2. A magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper.
American Heritage Dictionary: New College Edition
INT. COFFEE SHOP — MORNING
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 omelet, 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
Then you got the idea to take everybody’s wallet.
YOUNG WOMAN
Uh-huh.
YOUNG MAN
That was a good idea.
YOUNG WOMAN
Thanks.
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 tired 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”
INT. ’74 CHEVY (MOVING) — MORNING
An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down a homeless-ridden street in Hollywood. In the front seat are two young fellas — one white, one black — both wearing cheap black suits with thin black ties under long green dusters. Their names are VINCENT VEGA (white) and JULES WINNFIELD (black). Jules is behind the wheel.
JULES
– Okay now, tell me about the hash bars?
VINCENT
What so you want to know?
JULES
Well, hash is legal there, right?
VINCENT
Yeah, it’s legal, but is ain’t a hundred percent legal. I mean you can’t walk into a restaurant, roll a joint, and start puffin’ away. You’re only supposed to smoke in your home or certain designated places.
JULES
Those are hash bars?
VINCENT
Yeah, it breaks down like this: it’s legal to buy it, it’s legal to own it and, if you’re the proprietor of a hash bar, it’s legal to sell it. It’s legal to carry it, which doesn’t really matter ’cause — get a load of this — if the cops stop you, it’s illegal for this to search you. Searching you is a right that the cops in Amsterdam don’t have.
JULES
That did it, man — I’m fuckin’ goin’, that’s all there is to it.
VINCENT
You’ll dig it the most. But you know what the funniest thing about Europe is?
JULES
What?
VINCENT
It’s the little differences. A lotta the same shit we got here, they got there, but there they’re a little different.
JULES
Examples?
VINCENT
Well, in Amsterdam, you can buy beer in a movie theatre. And I don’t mean in a paper cup either. They give you a glass of beer, like in a bar. In Paris, you can buy beer at MacDonald’s. Also, you know what they call a Quarter Pounder with Cheese in Paris?
JULES
They don’t call it a Quarter Pounder with Cheese?
VINCENT
No, they got the metric system there, they wouldn’t know what the fuck a Quarter Pounder is.
JULES
What’d they call it?
VINCENT
Royale with Cheese.
JULES
(repeating)
Royale with Cheese. What’d they call a Big Mac?
VINCENT
Big Mac’s a Big Mac, but they call it Le Big Mac.
JULES
Le Big Mac. 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:
INT. CHEVY (TRUNK) — MORNING
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:
EXT. APARTMENT BUILDING COURTYARD — MORNING
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.
INT. RECEPTION AREA (APARTMENT BUILDING) — MORNING
Vincent and Jules walk through the reception area and wait for the elevator.
JULES
You remember Antwan Rockamora? Half- black, half-Samoan, usta call him Tony Rocky Horror.
VINCENT
Yeah maybe, fat right?
JULES
I wouldn’t go so far as to call the brother fat. He’s got a weight problem. What’s the nigger gonna do, he’s Samoan.
VINCENT
I think I know who you mean, what about him?
JULES
Well, Marsellus fucked his ass up good. And word around the campfire, it was on account of Marsellus Wallace’s wife.
The elevator arrives, the men step inside.
INT. ELEVATOR — MORNING
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.
INT. APARTMENT BUILDING HALLWAY — MORNING
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 foot fuckin’ master.
VINCENT
Given a lot of ’em?
JULES
Shit yeah. I got my technique down man, I don’t tickle or nothin’.
VINCENT
Have you ever given a guy a foot massage?
Jules looks at him a long moment — he’s been set up.
JULES
Fuck you.
He starts walking down the hall. Vincent, smiling, walks a little bit behind.
VINCENT
How many?
JULES
Fuck you.
VINCENT
Would you give me a foot massage — I’m kinda tired.
JULES
Man, you best back off, I’m gittin’ pissed — this is the door.
The two men stand in front of the door numbered “49.” They whisper.
JULES
What time is it?
VINCENT
(checking his watch)
Seven-twenty-two in the morning.
JULES
It ain’t quite time, let’s hang back.
They move a little away from the door, facing each other, still whispering.
JULES
Look, just because I wouldn’t give no man a foot massage, don’t make it right for Marsellus to throw Antwan off a building into a glass- motherfuckin-house, fuckin’ up the way the nigger talks. That ain’t right, man. Motherfucker do that to me, he better paralyze my ass, ’cause I’d kill’a motherfucker.
VINCENT
I’m not sayin’ he was right, but you’re sayin’ a foot massage don’t mean nothing, and I’m sayin’ it does. I’ve given a million ladies a million foot massages and they all meant somethin’. We act like they don’t, but they do. That’s what’s so fuckin’ cool about ’em. This sensual thing’s goin’ on that nobody’s talkin about, but you know it and she knows it, fuckin’ Marsellus knew it, and Antwan shoulda known fuckin’ better. That’s his fuckin’ wife, man. He ain’t gonna have a sense of humor about that shit.
JULES
That’s an interesting point, but let’s get into character.
VINCENT
What’s her name again?
JULES
Mia. Why you so interested in big man’s wife?
VINCENT
Well, Marsellus is leavin’ for Florida and when he’s gone, he wants me to take care of Mia.
JULES
Take care of her?
Making a gun out of his finger and placing it to his head.
VINCENT
Not that! Take her out. Show her a good time. Don’t let her get lonely.
JULES
You’re gonna be takin’ Mia Wallace out on a date?
VINCENT
It ain’t a date. It’s like when you and your buddy’s wife go to a movie or somethin’. It’s just… you know… good company.
Jules just looks at him.
VINCENT
It’s not a date.
Jules just looks at him.
INT. APARTMENT (ROOM 49) — MORNING
THREE YOUNG GUYS, obviously in over their heads, sit at a table with hamburgers, french fries and soda pops laid out.
One of them flips the LOUD BOLT on the door, opening it to REVEAL Jules and Vincent in the hallway.
JULES
Hey kids.
The two men stroll inside.
The three young caught-off-guard Guys are:
MARVIN, the black young man, who open the door, will, as the scene progresses, back into the corner.
ROGER, a young blond-haired surfer kid with a “Flock of Seagulls” haircut, who has yet to say a word, sits at the table with a big sloppy hamburger in his hand.
BRETT, a white, preppy-looking sort with a blow-dry haircut.
Vincent and Jules take in the place, with their hands in their pockets. Jules is the one who does the talking.
JULES
How you boys doin’?
No answer.
JULES
(to Brett)
Am I trippin’, or did I just ask you a question.
BRETT
We’re doin’ okay.
As Jules and Brett talk, Vincent moves behind the young Guys.
JULES
Do you know who we are?
Brett shakes his head: “No.”
JULES
We’re associates of your business partner Marsellus Wallace, you remember your business partner dont’ya?
No answer.
JULES
(to Brett)
Now I’m gonna take a wild guess here: you’re Brett, right?
BRETT
I’m Brett.
JULES
I thought so. Well, you remember your business partner Marsellus Wallace, dont’ya Brett?
BRETT
I remember him.
JULES
Good for you. Looks like me and Vincent caught you at breakfast, sorry ’bout that. What’cha eatin’?
BRETT
Hamburgers.
JULES
Hamburgers. The cornerstone of any nutritious breakfast. What kinda hamburgers?
BRETT
Cheeseburgers.
JULES
No, I mean where did you get’em? MacDonald’s, Wendy’s, Jack-in-the- Box, where?
BRETT
Big Kahuna Burger.
JULES
Big Kahuna Burger. That’s that Hawaiian burger joint. I heard they got some tasty burgers. I ain’t never had one myself, how are they?
BRETT
They’re good.
JULES
Mind if I try one of yours?
BRETT
No.
JULES
Yours is this one, right?
BRETT
Yeah.
Jules grabs the burger and take a bite of it.
JULES
Uuummmm, that’s a tasty burger.
(to Vincent)
Vince, you ever try a Big Kahuna Burger?
VINCENT
No.
Jules holds out the Big Kahuna.
JULES
You wanna bite, they’re real good.
VINCENT
I ain’t hungry.
JULES
Well, if you like hamburgers give ’em a try sometime. Me, I can’t usually eat ’em ’cause my girlfriend’s a vegetarian. Which more or less makes me a vegetarian, but I sure love the taste of a good burger.
(to Brett)
You know what they call a Quarter Pounder with Cheese in France?
BRETT
No.
JULES
Tell ’em, Vincent.
VINCENT
Royale with Cheese.
JULES
Royale with Cheese, you know why they call it that?
BRETT
Because of the metric system?
JULES
Check out the big brain on Brett. You’a smart motherfucker, that’s right. The metric system.
(he points to a fast food drink cup)
What’s in this?
BRETT
Sprite.
JULES
Sprite, good, mind if I have some of your tasty beverage to wash this down with?
BRETT
Sure.
Jules grabs the cup and takes a sip.
JULES
Uuuuummmm, hit’s the spot!
(to Roger)
You, Flock of Seagulls, you know what we’re here for?
Roger nods his head: “Yes.”
JULES
Then why don’t you tell my boy here Vince, where you got the shit hid.
MARVIN
It’s under the be –
JULES
– I don’t remember askin’ you a goddamn thing.
(to Roger)
You were sayin’?
ROGER
It’s under the bed.
Vincent moves to the bed, reaches underneath it, pulling out a black snap briefcase.
VINCENT
Got it.
Vincent flips the two locks, opening the case. We can’t see what’s inside, but a small glow emits from the case. Vincent just stares at it, transfixed.
JULES
We happy?
No answer from the transfixed Vincent.
JULES
Vincent!
Vincent looks up at Jules.
JULES
We happy?
Closing the case.
VINCENT
We’re happy.
BRETT
(to Jules)
Look, what’s your name? I got his name’s Vincent, but what’s yours?
JULES
My name’s Pitt, and you ain’t talkin’ your ass outta this shit.
BRETT
I just want you to know how sorry we are about how fucked up things got between us and Mr. Wallace. When we entered into this thing, we only had the best intentions –
As Brett talks, Jules takes out his gun and SHOOTS Roger three times in the chest, BLOWING him out of his chair.
Vince smiles to himself. Jules has got style.
Brett has just shit his pants. He’s not crying or whimpering, but he’s so full of fear, it’s as if his body is imploding.
JULES
(to Brett)
Oh, I’m sorry. Did that break your concentration? I didn’t mean to do that. Please, continue. I believe you were saying something about “best intentions.”
Brett can’t say a word.
JULES
Whatsamatter? Oh, you were through anyway. Well, let me retort. Would you describe for me what Marsellus Wallace looks like?
Brett still can’t speak.
Jules SNAPS, SAVAGELY TIPPING the card table over, removing the only barrier between himself and Brett. Brett now sits in a lone chair before Jules like a political prisoner in front of an interrogator.
JULES
What country you from!
BRETT
(petrified)
What?
JULES
“What” ain’t no country I know! Do they speak English in “What?”
BRETT
(near heart attack)
What?
JULES
English-motherfucker-can-you-speak- it?
BRETT
Yes.
JULES
Then you understand what I’m sayin’?
BRETT
Yes.
JULES
Now describe what Marsellus Wallaclooks 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… bald –
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.
AGAINST BLACK, TITLE CARD:
“VINCENT VEGA AND MARSELLUS WALLACE’S WIFE”
FADE IN:
MEDIUM SHOT — BUTCH COOLIDGE
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 (O.S.)
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 (O.S.)
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 (O.S.)
In the fifth, your ass goes down.
Butch nods his head: “yes.”
MARSELLUS (O.S.)
Say it!
BUTCH
In the fifth, my ass goes down.
CUT TO:
INT. CAR (MOVING) — DAY
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.
EXT. SALLY LEROY’S — DAY
Sally LeRoy’s is a large topless bar 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.
INT. SALLY LEROY’S — DAY
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 (O.S.)
Hang 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 lo’ 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 turn toward Vincent.
BUTCH
What was that?
VINCENT
I think ya heard me just fine, punchy.
Butch turns his body to Vincent, when…
MARSELLUS (O.S.)
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 (O.S.)
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:
INT. LANCE’S HOUSE (KITCHEN) — NIGHT
CLOSEUP — 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 named 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 (O.S.)
Vince, you can come in now!
INT. LANCE’S BEDROOM — NIGHT
Lance, late 20s, is a young man with a wild and woolly appearance that goes hand-in-hand with his wild and woolly personality. LANCE has been selling drugs his entire adult life. He’s never had a day job, never filed a tax return and has never been arrested. He wears a red flannel shirt over a “Speed Racer” tee-shirt.
Three bags of heroin lie on Lance’s bed.
Lance and Vincent stand at the foot of the bed.
LANCE
Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty- five an ounce — those are friend prices — but this one…
(pointing to the Choco)
…this one’s a little more expensive. It’s fifty-five. But when you shoot it, you’ll know where that extra money went. Nothing wrong with the first two. It’s real, real, real, good shit. But this one’s a fuckin’ madman.
VINCENT
Remember, I just got back from Amsterdam.
LANCE
Am I a nigger? Are you in Inglewood? No. You’re in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I’ll take the Pepsi Challenge with Amsterdam shit any ol’ day of the fuckin’ week.
VINCENT
That’s a bold statement.
LANCE
This ain’t Amsterdam, Vince. This is a seller’s market. Coke is fuckin’ dead as disco. Heroin’s comin’ back in a big fuckin’ way. It’s this whole seventies retro. Bell bottoms, heroin, they’re as hot as hell.
Vincent takes out a roll of money that would choke a horse to death.
VINCENT
Give me three hundred worth of the madman. If it’s as good as you say, I’ll be back for a thousand.
LANCE
I just hope I still have it. Whaddya think of Trudi? She ain’t got a boyfriend, wanna hand out an’ get high?
VINCENT
Which one’s Trudi? The one with all the shit in her face?
LANCE
No, that’s Jody. That’s my wife.
Vincent and Lance giggle at the “faux pas.”
VINCENT
I’m on my way somewhere. I got a dinner engagement. Rain check?
LANCE
No problem?
Vincent takes out his case of the works (utensils for shooting up).
VINCENT
You don’t mind if I shoot up here?
LANCE
Me casa, su casa.
VINCENT
Mucho gracias.
Vincent takes his works out of his case and, as the two continue to talk, Vince shoots up.
LANCE
Still got your Malibu?
VINCENT
You know what some fucker did to it the other day?
LANCE
What?
VINCENT
Fuckin’ keyed it.
LANCE
Oh man, that’s fucked up.
VINCENT
Tell me about it. I had the goddamn thing in storage three years. It’s out five fuckin’ days — five days, and some dickless piece of shit fucks with it.
LANCE
They should be fuckin’ killed. No trial, no jury, straight to execution.
As he cooks his heroin…
VINCENT
I just wish I caught ’em doin’ it, ya know? Oh man, I’d give anything to catch ’em doin’ it. It’a been worth his doin’ it, if I coulda just caught ’em, you know what I mean?
LANCE
It’s chicken shit. You don’t fuck another man’s vehicle.
CLOSEUP — THE NEEDLE
Going into Vincent’s vein.
CLOSEUP — BLOOD
Spurting back into the syringe, mixing with the heroin.
CLOSEUP — VINCENT’S THUMB
Pushing down on the plunger.
CUT TO:
EXT. MARSELLUS WALLACE’S HOUSE — NIGHT
Vincent walks toward the house and pulls a note off the door
CLOSEUP — NOTE
The Note reads:
“Hi Vincent, I’m getting dressed. The door’s open. Come inside and make yourself a drink. Mia”
MIA (V.O.)
Hi, Vincent. I’m getting dressed. The door’s open. Come inside and make yourself a drink.
FADE TO WHITE
Music in.
FADE TO:
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent enters on the background.
VINCENT
Hello?
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
MIA, Marcellus’ beautiful young wife. Video screens are in the background. Dusty Springfield is singing “SON OF A PREACHER MAN”.
Mia’s mouth comes toward a microphone.
MIA
(into microphone)
Vincent.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent turns.
MIA
(over intercom)
Vincent. I’m on the intercom.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
MIA
(into microphone)
It’s on the wall by the two African fellas.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
MIA
(over intercom)
To your right.
Vincent walks.
MIA
…warm. Warmer. Disco.
Vincent finds the intercom on the wall.
VINCENT
Hello.
MIA
(over intercom)
Push the button if you want to talk.
VINCENT
(into intercom)
Hello.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
MIA
(into microphone)
Go make yourself a drink., and I’ll be down in two shakes of a lamb’s tail.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
MIA
(over intercom)
The bar’s by the fireplace.
VINCENT
(into intercom)
Okay.
(licks lips)
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
A video screen with an image of Vincent, walking. The Dusty Springfield song continues.
Mia turns a knob which controls the movement of the video camera in Marcellus’ living room.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent picks up a bottle of scotch. He sniffs the bottle, and then pours it into a glass.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
A razor blade cuts cocaine on a mirror.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent drinks a glass of scotch.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
Mia sniffs the cocaine.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent sips the drink and looks at a portrait of Mia on thwall.
Mia walks into the room, and takes the needle off a record. The Dusty Springfield song stops.
MIA
Let’s go.
EXT. JACKRABBIT SLIM’S — NIGHT
In the past six years, 50’s diners have sprung up all over L.A., 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 Omelet, 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.”
VINCENT
What the fuck is this place?
MIA
This is Jackrabbit Slim’s. An Elvis man should love it.
VINCENT
Come on, Mia, let’s go get a steak.
MIA
You can get a steak here, daddy-o. Don’t be a…
Mia draws a square with her hands. Dotted lines appear on the screen, forming a sqaure. The lines disperse.
VINCENT
After you, kitty-cat.
INT. JACKRABBIT SLIM’S — NIGHT
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.” Some 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 pulsrate.
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 this 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.
INT. JACKRABBIT SLIM’S (LADIES ROOM) — NIGHT
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!
INT. JACKRABBIT SLIM’S (DINING AREA) — NIGHT
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.
CUT TO:
ED SULLIVAN AND MARILYN MONROE STAND ON STAGE
ED SULLIVAN
(into microphone)
Ladies and gentlemen, now the moment you’ve all been waiting for, the worldfamous Jackrabbit Slim’s twist contest.
Patrons cheer.
Ed Sullivan is with Marilyn Monroe, who holds a trophy.
ED SULLIVAN
…One lucky couple will win this handsome trophy that Marilyn here is holding.
Marilyn holds the trophy.
ED SULLIVAN
…Now, who will be our first contestants?
Mia holds her hand.
MIA
Right here.
Vincent reacts.
MIA
I wanna dance.
VINCENT
No, no, no no, no, no, no, no.
MIA
(overlapping)
No, no, no, no, no, no, no. I do believe Marsellus, my husband, your boss, told you to take me out and do whatever I wanted, Now, I want to dance. I want to win. I want that trophy.
VINCENT
(sighs)
All right.
MIA
So, dance good.
VINCENT
All right, you asked for it.
Vincent and Mia walk onto the dance floor, toward Ed Sullivan.
ED SULLIVAN
(into microphone)
Let’s hear it for our first contestants.
Patrons cheer.
Vincent and Mia walk up to the microphone.
ED SULLIVAN
Now let’s meet our first contestants here this evening. Young lady, what is your name?
MIA
(into microphone)
Missus Mia Wallace.
ED SULLIVAN
(into microphone)
And, uh, how ’bout your fella here?
MIA
(into microphone)
Vincent Vega.
ED SULLIVAN
(into microphone)
All right, let’s see what you can do. Take it away!
Mia and Vincent dance to Chuck Berry’s “YOU NEVER CAN TELL”. They make hand movements as they dance.
INT. MARSELLUS WALLACE’S HOME — NIGHT
The front door FLINGS open, and Mia and Vincent dance tango- style into the house, singing a cappella the song from the previous scene. They finish their little dance, laughing.
Then…
The two just stand face to face looking at each other.
VINCENT
Was than an uncomfortable silence?
MIA
I don’t know what that was.
(pause)
Music and drinks!
Mia moves away to attend to both. Vincent hangs up his overcoat on a big bronze coat rack in the alcove.
VINCENT
I’m gonna take a piss.
MIA
That was a little bit more information than I needed to know, but go right ahead.
Vincent shuffles off to the john.
Mia moves to her CD player, thumbs through a stack of CDs and selects one: k.d. lang. The speakers BLAST OUT a high energy country number, which Mia plays air-guitar to. She dances her way around the room and finds herself by Vincent’s overcoat hanging on the rack. She touches its sleeve. It feels good.
Her hand hoes in its pocket and pulls out his tobacco pouch. Like a little girl playing cowboy, she spreads the tobacco on some rolling paper. Imitating what he did earlier, licks the paper and rolls it into a pretty good cigarette. Maybe a little too fat, but not bad for a first try. Mia thinks so anyway. Her hand reaches back in the pocket and pulls out his Zippo lighter. She SLAPS the lighter against her leg, trying to light it fancy-style like Vince did. What do you know, she did it! Mia’s one happy clam. She triumphantly brings the fat flame up to her fat smoke, lighting it up, then LOUDLY SNAPS the Zippo closed.
The Mia-made cigarette is brought up to her lips, and she takes a long, cool drag. Her hand slides the Zippo back in the overcoat pocket. But wait, her fingers touch something else. Those fingers bring out a plastic bag with white powder inside, the madman that Vincent bought earlier from Lance. Wearing a big smile, Mia brings the bag of heroin up to her face.
MIA
(like you would say Bingo!)
Disco! Vince, you little cola nut, you’ve been holding out on me.
CUT TO:
INT. BATHROOM (MARSELLUS WALLACE’S HOUSE) — NIGHT
Vincent stands at the sink, washing his hands, talking to himself in the mirror.
VINCENT
One drink and leave. Don’t be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.
LIVING ROOM
Mia has the unbeknownst-to-her heroin cut up into big lines on her glass top coffee table. Taking her trusty hundred dollar bill like a human Dust-Buster, she quickly snorts the fat line.
CLOSEUP — MIA
Her head JERKS back. Her hands go to her nose (which feels like it’s on fucking fire), something is terribly wrong. Then… the rush hits…
BATHROOM
Vincent dries his hands on a towel while he continues his dialogue with the mirror.
VINCENT
…It’s a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that’s very meaningful.
LIVING ROOM
Mia is on all fours trying to crawl to the bathroom, but it’s like she’s trying to crawl with the bones removed from her knees. Blood begins to drip from Mia’s nose. Then her stomach gets into the act and she VOMITS.
BATHROOM
Vince continues.
VINCENT
So you’re gonna go out there, drink your drink, say “Goodnight, I’ve had a very lovely evening,” go home, and jack off. And that’s all you’re gonna do.
Now that he’s given himself a little pep talk, Vincent’s ready for whatever’s waiting for him on the other side of that door. So he goes through it.
LIVING ROOM
We follow behind Vincent as he walks from the bathroom to the living room, where he finds Mia lying on the floor like a rag doll. She’s twisted on her back. Blood and puke are down her front. And her face is contorted. Not out of the tightness of pain, but just the opposite, the muscles in her face are so relaxed, she lies still with her mouth wide open. Slack-jawed.
VINCENT
Jesus Christ!
Vincent moves like greased lightning to Mia’s fallen body. Bending down where she lays, he puts his fingers on her neck to check her pulse. She slightly stirs.
Mia is aware of Vincent over her, speaking to her.
VINCENT
(sounding weird)
Mia! MIA! What the hell happened?
But she’s unable to communicate Mia makes a few lost mumbles, but they’re not distinctive enough to be called words.
Vincent props her eyelids open and sees the story.
VINCENT
(to himself)
I’ll be a son-of-a-bitch.
(to Mia)
Mia! MIA! What did you take? Answer me honey, what did you take?
Mia is incapable of answering. He SLAPS her face hard.
Vincent SPRINGS up and RUNS to his overcoat, hanging on thrack.
He goes through the pockets FRANTICALLY. It’s gone. Vincent makes a beeline to Mia. We follow.
VINCENT
(yelling to Mia)
Okay honey, we’re getting you on your feet.
He reaches her and hoists the dead weight up in his arms.
VINCENT
We’re on our feet now, and now we’re gonna talk out to the car. Here we go, watch us walk.
We follow behind as he hurriedly walks the practically- unconscious Mia through the house and out the front door.
EXT. VINCENT’S HOT ROD (MOVING) — NIGHT
INSERT SPEEDOMETER: red needle on a hundred.
Vincent driving like a madman in a town without traffic laws, speeds the car into turns and up and over hills.
INT.VINCENT’S HOT ROD (MOVING) — NIGHT
Vincent, one hand firmly on the wheel, the other shifting like Robocop, both eyes staring straight ahead except when he glances over at Mia.
Mia, slack-jawed expression, mouth gaping, posture of a bag of water.
Vincent takes a cellular phone out of his pocket. He punches a number.
INT. LANCE’S HOUSE — NIGHT
At this late hour, LANCE has transformed from a bon vivant drug dealer to a bathrobe creature.
He sits in a big comfy chair, ratty blue gym pants, a worn-out but comfortable tee-shirt that has, written on it, “TAFT, CALIFORNIA”, and a moth-ridden terry cloth robe. In his hand is a bowl of Cap’n Crunch with Crunch Berries. In front of him on the coffee table is a jug of milk, the box the Cap’n Crunch with Crunch Berries came out of, and a hash pipe in an ashtray.
On the big-screen TV in front of the table is the Three Stooges, and they’re getting married.
PREACHER (EMIL SIMKUS)
(on TV)
Hold hands, you love birds.
The phone RINGS.
Lance puts down his cereal and makes his way to the phone.
It RINGS again.
Jody, his wife, CALLS from the bedroom, obviously woken up.
JODY (O.S.)
Lance! The phone’s ringing!
LANCE
(calling back)
I can hear it!
JODY (O.S.)
I thought you told those fuckin’ assholes never to call this late!
LANCE
(by the phone)I told ’em and that’s what I’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’this fuckin’ late.
BACK TO:
VINCENT IN THE MALIBU
Vincent is still driving like a stripe-assed ape, clutchinthe phone to his ear. WE CUT BACK AND FORTH during thconversation.
VINCENT
Lance, this is Vincent, I’m in bifuckin’ trouble man, I’m on my wato your place.
LANCE
Whoa, hold you horses man, what’the problem?
VINCENT
You still got an adrenaline shot?
LANCE
(dawning on him)
Maybe.
VINCENT
I need it man, I got a chick she’fuckin’ Doing on me.
LANCE
Don’t bring her here! I’m not evefuckin’ joking with you, don’t yobe bringing some fucked up pooh-butto my house!
VINCENT
No choice.
LANCE
She’s ODin’?
VINCENT
Yeah. She’s dyin’.
LANCE
Then bite the fuckin’ bullet, tak’er to a hospital and call a lawyer!
VINCENT
Negative.
LANCE
She ain’t my fuckin’ problem, youfucked her up, you deal with it –are you talkin’ to me on a cellularphone?
VINCENT
Sorry.
LANCE
I don’t know you, who is this, don’come here, I’m hangin’ up.
VINCENT
Too late, I’m already here.
At that moment inside Lance’s house, WE HEAR VINCENT’s Malibcoming up the street. Lance hangs up the phone, goes to hicurtains and YANKS the cord. The curtains open with a WHOOSH in time to see Vincent’s Malibu DRIVING UP on his front lawand CRASHING into his house. The window Lance is looking ouof SHATTERS from the impact.
JODY (O.S.)
What the hell was that?
Lance CHARGES from the window, out the door to his fronlawn.
EXT. LANCE’S HOUSE — NIGHT
Vincent is already out of the car, working on getting Miout.
LANCE
Have you lost your mind?! You crasheyour car in my fuckin’ house! Yotalk about drug shit on a cellulafuckin’ phone –
VINCENT
If you’re through havin’ your littlhissy fit, this chick is dyin’, geyour needle and git it now!
LANCE
Are you deaf? You’re not bringithat fucked up bitch in my house!
VINCENT
This fucked up bitch is MarselluWallace’s wife. Now if she fuckicroaks on me, I’m a grease spot. Bubefore he turns me into a bar soapI’m gonna be forced to tell ‘im abouhow you coulda saved her life, buinstead you let her die on your fronlawn.
INT. LANCE’S HOUSE — NIGHT
WE START in Lance’s and Jody’s bedroom.
Jody, in bed, throws off the covers and stands up. She’wearing a long tee-shirt with a picture of Fred Flintstonon it.
