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PULP FICTION By Quentin Tarantino and Roger Avary
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1 "PULP FICTION" 2 3 By 4 5 Quentin Tarantino & Roger Avary 6 7 8 9 PULP [pulp] n. 10 11 1. A soft, moist, shapeless mass or matter. 12 13 2. A magazine or book containing lurid subject matter and 14 being characteristically printed on rough, unfinished paper. 15 16 American Heritage Dictionary: New College Edition 17 18 INT. COFFEE SHOP � MORNING 19 20 A normal Denny's, Spires-like coffee shop in Los Angeles. 21 It's about 9:00 in the morning. While the place isn't jammed, 22 there's a healthy number of people drinking coffee, munching 23 on bacon and eating eggs. 24 25 Two of these people are a YOUNG MAN and a YOUNG WOMAN. The 26 Young Man has a slight working-class English accent and, 27 like his fellow countryman, smokes cigarettes like they're 28 going out of style. 29 30 It is impossible to tell where the Young Woman is from or 31 how old she is; everything she does contradicts something 32 she did. The boy and girl sit in a booth. Their dialogue is 33 to be said in a rapid pace "HIS GIRL FRIDAY" fashion. 34 35 YOUNG MAN 36 No, forget it, it's too risky. I'm 37 through doin' that shit. 38 39 YOUNG WOMAN 40 You always say that, the same thing 41 every time: never again, I'm through, 42 too dangerous. 43 44 YOUNG MAN 45 I know that's what I always say. I'm 46 always right too, but � 47 48 YOUNG WOMAN 49 � but you forget about it in a day 50 or two - 51 52 YOUNG MAN 53 � yeah, well, the days of me 54 forgittin' are over, and the days of 55 me rememberin' have just begun. 56 57 YOUNG WOMAN 58 When you go on like this, you know 59 what you sound like? 60 61 YOUNG MAN 62 I sound like a sensible fucking man, 63 is what I sound like. 64 65 YOUNG WOMAN 66 You sound like a duck. 67 (imitates a duck) 68 Quack, quack, quack, quack, quack, 69 quack, quack... 70 71 YOUNG MAN 72 Well take heart, 'cause you're never 73 gonna hafta hear it again. Because 74 since I'm never gonna do it again, 75 you're never gonna hafta hear me 76 quack about how I'm never gonna do 77 it again. 78 79 YOUNG WOMAN 80 After tonight. 81 82 The boy and girl laugh, their laughter putting a pause in 83 there, back and forth. 84 85 YOUNG MAN 86 (with a smile) 87 Correct. I got all tonight to quack. 88 89 A WAITRESS comes by with a pot of coffee. 90 91 WAITRESS 92 Can I get anybody anymore coffee? 93 94 YOUNG WOMAN 95 Oh yes, thank you. 96 97 The Waitress pours the Young Woman's coffee. The Young Man 98 lights up another cigarette. 99 100 YOUNG MAN 101 I'm doin' fine. 102 103 The Waitress leaves. The Young Man takes a drag off of his 104 smoke. 105 106 The Young Woman pours a ton of cream and sugar into her 107 coffee. 108 109 The Young Man goes right back into it. 110 111 YOUNG MAN 112 I mean the way it is now, you're 113 takin' the same fuckin' risk as when 114 you rob a bank. You take more of a 115 risk. Banks are easier! Federal 116 banks aren't supposed to stop you 117 anyway, during a robbery. They're 118 insured, why should they care? You 119 don't even need a gun in a federal 120 bank. I heard about this guy, walked 121 into a federal bank with a portable 122 phone, handed the phone to the teller, 123 the guy on the other end of the phone 124 said: "We got this guy's little girl, 125 and if you don't give him all your 126 money, we're gonna kill 'er." 127 128 YOUNG WOMAN 129 Did it work? 130 131 YOUNG MAN 132 Fuckin' A it worked, that's what I'm 133 talkin' about! Knucklehead walks in 134 a bank with a telephone, not a pistol, 135 not a shotgun, but a fuckin' phone, 136 cleans the place out, and they don't 137 lift a fuckin' finger. 138 139 YOUNG WOMAN 140 Did they hurt the little girl? 141 142 YOUNG MAN 143 I don't know. There probably never 144 was a little girl � the point of the 145 story isn't the little girl. The 146 point of the story is they robbed 147 the bank with a telephone. 148 149 YOUNG WOMAN 150 You wanna rob banks? 151 152 YOUNG MAN 153 I'm not sayin' I wanna rob banks, 154 I'm just illustrating that if we 155 did, it would be easier than what we 156 been doin'. 157 158 YOUNG WOMAN 159 So you don't want to be a bank robber? 160 161 YOUNG MAN 162 Naw, all those guys are goin' down 163 the same road, either dead or servin' 164 twenty. 165 166 YOUNG WOMAN 167 And no more liquor stores? 168 169 YOUNG MAN 170 What have we been talking about? 171 Yeah, no more-liquor-stores. Besides, 172 it ain't the giggle it usta be. Too 173 many foreigners own liquor stores. 174 Vietnamese, Koreans, they can't 175 fuckin' speak English. You tell 'em: 176 "Empty out the register," and they 177 don't know what it fuckin' means. 178 They make it too personal. We keep 179 on, one of those gook motherfuckers' 180 gonna make us kill 'em. 181 182 YOUNG WOMAN 183 I'm not gonna kill anybody. 184 185 YOUNG MAN 186 I don't wanna kill anybody either. 187 But they'll probably put us in a 188 situation where it's us of them. And 189 if it's not the gooks, it these old 190 Jews who've owned the store for 191 fifteen fuckin' generations. Ya got 192 Grandpa Irving sittin' behind the 193 counter with a fuckin' Magnum. Try 194 walkin' into one of those stores 195 with nothin' but a telephone, see 196 how far it gets you. Fuck it, forget 197 it, we're out of it. 198 199 YOUNG WOMAN 200 Well, what else is there, day jobs? 201 202 YOUNG MAN 203 (laughing) 204 Not this life. 205 206 YOUNG WOMAN 207 Well what then? 208 209 He calls to the Waitress. 210 211 YOUNG MAN 212 Garcon! Coffee! 213 214 Then looks to his girl. 215 216 YOUNG MAN 217 This place. 218 219 The Waitress comes by, pouring him some more. 220 221 WAITRESS 222 (snotty) 223 "Garcon" means boy. 224 225 She splits. 226 227 YOUNG WOMAN 228 Here? It's a coffee shop. 229 230 YOUNG MAN 231 What's wrong with that? People never 232 rob restaurants, why not? Bars, liquor 233 stores, gas stations, you get your 234 head blown off stickin' up one of 235 them. Restaurants, on the other hand, 236 you catch with their pants down. 237 They're not expecting to get robbed, 238 or not as expecting. 239 240 YOUNG WOMAN 241 (taking to idea) 242 I bet in places like this you could 243 cut down on the hero factor. 