEL > 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 > 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