We follow HANDHELD behind her as she opens the door, walkinthrough the hall into the living room.
JODY
It’s only one-thirty in the goddammornin’! What the fuck’s goin’ oout here?
As she walks in the living room, she sees Vincent and Lancstanding over Mia, who’s lying on the floor in the middle othe room.
From here on in, everything in this scene is frantic, like DOCUMENTARY in an emergency ward, with the big differenchere 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 adrenaline shot.
JODY
What’s wrong with her?
VINCENT
She’s ODing 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 lookinfor 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 gottget a medical book.
VINCENT
What do you need a medical book for?
LANCE
To tell me how to do it. I’ve nevegiven an adrenaline shot before.
VINCENT
You’ve had that thing for six yearand you never used it?
LANCE
I never had to use it. I don’t gjoypoppin’ with bubble-gummers, alof 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 talkito her.
WE FOLLOW Lance as he runs out of the living room into a…
INT. SPARE ROOM
With a bunch of junk in it. He frantically starts scanninthe junk for the book he’s looking for, repeating the words”Come on,” endlessly.
From OFF SCREEN we hear:
VINCENT (O.S.)
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 (O.S.)
What’s he lookin’ for?
VINCENT (O.S.)
I dunno, some medical book.
Jody calls to LANCE.
JODY (O.S.)
What are you lookin’ for?
LANCE
My black medical book!
As he continues searching, flipping and knocking over shitJody appears in the doorway.
JODY
Whata’re you looking for?
LANCE
My black fuckin’ medical book. It’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, whdidn’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, thagirl’s gonna die on our carpet. You’rnever gonna find it in all this shit. For six months now, I’ve been tellinyou to clean this room –
VINCENT (O.S.)
– get your ass in here, fuck thbook!
Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room.
LIVING ROOM
Vincent is bent over Mia, talking softly to her, when Lancreenters the room.
VINCENT
Quit fuckin’ around man and give hethe shot!
Lance bends down by the black case brought in by Jody. Hopens it and begins preparing the needle for injection.
LANCE
While I’m doing this, take her shiroff 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 givinher an injection in the heart, so I gotta exactly hit her in the heart.
VINCENT
Well, I don’t know exactly where heheart is, I think it’s here.
Vince points to Mia’s right breast. Lance glances over annods.
LANCE
That’s it.
As Lance readies the injection, Vincent looks up at Jody.
VINCENT
I need a big fat magic marker, goone?
JODY
What?
VINCENT
I need a big fat magic marker, anfelt pen’ll do, but a magic markewould be great.
JODY
Hold on.
Jody runs to the desk, opens the top drawer and, in heenthusiasm, she pulls the drawer out of the desk, the contentof 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 tdo.
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 done this before eitherand I ain’t starting now. You brough’er here, that means you give hethe shot. The day I bring an ODinbitch to your place, then I gottgive her the shot.
Jody hurriedly joins them in the huddle, a big fat red magimarker in her hand.
JODY
Got it.
Vincent grabs the magic marker out of Jody’s hand and makea big red dot on Mia’s body where her heart is.
VINCENT
Okay, what do I do?
LANCE
Well, you’re giving her an injectioof adrenaline straight to her heartBut she’s got a breast plate in fronof her heart, so you gotta piercthrough that. So what you gotta dis bring the needle down in a stabbinmotion.
Lance demonstrates a stabbing motion, which looks like “ThShape” killing its victims in “HALLOWEEN”.
VINCENT
I gotta stab her?
LANCE
If you want the needle to piercthrough to her heart, you gotta staher 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 ilike –
(snaps his fingers)
– that.
Vincent lifts the needle up above his head in a stabbinmotion.
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 knowhat to expect.
LANCE
One…
RED DOT on Mia’s body.
Needle raised ready to strike.
LANCE (O.S.)
…two…
Jody’s face is alive with anticipation.
NEEDLE in that air, poised like a rattler ready to strike.
LANCE (O.S.)
…three!
The needle leaves frame, THRUSTING down hard.
Vincent brings the needle down hard, STABBING Mia in thchest.
Mia’s head is JOLTED from the impact.
The syringe plunger is pushed down, PUMPING the adrenalinout through the needle.
Mia’s eyes POP WIDE OPEN and she lets out a HELLISH cry othe banshee. She BOLTS UP in a sitting position, needle stucin her chest — SCREAMING.
Vincent, Lance and Jody, who were in sitting positions ifront of Mia, JUMP BACK, scared to death.
Mia’s scream runs out. She slowly starts taking breaths oair.
The other three, now scooted halfway across the room, shaketo 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 relatively normal voice.
MIA
Something.
Vincent and Lance collapse on their backs, exhausted anshaking from how close to death Mia came.
JODY
Anybody want a beer?
CUT TO:
INT. VINCENT’S MALIBU (MOVING) — NIGHT
Vincent is behind the wheel driving Mia home. No one sayanything, both are still too shaken.
EXT. FRONT OF MARSELLUS WALLACE’S HOUSE — NIGHT
The Malibu pulls up to the front. Mia gets out without sayina word (still in a daze) and begins walking down the walkwatoward her front door.
VINCENT (O.S.)
Mia!
She turns around.
Vincent’s out of the car, standing on the walkway, a bidistance between the two.
VINCENT
What are your thoughts on how thandle this?
MIA
What’s yours?
VINCENT
Well I’m of the opinion that Marsellucan live his whole live and neveever hear of this incident.
Mia smiles.
MIA
Don’t worry about it. If Marselluever heard of this, I’d be in amuch 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 tshake 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 homand 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 littltoo petrified to laugh.
MIA
Uh-huh. You won’t laugh because it’not funny. But if you still wannhear it, I’ll tell it.
VINCENT
I can’t wait.
MIA
Three tomatoes are walking down thstreet, a poppa tomato, a mommtomato, and a little baby tomatoThe baby tomato is lagging behinthe poppa and momma tomato. The popptomato gets mad, goes over to thmomma 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.
CLOSEUP — VINCENT
After Mia walks inside. Vincent continues to look at whershe was. He brings his hands to his lips and blows her kiss. Then exits FRAME leaving it empty. WE HEAR his MalibSTART UP and DRIVE AWAY.
FADE TO BLACK
FADE UP On the cartoon “SPEED RACER.” Speed is giving detailed description of all the features on his race ca”The Mac-5,” which he does at the beginning of every episode.
OFF SCREEN we hear a WOMAN’S VOICE… .
WOMAN’S VOICE (O.S.)
Butch.
DISSOLVE TO:
BUTCH’S POV
We’re in the living room of a modest two bedroom house iAlhambra, California, in the year 1972. BUTCH’S MOTHER, 35ishstands in the doorway leading into the living room. Next ther is a man dressed in the uniform of an American Air Forcofficer. The CAMERA is the perspective of a five-year olboy.
MOTHER
Butch, stop watching TV a second. Wgot a special visitor. Now do yoremember when I told you your dadddies in a P.O.W. camp?
BUTCH (O.S.)
Uh-huh.
MOTHER
Well this here is Capt. Koons. Hwas in the P.O.W. camp with Daddy.
CAPT. KOONS steps inside the room toward the little boy anbends down on one knee to bring him even with the boy’eyeline. When Koons speaks, he speaks with a slight Texaaccent.
CAPT. KOONS
Hello, little man. Boy I sure heara bunch about you. See, I was a goofriend of your Daddy’s. We were ithat Hanoi pit of hell over fivyears together. Hopefully, you’lnever have to experience thiyourself, but when two men are in situation like me and your Daddwere, for as long as we were, yotake on certain responsibilities othe other. If it had been me who hanot made it, Major Coolidge would btalkin’ right now to my son Jim. Buthe way it worked out is I’m talkito you, Butch. I got somethin’ foya.
The Captain pulls a gold wrist watch out of his pocket.
CAPT. KOONS
This watch I got here was firspurchased by your great-granddaddyIt was bought during the First WorlWar in a little general store iKnoxville, Tennessee. It was boughby private Doughboy Ernie Coolidgthe day he set sail for Paris. Iwas your great-granddaddy’s war watchmade by the first company to evemake wrist watches. You see, up untithen, people just carried pockewatches. Your great-granddaddy worthat watch every day he was in thwar. Then when he had done his dutyhe went home to your great-grandmother, took the watch off hiwrist and put it in an ol’ coffecan. And in that can it stayed ‘tiyour grandfather Dane Coolidge wacalled upon by his country to goverseas and fight the Germans oncagain. This time they called it WorlWar Two. Your great-granddaddy gavit to your granddad for good luck.
Unfortunately, Dane’s luck wasn’t agood as his old man’s. Your granddawas a Marine and he was killed witall the other Marines at the battlof Wake Island. Your granddad wafacing death and he knew it. None othose boys had any illusions abouever leavin’ that island alive. Sthree days before the Japanese toothe island, your 22-year olgrandfather asked a gunner on an AiForce transport named Winocki, a mahe had never met before in his lifeto deliver to his infant son, who hhad never seen in the flesh, higold watch. Three days later, yougrandfather was dead. But Winockkept his word. After the war waover, he paid a visit to yougrandmother, delivering to your infanfather, his Dad’s gold watch. Thiwatch. This watch was on your Daddy’wrist when he was shot down oveHanoi. He was captured and put in Vietnamese prison camp. Now he kneif the gooks ever saw the watch it’be confiscated. The way your Daddlooked at it, that watch was youbirthright. And he’d be damned iand slopeheads were gonna put theigreasy yella hands on his boy’birthright. So he hid it in the onplace he knew he could hide somethin’His ass. Five long years, he worthis watch up his ass. Then when hdied of dysentery, he gave me thwatch. I hid with uncomfortable hunof metal up my ass for two yearsThen, after seven years, I was senhome to my family. And now, littlman, I give the watch to you.
Capt. Koons hands the watch to Butch. A little hand comeinto FRAME to accept it.
CUT TO:
INT. LOCKER ROOM — NIGHT
The 27-year old Butch Coolidge is dressed in boxing regalitrunks, shoes and gloves. He lies on a table catching a fezzzzzz’s before his big fight. Almost as soon as WE CUT thim, he wakes up with a start. Shaken by the bizarre memoryhe wipes his sweaty face with his boxing glove.
His trainer KLONDIKE, an older fireplug, opens the door little, sticking his head in the room. Pandemonium seems tbe 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. Butchops off the table and, without a word, Klondike helps hion with the robe, which says on the back: “BATTLING BUTCH COOLIDGE”.
The two men head for the door. Klondike opens the door foButch.
As Butch steps into the hallway, the Crowd goes apeshitKlondike closes the door behind him, leaving us in the quietempty locker room.
FADE TO BLACK
TITLE CARD:
“THE GOLD WATCH”
We hear over the black and white title:
SPORTSCASTER #1 (O.S.)
– Well Dan, that had to be thbloodiest and, hands-down, the mosbrutal fight this city has ever seen.
The SOUND of chaos in the b.g.
FADE IN:
EXT. ALLEY (RAINING) — NIGHT
A taxi is parked in a dark alley next to an auditorium. Thsky is PISSIN’ DOWN RAIN. WE SLOWLY DOLLY toward the parkecar. The SOUND of the CAR RADIO can be heard coming froinside.
SPORTSCASTER #1 (O.S.)
…Coolidge was out of there fastethan I’ve ever seen a victoriouboxer vacate the ring. Do you thinhe knew Willis was dead?
SPORTSCASTER #2 (O.S.)
My guess would be yes, Richard. I could see from my position here, thfrenzy in his eyes give way to threalization of what he was doing. I think any man would’ve left the rinthat fast.
DISSOLVE TO:
INT. TAXI (PARKED/RAINING) — NIGHT
Inside the taxi, behind the wheel, is a female cabbie nameESMARELDA VILLALOBOS. A young woman, with Spanish lookssits parked, drinking a steaming hot cup of coffee out of white styrofoam cup.
The Sportscasters continue their coverage.
SPORTSCASTER #1 (O.S.)
Do you feel this ring death tragedwill have an effect on the world oboxing?
SPORTSCASTER #2 (O.S.)
Oh Dan, a tragedy like this can’help but shake the world of boxinto its very foundation. But it’s oparamount importance that during thsad weeks ahead, the eyes of thW.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 ithe alley. She sticks her head out of the car door to see:
EXT. BOXING AUDITORIUM (RAINING) — NIGHT
A window about three stories high opens on the auditorium- side of the alley. A gym bag is tossed out into a garbagdumpster below the window. Then, Butch Coolidge, still dressein boxing trunks, shoes, gloves and yellow robe, LEAPS tthe 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 anthrows it to the ground.
INT. TAXI (PARKED / RAINING) — NIGHT
Butch, soaking wet, naked except for trunks, shoes and glovesHOPS in the backseat, SLAMMING the door.
Esmarelda, staring straight ahead, talks to Butch througthe rearview mirror:
ESMARELDA
(Spanish accent)
Are you the man I was supposed tpick up?
BUTCH
If you’re the cab I called, I’m thguy 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.
EXT. BOXING AUDITORIUM (RAINING) — NIGHT
The cab WHIPS out of the alley, FISH-TAILING on the wepavement in front of the auditorium at a rapid pace.
INT. WILLIS LOCKER ROOM (AUDITORIUM) — NIGHT
Locker room door opens, English Dave fights his way througthe pandemonium which is going on outside in the hallshutting the door on the madness. Once inside, English Davtakes time to adjust his suit and tie. Mia is standing bthe door. She sees Vincent with English Dave.
VINCENT
Mia. How you doin’?
MIA
Great. I never thanked you for thdinner.
In the room, black boxer FLOYD RAY WILLIS lies on a table — dead.
His face looks like he went dunking for bees. His TRAINER ion his knees, head on Floyd’s chest, crying over the body.
The huge figure that is Marsellus Wallace stands at the tablehand on the Trainer’s shoulder, lending emotional supportWe 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 (O.S.)
What’cha got?
ENGLISH DAVE
He booked.
MARSELLUS (O.S.)
I’m prepared to scour the earth fothis motherfucker. If Butch goes tIndo China, I want a nigger hidiin a bowl of rice, ready to pop cap in his ass.
ENGLISH DAVE
I’ll take care of it.
INT. CAB (MOVING / RAINING) — NIGHT
Butch gets one of his boxing gloves off.
Esmeralda watches in the rearview mirror.
He tries to roll down one of the backseat windows, but can’find the roll bar.
BUTCH
Hey, how do I open the window bachere?
ESMARELDA
I have to do it.
She presses a button and the back window moves down. Butctosses his boxing glove out the window, then starts untyinthe other one.
Esmeralda can’t keep quiet anymore.
ESMARELDA
Hey, mister?
BUTCH
(still working on thglove)
What?
ESMARELDA
You were in that fight? The fight othe 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’rhim, tell me you’re him.
BUTCH
(drying himself wita 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 t-shirt.
ESMARELDA
What does it feel like?
BUTCH
(finds his shirt)
What does what feel like?
ESMARELDA
Killing a man. Beating another mato 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 mucinterest in. You are the first persoI ever met who has killed somebodySo, what was it like to kill a man?
BUTCH
Tell ya what, you give me one othem cigarettes, I’ll give you aanswer.
Esmarelda bounces in her seat with excitement.
ESMARELDA
Deal!
Butch leans forward. Esmarelda, keeping her eyes on the roadpasses a cigarette back to him. He takes it. Then, still nolooking behind her, she brings up her hand, a lit match iit.
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 thaMexican?
ESMARELDA
The name is Spanish, but I’Columbian.
BUTCH
It’s a very pretty name.
ESMARELDA
It mean “Esmarelda of the wolves.”
BUTCH
That’s one hell of a name you gothere, 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’mean shit. Anyway, moving right alongwhat is it you wanna know, Esmarelda?
ESMARELDA
I want to know what it feels like tkill a man –
BUTCH
– I couldn’t tell ya. I didn’t knohe was dead ’til you told me he wadead. Now I know he’s dead, do yowanna know how I feel about it?
Esmarelda nods her head: “yes.”
BUTCH
I don’t feel the least little bibad.
EXT. PHONE BOOTH (RAINING) — NIGHT
We DOLLY around a phone booth as Butch talks inside.
BUTCH
(into phone)
What’d I tell ya, soon as the worgot out a fix was in, the odds woulbe outta control. Hey, if he was better fighter he’s be alive. If hnever laced up his gloves in thfirst place, which he never shoulddone, he’d be alive. Enough abouthe poor unfortunate Mr. Floyd, let’talk about the rich and prosperouMr. Butch. How many bookies yospread it around with?
(PAUSE)
Eight? How long to collect?
(pause)
So by tomorrow evening, you’ll havit all?
(pause)
Good news Scotty, real good news — I understand a few stragglers asideMe an’ Fabienne’re gonna leave ithe morning. It should take us couple days to get into KnoxvilleNext time we see each other, it’lbe on Tennessee time.
Butch hangs up the phone. He looks at the cab waiting ttake him wherever he wants to go.
BUTCH
(to himself in Frencwith English subtitles)
Fabienne my love, our adventurbegins.
CUT TO:
EXT. MOTEL (STOPPED / RAINING) — NIGHT
Esmeralda’s taxi pulled into the motel parking lot. The raihas stopped, but the night is still soaked. Butch gets outnow fully dressed in tee-shirt, jeans and high school athletijacket. He leans in the driver’s side window.
ESMARELDA
Forty-five sixty.
Handing her the money.
BUTCH
Merci beaucoup. And here’s a littlsomething for the effort.
Butch holds up a hundred dollar bill.
Esmarelda’s eyes light up. She goes to take it. Butch holdit out of reach.
BUTCH
Now if anybody should ask you abouwho your fare was tonight, what’ryou gonna tell ’em?
ESMARELDA
The truth. Three well-dressedslightly 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 awayShe drives off.
INT. MOTEL (ROOM SIX) — NIGHT
Butch enters and turns on the light.
Lying curled up on the bed, fully dressed, with her back tus is Butch’s French girlfriend, FABIENNE.
FABIENNE
Keep the light off.
Butch flicks the switch back, making the room dark again.
BUTCH
Is that better, sugar pop?
FABIENNE
Oui. Hard day at the office?
BUTCH
Pretty hard. I got into a fight.
FABIENNE
Poor baby. Can we make spoons?
Butch climbs into bed, spooning Fabienne from behind.
When Butch and Fabienne speak to each other, they speak ibabytalk.
FABIENNE
I was looking at myself in the mirror.
BUTCH
Uh-huh?
FABIENNE
I wish I had a pot.
BUTCH
You were lookin’ in the mirror anyou wish you had some pot?
FABIENNE
A pot. A pot belly. Pot bellies arsexy.
BUTCH
Well you should be happy, ’cause yodo.
FABIENNE
Shut up, Fatso! I don’t have a poI have a bit of a tummy, like Madonnwhen she did “Lucky Star,” it’s nothe same thing.
BUTCH
I didn’t realize there was difference between a tummy and a pobelly.
FABIENNE
The difference is huge.
BUTCH
You want me to have a pot?
FABIENNE
No. Pot bellies make a man look eitheoafish, or like a gorilla. But on woman, a pot belly is very sexy. Threst of you is normal. Normal facenormal legs, normal hips, normaass, but with a big, perfectly rounpot belly. If I had one, I’d wear tee-shirt two sizes too small taccentuate it.
BUTCH
You think guys would find thaattractive?
FABIENNE
I don’t give a damn what men finattractive. It’s unfortunate what wfind pleasing to the touch anpleasing to the eye is seldom thsame.
BUTCH
If you a pot belly, I’d punch you iit.
FABIENNE
You’d punch me in my belly?
BUTCH
Right in the belly.
FABIENNE
I’d smother you. I’d drop it on youright on your face ’til you couldn’breathe.
BUTCH
You’d do that to me?
FABIENNE
Yes!
BUTCH
Did you get everything, sugar pop?
FABIENNE
Yes, I did.
BUTCH
Good job.
FABIENNE
Did everything go as planned?
BUTCH
You didn’t listen to the radio?
FABIENNE
I never listen to your fights. Weryou the winner?
BUTCH
I won alright.
FABIENNE
Are you still retiring?
BUTCH
Sure am.
FABIENNE
What about the man you fought?
BUTCH
Floyd retired too.
FABIENNE
(smiling)
Really?! He won’t be fighting nmore?!
BUTCH
Not no more.
FABIENNE
So it all worked out in the finish?
BUTCH
We ain’t at the finish, baby.
Fabienne rolls over and Butch gets on top of her. They kiss.
FABIENNE
We’re in a lot of danger, aren’t we?
Butch nods his head: “yes.”
FABIENNE
If they find us, they’ll kill uswon’t they?
Butch nods his head: “yes.”
FABIENNE
But they won’t find us, will they?
Butch nods his head: “no.”
FABIENNE
Do you still want me to go with you?
Butch nods his head: “yes.”
FABIENNE
I don’t want to be a burden or nuisance –
Butch’s hand goes out of frame and starts massaging hecrotch.
Fabienne reacts.
FABIENNE
Say it!
BUTCH
Fabienne, I want you to be with me.
FABIENNE
Forever?
BUTCH
…and ever.
Fabienne lies her head back.
Butch continues to massage her crotch.
FABIENNE
Do you love me?
BUTCH
Oui.
FABIENNE
Butch? Will you give me oral pleasure?
Butch kisses her on the mouth.
BUTCH
Will you kiss it?
She nods her head: “yes.”
FABIENNE
But you first.
Butch’s head goes down out of frame to carry out the orapleasure. Fabienne’s face is alone in the frame.
FABIENNE
(in French, witEnglish subtitles)
Butch my love, the adventure begins.
FADE TO BLACK
FADE UP:
MOTEL ROOM
Same motel room, except empty. WE HEAR THE SHOWER RUNNING ithe bathroom. The CAMERA MOVES to the bathroom doorway. Wsee Fabienne in a white terry cloth robe that seems to swalloher up.
She’s drying her head with a towel. Butch is inside the showewashing up. We see the outline of his naked body through thsmoky glass of the shower door. Steam fills the bathroomButch turns the shower off and opens the door, popping hihead out.
BUTCH
I think I cracked a rib.
FABIENNE
Giving me oral pleasure?
BUTCH
No retard, from the fight.
FABIENNE
Don’t call me retard.
BUTCH
(in a Mongoloid voice)
My name is Fabby! My name is Fabby!
FABIENNE
Shut up fuck head! I hate thaMongoloid voice.
BUTCH
Okay, sorry, sorry, sorry, I take iback! Can I have a towel pleaseMiss Beautiful Tulip.
FABIENNE
Oh I like that, I like being callea tulip. Tulip is much better thaMongoloid.
She finishes drying her hair and wraps the towel like a turbaon her head.
BUTCH
I didn’t call you a Mongoloid, I
called you a retard, but I took iback.
She hands him a towel.
BUTCH
Merci beaucoup.
FABIENNE
Butch?
BUTCH
(drying his head)
Yes, lemon pie.
FABIENNE
Where are we going to go?
BUTCH
I’m not sure yet. Wherever you wantWe’re gonna get a lot of money frothis. But it ain’t gonna be so muchwe can live like hogs in the fahouse forever. I was thinking wcould go somewhere in the SoutPacific. The kinda money we’ll have’lcarry us a long way down there.
FABIENNE
So if we wanted, we could live iBora Bora?
BUTCH
You betcha. And if after awhile yodon’t dig Bora Bora, then we camove over to Tahiti or Mexico.
FABIENNE
But I do not speak Spanish.
BUTCH
You don’t speak Bora Boran either. Besides, Mexican is easy: Donde estel zapataria?
FABIENNE
What does that mean?
BUTCH
Where’s the shoe store?
FABIENNE
Donde esta el zapataria?
BUTCH
Excellent pronunciation. You’ll bmy little mama ceta in no time.
Butch exits the bathroom. We stay on Fabienne as she brusheher teeth.
Butch keeps on from the other room.
BUTCH (O.S.)
Que hora es?
FABIENNE
Que hora es?
BUTCH (O.S.)
What time is it?
FABIENNE
What time is it?
BUTCH (O.S.)
Time for bed. Sweet dream, jellybean.
Fabienne brushes her teeth. We watch her for a moment otwo, then she remember something.
FABIENNE
Butch.
She walks out of the bathroom to ask Butch a question, onlto find him sound asleep in bed.
She looks at him for a moment.
FABIENNE
Forget it.
She exits frame, going back in the bathroom. WE STAY on thWIDE SHOT of the unconscious Butch in bed.
FADE TO BLACK
FADE UP:
MOTEL ROOM — MORNING
SAME SHOT AS BEFORE, the next morning. We find Butch stilasleep in bed.
Fabienne brushes her teeth half in and half out of thbathroom so she can watch TV at the same time. She stilwears the terry cloth robe from the night before.
ON TV: WILLIAM SMITH and a BUNCH OF HELL’S ANGELS are takinon the entire Vietnamese army in the film “THE LOSERS”.
Butch wakes from his sleep, as if a scary monster was chasinhim.
His start startles Fabienne.
FABIENNE
Merde! You startled me. Did you hava bad dream?
Butch squints down the front of the bed at her, trying tfocus.
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?
FABIENNE
A motorcycle movie, I’m not sure thname.
BUTCH
Are you watchin’ it?
Fabienne enters the room.
FABIENNE
In a way. Why? Would you like for mto switch it off?
BUTCH
Would you please?
She reaches over and turns off the TV.
BUTCH
It’s a little too early in the morninfor explosions and war.
FABIENNE
What was it about?
BUTCH
How should I know, you were the onwatchin’ it.
Fabienne laughs.
FABIENNE
No, imbecile, what was your dreaabout?
BUTCH
Oh, I… don’t remember. It’s reallrare I remember a dream.
FABIENNE
You just woke up from it.
BUTCH
Fabienne, I’m not lying to you, I don’t remember.
FABIENNE
Well, let’s look at the grumpy main the morning. I didn’t say yowere lying, it’s just odd you don’remember your dreams. I alwayremember mine. Did you know you talin your sleep?
BUTCH
I don’t talk in my sleep, do I talin my sleep?
FABIENNE
You did last night.
BUTCH
What did I say?
Laying on top of him.
FABIENNE
I don’t know. I couldn’t understanyou.
She kisses Butch.
FABIENNE
Why don’t you get up and we’ll gesome breakfast at that breakfasplace with the pancakes.
BUTCH
One more kiss and I’ll get up.
Fabienne gives Butch a sweet long kiss.
FABIENNE
Satisfied?
BUTCH
Yep.
FABIENNE
Then get up, lazy bones.
Butch climbs out of bed and starts pulling clothes out othe suitcase that Fabienne brought.
BUTCH
What time is it?
FABIENNE
Almost nine in the morning. Whatime does our train arrive?
BUTCH
Eleven.
FABIENNE
I’m gonna order a big plate oblueberry pancakes with maple syrupeggs over easy, and five sausages.
BUTCH
(surprised at hepotential appetite)
Anything to drink with that?
Butch is finished dressing.
FABIENNE
(referring to hiclothes)
Oh yes, that looks nice. To drink, tall glass or orange juice and black cup of coffee. After that, I’going to have a slice of pie.
As he goes through the suitcase.
BUTCH
Pie for breakfast?
FABIENNE
Any time of the day is a good timfor pie. Blueberry pie to go witthe pancakes. And on top, a thislice of melted cheese –
BUTCH
– where’s my watch?
FABIENNE
It’s there.
BUTCH
No, it’s not. It’s not here.
FABIENNE
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?
Fabienne can hardly speak, she’s never seen Butch this way.
FABIENNE
Uhhh… yes… beside the table drawe–
BUTCH
– on the little kangaroo.
FABIENNE
Yes, it was on your little kangaroo.
BUTCH
Well it’s not here!
FABIENNE
(on the verge of tears)
Well it should be!
BUTCH
Oh it most definitely should be herebut it’s not. So where is it?
Fabienne is crying and scared.
Butch lowers his voice, which only serves to make him mormenacing.
BUTCH
Fabienne, that was my father’s fuckiwatch. You know what my father wenthrough to git me that watch?… I don’t wanna get into it right now..but he went through a lot. Now althis other shit, you coulda set ofire, but I specifically remindeyou not to forget my father’s watchNow think, did you get it?
FABIENNE
I believe so…
BUTCH
You believe so? You either did, oyou didn’t, now which one is it?
FABIENNE
Then I did.
BUTCH
Are you sure?
FABIENNE
(shaking)
No.
Butch freaks out, he punches the air.