244 245 YOUNG MAN 246 Correct. Just like banks, these places 247 are insured. The managers don't give 248 a fuck, they're just tryin' to get 249 ya out the door before you start 250 pluggin' diners. Waitresses, forget 251 it, they ain't takin' a bullet for 252 the register. Busboys, some wetback 253 gettin' paid a dollar fifty a hour 254 gonna really give a fuck you're 255 stealin' from the owner. Customers 256 are sittin' there with food in their 257 mouths, they don't know what's goin' 258 on. One minute they're havin' a Denver 259 omelet, next minute somebody's 260 stickin' a gun in their face. 261 262 The Young Woman visibly takes in the idea. The Young Man 263 continues in a low voice. 264 265 YOUNG MAN 266 See, I got the idea last liquor store 267 we stuck up. 'Member all those 268 customers kept comin' in? 269 270 YOUNG WOMAN 271 Yeah. 272 273 YOUNG MAN 274 Then you got the idea to take 275 everybody's wallet. 276 277 YOUNG WOMAN 278 Uh-huh. 279 280 YOUNG MAN 281 That was a good idea. 282 283 YOUNG WOMAN 284 Thanks. 285 286 YOUNG MAN 287 We made more from the wallets then 288 we did the register. 289 290 YOUNG WOMAN 291 Yes we did. 292 293 YOUNG MAN 294 A lot of people go to restaurants. 295 296 YOUNG WOMAN 297 A lot of wallets. 298 299 YOUNG MAN 300 Pretty smart, huh? 301 302 The Young Woman scans the restaurant with this new 303 information. 304 305 She sees all the PATRONS eating, lost in conversations. The 306 tired WAITRESS, taking orders. The BUSBOYS going through the 307 motions, collecting dishes. The MANAGER complaining to the 308 COOK about something. A smiles breaks out on the Young Woman's 309 face. 310 311 YOUNG WOMAN 312 Pretty smart. 313 (into it) 314 I'm ready, let's go, right here, 315 right now. 316 317 YOUNG MAN 318 Remember, same as before, you're 319 crowd control, I handle the employees. 320 321 YOUNG WOMAN 322 Got it. 323 324 They both take out their .32-caliber pistols and lay them on 325 the table. He looks at her and she back at him. 326 327 YOUNG WOMAN 328 I love you, Pumpkin. 329 330 YOUNG MAN 331 I love you, Honey Bunny. 332 333 And with that, Pumpkin and Honey Bunny grab their weapons, 334 stand up and rob the restaurant. Pumpkin's robbery persona 335 is that of the in-control professional. Honey Bunny's is 336 that of the psychopathic, hair-triggered, loose cannon. 337 338 PUMPKIN 339 (yelling to all) 340 Everybody be cool this is a robbery! 341 342 HONEY BUNNY 343 Any of you fuckin' pricks move and 344 I'll execute every one of you 345 motherfuckers! Got that? 346 347 CUT TO: 348 349 CREDIT SEQUENCE: 350 351 "PULP FICTION" 352 353 INT. '74 CHEVY (MOVING) � MORNING 354 355 An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS 356 down a homeless-ridden street in Hollywood. In the front 357 seat are two young fellas � one white, one black � both 358 wearing cheap black suits with thin black ties under long 359 green dusters. Their names are VINCENT VEGA (white) and JULES 360 WINNFIELD (black). Jules is behind the wheel. 361 362 JULES 363 � Okay now, tell me about the hash 364 bars? 365 366 VINCENT 367 What so you want to know? 368 369 JULES 370 Well, hash is legal there, right? 371 372 VINCENT 373 Yeah, it's legal, but is ain't a 374 hundred percent legal. I mean you 375 can't walk into a restaurant, roll a 376 joint, and start puffin' away. You're 377 only supposed to smoke in your home 378 or certain designated places. 379 380 JULES 381 Those are hash bars? 382 383 VINCENT 384 Yeah, it breaks down like this: it's 385 legal to buy it, it's legal to own 386 it and, if you're the proprietor of 387 a hash bar, it's legal to sell it. 388 It's legal to carry it, which doesn't 389 really matter 'cause � get a load of 390 this � if the cops stop you, it's 391 illegal for this to search you. 392 Searching you is a right that the 393 cops in Amsterdam don't have. 394 395 JULES 396 That did it, man � I'm fuckin' goin', 397 that's all there is to it. 398 399 VINCENT 400 You'll dig it the most. But you know 401 what the funniest thing about Europe 402 is? 403 404 JULES 405 What? 406 407 VINCENT 408 It's the little differences. A lotta 409 the same shit we got here, they got 410 there, but there they're a little 411 different. 412 413 JULES 414 Examples? 415 416 VINCENT 417 Well, in Amsterdam, you can buy beer 418 in a movie theatre. And I don't mean 419 in a paper cup either. They give you 420 a glass of beer, like in a bar. In 421 Paris, you can buy beer at 422 MacDonald's. Also, you know what 423 they call a Quarter Pounder with 424 Cheese in Paris? 425 426 JULES 427 They don't call it a Quarter Pounder 428 with Cheese? 429 430 VINCENT 431 No, they got the metric system there, 432 they wouldn't know what the fuck a 433 Quarter Pounder is. 434 435 JULES 436 What'd they call it? 437 438 VINCENT 439 Royale with Cheese. 440 441 JULES 442 (repeating) 443 Royale with Cheese. What'd they call 444 a Big Mac? 445 446 VINCENT 447 Big Mac's a Big Mac, but they call 448 it Le Big Mac. 449 450 JULES 451 Le Big Mac. What do they call a 452 Whopper? 453 454 VINCENT 455 I dunno, I didn't go into a Burger 456 King. But you know what they put on 457 french fries in Holland instead of 458 ketchup? 459 460 JULES 461 What? 462 463 VINCENT 464 Mayonnaise. 465 466 JULES 467 Goddamn! 468 469 VINCENT 470 I seen 'em do it. And I don't mean a 471 little bit on the side of the plate, 472 they fuckin' drown 'em in it. 473 474 JULES 475 Uuccch! 476 477 CUT TO: 478 479 INT. CHEVY (TRUNK) � MORNING 480 481 The trunk of the Chevy OPENS UP, Jules and Vincent reach 482 inside, taking out two .45 Automatics, loading and cocking 483 them. 484 485 JULES 486 We should have shotguns for this 487 kind of deal. 488 489 VINCENT 490 How many up there? 491 492 JULES 493 Three or four. 494 495 VINCENT 496 Counting our guy? 497 498 JULES 499 I'm not sure. 500 501 VINCENT 502 So there could be five guys up there? 503 504 JULES 505 It's possible. 506 507 VINCENT 508 We should have fuckin' shotguns. 509 510 They CLOSE the trunk. 511 512 CUT TO: 513 514 EXT. APARTMENT BUILDING COURTYARD � MORNING 515 516 Vincent and Jules, their long matching overcoats practically 517 dragging on the ground, walk through the courtyard of what 518 looks like a hacienda-style Hollywood apartment building. 519 520 We TRACK alongside. 521 522 VINCENT 523 What's her name? 524 525 JULES 526 Mia. 527 528 VINCENT 529 How did Marsellus and her meet? 530 531 JULES 532 I dunno, however people meet people. 533 She usta be an actress. 