Fabienne SCREAMS and backs into a corner, Butch picks up thmotel TV and THROWS IT AGAINST the wall.
Fabienne SCREAMS IN HORROR.
Butch looks toward her, suddenly calm.
BUTCH
(to Fabienne)
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 apartmentit’s not your fault. I had you brina bunch of stuff. I reminded yoabout it, but I didn’t illustrathow personal the watch was to me. Iall I gave a fuck about was my watchI should’ve told you. You ain’t mind reader.
He kisses her hand. Then rises.
Fabienne is still sniffling.
Butch goes to the closet.
FABIENNE
I’m sorry.
Butch puts on his high school jacket.
BUTCH
Don’t be. It just means I won’t bable to eat breakfast with you.
FABIENNE
Why does it mean that?
BUTCH
Because I’m going back to my apartmento get my watch.
FABIENNE
Won’t the gangsters be looking foyou there?
BUTCH
That’s what I’m gonna find out. Ithey are, and I don’t think I cahandle it, I’ll split.
Rising from the floor.
FABIENNE
I was so dreadful. I saw your watchI thought I brought it. I’m so sorry.
Butch brings her close and puts his hands on her face.
BUTCH
Don’t feel bad, sugar pop. Nothinyou could ever do would make mpermanently angry at you.
(pause)
I love you, remember?
(he digs some moneout of his wallet)
Now here’s some money, order thospancakes and have a great breakfast.
FABIENNE
Don’t go.
BUTCH
I’ll be back before you can sayblueberry pie.
FABIENNE
Blueberry pie.
BUTCH
Well maybe not that fast, but fastOkay? Okay?
FABIENNE
Okay.
He kisses her once more and heads for the door.
BUTCH
Bye-bye, sugar pop.
FABIENNE
Bye.
BUTCH
I’m gonna take your Honda.
FABIENNE
Okay.
And with that, he’s out the door.
Fabienne sits on the bed and looks at the money he gave her.
INT. HONDA (MOVING) — DAY
Butch is beating the steering wheel and the dash with hifists as he drives down the street.
BUTCH
Of all the fuckin’ things she couldforgot, she forgets my father’s watchI specifically reminded her not tforget it. “Bedside table — on thkangaroo.” I said the words: “Don’forget my father’s watch.”
EXT. CITY STREET — DAY
The little Honda races toward its destination as fast as ilittle engine will take it.
CUT TO:
A parking meter red flag rises up, then out, leaving tharrow pointing at one hour.
EXT. RESIDENTIAL STREET CORNER — DAY
Butch isn’t completely reckless. He has parked his car couple of blocks from his apartment to check things out beforhe goes boppin’ through the front door.
EXT. ALLEY — DAY
Butch walks down the alley until he gets to another streetthen he discreetly glances out.
EXT. STREET — BUTCH’S APARTMENT — DAY
Everything seems normal. More or less the right number ocars in the street. None of the parked cars appear out oplace. None of them have a couple of goons sitting inside. Basically, it looks like normal morning activity in front oButch’s home.
Butch peers around a wall, taking in the vital information.
Butch walks out of the alley and is ready for anything. Hcrosses the street and enters his apartment courtyard.
Across the street from Butch’s building, on the corner, is combination donut shop and Japanese restaurant. A big sigsticks up in the air, with the name “Teriyaki Donut” and graphic of a donut sticking out of a bowl of rice.
EXT. BUTCH’S APARTMENT COURTYARD — DAY
Butch is in the courtyard of his North Hollywood apartmenbuilding. Once again, everything appears normal — the laundrroom, the pool, his apartment door — nothing appeardisturbed.
Butch climbs the stairs leading to his apartment, number 12He steps outside the door and listens inside. Nothing.
Butch slowly inserts the key into the door, quietly openinit.
INT. BUTCH’S APARTMENT — DAY
His apartment hasn’t been touched.
He cautiously steps inside, shuts the door and takes a quiclook around. Obviously, no one is there.
Butch walks into his modest kitchen, and opens threfrigerator.
He takes out a carton of milk and drinks from it.
With carton in hard, Butch surveys the apartment. Then hgoes to the bedroom.
His bedroom is like the rest of the apartment — neat, cleaand anonymous. The only things personal in his room are few boxing trophies, an Olympic silver medal, a framed issuof “Ring Magazine” with Butch on the cover, and a poster oJerry Quarry and one of George Chuvalo.
Sure enough, there’s the watch just like he said it was: Othe bedside table, hanging on his little kangaroo statue.
He walks through the apartment and back into the kitchen. Hopens a cupboard and takes out a box of Pop Tarts. Puttindown the milk, he opens the box, takes out two Pop Tarts anputs them in the toaster.
Butch glances to his right, his eyes fall on something.
What he sees is a small compact Czech M61 submachine guwith a huge silencer on it, lying on his kitchen counter.
BUTCH
(softly)
Holy shit.
He picks up the intimidating peace of weaponry and examineit.
Then… a toilet FLUSHES.
Butch looks up to the bathroom door, which is parallel tthe kitchen. There is someone behind it.
Like a rabbit caught in a radish patch, Butch freezes, noknowing what to do.
The bathroom door opens and Vincent Vega steps out of thbathroom, tightening his belt. In his hand is the boo”MODESTY BLAISE” by Peter O’Donnell.
Vincent and Butch lock eyes.
Vincent freezes.
Butch doesn’t move, except to point the M61 in Vincent’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 bulletSIMULTANEOUSLY — LIFTING him off his feet, PROPELLING hithrough the air and CRASHING through the glass shower dooat the end of the bathroom.
By the time Butch removes his finger from the trigger, Vincenis annihilated.
Butch stands frozen, amazed at what just happened. His loogoes from the grease spot in the bathroom that was oncVincent, 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.
EXT. APARTMENT COURTYARD — DAY
Butch, not running, but walking very rapidly, crosses thcourtyard…
…comes out of the apartment building, crosses the street…
…goes through the alley…
…and into his car in one STEADICAM SHOT.
EXT. HONDA — DAY
Butch CRANKS the car into gear and drives away. The big widsmile of a survivor breaks across his face.
EXT. APARTMENT BUILDING STREET — DAY
The Honda turns down the alley and slowly cruises by hiapartment building.
INT. HONDA — DAY
Butch looks out the window at his former home.
BUTCH
That’s how you’re gonna beat ’emButch. They keep underestimatiya.
This makes the boxer laugh out loud. As he laughs, he flipa tape in the cassette player. When the MUSIC starts, hSINGS along with it.
He drives by the apartment, but is stopped at the light othe corner across from Teriyaki Donut.
Butch is still chuckling, singing along with the song, as wsee:
THROUGH THE WINDSHIELD
The big man himself, Marsellus Wallace, exit Teriyaki Donutcarrying a box of a dozen donuts and two large styrofoacups of coffee. He steps off the curb, crossing the streein front of Butch’s car. This is the first time we seMarsellus clearly.
Laughing boy stops when he sees the big man directly in fronof him.
When Marsellus is in front of Butch’s car, he casually glanceto 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 questionHe STOMPS on the gas pedal.
The little Honda SLAMS into Marsellus, sending him, the donutand the coffee HITTING the pavement at thirty miles an hour.
Butch CUTS into cross traffic and is BROAD-SIDED by a golCamaro Z-28, BREAKING all the windows in the Honda and sendinit up on the sidewalk.
Butch sits dazed and confused in the crumpled mess of whaat one time was Fabienne’s Honda. Blood flows from hinostrils. The still-functional tape player continues to playA 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’lbe glad to help. He was a drunkemaniac. He hit you and crashed intthat car.
MARSELLUS
(still incoherent)
Who?
GAWKER #2
(pointing at Butch)
Him.
Marsellus follows the Gawker’s finger and sees Butch Coolidgdown the street, looking a shambles.
MARSELLUS
Well, I’ll be damned.
The big man takes out a .45 Automatic and the Gawkers bacaway.
Marsellus starts moving toward Butch.
Butch sees the fierce figure making a wobbly bee-line towarhim.
BUTCH
Sacre bleu.
Marsellus brings up his weapon and FIRES, but he’s so hurtshaky and dazed that his arm goes wild.
He HITS a LOOKY-LOO WOMAN in the hip. She falls to the groundscreaming.
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 sign that reads “MASON-DIXIE PAWNSHOP”.
INT. MASON-DIXIE PAWNSHOP — DAY
MAYNARD, a hillbilly-lookin’ boy, stands behind the counteof his pawnshop when, all of a sudden, chaos in the form oButch RACES into his world.
MAYNARD
Can I help you wit’ somethin’?
BUTCH
Shut up!
Butch quickly takes measure of the situation, than standnext to the door.
MAYNARD
Now you just wait one goddamn minut–
Before Maynard can finish his threat, Marsellus CHARGES inHe doesn’t get past the doorway because Butch LANDS his fisin Marsellus’ face.
The gangster’s feet go out from under him and the big maFALLS FLAT on his back.
Outside, two police cars with their SIRENS BLARING race by.
Butch POUNCES on the fallen body, PUNCHING him twice more ithe face.
Butch takes the gun out of Marsellus’ hand, than grabs aholof his middle finger.
BUTCH
So you like chasing people, huh?
He BREAKS the finger. Marsellus lets out a pain sound. Butcthen places the barrel of the .45 between his eyes, PULLS back the hammer and places his open hand behind the gun tshield the splatter.
BUTCH
Well guess what, big man, you caughme –
MAYNARD (O.S.)
– hold it right there, godammit!
Butch and Marsellus look up at Maynard, who’s brandishing pumpaction shotgun, aimed at the two men.
BUTCH
Look mister, this ain’t any of youbusiness –
MAYNARD
– I’m makin’ it my business! Notoss that gun!
Butch does.
MAYNARD
Now you on top, stand up and come tthe counter.
Butch slowly gets up and moves to the counter. As soon as hgets there, Maynard HAULS OFF, HITTING him hard in the facwith the butt of the shotgun, knocking Butch down and out.
After Butch goes down, Maynard calmly lays the shotgun othe counter and moves to the telephone.
Marsellus Wallace, from his position on the floor, groggilwatches the pawnshop owner dial a number. Maynard waits othe line while the other end rings. Then it picks up.
MAYNARD
Zed? It’s Maynard. The spider juscaught a coupl’a flies.
Marsellus passes out.
FADE TO BLACK
FADE UP:
INT. PAWNSHOP BACK ROOM — DAY
TWO SHOT — BUTCH AND MARSELLUS
They are tied up in two separate chairs. In their mouths artwo S&M-style ball gags (a belt goes around their heads ana little red ball sticks in their mouths). Both men arunconscious.
Maynard steps in with a fire extinguisher and SPRAYS botguys until they’re wide awake and wet as otters. The twprisoners look up at their captors.
Maynard stands in front of them, fire extinguisher in onhand, shotgun in the other, and Marsellus’ .45 sticking ihis belt.
MAYNARD
Nobody kills anybody in my place obusiness except me or Zed.
A BUZZER buzzes.
MAYNARD
That’s Zed.
Without saying another word, Maynard climbs up the stairthat lead to red curtains and goes through them.
WE HEAR, on the other side of the curtains, Maynard let Zeinside the store.
Butch and Marsellus look around the room. The basement othe pawnshop has been converted into a dungeon. After takinin their predicament, Butch and Marsellus look at each otherall traces of hostility gone, replaced by a terror they botshare at what they’ve gotten themselves into.
Maynard and ZED come through the curtains. Zed is an evemore intense version of Maynard, if such a thing is possibleThe two hillbillys are obviously brothers. Where Maynard ia vicious pitbull, Zed is a deadly cobra. Zed walks in anstands in front of the two captives. He inspects them for 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. Thewas fightin’ when they came in. Thione 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 fronof 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 sleepin’.
ZED
Well, I guess you’ll just wake ‘eup 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 leash.
He gives it a rough yank and, from below the floor, riseTHE GIMP.
The Gimp is a man they keep dressed from head to toe in blacleather bondage gear. There are zippers, buckles and studhere and there on the body. On his head is a black leathemask with two eye holes and a zipper (closed) for a mouthThey keep him in a hole in the floor big enough for a largdog.
Zed takes the chair, sits it in front of the two prisonersthen lowers into it. Maynard hands The Gimp’s leash to Zedthen 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, meanyminey, moe… ” just his mouth mouthing the words and hifinger 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 movinleft to right, then it stops.
TWO SHOT — BUTCH AND MARSELLUS
After a beat, THE CAMERA MOVES to the right, zeroing in oMarsellus.
Zed stands up.
ZED
Wanna do it here?
MAYNARD
Naw, drag big boy to Russell’s olroom.
Zed grabs Marsellus’ chair and DRAGS him into Russell’s olroom.
Russell, no doubt, was some other poor bastard that has thmisfortune of stumbling into the Mason-Dixie pawnshopWhatever happened to Russell is known only to Maynard anZed because his old room, a back room in the back of thback room, is empty.
As Marsellus is dragged away, he locks eyes with Butch beforhe 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 othe ceiling.
MAYNARD
Keep an eye on this one.
The Gimp bows its head: “yes.” Maynard disappears intRussell’s old room. There must be a stereo in there becaussuddenly The Judds, singing in harmony, fills the air.
Butch looks at The Gimp. The Gimp giggles from underneatthe mask as if this were the funniest moment in the historof comedy.
From behind the door we hear country MUSIC, struggling, and:
MAYNARD (O.S.)
Whoa, this boy’s got a bit of fighin ’em!
We the HEAR Maynard and Zed beat on Marsellus.
ZED (O.S.)
You wanna fight? You wanna fighGood, I like to fight!
Butch pauses, listens to the voices. Then, in a panichurriedly 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 (O.S.)
That’s it… that’s it boy, you’rgoin’ fine. Oooooooh, just likthat… that’s good.
(grunting faster)
Stay still… stay still goddamn yZed goddammit, git over here anhold ’em!
Butch stops struggling and lifts up on his arms. Then, quiteasily, the padded chair back slides up and off as if iwere 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 hookHe tries to yell, but all that comes out are excited gurgleand grunts.
Butch is out of his chair, quickly dispensing three BOXER’S PUNCHES to its face. The punches knock The Gimp out, makinhim fall to his knees, this HANGING HIMSELF by the leasattached to the hook, Butch removes the ball gag, thesilently makes his way through the red curtains.
INT. PAWNSHOP — DAY
Butch sneaks to the door.
On the counter is a big set of keys with a large Z connecteto the ring. Grabbing them, he’s about to go out when hstops and listens to the hillbilly psychopaths having theiway with Marsellus.
Butch decides for the life of him, he can’t leave anybody ia situation like that. Se he begins rooting around thpawnshop for a weapon to bash those hillbillies’ heads iwith.
He picks up a big destructive-looking hammer, then discardit: Not destructive enough. He picks up a chainsaw, thinkabout it for a moment, then puts it back. Next, a largLouisville slugger he tries on for size. But then he spotwhat he’s been looking for:
A Samurai sword.
It hands in its hand-carved wood sheath from a nail on thwall, next to a neon “DAD’S OLD-FASHIONED ROOT BEER” signButch takes the sword off the wall, removing it from itsheath. It’s a magnificent piece of steel. It seems to glistein the low-wattage light of the pawnshop. Butch touches hithumb to the blade to see if the sword is just for show. Noon your life. It’s as sharp as it gets. This weapon seemmade to order for the Brothers Grimm downstairs. Holding thsword pointed downward, Takakura Kenstyle, he disappearthrough the red curtains to take care of business.
INT. PAWNSHOP BACK ROOM — DAY
Butch quietly sneaks down the stairs leading to the dungeon.
Sodomy and the Judds can still be heard going string behinthe closed door that leads to Russell’s old room.
INT. RUSSELL’S OLD ROOM — DAY
Butch’s hand comes into frame, pushing the door open. Iswings open silently, revealing the rapists, who have switchepositions.
Zed is now bent over Marsellus, who is bent over a woodehorse.
Maynard watches. Both have their backs to Butch.
Maynard faces the CAMERA, grinning, while Butch comes ubehind him with the sword.
Miserable, violated, and looking like a rag doll, Marsellusred ball gag still in mouth, opens his watery eyes to seButch 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 acrosthe front, moving past him, eyes and blade now locked oZed.
Maynard stands trembling, his front sliced open, in shock.
Butch, while never taking his eyes off Zed, THRUSTS the sworbehind him, SKEWERING Maynard, then EXTRACTS it, pointinthe blade toward Zed. Maynard COLLAPSES.
Zed disengages from Marsellus in a hurry and his eyes gfrom the tip of Butch’s sword to Marsellus’ .45 Automaticwhich lies within reach.
Zed is BLASTED in the groin. Down he goes, SCREAMING in AGONY.
Marsellus, looking down at his whimpering rapist, EJECTS thused shotgun shell.
Butch lowers the sword and hangs back. Not a word, until:
BUTCH
You okay?
MARSELLUS
Naw man. I’m pretty fuckin’ far frookay!
Long pause.
BUTCH
What now?
MARSELLUS
What now? Well let me tell you whanow. I’m gonna call a couple pipe-hittin’ niggers, who’ll go to woron homes here with a pair of plierand a blow torch.
(to Zed)
Hear me talkin’ hillbilly boy?! I ain’t through with you by a damsight. I’m gonna git Medieval oyour ass.
BUTCH
I meant what now, between me anyou?
MARSELLUS
Oh, that what now? Well, let me telya what now between me an’ you. Theris 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 telnobody about this. This shit’s betweeme and you and the soon-to-be-livin’- the-rest-of-his-short-ass-life-in- agonizing-pain, Mr. Rapist here. Iain’t nobody else’s business. Two: leave town. Tonight. Right now. Anwhen you’re gone, stay gone. You’vlost 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. Gottbit of a situation.
EXT. MASON-DIXIE PAWNSHOP — DAY
Butch, still shaking in his boots, exits the pawnshop. Hlooks ahead and sees, parked in front of the establishmentZed’s Big Chrome Chopper with a teardrop gas tank that hathe name “GRACE” on it. He climbs aboard, takes out the keywith the big Z on them and starts up the huge hog. It RUMBLES to life, making sounds like a rocket fighting for orbitButch twists the accelerator handle and SPEEDS off.
WE CUT BACK AND FORTH BETWEEN…
INT. BUTCH AND FABIENNE’S HOTEL ROOM — DAY
Fabienne stands in front of a mirror wearing a “Frankie saysRelax” tee-shirt, singing along with MUSIC coming from BOOM BOX.
EXT. CITY STREET — CHOPPER (MOVING) — DAY
Butch drives down the street, humping a hot hog named “GRACE.” He checks his father’s watch. It says: 10:30.
The SONG in the motel room PLAYS OVER this.
EXT. MOTEL ROOM — DAY
Butch rides up on Grace. He hops off and runs inside thmotel room, while we stay outside with the bike.
FABIENNE (O.S.)
Butch, I was so worried!
BUTCH
Honey, grab your radio and your pursand let’s go!
FABIENNE (O.S.)
But what about all our bags?
BUTCH
Fuck the bags. We’ll miss our traiif we don’t split now.
FABIENNE (O.S.)
Is everything well? Are we in danger?
BUTCH
We’re cool. In fact, we’re super- cool. But we gots to go. I’ll waifor you outside.
Butch runs out and hops back on the bike. Fabienne exits thmotel room with the boom box and a large purse. When shsees Butch on the chopper, she stops dead.
FABIENNE
Where did you get this motorcycle?
BUTCH
(he kick-starts it)
It’s a chopper, baby, hop on.
Fabienne slowly approaches the two-wheel demon.
FABIENNE
What happened to my Honda?
BUTCH
Sorry baby, I crashed the Honda.
FABIENNE
You’re hurt?
BUTCH
I might’ve broke my nose, no biggieHop on.
She doesn’t move.
Butch looks at her.
BUTCH
Honey, we gotta hit the fuckin’ road!
Fabienne starts to cry.
Butch realizes that this is not the way to get her on thbike. He turns off the engine and reaches out, taking hehand.
BUTCH
I’m sorry, baby-love.
FABIENNE
(crying)
You were gone so long, I started tthink dreadful thoughts.
BUTCH
I’m sorry I worried you, sweetie. Everything’s fine. Hey, how wabreakfast?
FABIENNE
(waterworks drying little)
It was good –
BUTCH
– did you get the blueberry pancakes?
FABIENNE
No, they didn’t have blueberrpancakes, I had to get buttermilk — are you sure you’re okay?
BUTCH
Baby-love, from the moment I lefyou, this has been without a doubthe single weirdest day of my entirlife. Climb on an’ I’ll tell ya abouit.
Fabienne does climb on. Butch STARTS her up.
FABIENNE
Butch, whose motorcycle is this?
BUTCH
It’s a chopper.
FABIENNE
Whose chopper is this?
BUTCH
Zed’s.
FABIENNE
Who’s Zed?
BUTCH
Zed’s dead, baby, Zed’s dead.
And with that, the two lovebirds PEEL AWAY on Grace, as thSONG 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 (O.S.)
You ever read the Bible, Brett?
BRETT (O.S.)
Yes!
JULES (O.S.)
There’s a passage I got memorizedseems appropriate for this situatioEzekiel 25:17. “The path of thrighteous man is beset on all sideby the inequities of the selfish anthe tyranny of evil men…”
FADE UP:
INT. BATHROOM — DAY
We’re in the bathroom of the Hollywood apartment we were iearlier. In fact, we’re there at exactly the same time. Excepthis time, we’re in the bathroom with the FOURTH MAN. ThFourth Man is pacing around the small room, listening harto what’s being said on the other side of the door, tightlCLUTCHING his huge silver .357 Magnum.
JULES (O.S.)
“…blessed is he who, in the namof charity and good will, shepherdethe weak through the valley odarkness. And I will strike dowupon thee with great vengeance anfurious anger those who attempt tpoison and destroy my brothers. Anyou 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 thback wall, gun outstretched in front of him, a look of yellofear on his face, ready to blow in half anybody fool enougto stick their head through that door.
Then he listens to them talk.
VINCENT (O.S.)
Friend of yours?
JULES (O.S.)
Yeah, Marvin-Vincent-Vincent-Marvin.
Waiting for them isn’t the smartest move. Bursting out thdoor and blowing them all away while they’re fuckin’ arounis the way to go.
INT. APARTMENT — DAY
The bathroom door BURSTS OPEN and the Fourth Man CHARGES out, silver Magnum raised, FIRING SIX BOOMING SHOTS from hihand 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 confusiocrosses his face.
TWO SHOT — JULES AND VINCENT
Standing next to each other, unharmed. Amazing as it seemsnone of the Fourth Man’s shots appear to have hit anybodyJules and Vincent exchange looks like, “Are we hit?” They’ras confused at the shooter. After looking at each otherthey 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’bullets who, unlike his, HIT their marks. He drops DEAD.
The two men lower their guns. Jules, obviously shaken, sitdown in a chair. Vincent, after a moment of respect, shrugit off.
Then heads toward Marvin in the corner.
VINCENT
Why the fuck didn’t you tell us abouthat guy in the bathroom? Slip youmind? Forget he was in there with goddamn hand cannon?
JULES
(to himself)
We should be fuckin’ dead right now.
(pause)
Did you see that gun he fired at uIt 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 wasomethin’ else.
Vincent prepares to leave.
VINCENT
Yeah, maybe.
JULES
That was… divine intervention. Yoknow what divine intervention is?
VINCENT
Yeah, I think so. That means Gocame down from Heaven and stoppethe bullets.
JULES
Yeah, man, that’s what is meansThat’s exactly what it means! Gocame down from Heaven and stoppethe bullets.
VINCENT
I think we should be going now.
JULES
Don’t do that! Don’t you fuckin’ dthat! Don’t blow this shit off! What just happened was a fuckin’ miracle!
VINCENT
Chill the fuck out, Jules, this shihappens.
JULES
Wrong, wrong, this shit doesn’t jushappen.
VINCENT
Do you wanna continue this theologicadiscussion in the car, or at thjailhouse with the cops?
JULES
We should be fuckin’ dead now, mfriend! We just witnessed a miracleand I want you to fuckin’ acknowledgit!
VINCENT
Okay man, it was a miracle, can wleave now?
EXT. HOLLYWOOD APARTMENT BUILDING — MORNING
The Chevy Nova PROPELS itself into traffic.
INT. NOVA (MOVING) — MORNING
Jules is behind the wheel,Vincent in the passenger seat anMarvin in the back.
VINCENT
…Ever seen that show “COPS?” I was watchin’ it once and this cowas on it who was talkin’ about thitime he got into this gun fight wita guy in a hallway. He unloads othis guy and he doesn’t hit anythingAnd these guys were in a hallwayIt’s a freak, but it happens.
JULES
If you wanna play blind man, then gwalk with a Shepherd. But me, meyes are wide fuckin’ open.
VINCENT
What the fuck does that mean?
JULES
That’s it for me. For here on inyou 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’through.
VINCENT
While you’re at it, be sure to tel’im why.
JULES
Don’t worry, I will.
VINCENT
I’ll bet ya ten thousand dollars, hlaughs his ass off.
JULES
I don’t give a damn if he does.
Vincent turns to the backseat with the .45 casually in higrip.
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 camdown from Heaven and stopped thbullets?
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 ithe throat.
JULES
Why the fuck did you do that?
VINCENT
I didn’t mean to do it. I said iwas an accident.
JULES
I’ve seen a lot of crazy-ass shit imy time –
VINCENT
– chill out, man, it was an accidentokay? You hit a bump or somethiand the gun went off.
JULES
The car didn’t hit no motherfuckibump!
VINCENT
Look! I didn’t mean to shoot thison-ofa-bitch, the gun just wenoff, don’t ask me how!
JULES
Look at this mess! We’re driviaround on a city street in broadaylight –
VINCENT
– I know, I know, I wasn’t thinkiabout the splatter.
JULES
Well you better be thinkin’ about inow, motherfucker! We gotta get thicar off the road. Cops tend to noticshit like you’re driving a cadrenched in fuckin’ blood.
VINCENT
Can’t we just take it to a friendlplace?
JULES
This is the Valley, Vincent. Marselludon’t got no friendly places in thValley.
VINCENT
Well, don’t look at me, this is youtown, Jules.
Jules takes out a cellular phone and starts punching digits.
VINCENT
Who ya callin’?
JULES
A buddy of mine in Toluca Lake.
VINCENT
Where’s Toluca Lake.
JULES
On the other side of the hill, bBurbank Studios. If Jimmie’s asain’t home, I don’t know what thfuck we’re gonna go. I ain’t got another partners in 818.
(into phone)
Jimmie! How you doin’ man, it’s Jules.
(pause)
Listen up man, me an’ my homeboy arin some serious shit. We’re in a cawe gotta get off the road, pronto! I need to use your garage for a couplhours.
INT. JIMMIE’S BATHROOM — DAY
Jules is bent over a sink, washing his bloody hands whilVincent stands behind him.
JULES
We gotta be real fuckin’ delicatwith this Jimmie’s situation. He’one remark away from kickin’ ouasses out the door.
VINCENT
If he kicks us out, whadda we do?
JULES
Well, we ain’t leavin’ ’til we mada couple phone calls. But I nevewant it to reach that pitch. Jimmie’my friend and you don’t bust in youfriend’s house and start tellin’ ‘iwhat’s what.
Jules rises and dries his hands. Vincent takes his place athe sink.
VINCENT
Just tell ‘im not to be abusive. Hkinda freaked out back there when hsaw Marvin.
JULES
Put yourself in his position. It’eight o’clock in the morning. Hjust woke up, he wasn’t prepared fothis shit. Don’t forget who’s doiwho a favor.
Vincent finishes, then dries his hands on a white towel.
VINCENT
If the price of that favor is I gotttake shit, he can stick his favostraight up his ass.
When Vincent is finished drying his hands, the towel istained with red.
JULES
What the fuck did you just do to hitowel?
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 tget off. Maybe if he had some LavaI coulda done a better job.
JULES
I used the same soap you did anwhen I dried my hands, the towedidn’t look like a fuckin’ Maxipad. Look, fuck it, alright. Whcares? But it’s shit like this that’gonna bring this situation to a boilIf he were to come in here and sethat towel like that… I’m tellin’ you Vincent, you best be cool. ‘Causif I gotta get in to it with Jimmion account of you… Look, I ain’threatenin’ you, I respect you an’ all, just don’t put me in thaposition.
JULES
Jules, you ask me nice like that, nproblem. He’s your friend, you handlhim.
INT. JIMMIE’S KITCHEN — MORNING
Three men are standing in Jimmie’s kitchen, each with a muof coffee. Jules, Vincent and JIMMIE DIMMICK, a young man ihis late 20s dressed in a bathrobe.
JULES
Goddamn Jimmie, this is some seriougourmet shit. Me an’ Vincent wouldbeen satisfied with freeze-drieTasters Choice. You spring thigourmet fuckin’ shit on us. Whaflavor is this?
JIMMIE
Knock it off, Julie.
JULES
What?
JIMMIE
I’m not a cobb or corn, so you castop butterin’ me up. I don’t neeyou to tell me how good my coffeis. I’m the one who buys it, I knohow fuckin’ good it is. When Bonnigoes shoppin;, she buys shit. I buthe gourmet expensive stuff ‘causwhen I drink it, I wanna taste itBut what’s on my mind at this momenisn’t the coffee in my kitchen, it’the dead nigger in my garage.
JULES
Jimmie –
JIMMIE
– I’m talkin’. Now let me ask you question, Jules. When you drove ihere, did you notice a sign out fronthat said, “Dead nigger storage?”
Jules starts to “Jimmie” him –
JIMMIE
– answer to question. Did you see sign out in front of my house thasaid, “Dead nigger storage?”
JULES
(playing along)
Naw man, I didn’t.
JIMMIE
You know why you didn’t see thasign?
JULES
Why?
JIMMIE
‘Cause storin’ dead niggers ain’t mfuckin’ business!
Jules starts to “Jimmie” him.
JIMMIE
– I ain’t through! Now don’t younderstand that if Bonnie comes homand finds a dead body in her houseI’m gonna get divorced. No marriagcounselor, no trial separation — fuckin’ divorced. And I don’t wannget fuckin’ divorced. The last timme an’ Bonnie talked about this shiwas gonna be the last time me an’ Bonnie talked about this shit. Now I wanna help ya out Julie, I realldo. But I ain’t gonna lose my wifdoin’ 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 mforget I love my wife. Now she’workin’ the graveyard shift at thhospital. She’ll be comin’ home iless than an hour and a half. Makyour phone calls, talk to your peoplethan get the fuck out of my house.
JULES
That’s all we want. We don’t wannfuck up your shit. We just need tcall our people to bring us in.
JIMMIE
Then I suggest you get to it. Phone’in my bedroom.
INT. MARSELLUS WALLACE’S DINING ROOM — MORNING
Marsellus Wallace sits at his dining table in a big comfrobe, eating his large breakfast, while talking on the phone.
MARSELLUS
…well, say she comes home. Whaddythink she’ll do?
(pause)
No fuckin’ shit she’ll freak. Thaain’t no kinda answer. You know ‘erI don’t. How bad, a lot or a little?
INT. JIMMIE’S BEDROOM — MORNING
Jules paces around in Jimmie’s bedroom on the phone.
JULES
You got to appreciate what aexplosive element this Bonnisituation is. If she comes home froa hard day’s work and finds a buncof gangsters doin’ a bunch of gangsta’ shit in her kitchen, ain’t no tellin’ what she’s apt to do.
MARSELLUS
I’ve grasped that, Jules. All I’doin’ is contemplating the “ifs.”
JULES
I don’t wanna hear about nmotherfuckin’ “ifs.”What I wannhear from your ass is: “you ain’got no problems, Jules. I’m on thmotherfucker. Go back in there, chilthem niggers out and wait for thcavalry, which should be comidirectly.”
MARSELLUS
You ain’t got no problems, JulesI’m on the motherfucker. Go back ithere, chill them niggers out anwait for The Wolf, who should bcomin’ directly.
JULES
You sendin’ The Wolf?
MARSELLUS
Feel better?
JULES
Shit Negro, that’s all you had tsay.
INT. HOTEL SUITE — MORNING
The CAMERA looks through the bedroom doorway of a hotel suitinto the main area. We SEE a crap game being played on fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES ifancy evening gowns. The CAMERA PANS to the right revealinSitting on a bed, phone in hand with his back to us, thtuxedo-clad WINSTON WOLF aka “THE WOLF”. We also see ThWolf 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 heaBloody shot-up car Jules (black)”
THE WOLF
Expect a call around 10:30. It’about thirty minutes away. I’ll bthere 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:
EXT. JIMMIE’S STREET — MORNING
A silver Porsche WHIPS the corner leading to Jimmie’s homein HYPER DRIVE. Easily doing 135 mph, the Porsche stops on dime in front of Jimmie’s house.
A ringed finger touches the doorbell: DING DONG.
INT. JIMMIE’S HOUSE — MORNING
Jimmie opens the door. We see, standing in the doorway, thtuxedo-clad man. He looks down to his notebook, then up aJimmie.
THE WOLF
You’re Jimmie, right? This is youhouse?
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.
In the dining room, Jules and Vincent stand up.
THE WOLF
You must be Jules, which would makyou Vincent. Let’s get down to brastacks, gentlemen. If I was informecorrectly, the clock is ticking, ithat right, Jimmie?
JIMMIE
100%.
THE WOLF
Your wife, Bonnie…
(refers to his pad)
…comes home at 9:30 in the AM, ithat correct?
JIMMIE
Uh-huh.
THE WOLF
I was led to believe if she comehome and finds us here, she wouldn’appreciate it none too much.
JIMMIE
She won’t at that.
THE WOLF
That gives us forty minutes to gethe fuck outta Dodge, which, if yodo what I say when I say it, shoulby plenty. Now you got a corpse in car, minus a head, in a garage. Takme to it.
INT. JIMMIE’S GARAGE — MORNING
The three men hang back as The Wolf examines the car. Hstudies the car in silence, opening the door, looking insidecircling it.
THE WOLF
Jimmie?
JIMMIE
Yes.
THE WOLF
Do me a favor, will ya? Thought I smelled some coffee in there. Woulyou 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 imake a lot of noise, does it smokeis there gas in it, anything?
JULES
Aside from how it looks, the car’cool.
THE WOLF
Positive? Don’t get me out on throad and I find out the brake lightdon’t work.
JULES
Hey man, as far as I know, thmotherfucker’s tip-top.
THE WOLF
Good enough, let’s go back to thkitchen.
INT. KITCHEN — MORNING
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 ththree men the plan of action.
THE WOLF
Okay first thing, you two.
(meaning Jules anVincent)
Take the body, stick it in the trunkNow Jimmie, this looks to be a prettdomesticated house. That would leame to believe that in the garage ounder the sink, you got a bunch ocleansers and cleaners and shit likthat, am I correct?
JIMMIE
Yeah. Exactly. Under the sink.
THE WOLF
Good. What I need you two fellas tdo is take those cleaning productand clean the inside of the car. AnI’m talkin’ fast, fast, fast. Yoneed to go in the backseat, scoop uall those little pieces of brain anskull. Get it out of there. Wipdown the upholstery — now when icomes to upholstery, it don’t neeto be spic and span, you don’t neeto eat off it. Give it a good oncover. What you need to take care oare the really messy parts. The poolof blood that have collected, yogotta soak that shit up. But thwindows are a different story. Theyou really clean. Get the Windex, da good job. Now Jimmie, we need traid your linen closet. I neeblankets, I need comforters, I neequilts, I need bedspreads. The thickethe better, the darker the betterNo whites, can’t use ’em. We need tcamouflage the interior of the carWe’re gonna line the front seat anthe backseat and the floor boardwith quilts and blankets. If a costops us and starts stickin’ his bisnout in the car, the subterfugwon’t last. But at a glance, the cawill appear to be normal. Jimmie — lead the way, boys — get to work.
The Wolf and Jimmie turn, heading for the bedroom, leavinVincent and Jules standing in the kitchen.
VINCENT
(calling after him)
A “please” would be nice.
The Wolf stops and turns around.
THE WOLF
Come again?
VINCENT
I said a “please” would be nice.
The Wolf takes a step toward him.
THE WOLF
Set is straight, Buster. I’m nohere to say “please.”I’m here ttell you want to do. And if self- preservation is an instinct yopossess, you better fuckin’ do iand do it quick. I’m here to help. If my help’s not appreciated, lotsluck gentlemen.
JULES
It ain’t that way, Mr. Wolf. Youhelp is definitely appreciated.
VINCENT
I don’t mean any disrespect. I jusdon’t like people barkin’ orders ame.
THE WOLF
If I’m curt with you, it’s becaustime is a factor. I think fast, I talk fast, and I need you guys tact fast if you want to get out othis. So pretty please, with sugaon top, clean the fuckin’ car.
INT. JIMMIE’S BEDROOM — MORNING
Jimmie’s gathering all the bedspreads, quilts and linen hhas.
The Wolf is on the phone.
THE WOLF
(into phone)
It’s a 1974 Chevy Nova.
(pause)
White.
(pause)
Nothin’, except for the mess inside.
(pause)
About twenty minutes.
(pause)
Nobody who’ll be missed.
(pause)
You’re a good man, Joe. See ya soon.
(he looks at Jimmie)
How we comin’, Jimmie?
Jimmie comes over with a handful of linen.
JIMMIE
Mr. Wolf, you gotta understansomethin’ –
THE WOLF
– Winston, Jimmie — please, Winston.
JIMMIE
You gotta understand somethingWinston. I want to help you guys ouand all, but that’s my best linenIt was a wedding present from mUncle Conrad and Aunt Ginny, anthey ain’t with us anymore –
THE WOLF
– let me ask you a question, if yodon’t mind?
JIMMIE
Sure.
THE WOLF
Were you Uncle Conrad and Aunt Ginnmillionaires?
JIMMIE
No.
THE WOLF
Well, your Uncle Marsellus is. AnI’m positive if Uncle Conrad anAunt Ginny were millionaires, thewould’ve furnished you with a wholbedroom set, which your UnclMarsellus is more than happy to do.
(takes out a roll obills)
I like oak myself, that’s what’s imy bedroom. How ’bout you Jimmieyou an oak man?
JIMMIE
Oak’s nice.
INT. GARAGE — MORNING
Both Jules and Vincent are inside the car cleaning it upVincent is in the front seat washing windows, while Jules iin the backseat, picking up little pieces of skull and gobof brain.
Both are twice as bloody as they were before.
JULES
I will never forgive your ass fothis shit. This is some fucked-urepugnant shit!
VINCENT
Did you ever hear the philosophthat once a man admits he’s wronghe’s immediately forgiven for alwrong-doings?
JULES
Man, get outta my face with thashit! The motherfucker who said thanever had to pick up itty-bitty pieceof skull with his fingers on accounof your dumb ass.
VINCENT
I got a threshold, Jules. I got threshold for the abuse I’ll takeAnd you’re crossin’ it. I’m a raccar and you got me in the red. Redlin7000, that’s where you are. Jusknow, it’s fuckin’ dangerous to bdrivin’ a race car when it’s in thred. It could blow.
JULES
You’re gettin’ ready to blow? I’m mushroom-cloud-layin’ motherfucker! Every time my fingers touch braiI’m “SUPERFLY T.N.T,” I’m the “GUNS OF NAVARONE.” I’m what Jimmie Walkeusta talk about. In fact, what thfuck am I doin’ in the back? You’rthe motherfucker should be on braidetail. We’re tradin’. I’m washin’ windows and you’re pickin’ up thinigger’s skull.
INT. CHEVY NOVA — MORNING
The interior of the car has been cleaned and lined witbedspreads and quilts. Believe it or not, what looked like portable slaughterhouse can actually pass for a non-descripvehicle.
The Wolf circles the car examining it.
Jules and Vincent stand aside, their clothes are literally bloody mess, but they do have a sense of pride in what good job they’ve done.
THE WOLF
Fine job, gentlemen. We may get ouof this yet.
JIMMIE
I can’t believe that’s the same car.
THE WOLF
Well, let’s not start suckin’ eacother’s dicks quite yet. Phase onis complete, clean the car, whicmoves us right along to phase twoclean you two.
EXT. JIMMIE’S BACKYARD — MORNING
Jules and Vincent stand side by side in their black suitscovered in blood, in Jimmie’s backyard. Jimmie holds a plastiHefty trash bag, while The Wolf holds a garden hose with onof those guns nozzles 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 aboufifteen 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 absolutelnecessary?
THE WOLF
You know what you two look like?
VINCENT
What?
THE WOLF
Like a couple of guys who just bleoff somebody’s head. Yes, strippin’ off those bloody rags is absolutelnecessary. Toss the clothes in Jim’garbage bag.
JULES
Now Jimmie, don’t do nothin’ stupilike puttin’ that out in front oyour house for Elmo the garbage mato take away.
THE WOLF
Don’t worry, we’re takin’ it witus. Jim, the soap.
He hands the now-naked men a bar of soap.
THE WOLF
Okay gentlemen, you’re both been tCounty before, I’m sure. Here icomes.
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, spreait around.
The Wolf stops the hose, tossing it on the ground.
THE WOLF
Towel ’em.
Jimmie tosses them each a towel, which they rub furiouslacross their bodies.
THE WOLF
You’re dry enough, give ’em theiclothes.
FADE UP ON:
JULES AND VINCENT In their tee-shirts and swim trunks. Thelook a million miles away from the black-suited, bad-assewe first met.
THE WOLF
Perfect. Perfect. We couldn’t’vplanned this better. You guys loolike… what do they look likeJimmie?
JIMMIE
Dorks. They look like a couple odorks.
The Wolf and Jimmie laugh.
JULES
Ha ha ha. They’re your clothesmotherfucker.
JIMMIE
I guess you just gotta know how twear them.
JULES
Yeah, well, our asses ain’t the experon wearin’ dorky shit that your is.
THE WOLF
C’mon, gentlemen, we’re laughin’ anjokin’ our way into prison. Don’make me beg.
INT. JIMMIE’S GARAGE — MORNING
The garbage bag is tossed in the car trunk on top of MarvinThe Wolf SLAMS is closed.
THE WOLF
Gentlemen, let’s get our rules othe road straight. We’re going to place called Monster Joe’s Truck anTow. Monster Joe and his daughteRaquel are sympathetic to out dilemma. The place is North Hollywood, so few twist and turns aside, we’ll bgoin’ up Hollywood Way. Now I’ldrive the tainted car. Jules, yoride with me. Vincent, you folloin my Porsche. Now if we cross thpath of any John Q. Laws, noboddoes a fuckin’ thing ’til I dsomething.
(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 yokeep your spurs from jingling anjangling?
VINCENT
I’m cool, Mr. Wolf. My gun just wenoff, I dunno how.
THE WOLF
Fair enough.
(he throws Vince hicar keys)
I drive real fuckin’ fast, so keeup. If I get my car back any differenthan I gave it, Monster Joe’s gonnbe disposing of two bodies.
EXT. MONSTER JOE’S TRUCK AND TOW — MORNING
Jules and Vincent wait by Winston’s Porsche.
JULES
We cool?
WINSTON
Like it never happened.
Jules and Vincent bump fists.
WINSTON
Boys, this is Raquel. Someday, althis will be hers.
RAQUEL
(to the boys)
Hi. You know, if they ever do “I SPY: THE MOTION PICTURE,” you guysI’d be great. What’s with thoutfits. You guys going to volleyball game?
Winston laughs, the boys groan.
WINSTON
I’m takin’ m’lady out to breakfastMaybe I can drop you two off. Wherdo you live?
VINCENT
Redondo Beach.
JULES
Inglewood.
Winston grabs Jules’ wrist and pantomimes like he’s in “DEAD ZONE” trance.
WINSTON
(painfully)
It’s your future: I see… a caride.
(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 staoutta 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? RespectYou could lean a lot from those twfine specimens. Respect for one’elders shows character.
RAQUEL
I have character.
WINSTON
Just because you are a charactedoesn’t mean you have character.
RAQUEL
Oh you’re so funny, oh you’re sfunny.
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 sombreakfast. Want to have breakfaswith me?
JULES
Sure.
INT. COFFEE SHOP — MORNING
Jules and Vincent sit at a booth. In front of Vincent is big stack of pancakes and sausages, which he eats with gustoJules, on the other hand, just has a cup of coffee and muffin. He seems far away in thought. The Waitress pours refill for both men,
VINCENT
Thanks a bunch.
(to Jules, who’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 dion swine.
VINCENT
Why not?
JULES
They’re filthy animals. I don’t eafilthy animals.
VINCENT
Sausages taste good. Pork chops tastgood.
JULES
A sewer rat may taste like pumpkipie. I’ll never know ’cause even iit did, I wouldn’t eat the filthmotherfucker. Pigs sleep and root ishit. That’s a filthy animal. I don’wanna eat nothin’ that ain’t goenough sense to disregard its owfeces.
VINCENT
How about dogs? Dogs eat their owfeces.
JULES
I don’t eat dog either.
VINCENT
Yes, but do you consider a dog to ba filthy animal?
JULES
I wouldn’t go so far as to call dog filthy, but they’re definiteldirty. But a dog’s got personalityAnd personality goes a long way.
VINCENT
So by that rationale, if a pig had better personality, he’s cease to ba filthy animal?
JULES
We’d have to be talkin’ ’bout onmotherfuckin’ charmin’ pig. It’have to be the Cary Grant of pigs.
The two men laugh.
VINCENT
Good for you. Lighten up a littleYou 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 witnessea 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 thimpossible possible. And I’m sorrJules, but I don’t think what happenethis morning qualifies.
JULES
Don’t you see, Vince, that shit don’matter. You’re judging this thinthe wrong way. It’s not about whatIt could be God stopped the bulletshe changed Coke into Pepsi, he founmy fuckin’ car keys. You don’t judgshit like this based on merit. Whetheor not what we experienced was aaccording-to-Hoyle miracle iinsignificant. What is significanis I felt God’s touch, God goinvolved.
VINCENT
But why?
JULES
That’s what’s fuckin’ wit’ me! I don’t know why. But I can’t go bacto sleep.
VINCENT
So you’re serious, you’re reallgonna quit?
JULES
The life, most definitely.
Vincent takes a bite of food. Jules takes a sip of coffee Ithe b.g., we see a PATRON call the Waitress.
PATRON
Garcon! Coffee!
We recognize the patron to be Pumpkin from the first scenof Pumpkin and Honey Bunny.
VINCENT
So if you’re quitting the lifewhat’ll you do?
JULES
That’s what I’ve been sitting hercontemplating. First, I’m gonndeliver this case to Marsellus. Thenbasically, 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, meepeople, get in adventures.
VINCENT
How long do you intend to walk thearth?
JULES
Until God puts me where he want mto be.
VINCENT
What if he never does?
JULES
If it takes forever, I’ll waiforever.
VINCENT
So you decided to be a bum?
JULES
I’ll just be Jules, Vincent — nmore, no less.
VINCENT
No Jules, you’re gonna be like thospieces of shit out there who beg fochange. They walk around like a buncof fuckin’ zombies, they sleep igarbage bins, they eat what I throaway, and dogs piss on ’em. They goa word for ’em, they’re called bumsAnd without a job, residence, olegal tender, that’s what you’rgonna be — a fuckin’ bum!
JULES
Look my friend, this is just wherme and you differ –
VINCENT
– what happened was peculiar — ndoubt about it — but it wasn’t wateinto wine.
JULES
All shapes and sizes, Vince.
VINCENT
Stop fuckin’ talkin’ like that!
JULES
If you find my answers frighteningVincent, you should cease askin’ scary questions.
VINCENT
I gotta take a shit. To be continued.
Vincent exits for the restroom.
Jules, alone, takes a mouthful of muffin, then… Pumpkiand Honey Bunny rise with guns raised.
PUMPKIN
Everybody be cool, this is a robbery!
HONEY BUNNY
Any of you fuckin’ pricks move anI’ll execute every one of yomotherfuckers! Got that?!
Jules looks up, not believing what he’s seeing. Under thtable, Jules’ hand goes to his .45 Automatic. He pulls iout, COCKING IT.
HONEY BUNNY
Now mean fuckin’ now! Do it or diedo it or fucking die!
Like lightning, Pumpkin moves over to the kitchen. WhilHoney Bunny SCREAMS out threats to the PATRONS, keeping theterrified.
PUMPKIN
You Mexicans in the kitchen, get ouhere! Asta luego!
Three COOKS and two BUSBOYS come out of the kitchen.
PUMPKIN
On the floor or I’ll cook you asscomprende?
They comprende. The portly MANAGER speaks up.
MANAGER
I’m the manager here, there’s nproblem, no problem at all –
Pumpkin heads his way.
PUMPKIN
You’re gonna give me a problem?
He reaches him and sticks the barrel of his gun hard in thManager’s neck.
PUMPKIN
What? You said you’re gonna give ma problem?
MANAGER
No, I’m not. I’m not gonna give yoany problem!
PUMPKIN
I don’t know, Honey Bunny. He looklike the hero type to me!
HONEY BUNNY
Don’t take any chances. Execute him!
The Patrons SCREAM. Jules watches all this silently, hihand tightly gripping the .45 Automatic under the table.
MANAGER
Please don’t! I’m not a hero. I’just a coffee shop manager. Takanything you want.
PUMPKIN
Tell everyone to cooperate and it’lbe all over.
MANAGER
Everybody just be calm and cooperatwith them and this will be all ovesoon!
PUMPKIN
Well done, now git your fuckin’ ason the ground.
INT. COFFEE SHOP BATHROOM — MORNING
Vincent, on the toilet, oblivious to the pandemonium outsidereads his “MODESTY BLAISE” book.
INT. COFFEE SHOP — MORNING
Cash register drawer opens. Pumpkin stuffs the money frothe till in his pocket. Then walks from behind the countewith a trash bag in his hand.
PUMPKIN
Okay people, I’m going to go ‘rounand collect your wallets. Don’t talkjust toss ’em in the bag. We clear?
Pumpkin goes around collecting wallets. Jules sits with hi.45 ready to spit under the table.
Pumpkin sees Jules sitting in his booth, holding his walletbriefcase next to him. Pumpkin crosses to him, his tone morrespectful, him manner more on guard.
PUMPKIN
In the bag.
Jules DROPS his wallet in the bag. Using his gun as a pointerPumpkin 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 samthing.
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 thgun right in the middle of Jules’ face and pulls back thhammer.
PUMPKIN
I didn’t hear you.
JULES
Yes, you did.
This exchange has been kind of quiet, not everybody hearit, but Honey Bunny senses something’s wrong.
HONEY BUNNY
What’s goin’ on?
PUMPKIN
Looks like we got a vigilante in oumidst.
HONEY BUNNY
Shoot ’em in the face!
JULES
I don’t mean to shatter your egobut this ain’t the first time I’vhad gun pointed at me.
PUMPKIN
You don’t open up that case, it’gonna be the last.
MANAGER
(on the ground)
Quit causing problems, you’ll get uall killed! Give ’em what you goand get ’em out of here.
JULES
Keep your fuckin’ mouth closed, faman, this ain’t any of your goddambusiness!
PUMPKIN
I’m countin’ to three, and if youhand ain’t off that case, I’m gonnunload right in your fuckin’ faceClear? One…
PUMPKIN
…two… 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 tPumpkin but not to us. The same light SHINES from the casePumpkin’s expression goes to amazement. Honey Bunny, acrosthe 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 offerinthe case to Pumpkin. Pumpkin, one big smile, bends over tpick up the case.
Like a rattlesnake, Jules’ free hand GRABS the wrist oPumpkin’s gun hand, SLAMMING it on the table. His other hancomes from under the table and STICKS the barrel of his .45 hand under Pumpkin’s chin.
Honey Bunny freaks out, waving her gun in Jules’ direction.
HONEY BUNNY
Let him go! Let him go! I’ll bloyour fuckin’ head off! I’ll kill ya! I’ll kill ya! You’re gonna die, you’rgonna fuckin’ die bad!
JULES
(to Pumpkin)
Tell that bitch to be cool! Saybitch 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, onlat Pumpkin.
JULES
(to Yolanda)
So, we cool Yolanda? We ain’t gonndo anything stupid, are we?
YOLANDA
(crying)
Don’t you hurt him.
JULES
Nobody’s gonna hurt anybody. We’rgonna be like three Fonzies. Anwhat’ 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’rgonna be, we’re gonna be cool.
(to Pumpkin)
Now Ringo, I’m gonna count to threand I want you to let go your guand lay your palms flat on the tableBut 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 bcool. When you yell at me, it makeme nervous. When I get nervous, I get scared. And when motherfuckerget scared, that’s when motherfuckerget accidentally shot.
YOLANDA
(more conversational)
Just know: you hurt him, you die.
JULES
That seems to be the situation. NoI don’t want that and you don’t wanthat and Ringo here don’t want thatSo let’s see what we can do.
(to Ringo)
Now this is the situation. Normallboth of your asses would be dead afuckin’ fried chicken. But yohappened to pull this shit while I’in a transitional period. I don’wanna kill ya, I want to help yaBut I’m afraid I can’t give you thcase. It don’t belong to me. BesidesI went through too much shit thimorning on account of this case tjust hand it over to your ass.
VINCENT (O.S.)
What the fuck’s goin’ on here?
Yolanda WHIPS her gun toward the stranger.
Vincent, by the bathroom, has his gun out, dead-aimed aYolanda.
JULES
It’s cool, Vincent! It’s cool! Don’do a goddamn thing. Yolanda, it’cool baby, nothin’s changed. We’rstill just talkin’.
(to Pumpkin)
Tell her we’re still cool.
PUMPKIN
It’s cool, Honey Bunny, we’re stilcool.
VINCENT
(gun raised)
What the hell’s goin’ on, Jules?
JULES
Nothin’ I can’t handle. I want yoto just hang back and don’t do shiunless 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’rdoing’ great, Ringo’s proud of yoand so am I. It’s almost over.
(to Pumpkin)
Now I want you to go in that bag anfind my wallet.
PUMPKIN
Which one is it?
JULES
It’s the one that says BaMotherfucker on it.
Pumpkin looks in the bag and — sure enough — there’s a wallewith “Bad Motherfucker” embroidered on it.
JULES
That’s my bad motherfucker. Now opeit up and take out the cash. Homuch is there?
PUMPKIN
About fifteen hundred dollars.
JULES
Put it in your pocket, it’s yoursNow with the rest of them walletand the register, that makes this pretty successful little score.
VINCENT
Jules, if you give this nimrod fifteehundred buck, I’m gonna shoot ’em ogeneral principle.
JULES
You ain’t gonna do a goddamn thingnow hang back and shut the fuck upBesides, I ain’t givin’ it to himI’m buyin’ somethin’ for my moneyWanna know what I’m buyin’ Ringo?
PUMPKIN
What?
JULES
Your life. I’m givin’ you that moneso I don’t hafta kill your ass. Yoread the Bible?
PUMPKIN
Not regularly.
JULES
There’s a passage I got memorizedEzekiel 25:17. “The path of thrighteous man is beset on all sideby the inequities of the selfish anthe tyranny of evil men. Blessed ihe who, in the name of charity angood will, shepherds the weak througthe valley of the darkness. For his truly his brother’s keeper anthe finder of lost children. And I will strike down upon thee with greavengeance and furious anger thoswho attempt to poison and destroy mbrothers. And you will know I am thLord when I lay my vengeance upoyou.” I been sayin’ that shit foyears. And if you ever heard it, imeant your ass. I never reallquestioned what it meant. I thoughit was just a coldblooded thing tsay to a motherfucker ‘fore you poppea cap in his ass. But I saw somshit this mornin’ made me think twiceNow I’m thinkin’, it could mean you’rthe evil man. And I’m the righteouman. And Mr. .45 here, he’s thshepherd protecting my righteous asin the valley of darkness. Or icould by you’re the righteous maand I’m the shepherd and it’s thworld that’s evil and selfish. I’like that. But that shit ain’t thtruth. The truth is you’re the weakAnd I’m the tyranny of evil men. BuI’m tryin’. I’m tryin’ real hard tbe a shepherd.
Jules lowers his gun, lying it on the table.
Pumpkin looks at him, to the money in his hand, then tYolanda.
She looks back.
Grabbing the trash bag full of wallets, the two RUN out thdoor.
Jules, who was never risen from his seat the whole timetakes 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 thbriefcase.
Then, to the amazement of the Patrons, the Waitresses, thCooks, the Bus Boys, and the Manager, these two bad-ass dude– wearing UC Santa Cruz and “I’m with Stupid” tee-shirtsswim trunks, thongs and packing .45 Automatics — walk out othe coffee shop together without saying a word.