534 535 VINCENT 536 She ever do anything I woulda saw? 537 538 JULES 539 I think her biggest deal was she 540 starred in a pilot. 541 542 VINCENT 543 What's a pilot? 544 545 JULES 546 Well, you know the shows on TV? 547 548 VINCENT 549 I don't watch TV. 550 551 JULES 552 Yes, but you're aware that there's 553 an invention called television, and 554 on that invention they show shows? 555 556 VINCENT 557 Yeah. 558 559 JULES 560 Well, the way they pick the shows on 561 TV is they make one show, and that 562 show's called a pilot. And they show 563 that one show to the people who pick 564 the shows, and on the strength of 565 that one show, they decide if they 566 want to make more shows. Some get 567 accepted and become TV programs, and 568 some don't, and become nothing. She 569 starred in one of the ones that became 570 nothing. 571 572 They enter the apartment building. 573 574 INT. RECEPTION AREA (APARTMENT BUILDING) � MORNING 575 576 Vincent and Jules walk through the reception area and wait 577 for the elevator. 578 579 JULES 580 You remember Antwan Rockamora? Half- 581 black, half-Samoan, usta call him 582 Tony Rocky Horror. 583 584 VINCENT 585 Yeah maybe, fat right? 586 587 JULES 588 I wouldn't go so far as to call the 589 brother fat. He's got a weight 590 problem. What's the nigger gonna 591 do, he's Samoan. 592 593 VINCENT 594 I think I know who you mean, what 595 about him? 596 597 JULES 598 Well, Marsellus fucked his ass up 599 good. And word around the campfire, 600 it was on account of Marsellus 601 Wallace's wife. 602 603 The elevator arrives, the men step inside. 604 605 INT. ELEVATOR � MORNING 606 607 VINCENT 608 What'd he do, fuck her? 609 610 JULES 611 No no no no no no no, nothin' that 612 bad. 613 614 VINCENT 615 Well what then? 616 617 JULES 618 He gave her a foot massage. 619 620 VINCENT 621 A foot massage? 622 623 Jules nods his head: "Yes." 624 625 VINCENT 626 That's all? 627 628 Jules nods his head: "Yes." 629 630 VINCENT 631 What did Marsellus do? 632 633 JULES 634 Sent a couple of guys over to his 635 place. They took him out on the 636 patio of his apartment, threw his 637 ass over the balcony. Nigger fell 638 four stories. They had this garden 639 at the bottom, enclosed in glass, 640 like one of them greenhouses � nigger 641 fell through that. Since then, he's 642 kinda developed a speech impediment. 643 644 The elevator doors open, Jules and Vincent exit. 645 646 VINCENT 647 That's a damn shame. 648 649 INT. APARTMENT BUILDING HALLWAY � MORNING 650 651 STEADICAM in front of Jules and Vincent as they make a beeline 652 down the hall. 653 654 VINCENT 655 Still I hafta say, play with matches, 656 ya get burned. 657 658 JULES 659 Whaddya mean? 660 661 VINCENT 662 You don't be givin' Marsellus 663 Wallace's new bride a foot massage. 664 665 JULES 666 You don't think he overreacted? 667 668 VINCENT 669 Antwan probably didn't expect 670 Marsellus to react like he did, but 671 he had to expect a reaction. 672 673 JULES 674 It was a foot massage, a foot massage 675 is nothing, I give my mother a foot 676 massage. 677 678 VINCENT 679 It's laying hands on Marsellus 680 Wallace's new wife in a familiar 681 way. Is it as bad as eatin' her out 682 � no, but you're in the same fuckin' 683 ballpark. 684 685 Jules stops Vincent. 686 687 JULES 688 Whoa... whoa... whoa... stop right 689 there. Eatin' a bitch out, and givin' 690 a bitch a foot massage ain't even 691 the same fuckin' thing. 692 693 VINCENT 694 Not the same thing, the same ballpark. 695 696 JULES 697 It ain't no ballpark either. Look 698 maybe your method of massage differs 699 from mine, but touchin' his lady's 700 feet, and stickin' your tongue in 701 her holyiest of holyies, ain't the 702 same ballpark, ain't the same league, 703 ain't even the same fuckin' sport. 704 Foot massages don't mean shit. 705 706 VINCENT 707 Have you ever given a foot massage? 708 709 JULES 710 Don't be tellin' me about foot 711 massages � I'm the foot fuckin' 712 master. 713 714 VINCENT 715 Given a lot of 'em? 716 717 JULES 718 Shit yeah. I got my technique down 719 man, I don't tickle or nothin'. 720 721 VINCENT 722 Have you ever given a guy a foot 723 massage? 724 725 Jules looks at him a long moment � he's been set up. 726 727 JULES 728 Fuck you. 729 730 He starts walking down the hall. Vincent, smiling, walks a 731 little bit behind. 732 733 VINCENT 734 How many? 735 736 JULES 737 Fuck you. 738 739 VINCENT 740 Would you give me a foot massage � 741 I'm kinda tired. 742 743 JULES 744 Man, you best back off, I'm gittin' 745 pissed � this is the door. 746 747 The two men stand in front of the door numbered "49." They 748 whisper. 749 750 JULES 751 What time is it? 752 753 VINCENT 754 (checking his watch) 755 Seven-twenty-two in the morning. 756 757 JULES 758 It ain't quite time, let's hang back. 759 760 They move a little away from the door, facing each other, 761 still whispering. 762 763 JULES 764 Look, just because I wouldn't give 765 no man a foot massage, don't make it 766 right for Marsellus to throw Antwan 767 off a building into a glass- 768 motherfuckin-house, fuckin' up the 769 way the nigger talks. That ain't 770 right, man. Motherfucker do that to 771 me, he better paralyze my ass, 'cause 772 I'd kill'a motherfucker. 773 774 VINCENT 775 I'm not sayin' he was right, but 776 you're sayin' a foot massage don't 777 mean nothing, and I'm sayin' it does. 778 I've given a million ladies a million 779 foot massages and they all meant 780 somethin'. We act like they don't, 781 but they do. That's what's so fuckin' 782 cool about 'em. This sensual thing's 783 goin' on that nobody's talkin about, 784 but you know it and she knows it, 785 fuckin' Marsellus knew it, and Antwan 786 shoulda known fuckin' better. That's 787 his fuckin' wife, man. He ain't gonna 788 have a sense of humor about that 789 shit. 790 791 JULES 792 That's an interesting point, but 793 let's get into character. 794 795 VINCENT 796 What's her name again? 797 798 JULES 799 Mia. Why you so interested in big 800 man's wife? 801 802 VINCENT 803 Well, Marsellus is leavin' for Florida 804 and when he's gone, he wants me to 805 take care of Mia. 806 807 JULES 808 Take care of her? 809 810 Making a gun out of his finger and placing it to his head. 811 812 VINCENT 813 Not that! Take her out. Show her a 814 good time. Don't let her get lonely. 