Pulp Fiction
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
INT. COFFEE SHOP — MORNING
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 omelet, 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
Then you got the idea to take everybody’s wallet.
YOUNG WOMAN
Uh-huh.
YOUNG MAN
That was a good idea.
YOUNG WOMAN
Thanks.
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 tired 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”
INT. ’74 CHEVY (MOVING) — MORNING
An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down a homeless-ridden street in Hollywood. In the front seat are two young fellas — one white, one black — both wearing cheap black suits with thin black ties under long green dusters. Their names are VINCENT VEGA (white) and JULES WINNFIELD (black). Jules is behind the wheel.
JULES
– Okay now, tell me about the hash bars?
VINCENT
What so you want to know?
JULES
Well, hash is legal there, right?
VINCENT
Yeah, it’s legal, but is ain’t a hundred percent legal. I mean you can’t walk into a restaurant, roll a joint, and start puffin’ away. You’re only supposed to smoke in your home or certain designated places.
JULES
Those are hash bars?
VINCENT
Yeah, it breaks down like this: it’s legal to buy it, it’s legal to own it and, if you’re the proprietor of a hash bar, it’s legal to sell it. It’s legal to carry it, which doesn’t really matter ’cause — get a load of this — if the cops stop you, it’s illegal for this to search you. Searching you is a right that the cops in Amsterdam don’t have.
JULES
That did it, man — I’m fuckin’ goin’, that’s all there is to it.
VINCENT
You’ll dig it the most. But you know what the funniest thing about Europe is?
JULES
What?
VINCENT
It’s the little differences. A lotta the same shit we got here, they got there, but there they’re a little different.
JULES
Examples?
VINCENT
Well, in Amsterdam, you can buy beer in a movie theatre. And I don’t mean in a paper cup either. They give you a glass of beer, like in a bar. In Paris, you can buy beer at MacDonald’s. Also, you know what they call a Quarter Pounder with Cheese in Paris?
JULES
They don’t call it a Quarter Pounder with Cheese?
VINCENT
No, they got the metric system there, they wouldn’t know what the fuck a Quarter Pounder is.
JULES
What’d they call it?
VINCENT
Royale with Cheese.
JULES
(repeating)
Royale with Cheese. What’d they call a Big Mac?
VINCENT
Big Mac’s a Big Mac, but they call it Le Big Mac.
JULES
Le Big Mac. 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:
INT. CHEVY (TRUNK) — MORNING
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:
EXT. APARTMENT BUILDING COURTYARD — MORNING
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.
INT. RECEPTION AREA (APARTMENT BUILDING) — MORNING
Vincent and Jules walk through the reception area and wait for the elevator.
JULES
You remember Antwan Rockamora? Half- black, half-Samoan, usta call him Tony Rocky Horror.
VINCENT
Yeah maybe, fat right?
JULES
I wouldn’t go so far as to call the brother fat. He’s got a weight problem. What’s the nigger gonna do, he’s Samoan.
VINCENT
I think I know who you mean, what about him?
JULES
Well, Marsellus fucked his ass up good. And word around the campfire, it was on account of Marsellus Wallace’s wife.
The elevator arrives, the men step inside.
INT. ELEVATOR — MORNING
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.
INT. APARTMENT BUILDING HALLWAY — MORNING
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 foot fuckin’ master.
VINCENT
Given a lot of ’em?
JULES
Shit yeah. I got my technique down man, I don’t tickle or nothin’.
VINCENT
Have you ever given a guy a foot massage?
Jules looks at him a long moment — he’s been set up.
JULES
Fuck you.
He starts walking down the hall. Vincent, smiling, walks a little bit behind.
VINCENT
How many?
JULES
Fuck you.
VINCENT
Would you give me a foot massage — I’m kinda tired.
JULES
Man, you best back off, I’m gittin’ pissed — this is the door.
The two men stand in front of the door numbered “49.” They whisper.
JULES
What time is it?
VINCENT
(checking his watch)
Seven-twenty-two in the morning.
JULES
It ain’t quite time, let’s hang back.
They move a little away from the door, facing each other, still whispering.
JULES
Look, just because I wouldn’t give no man a foot massage, don’t make it right for Marsellus to throw Antwan off a building into a glass- motherfuckin-house, fuckin’ up the way the nigger talks. That ain’t right, man. Motherfucker do that to me, he better paralyze my ass, ’cause I’d kill’a motherfucker.
VINCENT
I’m not sayin’ he was right, but you’re sayin’ a foot massage don’t mean nothing, and I’m sayin’ it does. I’ve given a million ladies a million foot massages and they all meant somethin’. We act like they don’t, but they do. That’s what’s so fuckin’ cool about ’em. This sensual thing’s goin’ on that nobody’s talkin about, but you know it and she knows it, fuckin’ Marsellus knew it, and Antwan shoulda known fuckin’ better. That’s his fuckin’ wife, man. He ain’t gonna have a sense of humor about that shit.
JULES
That’s an interesting point, but let’s get into character.
VINCENT
What’s her name again?
JULES
Mia. Why you so interested in big man’s wife?
VINCENT
Well, Marsellus is leavin’ for Florida and when he’s gone, he wants me to take care of Mia.
JULES
Take care of her?
Making a gun out of his finger and placing it to his head.
VINCENT
Not that! Take her out. Show her a good time. Don’t let her get lonely.
JULES
You’re gonna be takin’ Mia Wallace out on a date?
VINCENT
It ain’t a date. It’s like when you and your buddy’s wife go to a movie or somethin’. It’s just… you know… good company.
Jules just looks at him.
VINCENT
It’s not a date.
Jules just looks at him.
INT. APARTMENT (ROOM 49) — MORNING
THREE YOUNG GUYS, obviously in over their heads, sit at a table with hamburgers, french fries and soda pops laid out.
One of them flips the LOUD BOLT on the door, opening it to REVEAL Jules and Vincent in the hallway.
JULES
Hey kids.
The two men stroll inside.
The three young caught-off-guard Guys are:
MARVIN, the black young man, who open the door, will, as the scene progresses, back into the corner.
ROGER, a young blond-haired surfer kid with a “Flock of Seagulls” haircut, who has yet to say a word, sits at the table with a big sloppy hamburger in his hand.
BRETT, a white, preppy-looking sort with a blow-dry haircut.
Vincent and Jules take in the place, with their hands in their pockets. Jules is the one who does the talking.
JULES
How you boys doin’?
No answer.
JULES
(to Brett)
Am I trippin’, or did I just ask you a question.
BRETT
We’re doin’ okay.
As Jules and Brett talk, Vincent moves behind the young Guys.
JULES
Do you know who we are?
Brett shakes his head: “No.”
JULES
We’re associates of your business partner Marsellus Wallace, you remember your business partner dont’ya?
No answer.
JULES
(to Brett)
Now I’m gonna take a wild guess here: you’re Brett, right?
BRETT
I’m Brett.
JULES
I thought so. Well, you remember your business partner Marsellus Wallace, dont’ya Brett?
BRETT
I remember him.
JULES
Good for you. Looks like me and Vincent caught you at breakfast, sorry ’bout that. What’cha eatin’?
BRETT
Hamburgers.
JULES
Hamburgers. The cornerstone of any nutritious breakfast. What kinda hamburgers?
BRETT
Cheeseburgers.
JULES
No, I mean where did you get’em? MacDonald’s, Wendy’s, Jack-in-the- Box, where?
BRETT
Big Kahuna Burger.
JULES
Big Kahuna Burger. That’s that Hawaiian burger joint. I heard they got some tasty burgers. I ain’t never had one myself, how are they?
BRETT
They’re good.
JULES
Mind if I try one of yours?
BRETT
No.
JULES
Yours is this one, right?
BRETT
Yeah.
Jules grabs the burger and take a bite of it.
JULES
Uuummmm, that’s a tasty burger.
(to Vincent)
Vince, you ever try a Big Kahuna Burger?
VINCENT
No.
Jules holds out the Big Kahuna.
JULES
You wanna bite, they’re real good.
VINCENT
I ain’t hungry.
JULES
Well, if you like hamburgers give ’em a try sometime. Me, I can’t usually eat ’em ’cause my girlfriend’s a vegetarian. Which more or less makes me a vegetarian, but I sure love the taste of a good burger.
(to Brett)
You know what they call a Quarter Pounder with Cheese in France?
BRETT
No.
JULES
Tell ’em, Vincent.
VINCENT
Royale with Cheese.
JULES
Royale with Cheese, you know why they call it that?
BRETT
Because of the metric system?
JULES
Check out the big brain on Brett. You’a smart motherfucker, that’s right. The metric system.
(he points to a fast food drink cup)
What’s in this?
BRETT
Sprite.
JULES
Sprite, good, mind if I have some of your tasty beverage to wash this down with?
BRETT
Sure.
Jules grabs the cup and takes a sip.
JULES
Uuuuummmm, hit’s the spot!
(to Roger)
You, Flock of Seagulls, you know what we’re here for?
Roger nods his head: “Yes.”
JULES
Then why don’t you tell my boy here Vince, where you got the shit hid.
MARVIN
It’s under the be –
JULES
– I don’t remember askin’ you a goddamn thing.
(to Roger)
You were sayin’?
ROGER
It’s under the bed.
Vincent moves to the bed, reaches underneath it, pulling out a black snap briefcase.
VINCENT
Got it.
Vincent flips the two locks, opening the case. We can’t see what’s inside, but a small glow emits from the case. Vincent just stares at it, transfixed.
JULES
We happy?
No answer from the transfixed Vincent.
JULES
Vincent!
Vincent looks up at Jules.
JULES
We happy?
Closing the case.
VINCENT
We’re happy.
BRETT
(to Jules)
Look, what’s your name? I got his name’s Vincent, but what’s yours?
JULES
My name’s Pitt, and you ain’t talkin’ your ass outta this shit.
BRETT
I just want you to know how sorry we are about how fucked up things got between us and Mr. Wallace. When we entered into this thing, we only had the best intentions –
As Brett talks, Jules takes out his gun and SHOOTS Roger three times in the chest, BLOWING him out of his chair.
Vince smiles to himself. Jules has got style.
Brett has just shit his pants. He’s not crying or whimpering, but he’s so full of fear, it’s as if his body is imploding.
JULES
(to Brett)
Oh, I’m sorry. Did that break your concentration? I didn’t mean to do that. Please, continue. I believe you were saying something about “best intentions.”
Brett can’t say a word.
JULES
Whatsamatter? Oh, you were through anyway. Well, let me retort. Would you describe for me what Marsellus Wallace looks like?
Brett still can’t speak.
Jules SNAPS, SAVAGELY TIPPING the card table over, removing the only barrier between himself and Brett. Brett now sits in a lone chair before Jules like a political prisoner in front of an interrogator.
JULES
What country you from!
BRETT
(petrified)
What?
JULES
“What” ain’t no country I know! Do they speak English in “What?”
BRETT
(near heart attack)
What?
JULES
English-motherfucker-can-you-speak- it?
BRETT
Yes.
JULES
Then you understand what I’m sayin’?
BRETT
Yes.
JULES
Now describe what Marsellus Wallaclooks 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… bald –
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.
AGAINST BLACK, TITLE CARD:
“VINCENT VEGA AND MARSELLUS WALLACE’S WIFE”
FADE IN:
MEDIUM SHOT — BUTCH COOLIDGE
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 (O.S.)
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 (O.S.)
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 (O.S.)
In the fifth, your ass goes down.
Butch nods his head: “yes.”
MARSELLUS (O.S.)
Say it!
BUTCH
In the fifth, my ass goes down.
CUT TO:
INT. CAR (MOVING) — DAY
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.
EXT. SALLY LEROY’S — DAY
Sally LeRoy’s is a large topless bar 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.
INT. SALLY LEROY’S — DAY
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 (O.S.)
Hang 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 lo’ 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 turn toward Vincent.
BUTCH
What was that?
VINCENT
I think ya heard me just fine, punchy.
Butch turns his body to Vincent, when…
MARSELLUS (O.S.)
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 (O.S.)
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:
INT. LANCE’S HOUSE (KITCHEN) — NIGHT
CLOSEUP — 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 named 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 (O.S.)
Vince, you can come in now!
INT. LANCE’S BEDROOM — NIGHT
Lance, late 20s, is a young man with a wild and woolly appearance that goes hand-in-hand with his wild and woolly personality. LANCE has been selling drugs his entire adult life. He’s never had a day job, never filed a tax return and has never been arrested. He wears a red flannel shirt over a “Speed Racer” tee-shirt.
Three bags of heroin lie on Lance’s bed.
Lance and Vincent stand at the foot of the bed.
LANCE
Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty- five an ounce — those are friend prices — but this one…
(pointing to the Choco)
…this one’s a little more expensive. It’s fifty-five. But when you shoot it, you’ll know where that extra money went. Nothing wrong with the first two. It’s real, real, real, good shit. But this one’s a fuckin’ madman.
VINCENT
Remember, I just got back from Amsterdam.
LANCE
Am I a nigger? Are you in Inglewood? No. You’re in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I’ll take the Pepsi Challenge with Amsterdam shit any ol’ day of the fuckin’ week.
VINCENT
That’s a bold statement.
LANCE
This ain’t Amsterdam, Vince. This is a seller’s market. Coke is fuckin’ dead as disco. Heroin’s comin’ back in a big fuckin’ way. It’s this whole seventies retro. Bell bottoms, heroin, they’re as hot as hell.
Vincent takes out a roll of money that would choke a horse to death.
VINCENT
Give me three hundred worth of the madman. If it’s as good as you say, I’ll be back for a thousand.
LANCE
I just hope I still have it. Whaddya think of Trudi? She ain’t got a boyfriend, wanna hand out an’ get high?
VINCENT
Which one’s Trudi? The one with all the shit in her face?
LANCE
No, that’s Jody. That’s my wife.
Vincent and Lance giggle at the “faux pas.”
VINCENT
I’m on my way somewhere. I got a dinner engagement. Rain check?
LANCE
No problem?
Vincent takes out his case of the works (utensils for shooting up).
VINCENT
You don’t mind if I shoot up here?
LANCE
Me casa, su casa.
VINCENT
Mucho gracias.
Vincent takes his works out of his case and, as the two continue to talk, Vince shoots up.
LANCE
Still got your Malibu?
VINCENT
You know what some fucker did to it the other day?
LANCE
What?
VINCENT
Fuckin’ keyed it.
LANCE
Oh man, that’s fucked up.
VINCENT
Tell me about it. I had the goddamn thing in storage three years. It’s out five fuckin’ days — five days, and some dickless piece of shit fucks with it.
LANCE
They should be fuckin’ killed. No trial, no jury, straight to execution.
As he cooks his heroin…
VINCENT
I just wish I caught ’em doin’ it, ya know? Oh man, I’d give anything to catch ’em doin’ it. It’a been worth his doin’ it, if I coulda just caught ’em, you know what I mean?
LANCE
It’s chicken shit. You don’t fuck another man’s vehicle.
CLOSEUP — THE NEEDLE
Going into Vincent’s vein.
CLOSEUP — BLOOD
Spurting back into the syringe, mixing with the heroin.
CLOSEUP — VINCENT’S THUMB
Pushing down on the plunger.
CUT TO:
EXT. MARSELLUS WALLACE’S HOUSE — NIGHT
Vincent walks toward the house and pulls a note off the door
CLOSEUP — NOTE
The Note reads:
“Hi Vincent, I’m getting dressed. The door’s open. Come inside and make yourself a drink. Mia”
MIA (V.O.)
Hi, Vincent. I’m getting dressed. The door’s open. Come inside and make yourself a drink.
FADE TO WHITE
Music in.
FADE TO:
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent enters on the background.
VINCENT
Hello?
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
MIA, Marcellus’ beautiful young wife. Video screens are in the background. Dusty Springfield is singing “SON OF A PREACHER MAN”.
Mia’s mouth comes toward a microphone.
MIA
(into microphone)
Vincent.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent turns.
MIA
(over intercom)
Vincent. I’m on the intercom.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
MIA
(into microphone)
It’s on the wall by the two African fellas.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
MIA
(over intercom)
To your right.
Vincent walks.
MIA
…warm. Warmer. Disco.
Vincent finds the intercom on the wall.
VINCENT
Hello.
MIA
(over intercom)
Push the button if you want to talk.
VINCENT
(into intercom)
Hello.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
MIA
(into microphone)
Go make yourself a drink., and I’ll be down in two shakes of a lamb’s tail.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
MIA
(over intercom)
The bar’s by the fireplace.
VINCENT
(into intercom)
Okay.
(licks lips)
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
A video screen with an image of Vincent, walking. The Dusty Springfield song continues.
Mia turns a knob which controls the movement of the video camera in Marcellus’ living room.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent picks up a bottle of scotch. He sniffs the bottle, and then pours it into a glass.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
A razor blade cuts cocaine on a mirror.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent drinks a glass of scotch.
INT. MARCELLUS’ HOUSE / DRESSING ROOM — NIGHT
Mia sniffs the cocaine.
INT. MARCELLUS’ HOUSE / LIVING ROOM — NIGHT
Vincent sips the drink and looks at a portrait of Mia on thwall.
Mia walks into the room, and takes the needle off a record. The Dusty Springfield song stops.
MIA
Let’s go.
EXT. JACKRABBIT SLIM’S — NIGHT
In the past six years, 50’s diners have sprung up all over L.A., 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 Omelet, 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.”
VINCENT
What the fuck is this place?
MIA
This is Jackrabbit Slim’s. An Elvis man should love it.
VINCENT
Come on, Mia, let’s go get a steak.
MIA
You can get a steak here, daddy-o. Don’t be a…
Mia draws a square with her hands. Dotted lines appear on the screen, forming a sqaure. The lines disperse.
VINCENT
After you, kitty-cat.
INT. JACKRABBIT SLIM’S — NIGHT
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.” Some 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 pulsrate.
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 this 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.
INT. JACKRABBIT SLIM’S (LADIES ROOM) — NIGHT
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!
INT. JACKRABBIT SLIM’S (DINING AREA) — NIGHT
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.
CUT TO:
ED SULLIVAN AND MARILYN MONROE STAND ON STAGE
ED SULLIVAN
(into microphone)
Ladies and gentlemen, now the moment you’ve all been waiting for, the worldfamous Jackrabbit Slim’s twist contest.
Patrons cheer.
Ed Sullivan is with Marilyn Monroe, who holds a trophy.
ED SULLIVAN
…One lucky couple will win this handsome trophy that Marilyn here is holding.
Marilyn holds the trophy.
ED SULLIVAN
…Now, who will be our first contestants?
Mia holds her hand.
MIA
Right here.
Vincent reacts.
MIA
I wanna dance.
VINCENT
No, no, no no, no, no, no, no.
MIA
(overlapping)
No, no, no, no, no, no, no. I do believe Marsellus, my husband, your boss, told you to take me out and do whatever I wanted, Now, I want to dance. I want to win. I want that trophy.
VINCENT
(sighs)
All right.
MIA
So, dance good.
VINCENT
All right, you asked for it.
Vincent and Mia walk onto the dance floor, toward Ed Sullivan.
ED SULLIVAN
(into microphone)
Let’s hear it for our first contestants.
Patrons cheer.
Vincent and Mia walk up to the microphone.
ED SULLIVAN
Now let’s meet our first contestants here this evening. Young lady, what is your name?
MIA
(into microphone)
Missus Mia Wallace.
ED SULLIVAN
(into microphone)
And, uh, how ’bout your fella here?
MIA
(into microphone)
Vincent Vega.
ED SULLIVAN
(into microphone)
All right, let’s see what you can do. Take it away!
Mia and Vincent dance to Chuck Berry’s “YOU NEVER CAN TELL”. They make hand movements as they dance.
INT. MARSELLUS WALLACE’S HOME — NIGHT
The front door FLINGS open, and Mia and Vincent dance tango- style into the house, singing a cappella the song from the previous scene. They finish their little dance, laughing.
Then…
The two just stand face to face looking at each other.
VINCENT
Was than an uncomfortable silence?
MIA
I don’t know what that was.
(pause)
Music and drinks!
Mia moves away to attend to both. Vincent hangs up his overcoat on a big bronze coat rack in the alcove.
VINCENT
I’m gonna take a piss.
MIA
That was a little bit more information than I needed to know, but go right ahead.
Vincent shuffles off to the john.
Mia moves to her CD player, thumbs through a stack of CDs and selects one: k.d. lang. The speakers BLAST OUT a high energy country number, which Mia plays air-guitar to. She dances her way around the room and finds herself by Vincent’s overcoat hanging on the rack. She touches its sleeve. It feels good.
Her hand hoes in its pocket and pulls out his tobacco pouch. Like a little girl playing cowboy, she spreads the tobacco on some rolling paper. Imitating what he did earlier, licks the paper and rolls it into a pretty good cigarette. Maybe a little too fat, but not bad for a first try. Mia thinks so anyway. Her hand reaches back in the pocket and pulls out his Zippo lighter. She SLAPS the lighter against her leg, trying to light it fancy-style like Vince did. What do you know, she did it! Mia’s one happy clam. She triumphantly brings the fat flame up to her fat smoke, lighting it up, then LOUDLY SNAPS the Zippo closed.
The Mia-made cigarette is brought up to her lips, and she takes a long, cool drag. Her hand slides the Zippo back in the overcoat pocket. But wait, her fingers touch something else. Those fingers bring out a plastic bag with white powder inside, the madman that Vincent bought earlier from Lance. Wearing a big smile, Mia brings the bag of heroin up to her face.
MIA
(like you would say Bingo!)
Disco! Vince, you little cola nut, you’ve been holding out on me.
CUT TO:
INT. BATHROOM (MARSELLUS WALLACE’S HOUSE) — NIGHT
Vincent stands at the sink, washing his hands, talking to himself in the mirror.
VINCENT
One drink and leave. Don’t be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.
LIVING ROOM
Mia has the unbeknownst-to-her heroin cut up into big lines on her glass top coffee table. Taking her trusty hundred dollar bill like a human Dust-Buster, she quickly snorts the fat line.
CLOSEUP — MIA
Her head JERKS back. Her hands go to her nose (which feels like it’s on fucking fire), something is terribly wrong. Then… the rush hits…
BATHROOM
Vincent dries his hands on a towel while he continues his dialogue with the mirror.
VINCENT
…It’s a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that’s very meaningful.
LIVING ROOM
Mia is on all fours trying to crawl to the bathroom, but it’s like she’s trying to crawl with the bones removed from her knees. Blood begins to drip from Mia’s nose. Then her stomach gets into the act and she VOMITS.
BATHROOM
Vince continues.
VINCENT
So you’re gonna go out there, drink your drink, say “Goodnight, I’ve had a very lovely evening,” go home, and jack off. And that’s all you’re gonna do.
Now that he’s given himself a little pep talk, Vincent’s ready for whatever’s waiting for him on the other side of that door. So he goes through it.
LIVING ROOM
We follow behind Vincent as he walks from the bathroom to the living room, where he finds Mia lying on the floor like a rag doll. She’s twisted on her back. Blood and puke are down her front. And her face is contorted. Not out of the tightness of pain, but just the opposite, the muscles in her face are so relaxed, she lies still with her mouth wide open. Slack-jawed.
VINCENT
Jesus Christ!
Vincent moves like greased lightning to Mia’s fallen body. Bending down where she lays, he puts his fingers on her neck to check her pulse. She slightly stirs.
Mia is aware of Vincent over her, speaking to her.
VINCENT
(sounding weird)
Mia! MIA! What the hell happened?
But she’s unable to communicate Mia makes a few lost mumbles, but they’re not distinctive enough to be called words.
Vincent props her eyelids open and sees the story.
VINCENT
(to himself)
I’ll be a son-of-a-bitch.
(to Mia)
Mia! MIA! What did you take? Answer me honey, what did you take?
Mia is incapable of answering. He SLAPS her face hard.
Vincent SPRINGS up and RUNS to his overcoat, hanging on thrack.
He goes through the pockets FRANTICALLY. It’s gone. Vincent makes a beeline to Mia. We follow.
VINCENT
(yelling to Mia)
Okay honey, we’re getting you on your feet.
He reaches her and hoists the dead weight up in his arms.
VINCENT
We’re on our feet now, and now we’re gonna talk out to the car. Here we go, watch us walk.
We follow behind as he hurriedly walks the practically- unconscious Mia through the house and out the front door.
EXT. VINCENT’S HOT ROD (MOVING) — NIGHT
INSERT SPEEDOMETER: red needle on a hundred.
Vincent driving like a madman in a town without traffic laws, speeds the car into turns and up and over hills.
INT.VINCENT’S HOT ROD (MOVING) — NIGHT
Vincent, one hand firmly on the wheel, the other shifting like Robocop, both eyes staring straight ahead except when he glances over at Mia.
Mia, slack-jawed expression, mouth gaping, posture of a bag of water.
Vincent takes a cellular phone out of his pocket. He punches a number.
INT. LANCE’S HOUSE — NIGHT
At this late hour, LANCE has transformed from a bon vivant drug dealer to a bathrobe creature.
He sits in a big comfy chair, ratty blue gym pants, a worn-out but comfortable tee-shirt that has, written on it, “TAFT, CALIFORNIA”, and a moth-ridden terry cloth robe. In his hand is a bowl of Cap’n Crunch with Crunch Berries. In front of him on the coffee table is a jug of milk, the box the Cap’n Crunch with Crunch Berries came out of, and a hash pipe in an ashtray.
On the big-screen TV in front of the table is the Three Stooges, and they’re getting married.
PREACHER (EMIL SIMKUS)
(on TV)
Hold hands, you love birds.
The phone RINGS.
Lance puts down his cereal and makes his way to the phone.
It RINGS again.
Jody, his wife, CALLS from the bedroom, obviously woken up.
JODY (O.S.)
Lance! The phone’s ringing!
LANCE
(calling back)
I can hear it!
JODY (O.S.)
I thought you told those fuckin’ assholes never to call this late!
LANCE
(by the phone)I told ’em and that’s what I’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’this fuckin’ late.
BACK TO:
VINCENT IN THE MALIBU
Vincent is still driving like a stripe-assed ape, clutchinthe phone to his ear. WE CUT BACK AND FORTH during thconversation.
VINCENT
Lance, this is Vincent, I’m in bifuckin’ trouble man, I’m on my wato your place.
LANCE
Whoa, hold you horses man, what’the problem?
VINCENT
You still got an adrenaline shot?
LANCE
(dawning on him)
Maybe.
VINCENT
I need it man, I got a chick she’fuckin’ Doing on me.
LANCE
Don’t bring her here! I’m not evefuckin’ joking with you, don’t yobe bringing some fucked up pooh-butto my house!
VINCENT
No choice.
LANCE
She’s ODin’?
VINCENT
Yeah. She’s dyin’.
LANCE
Then bite the fuckin’ bullet, tak’er to a hospital and call a lawyer!
VINCENT
Negative.
LANCE
She ain’t my fuckin’ problem, youfucked her up, you deal with it –are you talkin’ to me on a cellularphone?
VINCENT
Sorry.
LANCE
I don’t know you, who is this, don’come here, I’m hangin’ up.
VINCENT
Too late, I’m already here.
At that moment inside Lance’s house, WE HEAR VINCENT’s Malibcoming up the street. Lance hangs up the phone, goes to hicurtains and YANKS the cord. The curtains open with a WHOOSH in time to see Vincent’s Malibu DRIVING UP on his front lawand CRASHING into his house. The window Lance is looking ouof SHATTERS from the impact.
JODY (O.S.)
What the hell was that?
Lance CHARGES from the window, out the door to his fronlawn.
EXT. LANCE’S HOUSE — NIGHT
Vincent is already out of the car, working on getting Miout.
LANCE
Have you lost your mind?! You crasheyour car in my fuckin’ house! Yotalk about drug shit on a cellulafuckin’ phone –
VINCENT
If you’re through havin’ your littlhissy fit, this chick is dyin’, geyour needle and git it now!
LANCE
Are you deaf? You’re not bringithat fucked up bitch in my house!
VINCENT
This fucked up bitch is MarselluWallace’s wife. Now if she fuckicroaks on me, I’m a grease spot. Bubefore he turns me into a bar soapI’m gonna be forced to tell ‘im abouhow you coulda saved her life, buinstead you let her die on your fronlawn.
INT. LANCE’S HOUSE — NIGHT
WE START in Lance’s and Jody’s bedroom.
Jody, in bed, throws off the covers and stands up. She’wearing a long tee-shirt with a picture of Fred Flintstonon it.