815 816 JULES 817 You're gonna be takin' Mia Wallace 818 out on a date? 819 820 VINCENT 821 It ain't a date. It's like when you 822 and your buddy's wife go to a movie 823 or somethin'. It's just... you know... 824 good company. 825 826 Jules just looks at him. 827 828 VINCENT 829 It's not a date. 830 831 Jules just looks at him. 832 833 INT. APARTMENT (ROOM 49) � MORNING 834 835 THREE YOUNG GUYS, obviously in over their heads, sit at a 836 table with hamburgers, french fries and soda pops laid out. 837 838 One of them flips the LOUD BOLT on the door, opening it to 839 REVEAL Jules and Vincent in the hallway. 840 841 JULES 842 Hey kids. 843 844 The two men stroll inside. 845 846 The three young caught-off-guard Guys are: 847 848 MARVIN, the black young man, who open the door, will, as the 849 scene progresses, back into the corner. 850 851 ROGER, a young blond-haired surfer kid with a "Flock of 852 Seagulls" haircut, who has yet to say a word, sits at the 853 table with a big sloppy hamburger in his hand. 854 855 BRETT, a white, preppy-looking sort with a blow-dry haircut. 856 857 Vincent and Jules take in the place, with their hands in 858 their pockets. Jules is the one who does the talking. 859 860 JULES 861 How you boys doin'? 862 863 No answer. 864 865 JULES 866 (to Brett) 867 Am I trippin', or did I just ask you 868 a question. 869 870 BRETT 871 We're doin' okay. 872 873 As Jules and Brett talk, Vincent moves behind the young Guys. 874 875 JULES 876 Do you know who we are? 877 878 Brett shakes his head: "No." 879 880 JULES 881 We're associates of your business 882 partner Marsellus Wallace, you 883 remember your business partner 884 dont'ya? 885 886 No answer. 887 888 JULES 889 (to Brett) 890 Now I'm gonna take a wild guess here: 891 you're Brett, right? 892 893 BRETT 894 I'm Brett. 895 896 JULES 897 I thought so. Well, you remember 898 your business partner Marsellus 899 Wallace, dont'ya Brett? 900 901 BRETT 902 I remember him. 903 904 JULES 905 Good for you. Looks like me and 906 Vincent caught you at breakfast, 907 sorry 'bout that. What'cha eatin'? 908 909 BRETT 910 Hamburgers. 911 912 JULES 913 Hamburgers. The cornerstone of any 914 nutritious breakfast. What kinda 915 hamburgers? 916 917 BRETT 918 Cheeseburgers. 919 920 JULES 921 No, I mean where did you get'em? 922 MacDonald's, Wendy's, Jack-in-the- 923 Box, where? 924 925 BRETT 926 Big Kahuna Burger. 927 928 JULES 929 Big Kahuna Burger. That's that 930 Hawaiian burger joint. I heard they 931 got some tasty burgers. I ain't never 932 had one myself, how are they? 933 934 BRETT 935 They're good. 936 937 JULES 938 Mind if I try one of yours? 939 940 BRETT 941 No. 942 943 JULES 944 Yours is this one, right? 945 946 BRETT 947 Yeah. 948 949 Jules grabs the burger and take a bite of it. 950 951 JULES 952 Uuummmm, that's a tasty burger. 953 (to Vincent) 954 Vince, you ever try a Big Kahuna 955 Burger? 956 957 VINCENT 958 No. 959 960 Jules holds out the Big Kahuna. 961 962 JULES 963 You wanna bite, they're real good. 964 965 VINCENT 966 I ain't hungry. 967 968 JULES 969 Well, if you like hamburgers give 970 'em a try sometime. Me, I can't 971 usually eat 'em 'cause my girlfriend's 972 a vegetarian. Which more or less 973 makes me a vegetarian, but I sure 974 love the taste of a good burger. 975 (to Brett) 976 You know what they call a Quarter 977 Pounder with Cheese in France? 978 979 BRETT 980 No. 981 982 JULES 983 Tell 'em, Vincent. 984 985 VINCENT 986 Royale with Cheese. 987 988 JULES 989 Royale with Cheese, you know why 990 they call it that? 991 992 BRETT 993 Because of the metric system? 994 995 JULES 996 Check out the big brain on Brett. 997 You'a smart motherfucker, that's 998 right. The metric system. 999 (he points to a fast 1000 food drink cup) 1001 What's in this? 1002 1003 BRETT 1004 Sprite. 1005 1006 JULES 1007 Sprite, good, mind if I have some of 1008 your tasty beverage to wash this 1009 down with? 1010 1011 BRETT 1012 Sure. 1013 1014 Jules grabs the cup and takes a sip. 1015 1016 JULES 1017 Uuuuummmm, hit's the spot! 1018 (to Roger) 1019 You, Flock of Seagulls, you know 1020 what we're here for? 1021 1022 Roger nods his head: "Yes." 1023 1024 JULES 1025 Then why don't you tell my boy here 1026 Vince, where you got the shit hid. 1027 1028 MARVIN 1029 It's under the be � 1030 1031 JULES 1032 � I don't remember askin' you a 1033 goddamn thing. 1034 (to Roger) 1035 You were sayin'? 1036 1037 ROGER 1038 It's under the bed. 1039 1040 Vincent moves to the bed, reaches underneath it, pulling out 1041 a black snap briefcase. 1042 1043 VINCENT 1044 Got it. 1045 1046 Vincent flips the two locks, opening the case. We can't see 1047 what's inside, but a small glow emits from the case. Vincent 1048 just stares at it, transfixed. 1049 1050 JULES 1051 We happy? 1052 1053 No answer from the transfixed Vincent. 1054 1055 JULES 1056 Vincent! 1057 1058 Vincent looks up at Jules. 1059 1060 JULES 1061 We happy? 1062 1063 Closing the case. 1064 1065 VINCENT 1066 We're happy. 1067 1068 BRETT 1069 (to Jules) 1070 Look, what's your name? I got his 1071 name's Vincent, but what's yours? 1072 1073 JULES 1074 My name's Pitt, and you ain't talkin' 1075 your ass outta this shit. 1076 1077 BRETT 1078 I just want you to know how sorry we 1079 are about how fucked up things got 1080 between us and Mr. Wallace. When we 1081 entered into this thing, we only had 1082 the best intentions � 1083 1084 As Brett talks, Jules takes out his gun and SHOOTS Roger 1085 three times in the chest, BLOWING him out of his chair. 1086 1087 Vince smiles to himself. Jules has got style. 1088 1089 Brett has just shit his pants. He's not crying or whimpering, 1090 but he's so full of fear, it's as if his body is imploding. 1091 1092 JULES 1093 (to Brett) 1094 Oh, I'm sorry. Did that break your 1095 concentration? I didn't mean to do 1096 that. Please, continue. I believe 1097 you were saying something about "best 1098 intentions." 1099 1100 Brett can't say a word. 1101 1102 JULES 1103 Whatsamatter? Oh, you were through 1104 anyway. Well, let me retort. Would 1105 you describe for me what Marsellus 1106 Wallace looks like? 1107 1108 Brett still can't speak. 1109 1110 Jules SNAPS, SAVAGELY TIPPING the card table over, removing 1111 the only barrier between himself and Brett. Brett now sits 1112 in a lone chair before Jules like a political prisoner in 1113 front of an interrogator. 