We follow HANDHELD behind her as she opens the door, walkinthrough the hall into the living room.
JODY
It’s only one-thirty in the goddammornin’! What the fuck’s goin’ oout here?
As she walks in the living room, she sees Vincent and Lancstanding over Mia, who’s lying on the floor in the middle othe room.
From here on in, everything in this scene is frantic, like DOCUMENTARY in an emergency ward, with the big differenchere 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 adrenaline shot.
JODY
What’s wrong with her?
VINCENT
She’s ODing 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 lookinfor 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 gottget a medical book.
VINCENT
What do you need a medical book for?
LANCE
To tell me how to do it. I’ve nevegiven an adrenaline shot before.
VINCENT
You’ve had that thing for six yearand you never used it?
LANCE
I never had to use it. I don’t gjoypoppin’ with bubble-gummers, alof 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 talkito her.
WE FOLLOW Lance as he runs out of the living room into a…
INT. SPARE ROOM
With a bunch of junk in it. He frantically starts scanninthe junk for the book he’s looking for, repeating the words”Come on,” endlessly.
From OFF SCREEN we hear:
VINCENT (O.S.)
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 (O.S.)
What’s he lookin’ for?
VINCENT (O.S.)
I dunno, some medical book.
Jody calls to LANCE.
JODY (O.S.)
What are you lookin’ for?
LANCE
My black medical book!
As he continues searching, flipping and knocking over shitJody appears in the doorway.
JODY
Whata’re you looking for?
LANCE
My black fuckin’ medical book. It’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, whdidn’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, thagirl’s gonna die on our carpet. You’rnever gonna find it in all this shit. For six months now, I’ve been tellinyou to clean this room –
VINCENT (O.S.)
– get your ass in here, fuck thbook!
Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room.
LIVING ROOM
Vincent is bent over Mia, talking softly to her, when Lancreenters the room.
VINCENT
Quit fuckin’ around man and give hethe shot!
Lance bends down by the black case brought in by Jody. Hopens it and begins preparing the needle for injection.
LANCE
While I’m doing this, take her shiroff 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 givinher an injection in the heart, so I gotta exactly hit her in the heart.
VINCENT
Well, I don’t know exactly where heheart is, I think it’s here.
Vince points to Mia’s right breast. Lance glances over annods.
LANCE
That’s it.
As Lance readies the injection, Vincent looks up at Jody.
VINCENT
I need a big fat magic marker, goone?
JODY
What?
VINCENT
I need a big fat magic marker, anfelt pen’ll do, but a magic markewould be great.
JODY
Hold on.
Jody runs to the desk, opens the top drawer and, in heenthusiasm, she pulls the drawer out of the desk, the contentof 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 tdo.
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 done this before eitherand I ain’t starting now. You brough’er here, that means you give hethe shot. The day I bring an ODinbitch to your place, then I gottgive her the shot.
Jody hurriedly joins them in the huddle, a big fat red magimarker in her hand.
JODY
Got it.
Vincent grabs the magic marker out of Jody’s hand and makea big red dot on Mia’s body where her heart is.
VINCENT
Okay, what do I do?
LANCE
Well, you’re giving her an injectioof adrenaline straight to her heartBut she’s got a breast plate in fronof her heart, so you gotta piercthrough that. So what you gotta dis bring the needle down in a stabbinmotion.
Lance demonstrates a stabbing motion, which looks like “ThShape” killing its victims in “HALLOWEEN”.
VINCENT
I gotta stab her?
LANCE
If you want the needle to piercthrough to her heart, you gotta staher 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 ilike –
(snaps his fingers)
– that.
Vincent lifts the needle up above his head in a stabbinmotion.
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 knowhat to expect.
LANCE
One…
RED DOT on Mia’s body.
Needle raised ready to strike.
LANCE (O.S.)
…two…
Jody’s face is alive with anticipation.
NEEDLE in that air, poised like a rattler ready to strike.
LANCE (O.S.)
…three!
The needle leaves frame, THRUSTING down hard.
Vincent brings the needle down hard, STABBING Mia in thchest.
Mia’s head is JOLTED from the impact.
The syringe plunger is pushed down, PUMPING the adrenalinout through the needle.
Mia’s eyes POP WIDE OPEN and she lets out a HELLISH cry othe banshee. She BOLTS UP in a sitting position, needle stucin her chest — SCREAMING.
Vincent, Lance and Jody, who were in sitting positions ifront of Mia, JUMP BACK, scared to death.
Mia’s scream runs out. She slowly starts taking breaths oair.
The other three, now scooted halfway across the room, shaketo 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 relatively normal voice.
MIA
Something.
Vincent and Lance collapse on their backs, exhausted anshaking from how close to death Mia came.
JODY
Anybody want a beer?
CUT TO:
INT. VINCENT’S MALIBU (MOVING) — NIGHT
Vincent is behind the wheel driving Mia home. No one sayanything, both are still too shaken.
EXT. FRONT OF MARSELLUS WALLACE’S HOUSE — NIGHT
The Malibu pulls up to the front. Mia gets out without sayina word (still in a daze) and begins walking down the walkwatoward her front door.
VINCENT (O.S.)
Mia!
She turns around.
Vincent’s out of the car, standing on the walkway, a bidistance between the two.
VINCENT
What are your thoughts on how thandle this?
MIA
What’s yours?
VINCENT
Well I’m of the opinion that Marsellucan live his whole live and neveever hear of this incident.
Mia smiles.
MIA
Don’t worry about it. If Marselluever heard of this, I’d be in amuch 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 tshake 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 homand 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 littltoo petrified to laugh.
MIA
Uh-huh. You won’t laugh because it’not funny. But if you still wannhear it, I’ll tell it.
VINCENT
I can’t wait.
MIA
Three tomatoes are walking down thstreet, a poppa tomato, a mommtomato, and a little baby tomatoThe baby tomato is lagging behinthe poppa and momma tomato. The popptomato gets mad, goes over to thmomma 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.
CLOSEUP — VINCENT
After Mia walks inside. Vincent continues to look at whershe was. He brings his hands to his lips and blows her kiss. Then exits FRAME leaving it empty. WE HEAR his MalibSTART UP and DRIVE AWAY.
FADE TO BLACK
FADE UP On the cartoon “SPEED RACER.” Speed is giving detailed description of all the features on his race ca”The Mac-5,” which he does at the beginning of every episode.
OFF SCREEN we hear a WOMAN’S VOICE… .
WOMAN’S VOICE (O.S.)
Butch.
DISSOLVE TO:
BUTCH’S POV
We’re in the living room of a modest two bedroom house iAlhambra, California, in the year 1972. BUTCH’S MOTHER, 35ishstands in the doorway leading into the living room. Next ther is a man dressed in the uniform of an American Air Forcofficer. The CAMERA is the perspective of a five-year olboy.
MOTHER
Butch, stop watching TV a second. Wgot a special visitor. Now do yoremember when I told you your dadddies in a P.O.W. camp?
BUTCH (O.S.)
Uh-huh.
MOTHER
Well this here is Capt. Koons. Hwas in the P.O.W. camp with Daddy.
CAPT. KOONS steps inside the room toward the little boy anbends down on one knee to bring him even with the boy’eyeline. When Koons speaks, he speaks with a slight Texaaccent.
CAPT. KOONS
Hello, little man. Boy I sure heara bunch about you. See, I was a goofriend of your Daddy’s. We were ithat Hanoi pit of hell over fivyears together. Hopefully, you’lnever have to experience thiyourself, but when two men are in situation like me and your Daddwere, for as long as we were, yotake on certain responsibilities othe other. If it had been me who hanot made it, Major Coolidge would btalkin’ right now to my son Jim. Buthe way it worked out is I’m talkito you, Butch. I got somethin’ foya.
The Captain pulls a gold wrist watch out of his pocket.
CAPT. KOONS
This watch I got here was firspurchased by your great-granddaddyIt was bought during the First WorlWar in a little general store iKnoxville, Tennessee. It was boughby private Doughboy Ernie Coolidgthe day he set sail for Paris. Iwas your great-granddaddy’s war watchmade by the first company to evemake wrist watches. You see, up untithen, people just carried pockewatches. Your great-granddaddy worthat watch every day he was in thwar. Then when he had done his dutyhe went home to your great-grandmother, took the watch off hiwrist and put it in an ol’ coffecan. And in that can it stayed ‘tiyour grandfather Dane Coolidge wacalled upon by his country to goverseas and fight the Germans oncagain. This time they called it WorlWar Two. Your great-granddaddy gavit to your granddad for good luck.
Unfortunately, Dane’s luck wasn’t agood as his old man’s. Your granddawas a Marine and he was killed witall the other Marines at the battlof Wake Island. Your granddad wafacing death and he knew it. None othose boys had any illusions abouever leavin’ that island alive. Sthree days before the Japanese toothe island, your 22-year olgrandfather asked a gunner on an AiForce transport named Winocki, a mahe had never met before in his lifeto deliver to his infant son, who hhad never seen in the flesh, higold watch. Three days later, yougrandfather was dead. But Winockkept his word. After the war waover, he paid a visit to yougrandmother, delivering to your infanfather, his Dad’s gold watch. Thiwatch. This watch was on your Daddy’wrist when he was shot down oveHanoi. He was captured and put in Vietnamese prison camp. Now he kneif the gooks ever saw the watch it’be confiscated. The way your Daddlooked at it, that watch was youbirthright. And he’d be damned iand slopeheads were gonna put theigreasy yella hands on his boy’birthright. So he hid it in the onplace he knew he could hide somethin’His ass. Five long years, he worthis watch up his ass. Then when hdied of dysentery, he gave me thwatch. I hid with uncomfortable hunof metal up my ass for two yearsThen, after seven years, I was senhome to my family. And now, littlman, I give the watch to you.
Capt. Koons hands the watch to Butch. A little hand comeinto FRAME to accept it.
CUT TO:
INT. LOCKER ROOM — NIGHT
The 27-year old Butch Coolidge is dressed in boxing regalitrunks, shoes and gloves. He lies on a table catching a fezzzzzz’s before his big fight. Almost as soon as WE CUT thim, he wakes up with a start. Shaken by the bizarre memoryhe wipes his sweaty face with his boxing glove.
His trainer KLONDIKE, an older fireplug, opens the door little, sticking his head in the room. Pandemonium seems tbe 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. Butchops off the table and, without a word, Klondike helps hion with the robe, which says on the back: “BATTLING BUTCH COOLIDGE”.
The two men head for the door. Klondike opens the door foButch.
As Butch steps into the hallway, the Crowd goes apeshitKlondike closes the door behind him, leaving us in the quietempty locker room.
FADE TO BLACK
TITLE CARD:
“THE GOLD WATCH”
We hear over the black and white title:
SPORTSCASTER #1 (O.S.)
– Well Dan, that had to be thbloodiest and, hands-down, the mosbrutal fight this city has ever seen.
The SOUND of chaos in the b.g.
FADE IN:
EXT. ALLEY (RAINING) — NIGHT
A taxi is parked in a dark alley next to an auditorium. Thsky is PISSIN’ DOWN RAIN. WE SLOWLY DOLLY toward the parkecar. The SOUND of the CAR RADIO can be heard coming froinside.
SPORTSCASTER #1 (O.S.)
…Coolidge was out of there fastethan I’ve ever seen a victoriouboxer vacate the ring. Do you thinhe knew Willis was dead?
SPORTSCASTER #2 (O.S.)
My guess would be yes, Richard. I could see from my position here, thfrenzy in his eyes give way to threalization of what he was doing. I think any man would’ve left the rinthat fast.
DISSOLVE TO:
INT. TAXI (PARKED/RAINING) — NIGHT
Inside the taxi, behind the wheel, is a female cabbie nameESMARELDA VILLALOBOS. A young woman, with Spanish lookssits parked, drinking a steaming hot cup of coffee out of white styrofoam cup.
The Sportscasters continue their coverage.
SPORTSCASTER #1 (O.S.)
Do you feel this ring death tragedwill have an effect on the world oboxing?
SPORTSCASTER #2 (O.S.)
Oh Dan, a tragedy like this can’help but shake the world of boxinto its very foundation. But it’s oparamount importance that during thsad weeks ahead, the eyes of thW.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 ithe alley. She sticks her head out of the car door to see:
EXT. BOXING AUDITORIUM (RAINING) — NIGHT
A window about three stories high opens on the auditorium- side of the alley. A gym bag is tossed out into a garbagdumpster below the window. Then, Butch Coolidge, still dressein boxing trunks, shoes, gloves and yellow robe, LEAPS tthe 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 anthrows it to the ground.
INT. TAXI (PARKED / RAINING) — NIGHT
Butch, soaking wet, naked except for trunks, shoes and glovesHOPS in the backseat, SLAMMING the door.
Esmarelda, staring straight ahead, talks to Butch througthe rearview mirror:
ESMARELDA
(Spanish accent)
Are you the man I was supposed tpick up?
BUTCH
If you’re the cab I called, I’m thguy 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.
EXT. BOXING AUDITORIUM (RAINING) — NIGHT
The cab WHIPS out of the alley, FISH-TAILING on the wepavement in front of the auditorium at a rapid pace.
INT. WILLIS LOCKER ROOM (AUDITORIUM) — NIGHT
Locker room door opens, English Dave fights his way througthe pandemonium which is going on outside in the hallshutting the door on the madness. Once inside, English Davtakes time to adjust his suit and tie. Mia is standing bthe door. She sees Vincent with English Dave.
VINCENT
Mia. How you doin’?
MIA
Great. I never thanked you for thdinner.
In the room, black boxer FLOYD RAY WILLIS lies on a table — dead.
His face looks like he went dunking for bees. His TRAINER ion his knees, head on Floyd’s chest, crying over the body.
The huge figure that is Marsellus Wallace stands at the tablehand on the Trainer’s shoulder, lending emotional supportWe 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 (O.S.)
What’cha got?
ENGLISH DAVE
He booked.
MARSELLUS (O.S.)
I’m prepared to scour the earth fothis motherfucker. If Butch goes tIndo China, I want a nigger hidiin a bowl of rice, ready to pop cap in his ass.
ENGLISH DAVE
I’ll take care of it.
INT. CAB (MOVING / RAINING) — NIGHT
Butch gets one of his boxing gloves off.
Esmeralda watches in the rearview mirror.
He tries to roll down one of the backseat windows, but can’find the roll bar.
BUTCH
Hey, how do I open the window bachere?
ESMARELDA
I have to do it.
She presses a button and the back window moves down. Butctosses his boxing glove out the window, then starts untyinthe other one.
Esmeralda can’t keep quiet anymore.
ESMARELDA
Hey, mister?
BUTCH
(still working on thglove)
What?
ESMARELDA
You were in that fight? The fight othe 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’rhim, tell me you’re him.
BUTCH
(drying himself wita 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 t-shirt.
ESMARELDA
What does it feel like?
BUTCH
(finds his shirt)
What does what feel like?
ESMARELDA
Killing a man. Beating another mato 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 mucinterest in. You are the first persoI ever met who has killed somebodySo, what was it like to kill a man?
BUTCH
Tell ya what, you give me one othem cigarettes, I’ll give you aanswer.
Esmarelda bounces in her seat with excitement.
ESMARELDA
Deal!
Butch leans forward. Esmarelda, keeping her eyes on the roadpasses a cigarette back to him. He takes it. Then, still nolooking behind her, she brings up her hand, a lit match iit.
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 thaMexican?
ESMARELDA
The name is Spanish, but I’Columbian.
BUTCH
It’s a very pretty name.
ESMARELDA
It mean “Esmarelda of the wolves.”
BUTCH
That’s one hell of a name you gothere, 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’mean shit. Anyway, moving right alongwhat is it you wanna know, Esmarelda?
ESMARELDA
I want to know what it feels like tkill a man –
BUTCH
– I couldn’t tell ya. I didn’t knohe was dead ’til you told me he wadead. Now I know he’s dead, do yowanna know how I feel about it?
Esmarelda nods her head: “yes.”
BUTCH
I don’t feel the least little bibad.
EXT. PHONE BOOTH (RAINING) — NIGHT
We DOLLY around a phone booth as Butch talks inside.
BUTCH
(into phone)
What’d I tell ya, soon as the worgot out a fix was in, the odds woulbe outta control. Hey, if he was better fighter he’s be alive. If hnever laced up his gloves in thfirst place, which he never shoulddone, he’d be alive. Enough abouthe poor unfortunate Mr. Floyd, let’talk about the rich and prosperouMr. Butch. How many bookies yospread it around with?
(PAUSE)
Eight? How long to collect?
(pause)
So by tomorrow evening, you’ll havit all?
(pause)
Good news Scotty, real good news — I understand a few stragglers asideMe an’ Fabienne’re gonna leave ithe morning. It should take us couple days to get into KnoxvilleNext time we see each other, it’lbe on Tennessee time.
Butch hangs up the phone. He looks at the cab waiting ttake him wherever he wants to go.
BUTCH
(to himself in Frencwith English subtitles)
Fabienne my love, our adventurbegins.
CUT TO:
EXT. MOTEL (STOPPED / RAINING) — NIGHT
Esmeralda’s taxi pulled into the motel parking lot. The raihas stopped, but the night is still soaked. Butch gets outnow fully dressed in tee-shirt, jeans and high school athletijacket. He leans in the driver’s side window.
ESMARELDA
Forty-five sixty.
Handing her the money.
BUTCH
Merci beaucoup. And here’s a littlsomething for the effort.
Butch holds up a hundred dollar bill.
Esmarelda’s eyes light up. She goes to take it. Butch holdit out of reach.
BUTCH
Now if anybody should ask you abouwho your fare was tonight, what’ryou gonna tell ’em?
ESMARELDA
The truth. Three well-dressedslightly 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 awayShe drives off.
INT. MOTEL (ROOM SIX) — NIGHT
Butch enters and turns on the light.
Lying curled up on the bed, fully dressed, with her back tus is Butch’s French girlfriend, FABIENNE.
FABIENNE
Keep the light off.
Butch flicks the switch back, making the room dark again.
BUTCH
Is that better, sugar pop?
FABIENNE
Oui. Hard day at the office?
BUTCH
Pretty hard. I got into a fight.
FABIENNE
Poor baby. Can we make spoons?
Butch climbs into bed, spooning Fabienne from behind.
When Butch and Fabienne speak to each other, they speak ibabytalk.
FABIENNE
I was looking at myself in the mirror.
BUTCH
Uh-huh?
FABIENNE
I wish I had a pot.
BUTCH
You were lookin’ in the mirror anyou wish you had some pot?
FABIENNE
A pot. A pot belly. Pot bellies arsexy.
BUTCH
Well you should be happy, ’cause yodo.
FABIENNE
Shut up, Fatso! I don’t have a poI have a bit of a tummy, like Madonnwhen she did “Lucky Star,” it’s nothe same thing.
BUTCH
I didn’t realize there was difference between a tummy and a pobelly.
FABIENNE
The difference is huge.
BUTCH
You want me to have a pot?
FABIENNE
No. Pot bellies make a man look eitheoafish, or like a gorilla. But on woman, a pot belly is very sexy. Threst of you is normal. Normal facenormal legs, normal hips, normaass, but with a big, perfectly rounpot belly. If I had one, I’d wear tee-shirt two sizes too small taccentuate it.
BUTCH
You think guys would find thaattractive?
FABIENNE
I don’t give a damn what men finattractive. It’s unfortunate what wfind pleasing to the touch anpleasing to the eye is seldom thsame.
BUTCH
If you a pot belly, I’d punch you iit.
FABIENNE
You’d punch me in my belly?
BUTCH
Right in the belly.
FABIENNE
I’d smother you. I’d drop it on youright on your face ’til you couldn’breathe.
BUTCH
You’d do that to me?
FABIENNE
Yes!
BUTCH
Did you get everything, sugar pop?
FABIENNE
Yes, I did.
BUTCH
Good job.
FABIENNE
Did everything go as planned?
BUTCH
You didn’t listen to the radio?
FABIENNE
I never listen to your fights. Weryou the winner?
BUTCH
I won alright.
FABIENNE
Are you still retiring?
BUTCH
Sure am.
FABIENNE
What about the man you fought?
BUTCH
Floyd retired too.
FABIENNE
(smiling)
Really?! He won’t be fighting nmore?!
BUTCH
Not no more.
FABIENNE
So it all worked out in the finish?
BUTCH
We ain’t at the finish, baby.
Fabienne rolls over and Butch gets on top of her. They kiss.
FABIENNE
We’re in a lot of danger, aren’t we?
Butch nods his head: “yes.”
FABIENNE
If they find us, they’ll kill uswon’t they?
Butch nods his head: “yes.”
FABIENNE
But they won’t find us, will they?
Butch nods his head: “no.”
FABIENNE
Do you still want me to go with you?
Butch nods his head: “yes.”
FABIENNE
I don’t want to be a burden or nuisance –
Butch’s hand goes out of frame and starts massaging hecrotch.
Fabienne reacts.
FABIENNE
Say it!
BUTCH
Fabienne, I want you to be with me.
FABIENNE
Forever?
BUTCH
…and ever.
Fabienne lies her head back.
Butch continues to massage her crotch.
FABIENNE
Do you love me?
BUTCH
Oui.
FABIENNE
Butch? Will you give me oral pleasure?
Butch kisses her on the mouth.
BUTCH
Will you kiss it?
She nods her head: “yes.”
FABIENNE
But you first.
Butch’s head goes down out of frame to carry out the orapleasure. Fabienne’s face is alone in the frame.
FABIENNE
(in French, witEnglish subtitles)
Butch my love, the adventure begins.
FADE TO BLACK
FADE UP:
MOTEL ROOM
Same motel room, except empty. WE HEAR THE SHOWER RUNNING ithe bathroom. The CAMERA MOVES to the bathroom doorway. Wsee Fabienne in a white terry cloth robe that seems to swalloher up.
She’s drying her head with a towel. Butch is inside the showewashing up. We see the outline of his naked body through thsmoky glass of the shower door. Steam fills the bathroomButch turns the shower off and opens the door, popping hihead out.
BUTCH
I think I cracked a rib.
FABIENNE
Giving me oral pleasure?
BUTCH
No retard, from the fight.
FABIENNE
Don’t call me retard.
BUTCH
(in a Mongoloid voice)
My name is Fabby! My name is Fabby!
FABIENNE
Shut up fuck head! I hate thaMongoloid voice.
BUTCH
Okay, sorry, sorry, sorry, I take iback! Can I have a towel pleaseMiss Beautiful Tulip.
FABIENNE
Oh I like that, I like being callea tulip. Tulip is much better thaMongoloid.
She finishes drying her hair and wraps the towel like a turbaon her head.
BUTCH
I didn’t call you a Mongoloid, I
called you a retard, but I took iback.
She hands him a towel.
BUTCH
Merci beaucoup.
FABIENNE
Butch?
BUTCH
(drying his head)
Yes, lemon pie.
FABIENNE
Where are we going to go?
BUTCH
I’m not sure yet. Wherever you wantWe’re gonna get a lot of money frothis. But it ain’t gonna be so muchwe can live like hogs in the fahouse forever. I was thinking wcould go somewhere in the SoutPacific. The kinda money we’ll have’lcarry us a long way down there.
FABIENNE
So if we wanted, we could live iBora Bora?
BUTCH
You betcha. And if after awhile yodon’t dig Bora Bora, then we camove over to Tahiti or Mexico.
FABIENNE
But I do not speak Spanish.
BUTCH
You don’t speak Bora Boran either. Besides, Mexican is easy: Donde estel zapataria?
FABIENNE
What does that mean?
BUTCH
Where’s the shoe store?
FABIENNE
Donde esta el zapataria?
BUTCH
Excellent pronunciation. You’ll bmy little mama ceta in no time.
Butch exits the bathroom. We stay on Fabienne as she brusheher teeth.
Butch keeps on from the other room.
BUTCH (O.S.)
Que hora es?
FABIENNE
Que hora es?
BUTCH (O.S.)
What time is it?
FABIENNE
What time is it?
BUTCH (O.S.)
Time for bed. Sweet dream, jellybean.
Fabienne brushes her teeth. We watch her for a moment otwo, then she remember something.
FABIENNE
Butch.
She walks out of the bathroom to ask Butch a question, onlto find him sound asleep in bed.
She looks at him for a moment.
FABIENNE
Forget it.
She exits frame, going back in the bathroom. WE STAY on thWIDE SHOT of the unconscious Butch in bed.
FADE TO BLACK
FADE UP:
MOTEL ROOM — MORNING
SAME SHOT AS BEFORE, the next morning. We find Butch stilasleep in bed.
Fabienne brushes her teeth half in and half out of thbathroom so she can watch TV at the same time. She stilwears the terry cloth robe from the night before.
ON TV: WILLIAM SMITH and a BUNCH OF HELL’S ANGELS are takinon the entire Vietnamese army in the film “THE LOSERS”.
Butch wakes from his sleep, as if a scary monster was chasinhim.
His start startles Fabienne.
FABIENNE
Merde! You startled me. Did you hava bad dream?
Butch squints down the front of the bed at her, trying tfocus.
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?
FABIENNE
A motorcycle movie, I’m not sure thname.
BUTCH
Are you watchin’ it?
Fabienne enters the room.
FABIENNE
In a way. Why? Would you like for mto switch it off?
BUTCH
Would you please?
She reaches over and turns off the TV.
BUTCH
It’s a little too early in the morninfor explosions and war.
FABIENNE
What was it about?
BUTCH
How should I know, you were the onwatchin’ it.
Fabienne laughs.
FABIENNE
No, imbecile, what was your dreaabout?
BUTCH
Oh, I… don’t remember. It’s reallrare I remember a dream.
FABIENNE
You just woke up from it.
BUTCH
Fabienne, I’m not lying to you, I don’t remember.
FABIENNE
Well, let’s look at the grumpy main the morning. I didn’t say yowere lying, it’s just odd you don’remember your dreams. I alwayremember mine. Did you know you talin your sleep?
BUTCH
I don’t talk in my sleep, do I talin my sleep?
FABIENNE
You did last night.
BUTCH
What did I say?
Laying on top of him.
FABIENNE
I don’t know. I couldn’t understanyou.
She kisses Butch.
FABIENNE
Why don’t you get up and we’ll gesome breakfast at that breakfasplace with the pancakes.
BUTCH
One more kiss and I’ll get up.
Fabienne gives Butch a sweet long kiss.
FABIENNE
Satisfied?
BUTCH
Yep.
FABIENNE
Then get up, lazy bones.
Butch climbs out of bed and starts pulling clothes out othe suitcase that Fabienne brought.
BUTCH
What time is it?
FABIENNE
Almost nine in the morning. Whatime does our train arrive?
BUTCH
Eleven.
FABIENNE
I’m gonna order a big plate oblueberry pancakes with maple syrupeggs over easy, and five sausages.
BUTCH
(surprised at hepotential appetite)
Anything to drink with that?
Butch is finished dressing.
FABIENNE
(referring to hiclothes)
Oh yes, that looks nice. To drink, tall glass or orange juice and black cup of coffee. After that, I’going to have a slice of pie.
As he goes through the suitcase.
BUTCH
Pie for breakfast?
FABIENNE
Any time of the day is a good timfor pie. Blueberry pie to go witthe pancakes. And on top, a thislice of melted cheese –
BUTCH
– where’s my watch?
FABIENNE
It’s there.
BUTCH
No, it’s not. It’s not here.
FABIENNE
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?
Fabienne can hardly speak, she’s never seen Butch this way.
FABIENNE
Uhhh… yes… beside the table drawe–
BUTCH
– on the little kangaroo.
FABIENNE
Yes, it was on your little kangaroo.
BUTCH
Well it’s not here!
FABIENNE
(on the verge of tears)
Well it should be!
BUTCH
Oh it most definitely should be herebut it’s not. So where is it?
Fabienne is crying and scared.
Butch lowers his voice, which only serves to make him mormenacing.
BUTCH
Fabienne, that was my father’s fuckiwatch. You know what my father wenthrough to git me that watch?… I don’t wanna get into it right now..but he went through a lot. Now althis other shit, you coulda set ofire, but I specifically remindeyou not to forget my father’s watchNow think, did you get it?
FABIENNE
I believe so…
BUTCH
You believe so? You either did, oyou didn’t, now which one is it?
FABIENNE
Then I did.
BUTCH
Are you sure?
FABIENNE
(shaking)
No.
Butch freaks out, he punches the air.
Fabienne SCREAMS and backs into a corner, Butch picks up thmotel TV and THROWS IT AGAINST the wall.
Fabienne SCREAMS IN HORROR.
Butch looks toward her, suddenly calm.
BUTCH
(to Fabienne)
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 apartmentit’s not your fault. I had you brina bunch of stuff. I reminded yoabout it, but I didn’t illustrathow personal the watch was to me. Iall I gave a fuck about was my watchI should’ve told you. You ain’t mind reader.
He kisses her hand. Then rises.
Fabienne is still sniffling.
Butch goes to the closet.
FABIENNE
I’m sorry.
Butch puts on his high school jacket.
BUTCH
Don’t be. It just means I won’t bable to eat breakfast with you.
FABIENNE
Why does it mean that?
BUTCH
Because I’m going back to my apartmento get my watch.
FABIENNE
Won’t the gangsters be looking foyou there?
BUTCH
That’s what I’m gonna find out. Ithey are, and I don’t think I cahandle it, I’ll split.
Rising from the floor.
FABIENNE
I was so dreadful. I saw your watchI thought I brought it. I’m so sorry.
Butch brings her close and puts his hands on her face.
BUTCH
Don’t feel bad, sugar pop. Nothinyou could ever do would make mpermanently angry at you.
(pause)
I love you, remember?
(he digs some moneout of his wallet)
Now here’s some money, order thospancakes and have a great breakfast.
FABIENNE
Don’t go.
BUTCH
I’ll be back before you can sayblueberry pie.
FABIENNE
Blueberry pie.
BUTCH
Well maybe not that fast, but fastOkay? Okay?
FABIENNE
Okay.
He kisses her once more and heads for the door.
BUTCH
Bye-bye, sugar pop.
FABIENNE
Bye.
BUTCH
I’m gonna take your Honda.
FABIENNE
Okay.
And with that, he’s out the door.
Fabienne sits on the bed and looks at the money he gave her.
INT. HONDA (MOVING) — DAY
Butch is beating the steering wheel and the dash with hifists as he drives down the street.
BUTCH
Of all the fuckin’ things she couldforgot, she forgets my father’s watchI specifically reminded her not tforget it. “Bedside table — on thkangaroo.” I said the words: “Don’forget my father’s watch.”
EXT. CITY STREET — DAY
The little Honda races toward its destination as fast as ilittle engine will take it.
CUT TO:
A parking meter red flag rises up, then out, leaving tharrow pointing at one hour.
EXT. RESIDENTIAL STREET CORNER — DAY
Butch isn’t completely reckless. He has parked his car couple of blocks from his apartment to check things out beforhe goes boppin’ through the front door.
EXT. ALLEY — DAY
Butch walks down the alley until he gets to another streetthen he discreetly glances out.
EXT. STREET — BUTCH’S APARTMENT — DAY
Everything seems normal. More or less the right number ocars in the street. None of the parked cars appear out oplace. None of them have a couple of goons sitting inside. Basically, it looks like normal morning activity in front oButch’s home.
Butch peers around a wall, taking in the vital information.
Butch walks out of the alley and is ready for anything. Hcrosses the street and enters his apartment courtyard.
Across the street from Butch’s building, on the corner, is combination donut shop and Japanese restaurant. A big sigsticks up in the air, with the name “Teriyaki Donut” and graphic of a donut sticking out of a bowl of rice.
EXT. BUTCH’S APARTMENT COURTYARD — DAY
Butch is in the courtyard of his North Hollywood apartmenbuilding. Once again, everything appears normal — the laundrroom, the pool, his apartment door — nothing appeardisturbed.
Butch climbs the stairs leading to his apartment, number 12He steps outside the door and listens inside. Nothing.
Butch slowly inserts the key into the door, quietly openinit.
INT. BUTCH’S APARTMENT — DAY
His apartment hasn’t been touched.
He cautiously steps inside, shuts the door and takes a quiclook around. Obviously, no one is there.
Butch walks into his modest kitchen, and opens threfrigerator.
He takes out a carton of milk and drinks from it.
With carton in hard, Butch surveys the apartment. Then hgoes to the bedroom.
His bedroom is like the rest of the apartment — neat, cleaand anonymous. The only things personal in his room are few boxing trophies, an Olympic silver medal, a framed issuof “Ring Magazine” with Butch on the cover, and a poster oJerry Quarry and one of George Chuvalo.
Sure enough, there’s the watch just like he said it was: Othe bedside table, hanging on his little kangaroo statue.
He walks through the apartment and back into the kitchen. Hopens a cupboard and takes out a box of Pop Tarts. Puttindown the milk, he opens the box, takes out two Pop Tarts anputs them in the toaster.
Butch glances to his right, his eyes fall on something.
What he sees is a small compact Czech M61 submachine guwith a huge silencer on it, lying on his kitchen counter.
BUTCH
(softly)
Holy shit.
He picks up the intimidating peace of weaponry and examineit.
Then… a toilet FLUSHES.
Butch looks up to the bathroom door, which is parallel tthe kitchen. There is someone behind it.
Like a rabbit caught in a radish patch, Butch freezes, noknowing what to do.
The bathroom door opens and Vincent Vega steps out of thbathroom, tightening his belt. In his hand is the boo”MODESTY BLAISE” by Peter O’Donnell.
Vincent and Butch lock eyes.
Vincent freezes.
Butch doesn’t move, except to point the M61 in Vincent’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 bulletSIMULTANEOUSLY — LIFTING him off his feet, PROPELLING hithrough the air and CRASHING through the glass shower dooat the end of the bathroom.
By the time Butch removes his finger from the trigger, Vincenis annihilated.
Butch stands frozen, amazed at what just happened. His loogoes from the grease spot in the bathroom that was oncVincent, 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.
EXT. APARTMENT COURTYARD — DAY
Butch, not running, but walking very rapidly, crosses thcourtyard…
…comes out of the apartment building, crosses the street…
…goes through the alley…
…and into his car in one STEADICAM SHOT.
EXT. HONDA — DAY
Butch CRANKS the car into gear and drives away. The big widsmile of a survivor breaks across his face.
EXT. APARTMENT BUILDING STREET — DAY
The Honda turns down the alley and slowly cruises by hiapartment building.
INT. HONDA — DAY
Butch looks out the window at his former home.
BUTCH
That’s how you’re gonna beat ’emButch. They keep underestimatiya.
This makes the boxer laugh out loud. As he laughs, he flipa tape in the cassette player. When the MUSIC starts, hSINGS along with it.
He drives by the apartment, but is stopped at the light othe corner across from Teriyaki Donut.
Butch is still chuckling, singing along with the song, as wsee:
THROUGH THE WINDSHIELD
The big man himself, Marsellus Wallace, exit Teriyaki Donutcarrying a box of a dozen donuts and two large styrofoacups of coffee. He steps off the curb, crossing the streein front of Butch’s car. This is the first time we seMarsellus clearly.
Laughing boy stops when he sees the big man directly in fronof him.
When Marsellus is in front of Butch’s car, he casually glanceto 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 questionHe STOMPS on the gas pedal.
The little Honda SLAMS into Marsellus, sending him, the donutand the coffee HITTING the pavement at thirty miles an hour.
Butch CUTS into cross traffic and is BROAD-SIDED by a golCamaro Z-28, BREAKING all the windows in the Honda and sendinit up on the sidewalk.
Butch sits dazed and confused in the crumpled mess of whaat one time was Fabienne’s Honda. Blood flows from hinostrils. The still-functional tape player continues to playA 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’lbe glad to help. He was a drunkemaniac. He hit you and crashed intthat car.
MARSELLUS
(still incoherent)
Who?
GAWKER #2
(pointing at Butch)
Him.
Marsellus follows the Gawker’s finger and sees Butch Coolidgdown the street, looking a shambles.
MARSELLUS
Well, I’ll be damned.
The big man takes out a .45 Automatic and the Gawkers bacaway.
Marsellus starts moving toward Butch.
Butch sees the fierce figure making a wobbly bee-line towarhim.
BUTCH
Sacre bleu.
Marsellus brings up his weapon and FIRES, but he’s so hurtshaky and dazed that his arm goes wild.
He HITS a LOOKY-LOO WOMAN in the hip. She falls to the groundscreaming.
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 sign that reads “MASON-DIXIE PAWNSHOP”.
INT. MASON-DIXIE PAWNSHOP — DAY
MAYNARD, a hillbilly-lookin’ boy, stands behind the counteof his pawnshop when, all of a sudden, chaos in the form oButch RACES into his world.
MAYNARD
Can I help you wit’ somethin’?
BUTCH
Shut up!
Butch quickly takes measure of the situation, than standnext to the door.
MAYNARD
Now you just wait one goddamn minut–
Before Maynard can finish his threat, Marsellus CHARGES inHe doesn’t get past the doorway because Butch LANDS his fisin Marsellus’ face.
The gangster’s feet go out from under him and the big maFALLS FLAT on his back.
Outside, two police cars with their SIRENS BLARING race by.
Butch POUNCES on the fallen body, PUNCHING him twice more ithe face.
Butch takes the gun out of Marsellus’ hand, than grabs aholof his middle finger.
BUTCH
So you like chasing people, huh?
He BREAKS the finger. Marsellus lets out a pain sound. Butcthen places the barrel of the .45 between his eyes, PULLS back the hammer and places his open hand behind the gun tshield the splatter.
BUTCH
Well guess what, big man, you caughme –
MAYNARD (O.S.)
– hold it right there, godammit!
Butch and Marsellus look up at Maynard, who’s brandishing pumpaction shotgun, aimed at the two men.
BUTCH
Look mister, this ain’t any of youbusiness –
MAYNARD
– I’m makin’ it my business! Notoss that gun!
Butch does.
MAYNARD
Now you on top, stand up and come tthe counter.
Butch slowly gets up and moves to the counter. As soon as hgets there, Maynard HAULS OFF, HITTING him hard in the facwith the butt of the shotgun, knocking Butch down and out.
After Butch goes down, Maynard calmly lays the shotgun othe counter and moves to the telephone.
Marsellus Wallace, from his position on the floor, groggilwatches the pawnshop owner dial a number. Maynard waits othe line while the other end rings. Then it picks up.
MAYNARD
Zed? It’s Maynard. The spider juscaught a coupl’a flies.
Marsellus passes out.
FADE TO BLACK
FADE UP:
INT. PAWNSHOP BACK ROOM — DAY
TWO SHOT — BUTCH AND MARSELLUS
They are tied up in two separate chairs. In their mouths artwo S&M-style ball gags (a belt goes around their heads ana little red ball sticks in their mouths). Both men arunconscious.
Maynard steps in with a fire extinguisher and SPRAYS botguys until they’re wide awake and wet as otters. The twprisoners look up at their captors.
Maynard stands in front of them, fire extinguisher in onhand, shotgun in the other, and Marsellus’ .45 sticking ihis belt.
MAYNARD
Nobody kills anybody in my place obusiness except me or Zed.
A BUZZER buzzes.
MAYNARD
That’s Zed.
Without saying another word, Maynard climbs up the stairthat lead to red curtains and goes through them.
WE HEAR, on the other side of the curtains, Maynard let Zeinside the store.
Butch and Marsellus look around the room. The basement othe pawnshop has been converted into a dungeon. After takinin their predicament, Butch and Marsellus look at each otherall traces of hostility gone, replaced by a terror they botshare at what they’ve gotten themselves into.
Maynard and ZED come through the curtains. Zed is an evemore intense version of Maynard, if such a thing is possibleThe two hillbillys are obviously brothers. Where Maynard ia vicious pitbull, Zed is a deadly cobra. Zed walks in anstands in front of the two captives. He inspects them for 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. Thewas fightin’ when they came in. Thione 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 fronof 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 sleepin’.
ZED
Well, I guess you’ll just wake ‘eup 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 leash.
He gives it a rough yank and, from below the floor, riseTHE GIMP.
The Gimp is a man they keep dressed from head to toe in blacleather bondage gear. There are zippers, buckles and studhere and there on the body. On his head is a black leathemask with two eye holes and a zipper (closed) for a mouthThey keep him in a hole in the floor big enough for a largdog.
Zed takes the chair, sits it in front of the two prisonersthen lowers into it. Maynard hands The Gimp’s leash to Zedthen 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, meanyminey, moe… ” just his mouth mouthing the words and hifinger 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 movinleft to right, then it stops.
TWO SHOT — BUTCH AND MARSELLUS
After a beat, THE CAMERA MOVES to the right, zeroing in oMarsellus.
Zed stands up.
ZED
Wanna do it here?
MAYNARD
Naw, drag big boy to Russell’s olroom.
Zed grabs Marsellus’ chair and DRAGS him into Russell’s olroom.
Russell, no doubt, was some other poor bastard that has thmisfortune of stumbling into the Mason-Dixie pawnshopWhatever happened to Russell is known only to Maynard anZed because his old room, a back room in the back of thback room, is empty.
As Marsellus is dragged away, he locks eyes with Butch beforhe 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 othe ceiling.
MAYNARD
Keep an eye on this one.
The Gimp bows its head: “yes.” Maynard disappears intRussell’s old room. There must be a stereo in there becaussuddenly The Judds, singing in harmony, fills the air.
Butch looks at The Gimp. The Gimp giggles from underneatthe mask as if this were the funniest moment in the historof comedy.
From behind the door we hear country MUSIC, struggling, and:
MAYNARD (O.S.)
Whoa, this boy’s got a bit of fighin ’em!
We the HEAR Maynard and Zed beat on Marsellus.
ZED (O.S.)
You wanna fight? You wanna fighGood, I like to fight!
Butch pauses, listens to the voices. Then, in a panichurriedly 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 (O.S.)
That’s it… that’s it boy, you’rgoin’ fine. Oooooooh, just likthat… that’s good.
(grunting faster)
Stay still… stay still goddamn yZed goddammit, git over here anhold ’em!
Butch stops struggling and lifts up on his arms. Then, quiteasily, the padded chair back slides up and off as if iwere 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 hookHe tries to yell, but all that comes out are excited gurgleand grunts.
Butch is out of his chair, quickly dispensing three BOXER’S PUNCHES to its face. The punches knock The Gimp out, makinhim fall to his knees, this HANGING HIMSELF by the leasattached to the hook, Butch removes the ball gag, thesilently makes his way through the red curtains.
INT. PAWNSHOP — DAY
Butch sneaks to the door.
On the counter is a big set of keys with a large Z connecteto the ring. Grabbing them, he’s about to go out when hstops and listens to the hillbilly psychopaths having theiway with Marsellus.
Butch decides for the life of him, he can’t leave anybody ia situation like that. Se he begins rooting around thpawnshop for a weapon to bash those hillbillies’ heads iwith.
He picks up a big destructive-looking hammer, then discardit: Not destructive enough. He picks up a chainsaw, thinkabout it for a moment, then puts it back. Next, a largLouisville slugger he tries on for size. But then he spotwhat he’s been looking for:
A Samurai sword.
It hands in its hand-carved wood sheath from a nail on thwall, next to a neon “DAD’S OLD-FASHIONED ROOT BEER” signButch takes the sword off the wall, removing it from itsheath. It’s a magnificent piece of steel. It seems to glistein the low-wattage light of the pawnshop. Butch touches hithumb to the blade to see if the sword is just for show. Noon your life. It’s as sharp as it gets. This weapon seemmade to order for the Brothers Grimm downstairs. Holding thsword pointed downward, Takakura Kenstyle, he disappearthrough the red curtains to take care of business.
INT. PAWNSHOP BACK ROOM — DAY
Butch quietly sneaks down the stairs leading to the dungeon.
Sodomy and the Judds can still be heard going string behinthe closed door that leads to Russell’s old room.
INT. RUSSELL’S OLD ROOM — DAY
Butch’s hand comes into frame, pushing the door open. Iswings open silently, revealing the rapists, who have switchepositions.
Zed is now bent over Marsellus, who is bent over a woodehorse.
Maynard watches. Both have their backs to Butch.
Maynard faces the CAMERA, grinning, while Butch comes ubehind him with the sword.
Miserable, violated, and looking like a rag doll, Marsellusred ball gag still in mouth, opens his watery eyes to seButch 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 acrosthe front, moving past him, eyes and blade now locked oZed.
Maynard stands trembling, his front sliced open, in shock.
Butch, while never taking his eyes off Zed, THRUSTS the sworbehind him, SKEWERING Maynard, then EXTRACTS it, pointinthe blade toward Zed. Maynard COLLAPSES.
Zed disengages from Marsellus in a hurry and his eyes gfrom the tip of Butch’s sword to Marsellus’ .45 Automaticwhich 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 (O.S.)
Step aside, Butch.
Butch steps aside, REVEALING Marsellus standing behind himholding 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 thused shotgun shell.
Butch lowers the sword and hangs back. Not a word, until:
BUTCH
You okay?
MARSELLUS
Naw man. I’m pretty fuckin’ far frookay!
Long pause.
BUTCH
What now?
MARSELLUS
What now? Well let me tell you whanow. I’m gonna call a couple pipe-hittin’ niggers, who’ll go to woron homes here with a pair of plierand a blow torch.
(to Zed)
Hear me talkin’ hillbilly boy?! I ain’t through with you by a damsight. I’m gonna git Medieval oyour ass.
BUTCH
I meant what now, between me anyou?
MARSELLUS
Oh, that what now? Well, let me telya what now between me an’ you. Theris 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 telnobody about this. This shit’s betweeme and you and the soon-to-be-livin’- the-rest-of-his-short-ass-life-in- agonizing-pain, Mr. Rapist here. Iain’t nobody else’s business. Two: leave town. Tonight. Right now. Anwhen you’re gone, stay gone. You’vlost 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. Gottbit of a situation.
EXT. MASON-DIXIE PAWNSHOP — DAY
Butch, still shaking in his boots, exits the pawnshop. Hlooks ahead and sees, parked in front of the establishmentZed’s Big Chrome Chopper with a teardrop gas tank that hathe name “GRACE” on it. He climbs aboard, takes out the keywith the big Z on them and starts up the huge hog. It RUMBLES to life, making sounds like a rocket fighting for orbitButch twists the accelerator handle and SPEEDS off.
WE CUT BACK AND FORTH BETWEEN…
INT. BUTCH AND FABIENNE’S HOTEL ROOM — DAY
Fabienne stands in front of a mirror wearing a “Frankie saysRelax” tee-shirt, singing along with MUSIC coming from BOOM BOX.
EXT. CITY STREET — CHOPPER (MOVING) — DAY
Butch drives down the street, humping a hot hog named “GRACE.” He checks his father’s watch. It says: 10:30.
The SONG in the motel room PLAYS OVER this.
EXT. MOTEL ROOM — DAY
Butch rides up on Grace. He hops off and runs inside thmotel room, while we stay outside with the bike.
FABIENNE (O.S.)
Butch, I was so worried!
BUTCH
Honey, grab your radio and your pursand let’s go!
FABIENNE (O.S.)
But what about all our bags?
BUTCH
Fuck the bags. We’ll miss our traiif we don’t split now.
FABIENNE (O.S.)
Is everything well? Are we in danger?
BUTCH
We’re cool. In fact, we’re super- cool. But we gots to go. I’ll waifor you outside.
Butch runs out and hops back on the bike. Fabienne exits thmotel room with the boom box and a large purse. When shsees Butch on the chopper, she stops dead.
FABIENNE
Where did you get this motorcycle?
BUTCH
(he kick-starts it)
It’s a chopper, baby, hop on.
Fabienne slowly approaches the two-wheel demon.
FABIENNE
What happened to my Honda?
BUTCH
Sorry baby, I crashed the Honda.
FABIENNE
You’re hurt?
BUTCH
I might’ve broke my nose, no biggieHop on.
She doesn’t move.
Butch looks at her.
BUTCH
Honey, we gotta hit the fuckin’ road!
Fabienne starts to cry.
Butch realizes that this is not the way to get her on thbike. He turns off the engine and reaches out, taking hehand.
BUTCH
I’m sorry, baby-love.
FABIENNE
(crying)
You were gone so long, I started tthink dreadful thoughts.
BUTCH
I’m sorry I worried you, sweetie. Everything’s fine. Hey, how wabreakfast?
FABIENNE
(waterworks drying little)
It was good –
BUTCH
– did you get the blueberry pancakes?
FABIENNE
No, they didn’t have blueberrpancakes, I had to get buttermilk — are you sure you’re okay?
BUTCH
Baby-love, from the moment I lefyou, this has been without a doubthe single weirdest day of my entirlife. Climb on an’ I’ll tell ya abouit.
Fabienne does climb on. Butch STARTS her up.
FABIENNE
Butch, whose motorcycle is this?
BUTCH
It’s a chopper.
FABIENNE
Whose chopper is this?
BUTCH
Zed’s.
FABIENNE
Who’s Zed?
BUTCH
Zed’s dead, baby, Zed’s dead.
And with that, the two lovebirds PEEL AWAY on Grace, as thSONG 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 (O.S.)
You ever read the Bible, Brett?
BRETT (O.S.)
Yes!
JULES (O.S.)
There’s a passage I got memorizedseems appropriate for this situatioEzekiel 25:17. “The path of thrighteous man is beset on all sideby the inequities of the selfish anthe tyranny of evil men…”
FADE UP:
INT. BATHROOM — DAY
We’re in the bathroom of the Hollywood apartment we were iearlier. In fact, we’re there at exactly the same time. Excepthis time, we’re in the bathroom with the FOURTH MAN. ThFourth Man is pacing around the small room, listening harto what’s being said on the other side of the door, tightlCLUTCHING his huge silver .357 Magnum.
JULES (O.S.)
“…blessed is he who, in the namof charity and good will, shepherdethe weak through the valley odarkness. And I will strike dowupon thee with great vengeance anfurious anger those who attempt tpoison and destroy my brothers. Anyou 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 thback wall, gun outstretched in front of him, a look of yellofear on his face, ready to blow in half anybody fool enougto stick their head through that door.
Then he listens to them talk.
VINCENT (O.S.)
Friend of yours?
JULES (O.S.)
Yeah, Marvin-Vincent-Vincent-Marvin.
Waiting for them isn’t the smartest move. Bursting out thdoor and blowing them all away while they’re fuckin’ arounis the way to go.
INT. APARTMENT — DAY
The bathroom door BURSTS OPEN and the Fourth Man CHARGES out, silver Magnum raised, FIRING SIX BOOMING SHOTS from hihand 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 confusiocrosses his face.
TWO SHOT — JULES AND VINCENT
Standing next to each other, unharmed. Amazing as it seemsnone of the Fourth Man’s shots appear to have hit anybodyJules and Vincent exchange looks like, “Are we hit?” They’ras confused at the shooter. After looking at each otherthey 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’bullets who, unlike his, HIT their marks. He drops DEAD.
The two men lower their guns. Jules, obviously shaken, sitdown in a chair. Vincent, after a moment of respect, shrugit off.
Then heads toward Marvin in the corner.
VINCENT
Why the fuck didn’t you tell us abouthat guy in the bathroom? Slip youmind? Forget he was in there with goddamn hand cannon?
JULES
(to himself)
We should be fuckin’ dead right now.
(pause)
Did you see that gun he fired at uIt 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 wasomethin’ else.
Vincent prepares to leave.
VINCENT
Yeah, maybe.
JULES
That was… divine intervention. Yoknow what divine intervention is?
VINCENT
Yeah, I think so. That means Gocame down from Heaven and stoppethe bullets.
JULES
Yeah, man, that’s what is meansThat’s exactly what it means! Gocame down from Heaven and stoppethe bullets.
VINCENT
I think we should be going now.
JULES
Don’t do that! Don’t you fuckin’ dthat! Don’t blow this shit off! What just happened was a fuckin’ miracle!
VINCENT
Chill the fuck out, Jules, this shihappens.
JULES
Wrong, wrong, this shit doesn’t jushappen.
VINCENT
Do you wanna continue this theologicadiscussion in the car, or at thjailhouse with the cops?
JULES
We should be fuckin’ dead now, mfriend! We just witnessed a miracleand I want you to fuckin’ acknowledgit!
VINCENT
Okay man, it was a miracle, can wleave now?
EXT. HOLLYWOOD APARTMENT BUILDING — MORNING
The Chevy Nova PROPELS itself into traffic.
INT. NOVA (MOVING) — MORNING
Jules is behind the wheel,Vincent in the passenger seat anMarvin in the back.
VINCENT
…Ever seen that show “COPS?” I was watchin’ it once and this cowas on it who was talkin’ about thitime he got into this gun fight wita guy in a hallway. He unloads othis guy and he doesn’t hit anythingAnd these guys were in a hallwayIt’s a freak, but it happens.
JULES
If you wanna play blind man, then gwalk with a Shepherd. But me, meyes are wide fuckin’ open.
VINCENT
What the fuck does that mean?
JULES
That’s it for me. For here on inyou 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’through.
VINCENT
While you’re at it, be sure to tel’im why.
JULES
Don’t worry, I will.
VINCENT
I’ll bet ya ten thousand dollars, hlaughs his ass off.
JULES
I don’t give a damn if he does.
Vincent turns to the backseat with the .45 casually in higrip.
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 camdown from Heaven and stopped thbullets?
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 ithe throat.
JULES
Why the fuck did you do that?
VINCENT
I didn’t mean to do it. I said iwas an accident.
JULES
I’ve seen a lot of crazy-ass shit imy time –
VINCENT
– chill out, man, it was an accidentokay? You hit a bump or somethiand the gun went off.
JULES
The car didn’t hit no motherfuckibump!
VINCENT
Look! I didn’t mean to shoot thison-ofa-bitch, the gun just wenoff, don’t ask me how!
JULES
Look at this mess! We’re driviaround on a city street in broadaylight –
VINCENT
– I know, I know, I wasn’t thinkiabout the splatter.
JULES
Well you better be thinkin’ about inow, motherfucker! We gotta get thicar off the road. Cops tend to noticshit like you’re driving a cadrenched in fuckin’ blood.
VINCENT
Can’t we just take it to a friendlplace?
JULES
This is the Valley, Vincent. Marselludon’t got no friendly places in thValley.
VINCENT
Well, don’t look at me, this is youtown, Jules.
Jules takes out a cellular phone and starts punching digits.
VINCENT
Who ya callin’?
JULES
A buddy of mine in Toluca Lake.
VINCENT
Where’s Toluca Lake.
JULES
On the other side of the hill, bBurbank Studios. If Jimmie’s asain’t home, I don’t know what thfuck we’re gonna go. I ain’t got another partners in 818.
(into phone)
Jimmie! How you doin’ man, it’s Jules.
(pause)
Listen up man, me an’ my homeboy arin some serious shit. We’re in a cawe gotta get off the road, pronto! I need to use your garage for a couplhours.
INT. JIMMIE’S BATHROOM — DAY
Jules is bent over a sink, washing his bloody hands whilVincent stands behind him.
JULES
We gotta be real fuckin’ delicatwith this Jimmie’s situation. He’one remark away from kickin’ ouasses out the door.
VINCENT
If he kicks us out, whadda we do?
JULES
Well, we ain’t leavin’ ’til we mada couple phone calls. But I nevewant it to reach that pitch. Jimmie’my friend and you don’t bust in youfriend’s house and start tellin’ ‘iwhat’s what.
Jules rises and dries his hands. Vincent takes his place athe sink.
VINCENT
Just tell ‘im not to be abusive. Hkinda freaked out back there when hsaw Marvin.
JULES
Put yourself in his position. It’eight o’clock in the morning. Hjust woke up, he wasn’t prepared fothis shit. Don’t forget who’s doiwho a favor.
Vincent finishes, then dries his hands on a white towel.
VINCENT
If the price of that favor is I gotttake shit, he can stick his favostraight up his ass.
When Vincent is finished drying his hands, the towel istained with red.
JULES
What the fuck did you just do to hitowel?
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 tget off. Maybe if he had some LavaI coulda done a better job.
JULES
I used the same soap you did anwhen I dried my hands, the towedidn’t look like a fuckin’ Maxipad. Look, fuck it, alright. Whcares? But it’s shit like this that’gonna bring this situation to a boilIf he were to come in here and sethat towel like that… I’m tellin’ you Vincent, you best be cool. ‘Causif I gotta get in to it with Jimmion account of you… Look, I ain’threatenin’ you, I respect you an’ all, just don’t put me in thaposition.
JULES
Jules, you ask me nice like that, nproblem. He’s your friend, you handlhim.