1114 1115 JULES 1116 What country you from! 1117 1118 BRETT 1119 (petrified) 1120 What? 1121 1122 JULES 1123 "What" ain't no country I know! Do 1124 they speak English in "What?" 1125 1126 BRETT 1127 (near heart attack) 1128 What? 1129 1130 JULES 1131 English-motherfucker-can-you-speak- 1132 it? 1133 1134 BRETT 1135 Yes. 1136 1137 JULES 1138 Then you understand what I'm sayin'? 1139 1140 BRETT 1141 Yes. 1142 1143 JULES 1144 Now describe what Marsellus Wallace 1145 looks like! 1146 1147 BRETT 1148 (out of fear) 1149 What? 1150 1151 Jules takes his .45 and PRESSES the barrel HARD in Brett's 1152 cheek. 1153 1154 JULES 1155 Say "What" again! C'mon, say "What" 1156 again! I dare ya, I double dare ya 1157 motherfucker, say "What" one more 1158 goddamn time! 1159 1160 Brett is regressing on the spot. 1161 1162 JULES 1163 Now describe to me what Marsellus 1164 Wallace looks like! 1165 1166 Brett does his best. 1167 1168 BRETT 1169 Well he's... he's... black � 1170 1171 JULES 1172 � go on! 1173 1174 BRETT 1175 ...and he's... he's... bald � 1176 1177 JULES 1178 � does he look like a bitch?! 1179 1180 BRETT 1181 (without thinking) 1182 What? 1183 1184 Jules' eyes go to Vincent, Vincent smirks, Jules rolls his 1185 eyes and SHOOT Brett in the shoulder. 1186 1187 Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in 1188 the chair. 1189 1190 JULES 1191 Does-he-look-like-a-bitch?! 1192 1193 BRETT 1194 (in agony) 1195 No. 1196 1197 JULES 1198 Then why did you try to fuck 'im 1199 like a bitch?! 1200 1201 BRETT 1202 (in spasm) 1203 I didn't. 1204 1205 Now in a lower voice. 1206 1207 JULES 1208 Yes ya did Brett. Ya tried ta fuck 1209 'im. You ever read the Bible, Brett? 1210 1211 BRETT 1212 (in spasm) 1213 Yes. 1214 1215 JULES 1216 There's a passage I got memorized, 1217 seems appropriate for this situation: 1218 Ezekiel 25:17. "The path of the 1219 righteous man is beset on all sides 1220 by the inequities of the selfish and 1221 the tyranny of evil men. Blessed is 1222 he who, in the name of charity and 1223 good will, shepherds the weak through 1224 the valley of darkness, for he is 1225 truly his brother's keeper and the 1226 finder of lost children. And I will 1227 strike down upon thee with great 1228 vengeance and furious anger those 1229 who attempt to poison and destroy my 1230 brothers. And you will know my name 1231 is the Lord when I lay my vengeance 1232 upon you." 1233 1234 The two men EMPTY their guns at the same time on the sitting 1235 Brett. 1236 1237 AGAINST BLACK, TITLE CARD: 1238 1239 "VINCENT VEGA AND MARSELLUS WALLACE'S WIFE" 1240 1241 FADE IN: 1242 1243 MEDIUM SHOT � BUTCH COOLIDGE 1244 1245 We FADE UP on BUTCH COOLIDGE, a white, 26-year-old 1246 prizefighter. Butch sits at a table wearing a red and blue 1247 high school athletic jacket. Talking to him OFF SCREEN is 1248 everybody's boss MARSELLUS WALLACE. The black man sounds 1249 like a cross between a gangster and a king. 1250 1251 MARSELLUS (O.S.) 1252 I think you're gonna find � when all 1253 this shit is over and done � I think 1254 you're gonna find yourself one smilin' 1255 motherfucker. Thing is Butch, right 1256 now you got ability. But painful as 1257 it may be, ability don't last. Now 1258 that's a hard motherfuckin' fact of 1259 life, but it's a fact of life your 1260 ass is gonna hafta git realistic 1261 about. This business is filled to 1262 the brim with unrealistic 1263 motherfuckers who thought their ass 1264 aged like wine. Besides, even if 1265 you went all the way, what would you 1266 be? Feather-weight champion of the 1267 world. Who gives a shit? I doubt you 1268 can even get a credit card based on 1269 that. 1270 1271 A hand lays an envelope full of money on the table in front 1272 of Butch. Butch picks it up. 1273 1274 MARSELLUS (O.S.) 1275 Now the night of the fight, you may 1276 fell a slight sting, that's pride 1277 fuckin' wit ya. Fuck pride! Pride 1278 only hurts, it never helps. Fight 1279 through that shit. 'Cause a year 1280 from now, when you're kickin' it in 1281 the Caribbean you're gonna say, 1282 "Marsellus Wallace was right." 1283 1284 BUTCH 1285 I got no problem with that. 1286 1287 MARSELLUS (O.S.) 1288 In the fifth, your ass goes down. 1289 1290 Butch nods his head: "yes." 1291 1292 MARSELLUS (O.S.) 1293 Say it! 1294 1295 BUTCH 1296 In the fifth, my ass goes down. 1297 1298 CUT TO: 1299 1300 INT. CAR (MOVING) � DAY 1301 1302 Vincent Vega looks really cool behind the wheel of a 1964 1303 cherry red Chevy Malibu convertible. From the car radio, 1304 ROCKABILLY MUSIC PLAYS. The b.g. is a COLORFUL PROCESS SHOT. 1305 1306 EXT. SALLY LEROY'S � DAY 1307 1308 Sally LeRoy's is a large topless bar by LAX that Marsellus 1309 owns. 1310 1311 Vincent's classic Malibu WHIPS into the near empty parking 1312 lot and parks next to a white Honda Civic. 1313 1314 Vince knocks on the door. The front entrance is unlocked, 1315 revealing the Dapper Dan fellow on the inside: ENGLISH DAVE. 1316 Dave isn't really English, he's a young black man from Baldwin 1317 Park, who has run a few clubs for Marsellus, including Sally 1318 LeRoy's. 1319 1320 ENGLISH DAVE 1321 Vincent Vega, our man in Amsterdam, 1322 git your ass on in here. 1323 1324 Vincent, carrying the black briefcase from the scene between 1325 Vincent and Jules, steps inside. English Dave SLAMS the door 1326 in our faces. 1327 1328 INT. SALLY LEROY'S � DAY 1329 1330 The spacious club is empty this time of day. English Dave 1331 crosses to the bar, and Vince follows. 1332 1333 VINCENT 1334 Where's the big man? 1335 1336 ENGLISH DAVE 1337 He's over there, finishing up some 1338 business. 1339 1340 VINCENT'S POV: Butch shakes hands with a huge figure with 1341 his back to us. The huge figure is the infamous and as of 1342 yet still UNSEEN Marsellus. 1343 1344 ENGLISH DAVE (O.S.) 1345 Hang back for a second or two, and 1346 when you see the white boy leave, go 1347 on over. In the meanwhile, can I 1348 make you an espresso? 1349 1350 VINCENT 1351 How 'bout a cup of just plain lo' 1352 American? 1353 1354 ENGLISH DAVE 1355 Comin' up. I hear you're taking Mia 1356 out tomorrow? 1357 1358 VINCENT 1359 At Marsellus' request. 1360 1361 ENGLISH DAVE 1362 Have you met Mia? 1363 1364 VINCENT 1365 Not yet. 1366 1367 English Dave smiles to himself. 1368 1369 VINCENT 1370 What's so funny? 1371 1372 ENGLISH DAVE 1373 Not a goddamn thing. 1374 1375 VINCENT 1376 Look, I'm not a idiot. She's the big 1377 man's fuckin' wife. I'm gonna sit 1378 across a table, chew my food with my 1379 mouth closed, laugh at her jokes and 1380 that's all I'm gonna do. 1381 1382 English Dave puts Vince's coffee in front of him. 1383 1384 ENGLISH DAVE 1385 My name's Paul, and this is between 1386 y'all. 1387 1388 Butch bellies up to the bar next to Vincent, drinking his 1389 cup of "Plain ol' American." 1390 1391 BUTCH 1392 (to English Dave) 1393 Can I get a pack'a Red Apples? 1394 1395 ENGLISH DAVE 1396 Filters? 1397 1398 BUTCH 1399 Non. 1400 1401 While Butch waits for his smokes, Vincent just sips his 1402 coffee, staring at him. Butch looks over at him. 1403 1404 BUTCH 1405 Lookin' at somethin', friend? 1406 1407 VINCENT 1408 I ain't your friend, palooka. 1409 1410 Butch does a slow turn toward Vincent. 1411 1412 BUTCH 1413 What was that? 1414 1415 VINCENT 1416 I think ya heard me just fine, punchy. 1417 1418 Butch turns his body to Vincent, when... 1419 1420 MARSELLUS (O.S.) 1421 Vincent Vega has entered the building, 1422 git your ass over here! 1423 1424 Vincent walks forward OUT OF FRAME, never giving Butch another 1425 glance. We DOLLY INTO CU on Butch, left alone in the FRAME, 1426 looking like he's ready to go into the manners-teaching 1427 business. 1428 1429 BUTCH'S POV: Vincent hugging and kissing the obscured figure 1430 that is Marsellus. 1431 1432 Butch makes the wise decision that is this asshole's a friend 1433 of Marsellus, he better let it go � for now. 1434 1435 ENGLISH DAVE (O.S.) 1436 Pack of Red Apples, dollar-forty. 1437 1438 Butch is snapped out of his ass-kicking thoughts. He pays 1439 English Dave and walks out of the SHOT. 1440 1441 DISSOLVE TO: 1442 1443 INT. LANCE'S HOUSE (KITCHEN) � NIGHT 1444 1445 CLOSEUP � JODY 1446 1447 A woman who appears to have a fondness for earrings. Both of 1448 her ears are pierced five times. She also sports rings in 1449 her lips, eyebrows and nose. 1450 1451 JODY 1452 ...I'll lend it to you. It's a great 1453 book on body piercing. 1454 1455 Jody, Vincent and a young woman named TRUDI sit at the kitchen 1456 table of a suburban house in Echo Park. Even though Vince is 1457 at the same table, he's not included in the conversation. 1458 1459 TRUDI 1460 You know how they use that gun when 1461 they pierce your ears? They don't 1462 use that when they pierce your 1463 nipples, do they? 1464 1465 JODY 1466 Forget that gun. That gun goes against 1467 the entire idea behind piercing. All 1468 of my piercing, sixteen places on my 1469 body, every one of 'em done with a 1470 needle. Five in each ear. One through 1471 the nipple on my left breast. One 1472 through my right nostril. One through 1473 my left eyebrow. One through my lip. 1474 One in my clit. And I wear a stud in 1475 my tongue. 1476 1477 Vince has been letting this conversation go through one ear 1478 and out the other, until that last remark. 1479 1480 VINCENT 1481 (interrupting) 1482 Excuse me, sorry to interrupt. I'm 1483 curious, why would you get a stud in 1484 your tongue? 1485 1486 Jody looks at him and says as if it were the most obvious 1487 thing in the world. 1488 1489 JODY 1490 It's a sex thing. It helps fellatio. 1491 1492 That thought never occurred to Vincent, but he can't deny it 1493 makes sense. Jody continues talking to Trudi, leaving Vincent 1494 to ponder the truth of her statement. 1495 1496 LANCE (O.S.) 1497 Vince, you can come in now! 1498 1499 INT. LANCE'S BEDROOM � NIGHT 1500 1501 Lance, late 20s, is a young man with a wild and woolly 1502 appearance that goes hand-in-hand with his wild and woolly 1503 personality. LANCE has been selling drugs his entire adult 1504 life. He's never had a day job, never filed a tax return and 1505 has never been arrested. He wears a red flannel shirt over a 1506 "Speed Racer" tee-shirt. 1507 1508 Three bags of heroin lie on Lance's bed. 1509 1510 Lance and Vincent stand at the foot of the bed. 1511 1512 LANCE 1513 Now this is Panda, from Mexico. Very 1514 good stuff. This is Bava, different, 1515 but equally good. And this is Choco 1516 from the Hartz Mountains of Germany. 1517 Now the first two are the same, forty- 1518 five an ounce � those are friend 1519 prices � but this one... 1520 (pointing to the Choco) 1521 ...this one's a little more expensive. 1522 It's fifty-five. But when you shoot 1523 it, you'll know where that extra 1524 money went. Nothing wrong with the 1525 first two. It's real, real, real, 1526 good shit. But this one's a fuckin' 1527 madman. 1528 1529 VINCENT 1530 Remember, I just got back from 1531 Amsterdam. 1532 1533 LANCE 1534 Am I a nigger? Are you in Inglewood? 1535 No. You're in my house. White people 1536 who know the difference between good 1537 shit and bad shit, this is the house 1538 they come to. My shit, I'll take the 1539 Pepsi Challenge with Amsterdam shit 1540 any ol' day of the fuckin' week. 1541 1542 VINCENT 1543 That's a bold statement. 1544 1545 LANCE 1546 This ain't Amsterdam, Vince. This is 1547 a seller's market. Coke is fuckin' 1548 dead as disco. Heroin's comin' back 1549 in a big fuckin' way. It's this whole 1550 seventies retro. Bell bottoms, heroin, 1551 they're as hot as hell. 1552 1553 Vincent takes out a roll of money that would choke a horse 1554 to death. 1555 1556 VINCENT 1557 Give me three hundred worth of the 1558 madman. If it's as good as you say, 1559 I'll be back for a thousand. 1560 1561 LANCE 1562 I just hope I still have it. Whaddya 1563 think of Trudi? She ain't got a 1564 boyfriend, wanna hand out an' get 1565 high? 1566 1567 VINCENT 1568 Which one's Trudi? The one with all 1569 the shit in her face? 1570 1571 LANCE 1572 No, that's Jody. That's my wife. 1573 1574 Vincent and Lance giggle at the "faux pas." 1575 1576 VINCENT 1577 I'm on my way somewhere. I got a 1578 dinner engagement. Rain check? 1579 1580 LANCE 1581 No problem? 1582 1583 Vincent takes out his case of the works (utensils for shooting 1584 up). 1585 1586 VINCENT 1587 You don't mind if I shoot up here? 1588 1589 LANCE 1590 Me casa, su casa. 1591 1592 VINCENT 1593 Mucho gracias. 1594 1595 Vincent takes his works out of his case and, as the two 1596 continue to talk, Vince shoots up. 1597 1598 LANCE 1599 Still got your Malibu? 