INT. JIMMIE’S KITCHEN — MORNING
Three men are standing in Jimmie’s kitchen, each with a muof coffee. Jules, Vincent and JIMMIE DIMMICK, a young man ihis late 20s dressed in a bathrobe.
JULES
Goddamn Jimmie, this is some seriougourmet shit. Me an’ Vincent wouldbeen satisfied with freeze-drieTasters Choice. You spring thigourmet fuckin’ shit on us. Whaflavor is this?
JIMMIE
Knock it off, Julie.
JULES
What?
JIMMIE
I’m not a cobb or corn, so you castop butterin’ me up. I don’t neeyou to tell me how good my coffeis. I’m the one who buys it, I knohow fuckin’ good it is. When Bonnigoes shoppin;, she buys shit. I buthe gourmet expensive stuff ‘causwhen I drink it, I wanna taste itBut what’s on my mind at this momenisn’t the coffee in my kitchen, it’the dead nigger in my garage.
JULES
Jimmie –
JIMMIE
– I’m talkin’. Now let me ask you question, Jules. When you drove ihere, did you notice a sign out fronthat said, “Dead nigger storage?”
Jules starts to “Jimmie” him –
JIMMIE
– answer to question. Did you see sign out in front of my house thasaid, “Dead nigger storage?”
JULES
(playing along)
Naw man, I didn’t.
JIMMIE
You know why you didn’t see thasign?
JULES
Why?
JIMMIE
‘Cause storin’ dead niggers ain’t mfuckin’ business!
Jules starts to “Jimmie” him.
JIMMIE
– I ain’t through! Now don’t younderstand that if Bonnie comes homand finds a dead body in her houseI’m gonna get divorced. No marriagcounselor, no trial separation — fuckin’ divorced. And I don’t wannget fuckin’ divorced. The last timme an’ Bonnie talked about this shiwas gonna be the last time me an’ Bonnie talked about this shit. Now I wanna help ya out Julie, I realldo. But I ain’t gonna lose my wifdoin’ 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 mforget I love my wife. Now she’workin’ the graveyard shift at thhospital. She’ll be comin’ home iless than an hour and a half. Makyour phone calls, talk to your peoplethan get the fuck out of my house.
JULES
That’s all we want. We don’t wannfuck up your shit. We just need tcall our people to bring us in.
JIMMIE
Then I suggest you get to it. Phone’in my bedroom.
INT. MARSELLUS WALLACE’S DINING ROOM — MORNING
Marsellus Wallace sits at his dining table in a big comfrobe, eating his large breakfast, while talking on the phone.
MARSELLUS
…well, say she comes home. Whaddythink she’ll do?
(pause)
No fuckin’ shit she’ll freak. Thaain’t no kinda answer. You know ‘erI don’t. How bad, a lot or a little?
INT. JIMMIE’S BEDROOM — MORNING
Jules paces around in Jimmie’s bedroom on the phone.
JULES
You got to appreciate what aexplosive element this Bonnisituation is. If she comes home froa hard day’s work and finds a buncof gangsters doin’ a bunch of gangsta’ shit in her kitchen, ain’t no tellin’ what she’s apt to do.
MARSELLUS
I’ve grasped that, Jules. All I’doin’ is contemplating the “ifs.”
JULES
I don’t wanna hear about nmotherfuckin’ “ifs.”What I wannhear from your ass is: “you ain’got no problems, Jules. I’m on thmotherfucker. Go back in there, chilthem niggers out and wait for thcavalry, which should be comidirectly.”
MARSELLUS
You ain’t got no problems, JulesI’m on the motherfucker. Go back ithere, chill them niggers out anwait for The Wolf, who should bcomin’ directly.
JULES
You sendin’ The Wolf?
MARSELLUS
Feel better?
JULES
Shit Negro, that’s all you had tsay.
INT. HOTEL SUITE — MORNING
The CAMERA looks through the bedroom doorway of a hotel suitinto the main area. We SEE a crap game being played on fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES ifancy evening gowns. The CAMERA PANS to the right revealinSitting on a bed, phone in hand with his back to us, thtuxedo-clad WINSTON WOLF aka “THE WOLF”. We also see ThWolf 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 heaBloody 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’about thirty minutes away. I’ll bthere 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:
EXT. JIMMIE’S STREET — MORNING
A silver Porsche WHIPS the corner leading to Jimmie’s homein HYPER DRIVE. Easily doing 135 mph, the Porsche stops on dime in front of Jimmie’s house.
A ringed finger touches the doorbell: DING DONG.
INT. JIMMIE’S HOUSE — MORNING
Jimmie opens the door. We see, standing in the doorway, thtuxedo-clad man. He looks down to his notebook, then up aJimmie.
THE WOLF
You’re Jimmie, right? This is youhouse?
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.
In the dining room, Jules and Vincent stand up.
THE WOLF
You must be Jules, which would makyou Vincent. Let’s get down to brastacks, gentlemen. If I was informecorrectly, the clock is ticking, ithat right, Jimmie?
JIMMIE
100%.
THE WOLF
Your wife, Bonnie…
(refers to his pad)
…comes home at 9:30 in the AM, ithat correct?
JIMMIE
Uh-huh.
THE WOLF
I was led to believe if she comehome and finds us here, she wouldn’appreciate it none too much.
JIMMIE
She won’t at that.
THE WOLF
That gives us forty minutes to gethe fuck outta Dodge, which, if yodo what I say when I say it, shoulby plenty. Now you got a corpse in car, minus a head, in a garage. Takme to it.
INT. JIMMIE’S GARAGE — MORNING
The three men hang back as The Wolf examines the car. Hstudies the car in silence, opening the door, looking insidecircling it.
THE WOLF
Jimmie?
JIMMIE
Yes.
THE WOLF
Do me a favor, will ya? Thought I smelled some coffee in there. Woulyou 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 imake a lot of noise, does it smokeis there gas in it, anything?
JULES
Aside from how it looks, the car’cool.
THE WOLF
Positive? Don’t get me out on throad and I find out the brake lightdon’t work.
JULES
Hey man, as far as I know, thmotherfucker’s tip-top.
THE WOLF
Good enough, let’s go back to thkitchen.
INT. KITCHEN — MORNING
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 ththree men the plan of action.
THE WOLF
Okay first thing, you two.
(meaning Jules anVincent)
Take the body, stick it in the trunkNow Jimmie, this looks to be a prettdomesticated house. That would leame to believe that in the garage ounder the sink, you got a bunch ocleansers and cleaners and shit likthat, am I correct?
JIMMIE
Yeah. Exactly. Under the sink.
THE WOLF
Good. What I need you two fellas tdo is take those cleaning productand clean the inside of the car. AnI’m talkin’ fast, fast, fast. Yoneed to go in the backseat, scoop uall those little pieces of brain anskull. Get it out of there. Wipdown the upholstery — now when icomes to upholstery, it don’t neeto be spic and span, you don’t neeto eat off it. Give it a good oncover. What you need to take care oare the really messy parts. The poolof blood that have collected, yogotta soak that shit up. But thwindows are a different story. Theyou really clean. Get the Windex, da good job. Now Jimmie, we need traid your linen closet. I neeblankets, I need comforters, I neequilts, I need bedspreads. The thickethe better, the darker the betterNo whites, can’t use ’em. We need tcamouflage the interior of the carWe’re gonna line the front seat anthe backseat and the floor boardwith quilts and blankets. If a costops us and starts stickin’ his bisnout in the car, the subterfugwon’t last. But at a glance, the cawill appear to be normal. Jimmie — lead the way, boys — get to work.
The Wolf and Jimmie turn, heading for the bedroom, leavinVincent and Jules standing in the kitchen.
VINCENT
(calling after him)
A “please” would be nice.
The Wolf stops and turns around.
THE WOLF
Come again?
VINCENT
I said a “please” would be nice.
The Wolf takes a step toward him.
THE WOLF
Set is straight, Buster. I’m nohere to say “please.”I’m here ttell you want to do. And if self- preservation is an instinct yopossess, you better fuckin’ do iand do it quick. I’m here to help. If my help’s not appreciated, lotsluck gentlemen.
JULES
It ain’t that way, Mr. Wolf. Youhelp is definitely appreciated.
VINCENT
I don’t mean any disrespect. I jusdon’t like people barkin’ orders ame.
THE WOLF
If I’m curt with you, it’s becaustime is a factor. I think fast, I talk fast, and I need you guys tact fast if you want to get out othis. So pretty please, with sugaon top, clean the fuckin’ car.
INT. JIMMIE’S BEDROOM — MORNING
Jimmie’s gathering all the bedspreads, quilts and linen hhas.
The Wolf is on the phone.
THE WOLF
(into phone)
It’s a 1974 Chevy Nova.
(pause)
White.
(pause)
Nothin’, except for the mess inside.
(pause)
About twenty minutes.
(pause)
Nobody who’ll be missed.
(pause)
You’re a good man, Joe. See ya soon.
(he looks at Jimmie)
How we comin’, Jimmie?
Jimmie comes over with a handful of linen.
JIMMIE
Mr. Wolf, you gotta understansomethin’ –
THE WOLF
– Winston, Jimmie — please, Winston.
JIMMIE
You gotta understand somethingWinston. I want to help you guys ouand all, but that’s my best linenIt was a wedding present from mUncle Conrad and Aunt Ginny, anthey ain’t with us anymore –
THE WOLF
– let me ask you a question, if yodon’t mind?
JIMMIE
Sure.
THE WOLF
Were you Uncle Conrad and Aunt Ginnmillionaires?
JIMMIE
No.
THE WOLF
Well, your Uncle Marsellus is. AnI’m positive if Uncle Conrad anAunt Ginny were millionaires, thewould’ve furnished you with a wholbedroom set, which your UnclMarsellus is more than happy to do.
(takes out a roll obills)
I like oak myself, that’s what’s imy bedroom. How ’bout you Jimmieyou an oak man?
JIMMIE
Oak’s nice.
INT. GARAGE — MORNING
Both Jules and Vincent are inside the car cleaning it upVincent is in the front seat washing windows, while Jules iin the backseat, picking up little pieces of skull and gobof brain.
Both are twice as bloody as they were before.
JULES
I will never forgive your ass fothis shit. This is some fucked-urepugnant shit!
VINCENT
Did you ever hear the philosophthat once a man admits he’s wronghe’s immediately forgiven for alwrong-doings?
JULES
Man, get outta my face with thashit! The motherfucker who said thanever had to pick up itty-bitty pieceof skull with his fingers on accounof your dumb ass.
VINCENT
I got a threshold, Jules. I got threshold for the abuse I’ll takeAnd you’re crossin’ it. I’m a raccar and you got me in the red. Redlin7000, that’s where you are. Jusknow, it’s fuckin’ dangerous to bdrivin’ a race car when it’s in thred. It could blow.
JULES
You’re gettin’ ready to blow? I’m mushroom-cloud-layin’ motherfucker! Every time my fingers touch braiI’m “SUPERFLY T.N.T,” I’m the “GUNS OF NAVARONE.” I’m what Jimmie Walkeusta talk about. In fact, what thfuck am I doin’ in the back? You’rthe motherfucker should be on braidetail. We’re tradin’. I’m washin’ windows and you’re pickin’ up thinigger’s skull.
INT. CHEVY NOVA — MORNING
The interior of the car has been cleaned and lined witbedspreads and quilts. Believe it or not, what looked like portable slaughterhouse can actually pass for a non-descripvehicle.
The Wolf circles the car examining it.
Jules and Vincent stand aside, their clothes are literally bloody mess, but they do have a sense of pride in what good job they’ve done.
THE WOLF
Fine job, gentlemen. We may get ouof this yet.
JIMMIE
I can’t believe that’s the same car.
THE WOLF
Well, let’s not start suckin’ eacother’s dicks quite yet. Phase onis complete, clean the car, whicmoves us right along to phase twoclean you two.
EXT. JIMMIE’S BACKYARD — MORNING
Jules and Vincent stand side by side in their black suitscovered in blood, in Jimmie’s backyard. Jimmie holds a plastiHefty trash bag, while The Wolf holds a garden hose with onof those guns nozzles 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 aboufifteen 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 absolutelnecessary?
THE WOLF
You know what you two look like?
VINCENT
What?
THE WOLF
Like a couple of guys who just bleoff somebody’s head. Yes, strippin’ off those bloody rags is absolutelnecessary. Toss the clothes in Jim’garbage bag.
JULES
Now Jimmie, don’t do nothin’ stupilike puttin’ that out in front oyour house for Elmo the garbage mato take away.
THE WOLF
Don’t worry, we’re takin’ it witus. Jim, the soap.
He hands the now-naked men a bar of soap.
THE WOLF
Okay gentlemen, you’re both been tCounty before, I’m sure. Here icomes.
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, spreait around.
The Wolf stops the hose, tossing it on the ground.
THE WOLF
Towel ’em.
Jimmie tosses them each a towel, which they rub furiouslacross their bodies.
THE WOLF
You’re dry enough, give ’em theiclothes.
FADE UP ON:
JULES AND VINCENT In their tee-shirts and swim trunks. Thelook a million miles away from the black-suited, bad-assewe first met.
THE WOLF
Perfect. Perfect. We couldn’t’vplanned this better. You guys loolike… what do they look likeJimmie?
JIMMIE
Dorks. They look like a couple odorks.
The Wolf and Jimmie laugh.
JULES
Ha ha ha. They’re your clothesmotherfucker.
JIMMIE
I guess you just gotta know how twear them.
JULES
Yeah, well, our asses ain’t the experon wearin’ dorky shit that your is.
THE WOLF
C’mon, gentlemen, we’re laughin’ anjokin’ our way into prison. Don’make me beg.
INT. JIMMIE’S GARAGE — MORNING
The garbage bag is tossed in the car trunk on top of MarvinThe Wolf SLAMS is closed.
THE WOLF
Gentlemen, let’s get our rules othe road straight. We’re going to place called Monster Joe’s Truck anTow. Monster Joe and his daughteRaquel are sympathetic to out dilemma. The place is North Hollywood, so few twist and turns aside, we’ll bgoin’ up Hollywood Way. Now I’ldrive the tainted car. Jules, yoride with me. Vincent, you folloin my Porsche. Now if we cross thpath of any John Q. Laws, noboddoes a fuckin’ thing ’til I dsomething.
(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 yokeep your spurs from jingling anjangling?
VINCENT
I’m cool, Mr. Wolf. My gun just wenoff, I dunno how.
THE WOLF
Fair enough.
(he throws Vince hicar keys)
I drive real fuckin’ fast, so keeup. If I get my car back any differenthan I gave it, Monster Joe’s gonnbe disposing of two bodies.
EXT. MONSTER JOE’S TRUCK AND TOW — MORNING
Jules and Vincent wait by Winston’s Porsche.
JULES
We cool?
WINSTON
Like it never happened.
Jules and Vincent bump fists.
WINSTON
Boys, this is Raquel. Someday, althis will be hers.
RAQUEL
(to the boys)
Hi. You know, if they ever do “I SPY: THE MOTION PICTURE,” you guysI’d be great. What’s with thoutfits. You guys going to volleyball game?
Winston laughs, the boys groan.
WINSTON
I’m takin’ m’lady out to breakfastMaybe I can drop you two off. Wherdo you live?
VINCENT
Redondo Beach.
JULES
Inglewood.
Winston grabs Jules’ wrist and pantomimes like he’s in “DEAD ZONE” trance.
WINSTON
(painfully)
It’s your future: I see… a caride.
(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 staoutta 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? RespectYou could lean a lot from those twfine specimens. Respect for one’elders shows character.
RAQUEL
I have character.
WINSTON
Just because you are a charactedoesn’t mean you have character.
RAQUEL
Oh you’re so funny, oh you’re sfunny.
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 sombreakfast. Want to have breakfaswith me?
JULES
Sure.
INT. COFFEE SHOP — MORNING
Jules and Vincent sit at a booth. In front of Vincent is big stack of pancakes and sausages, which he eats with gustoJules, on the other hand, just has a cup of coffee and muffin. He seems far away in thought. The Waitress pours refill for both men,
VINCENT
Thanks a bunch.
(to Jules, who’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 dion swine.
VINCENT
Why not?
JULES
They’re filthy animals. I don’t eafilthy animals.
VINCENT
Sausages taste good. Pork chops tastgood.
JULES
A sewer rat may taste like pumpkipie. I’ll never know ’cause even iit did, I wouldn’t eat the filthmotherfucker. Pigs sleep and root ishit. That’s a filthy animal. I don’wanna eat nothin’ that ain’t goenough sense to disregard its owfeces.
VINCENT
How about dogs? Dogs eat their owfeces.
JULES
I don’t eat dog either.
VINCENT
Yes, but do you consider a dog to ba filthy animal?
JULES
I wouldn’t go so far as to call dog filthy, but they’re definiteldirty. But a dog’s got personalityAnd personality goes a long way.
VINCENT
So by that rationale, if a pig had better personality, he’s cease to ba filthy animal?
JULES
We’d have to be talkin’ ’bout onmotherfuckin’ charmin’ pig. It’have to be the Cary Grant of pigs.
The two men laugh.
VINCENT
Good for you. Lighten up a littleYou 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 witnessea 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 thimpossible possible. And I’m sorrJules, but I don’t think what happenethis morning qualifies.
JULES
Don’t you see, Vince, that shit don’matter. You’re judging this thinthe wrong way. It’s not about whatIt could be God stopped the bulletshe changed Coke into Pepsi, he founmy fuckin’ car keys. You don’t judgshit like this based on merit. Whetheor not what we experienced was aaccording-to-Hoyle miracle iinsignificant. What is significanis I felt God’s touch, God goinvolved.
VINCENT
But why?
JULES
That’s what’s fuckin’ wit’ me! I don’t know why. But I can’t go bacto sleep.
VINCENT
So you’re serious, you’re reallgonna quit?
JULES
The life, most definitely.
Vincent takes a bite of food. Jules takes a sip of coffee Ithe b.g., we see a PATRON call the Waitress.
PATRON
Garcon! Coffee!
We recognize the patron to be Pumpkin from the first scenof Pumpkin and Honey Bunny.
VINCENT
So if you’re quitting the lifewhat’ll you do?
JULES
That’s what I’ve been sitting hercontemplating. First, I’m gonndeliver this case to Marsellus. Thenbasically, 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, meepeople, get in adventures.
VINCENT
How long do you intend to walk thearth?
JULES
Until God puts me where he want mto be.
VINCENT
What if he never does?
JULES
If it takes forever, I’ll waiforever.
VINCENT
So you decided to be a bum?
JULES
I’ll just be Jules, Vincent — nmore, no less.
VINCENT
No Jules, you’re gonna be like thospieces of shit out there who beg fochange. They walk around like a buncof fuckin’ zombies, they sleep igarbage bins, they eat what I throaway, and dogs piss on ’em. They goa word for ’em, they’re called bumsAnd without a job, residence, olegal tender, that’s what you’rgonna be — a fuckin’ bum!
JULES
Look my friend, this is just wherme and you differ –
VINCENT
– what happened was peculiar — ndoubt about it — but it wasn’t wateinto wine.
JULES
All shapes and sizes, Vince.
VINCENT
Stop fuckin’ talkin’ like that!
JULES
If you find my answers frighteningVincent, you should cease askin’ scary questions.
VINCENT
I gotta take a shit. To be continued.
Vincent exits for the restroom.
Jules, alone, takes a mouthful of muffin, then… Pumpkiand Honey Bunny rise with guns raised.
PUMPKIN
Everybody be cool, this is a robbery!
HONEY BUNNY
Any of you fuckin’ pricks move anI’ll execute every one of yomotherfuckers! Got that?!
Jules looks up, not believing what he’s seeing. Under thtable, Jules’ hand goes to his .45 Automatic. He pulls iout, COCKING IT.
PUMPKIN
Customers stay seated, waitresses othe floor.
HONEY BUNNY
Now mean fuckin’ now! Do it or diedo it or fucking die!
Like lightning, Pumpkin moves over to the kitchen. WhilHoney Bunny SCREAMS out threats to the PATRONS, keeping theterrified.
PUMPKIN
You Mexicans in the kitchen, get ouhere! Asta luego!
Three COOKS and two BUSBOYS come out of the kitchen.
PUMPKIN
On the floor or I’ll cook you asscomprende?
They comprende. The portly MANAGER speaks up.
MANAGER
I’m the manager here, there’s nproblem, no problem at all –
Pumpkin heads his way.
PUMPKIN
You’re gonna give me a problem?
He reaches him and sticks the barrel of his gun hard in thManager’s neck.
PUMPKIN
What? You said you’re gonna give ma problem?
MANAGER
No, I’m not. I’m not gonna give yoany problem!
PUMPKIN
I don’t know, Honey Bunny. He looklike the hero type to me!
HONEY BUNNY
Don’t take any chances. Execute him!
The Patrons SCREAM. Jules watches all this silently, hihand tightly gripping the .45 Automatic under the table.
MANAGER
Please don’t! I’m not a hero. I’just a coffee shop manager. Takanything you want.
PUMPKIN
Tell everyone to cooperate and it’lbe all over.
MANAGER
Everybody just be calm and cooperatwith them and this will be all ovesoon!
PUMPKIN
Well done, now git your fuckin’ ason the ground.
INT. COFFEE SHOP BATHROOM — MORNING
Vincent, on the toilet, oblivious to the pandemonium outsidereads his “MODESTY BLAISE” book.
INT. COFFEE SHOP — MORNING
Cash register drawer opens. Pumpkin stuffs the money frothe till in his pocket. Then walks from behind the countewith a trash bag in his hand.
PUMPKIN
Okay people, I’m going to go ‘rounand collect your wallets. Don’t talkjust toss ’em in the bag. We clear?
Pumpkin goes around collecting wallets. Jules sits with hi.45 ready to spit under the table.
Pumpkin sees Jules sitting in his booth, holding his walletbriefcase next to him. Pumpkin crosses to him, his tone morrespectful, him manner more on guard.
PUMPKIN
In the bag.
Jules DROPS his wallet in the bag. Using his gun as a pointerPumpkin 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 samthing.
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 thgun right in the middle of Jules’ face and pulls back thhammer.
PUMPKIN
I didn’t hear you.
JULES
Yes, you did.
This exchange has been kind of quiet, not everybody hearit, but Honey Bunny senses something’s wrong.
HONEY BUNNY
What’s goin’ on?
PUMPKIN
Looks like we got a vigilante in oumidst.
HONEY BUNNY
Shoot ’em in the face!
JULES
I don’t mean to shatter your egobut this ain’t the first time I’vhad gun pointed at me.
PUMPKIN
You don’t open up that case, it’gonna be the last.
MANAGER
(on the ground)
Quit causing problems, you’ll get uall killed! Give ’em what you goand get ’em out of here.
JULES
Keep your fuckin’ mouth closed, faman, this ain’t any of your goddambusiness!
PUMPKIN
I’m countin’ to three, and if youhand ain’t off that case, I’m gonnunload right in your fuckin’ faceClear? One…
PUMPKIN
…two… 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 tPumpkin but not to us. The same light SHINES from the casePumpkin’s expression goes to amazement. Honey Bunny, acrosthe 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 offerinthe case to Pumpkin. Pumpkin, one big smile, bends over tpick up the case.
Like a rattlesnake, Jules’ free hand GRABS the wrist oPumpkin’s gun hand, SLAMMING it on the table. His other hancomes from under the table and STICKS the barrel of his .45 hand under Pumpkin’s chin.
Honey Bunny freaks out, waving her gun in Jules’ direction.
HONEY BUNNY
Let him go! Let him go! I’ll bloyour fuckin’ head off! I’ll kill ya! I’ll kill ya! You’re gonna die, you’rgonna fuckin’ die bad!
JULES
(to Pumpkin)
Tell that bitch to be cool! Saybitch 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, onlat Pumpkin.
JULES
(to Yolanda)
So, we cool Yolanda? We ain’t gonndo anything stupid, are we?
YOLANDA
(crying)
Don’t you hurt him.
JULES
Nobody’s gonna hurt anybody. We’rgonna be like three Fonzies. Anwhat’ 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’rgonna be, we’re gonna be cool.
(to Pumpkin)
Now Ringo, I’m gonna count to threand I want you to let go your guand lay your palms flat on the tableBut 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 bcool. When you yell at me, it makeme nervous. When I get nervous, I get scared. And when motherfuckerget scared, that’s when motherfuckerget accidentally shot.
YOLANDA
(more conversational)
Just know: you hurt him, you die.
JULES
That seems to be the situation. NoI don’t want that and you don’t wanthat and Ringo here don’t want thatSo let’s see what we can do.
(to Ringo)
Now this is the situation. Normallboth of your asses would be dead afuckin’ fried chicken. But yohappened to pull this shit while I’in a transitional period. I don’wanna kill ya, I want to help yaBut I’m afraid I can’t give you thcase. It don’t belong to me. BesidesI went through too much shit thimorning on account of this case tjust hand it over to your ass.
VINCENT (O.S.)
What the fuck’s goin’ on here?
Yolanda WHIPS her gun toward the stranger.
Vincent, by the bathroom, has his gun out, dead-aimed aYolanda.
JULES
It’s cool, Vincent! It’s cool! Don’do a goddamn thing. Yolanda, it’cool baby, nothin’s changed. We’rstill just talkin’.
(to Pumpkin)
Tell her we’re still cool.
PUMPKIN
It’s cool, Honey Bunny, we’re stilcool.
VINCENT
(gun raised)
What the hell’s goin’ on, Jules?
JULES
Nothin’ I can’t handle. I want yoto just hang back and don’t do shiunless 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’rdoing’ great, Ringo’s proud of yoand so am I. It’s almost over.
(to Pumpkin)
Now I want you to go in that bag anfind my wallet.
PUMPKIN
Which one is it?
JULES
It’s the one that says BaMotherfucker on it.
Pumpkin looks in the bag and — sure enough — there’s a wallewith “Bad Motherfucker” embroidered on it.
JULES
That’s my bad motherfucker. Now opeit up and take out the cash. Homuch is there?
PUMPKIN
About fifteen hundred dollars.
JULES
Put it in your pocket, it’s yoursNow with the rest of them walletand the register, that makes this pretty successful little score.
VINCENT
Jules, if you give this nimrod fifteehundred buck, I’m gonna shoot ’em ogeneral principle.
JULES
You ain’t gonna do a goddamn thingnow hang back and shut the fuck upBesides, I ain’t givin’ it to himI’m buyin’ somethin’ for my moneyWanna know what I’m buyin’ Ringo?
PUMPKIN
What?
JULES
Your life. I’m givin’ you that moneso I don’t hafta kill your ass. Yoread the Bible?
PUMPKIN
Not regularly.
JULES
There’s a passage I got memorizedEzekiel 25:17. “The path of thrighteous man is beset on all sideby the inequities of the selfish anthe tyranny of evil men. Blessed ihe who, in the name of charity angood will, shepherds the weak througthe valley of the darkness. For his truly his brother’s keeper anthe finder of lost children. And I will strike down upon thee with greavengeance and furious anger thoswho attempt to poison and destroy mbrothers. And you will know I am thLord when I lay my vengeance upoyou.” I been sayin’ that shit foyears. And if you ever heard it, imeant your ass. I never reallquestioned what it meant. I thoughit was just a coldblooded thing tsay to a motherfucker ‘fore you poppea cap in his ass. But I saw somshit this mornin’ made me think twiceNow I’m thinkin’, it could mean you’rthe evil man. And I’m the righteouman. And Mr. .45 here, he’s thshepherd protecting my righteous asin the valley of darkness. Or icould by you’re the righteous maand I’m the shepherd and it’s thworld that’s evil and selfish. I’like that. But that shit ain’t thtruth. The truth is you’re the weakAnd I’m the tyranny of evil men. BuI’m tryin’. I’m tryin’ real hard tbe a shepherd.
Jules lowers his gun, lying it on the table.
Pumpkin looks at him, to the money in his hand, then tYolanda.
She looks back.
Grabbing the trash bag full of wallets, the two RUN out thdoor.
Jules, who was never risen from his seat the whole timetakes 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 thbriefcase.
Then, to the amazement of the Patrons, the Waitresses, thCooks, the Bus Boys, and the Manager, these two bad-ass dude– wearing UC Santa Cruz and “I’m with Stupid” tee-shirtsswim trunks, thongs and packing .45 Automatics — walk out othe coffee shop together without saying a word.
FADE OUT
THE END