1600 1601 VINCENT 1602 You know what some fucker did to it 1603 the other day? 1604 1605 LANCE 1606 What? 1607 1608 VINCENT 1609 Fuckin' keyed it. 1610 1611 LANCE 1612 Oh man, that's fucked up. 1613 1614 VINCENT 1615 Tell me about it. I had the goddamn 1616 thing in storage three years. It's 1617 out five fuckin' days � five days, 1618 and some dickless piece of shit fucks 1619 with it. 1620 1621 LANCE 1622 They should be fuckin' killed. No 1623 trial, no jury, straight to execution. 1624 1625 As he cooks his heroin... 1626 1627 VINCENT 1628 I just wish I caught 'em doin' it, 1629 ya know? Oh man, I'd give anything 1630 to catch 'em doin' it. It'a been 1631 worth his doin' it, if I coulda just 1632 caught 'em, you know what I mean? 1633 1634 LANCE 1635 It's chicken shit. You don't fuck 1636 another man's vehicle. 1637 1638 CLOSEUP � THE NEEDLE 1639 1640 Going into Vincent's vein. 1641 1642 CLOSEUP � BLOOD 1643 1644 Spurting back into the syringe, mixing with the heroin. 1645 1646 CLOSEUP � VINCENT'S THUMB 1647 1648 Pushing down on the plunger. 1649 1650 CUT TO: 1651 1652 EXT. MARSELLUS WALLACE'S HOUSE � NIGHT 1653 1654 Vincent walks toward the house and pulls a note off the door 1655 1656 CLOSEUP � NOTE 1657 1658 The Note reads: 1659 1660 "Hi Vincent, I'm getting dressed. The door's open. Come inside 1661 and make yourself a drink. Mia" 1662 1663 MIA (V.O.) 1664 Hi, Vincent. I'm getting dressed. 1665 The door's open. Come inside and 1666 make yourself a drink. 1667 1668 FADE TO WHITE 1669 1670 Music in. 1671 1672 FADE TO: 1673 1674 INT. MARCELLUS' HOUSE / LIVING ROOM � NIGHT 1675 1676 Vincent enters on the background. 1677 1678 VINCENT 1679 Hello? 1680 1681 INT. MARCELLUS' HOUSE / DRESSING ROOM � NIGHT 1682 1683 MIA, Marcellus' beautiful young wife. Video screens are in 1684 the background. Dusty Springfield is singing "SON OF A 1685 PREACHER MAN". 1686 1687 Mia's mouth comes toward a microphone. 1688 1689 MIA 1690 (into microphone) 1691 Vincent. 1692 1693 INT. MARCELLUS' HOUSE / LIVING ROOM � NIGHT 1694 1695 Vincent turns. 1696 1697 MIA 1698 (over intercom) 1699 Vincent. I'm on the intercom. 1700 1701 INT. MARCELLUS' HOUSE / DRESSING ROOM � NIGHT 1702 1703 MIA 1704 (into microphone) 1705 It's on the wall by the two African 1706 fellas. 1707 1708 INT. MARCELLUS' HOUSE / LIVING ROOM � NIGHT 1709 1710 MIA 1711 (over intercom) 1712 To your right. 1713 1714 Vincent walks. 1715 1716 MIA 1717 ...warm. Warmer. Disco. 1718 1719 Vincent finds the intercom on the wall. 1720 1721 VINCENT 1722 Hello. 1723 1724 MIA 1725 (over intercom) 1726 Push the button if you want to talk. 1727 1728 VINCENT 1729 (into intercom) 1730 Hello. 1731 1732 INT. MARCELLUS' HOUSE / DRESSING ROOM � NIGHT 1733 1734 MIA 1735 (into microphone) 1736 Go make yourself a drink., and I'll 1737 be down in two shakes of a lamb's 1738 tail. 1739 1740 INT. MARCELLUS' HOUSE / LIVING ROOM � NIGHT 1741 1742 MIA 1743 (over intercom) 1744 The bar's by the fireplace. 1745 1746 VINCENT 1747 (into intercom) 1748 Okay. 1749 (licks lips) 1750 1751 INT. MARCELLUS' HOUSE / DRESSING ROOM � NIGHT 1752 1753 A video screen with an image of Vincent, walking. The Dusty 1754 Springfield song continues. 1755 1756 Mia turns a knob which controls the movement of the video 1757 camera in Marcellus' living room. 1758 1759 INT. MARCELLUS' HOUSE / LIVING ROOM � NIGHT 1760 1761 Vincent picks up a bottle of scotch. He sniffs the bottle, 1762 and then pours it into a glass. 1763 1764 INT. MARCELLUS' HOUSE / DRESSING ROOM � NIGHT 1765 1766 A razor blade cuts cocaine on a mirror. 1767 1768 INT. MARCELLUS' HOUSE / LIVING ROOM � NIGHT 1769 1770 Vincent drinks a glass of scotch. 1771 1772 INT. MARCELLUS' HOUSE / DRESSING ROOM � NIGHT 1773 1774 Mia sniffs the cocaine. 1775 1776 INT. MARCELLUS' HOUSE / LIVING ROOM � NIGHT 1777 1778 Vincent sips the drink and looks at a portrait of Mia on the 1779 wall. 1780 1781 Mia walks into the room, and takes the needle off a record. 1782 The Dusty Springfield song stops. 1783 1784 MIA 1785 Let's go. 1786 1787 EXT. JACKRABBIT SLIM'S � NIGHT 1788 1789 In the past six years, 50's diners have sprung up all over 1790 L.A., giving Thai restaurants a run for their money. They're 1791 all basically the same. Decor out of an "Archie" comic book, 1792 Golden Oldies constantly emanating from a bubbly Wurlitzer, 1793 saucy waitresses in bobby socks, menus with items like the 1794 Fats Domino Cheeseburger, or the Wolfman Jack Omelet, and 1795 over prices that pay for all this bullshit. 1796 1797 But then there's JACKRABBIT SLIM'S, the big mama of 50's 1798 diners. 1799 1800 Either the best or the worst, depending on your point of 1801 view. 1802 1803 Vincent's Malibu pulls up to the restaurant. A big sign with 1804 a neon figure of a cartoon surly cool cat jackrabbit in a 1805 red windbreaker towers over the establishment. Underneath 1806 the cartoon is the name: JACKRABBIT SLIM'S. Underneath that 1807 is the slogan: "Next best thing to a time machine." 1808 1809 VINCENT 1810 What the fuck is this place? 1811 1812 MIA 1813 This is Jackrabbit Slim's. An Elvis 1814 man should love it. 1815 1816 VINCENT 1817 Come on, Mia, let's go get a steak. 1818 1819 MIA 1820 You can get a steak here, daddy-o. 1821 Don't be a... 1822 1823 Mia draws a square with her hands. Dotted lines appear on 1824 the screen, forming a sqaure. The lines disperse. 1825 1826 VINCENT 1827 After you, kitty-cat. 1828 1829 INT. JACKRABBIT SLIM'S � NIGHT 1830 1831 Compared to the interior, the exterior was that of a quaint 1832 English pub. Posters from 50's A.I.P. movies are all over 1833 the wall 1834 1835 ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF 1836 THE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths that 1837 the patrons sit in are made out of the cut up bodies of 50s 1838 cars. 1839 1840 In the middle of the restaurant in a dance floor. A big sign 1841 on the wall states, "No shoes allowed." Some wannabe beboppers 1842 (actually Melrose-types), do the twist in their socks or 1843 barefeet. 1844 1845 The picture windows don't look out the street, but instead, 1846 B & W movies of 50's street scenes play behind them. The 1847 WAITRESSES and WAITERS are made up as replicas of 50's icons: 1848 MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and 1849 LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing 1850 appropriate costumes. 1851 1852 Vincent and Mia study the menu in a booth made out of a red 1853 '59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting 1854 a big button on his chest that says: "Hi I'm Buddy, pleasing 1855 you please me." 1856 1857 BUDDY 1858 Hi, I'm Buddy, what can I get'cha? 1859 1860 VINCENT 1861 I'll have the Douglas Sirk steak. 1862 1863 BUDDY 1864 How d'ya want it, burnt to a crisp, 1865 or bloody as hell? 1866 1867 VINCENT 1868 Bloody as hell. And to drink, a 1869 vanilla coke. 1870 1871 BUDDY 1872 How 'bout you, Peggy Sue? 1873 1874 MIA 1875 I'll have the Durwood Kirby burger � 1876 bloody � and a five-dollar shake. 1877 1878 BUDDY 1879 How d'ya want that shake, Martin and 1880 Lewis, or Amos and Andy? 1881 1882 MIA 1883 Martin and Lewis. 1884 1885 VINCENT 1886 Did you just order a five-dollar 1887 shake? 1888 1889 MIA 1890 Sure did. 1891 1892 VINCENT 1893 A shake? Milk and ice cream? 1894 1895 MIA 1896 Uh-huh. 1897 1898 VINCENT 1899 It costs five dollars? 1900 1901 BUDDY 1902 Yep. 1903 1904 VINCENT 1905 You don't put bourbon in it or 1906 anything? 1907 1908 BUDDY 1909 Nope. 1910 1911 VINCENT 1912 Just checking. 1913 1914 Buddy exits. 1915 1916 Vincent takes a look around the place. The YUPPIES are 1917 dancing, the DINERS are biting into big, juicy hamburgers, 1918 and the icons are playing their parts. Marilyn is squealing, 1919 The Midget is paging Philip Morris, Donna Reed is making her 1920 customers drink their milk, and Dean and Jerry are acting a 1921 fool. 1922 1923 MIA 1924 Whaddya think? 1925 1926 VINCENT 1927 It's like a wax museum with a pulse 1928 rate. 1929 1930 Vincent takes out his pouch of tobacco and begins rolling 1931 himself a smoke. 1932 1933 After a second of watching him � 1934 1935 MIA 1936 What are you doing? 1937 1938 VINCENT 1939 Rollin' a smoke. 1940 1941 MIA 1942 Here? 1943 1944 VINCENT 1945 It's just tobacco. 1946 1947 MIA 1948 Oh. Well in that case, will you roll 1949 me one, cowboy? 1950 1951 As he finishes licking it � 1952 1953 VINCENT 1954 You can have this one, cowgirl. 1955 1956 He hands her the rolled smoke. She takes it, putting it to 1957 her lips. Out of nowhere appears a Zippo lighter in Vincent's 1958 hand. He lights it. 1959 1960 MIA 1961 Thanks. 1962 1963 VINCENT 1964 Think nothing of it. 1965 1966 He begins rolling one for himself. 1967 1968 As this time, the SOUND of a subway car fills the diner, 1969 making everything SHAKE and RATTLE. Marilyn Monroe runs to a 1970 square vent in the floor. An imaginary subway train BLOWS 1971 the skirt of her white dress around her ears as she lets out 1972 a squeal. The entire restaurant applauds. 1973 1974 Back to Mia and Vincent. 1975 1976 MIA 1977 Marsellus said you just got back 1978 from Amsterdam. 1979 1980 VINCENT 1981 Sure did. I heard you did a pilot. 1982 1983 MIA 1984 That was my fifteen minutes. 1985 1986 VINCENT 1987 What was it? 1988 1989 MIA 1990 It was show about a team of female 1991 secret agents called "Fox Force Five." 1992 1993 VINCENT 1994 What? 1995 1996 MIA 1997 "Fox Force Five." Fox, as in we're a 1998 bunch of foxy chicks. Force, as in 1999 we're a force to be reckoned with. 2000 Five, as in there's one... two ... 2001 three... four... five of us. There 2002 was a blonde one, Sommerset O'Neal 2003 from that show "Baton Rouge," she 2004 was the leader. A Japanese one, a 2005 black one, a French one and a brunette 2006 one, me. We all had special skills. 2007 Sommerset had a photographic memory, 2008 the Japanese fox was a kung fu master, 2009 the black girl was a demolition 2010 expert, the French fox' specialty 2011 was sex... 2012 2013 VINCENT 2014 What was your specialty? 2015 2016 MIA 2017 Knives. The character I played, Raven 2018 McCoy, her background was she was 2019 raised by circus performers. So she 2020 grew up doing a knife act. According 2021 to the show, she was the deadliest 2022 woman in the world with a knife. But 2023 because she grew up in a circus, she 2024 was also something of an acrobat. 2025 She could do illusions, she was a 2026 trapeze artist � when you're keeping 2027 the world safe from evil, you never 2028 know when being a trapeze artist's 2029 gonna come in handy. And she knew a 2030 zillion old jokes her grandfather, 2031 an old vaudevillian, taught her. If 2032 we woulda got picked up, they woulda 2033 worked in a gimmick where every 2034 episode I woulda told and ol joke. 2035 2036 VINCENT 2037 Do you remember any of the jokes? 2038 2039 MIA 2040 Well I only got the chance to say 2041 one, 'cause we only did one show. 2042 2043 VINCENT 2044 Tell me. 2045 2046 MIA 2047 No. It's really corny. 2048 2049 VINCENT 2050 C'mon, don't be that way. 2051 2052 MIA 2053 No. You won't like it and I'll be 2054 embarrassed. 2055 2056 VINCENT 2057 You told it in front of fifty million 2058 people and you can't tell it to me? 2059 I promise I won't laugh. 2060 2061 MIA 2062 (laughing) 2063 That's what I'm afraid of. 2064 2065 VINCENT 2066 That's not what I meant and you know 2067 it. 2068 2069 MIA 2070 You're quite the silver tongue devil, 2071 aren't you? 2072 2073 VINCENT 2074 I meant I wouldn't laugh at you. 2075 2076 MIA 2077 That's not what you said Vince. Well 2078 now I'm definitely not gonna tell 2079 ya, 'cause it's been built up too 2080 much. 2081 2082 VINCENT 2083 What a gyp. 2084 2085 Buddy comes back with the drinks. Mia wraps her lips around 2086 the straw of her shake. 2087 2088 MIA 2089 Yummy! 2090 2091 VINCENT 2092 Can I have a sip of that? I'd like 2093 to know what a five-dollar shake 2094 tastes like. 2095 2096 MIA 2097 Be my guest. 2098 2099 She slides the shake over to him. 2100 2101 MIA 2102 You can use my straw, I don't have 2103 kooties. 2104 2105 Vincent smiles. 2106 2107 VINCENT 2108 Yeah, but maybe I do. 2109 2110 MIA 2111 Kooties I can handle. 2112 2113 He takes a sip. 2114 2115 VINCENT 2116 Goddamn! That's a pretty fuckin' 2117 good milk shake. 2118 2119 MIA 2120 Told ya. 2121 2122 VINCENT 2123 I don't know if it's worth five 2124 dollars, but it's pretty fuckin' 2125 good. 2126 2127 He slides the shake back. 2128 2129 Then the first of an uncomfortable silence happens. 2130 2131 MIA 2132 Don't you hate that? 2133 2134 VINCENT 2135 What? 2136 2137 MIA 2138 Uncomfortable silences. Why do we 2139 feel it's necessary to yak about 2140 bullshit in order to be comfortable? 2141 2142 VINCENT 2143 I don't know. 2144 2145 MIA 2146 That's when you know you found 2147 somebody special. When you can just 2148 shit the fuck up for a minute, and 2149 comfortably share silence. 2150 2151 VINCENT 2152 I don't think we're there yet. But 2153 don't feel bad, we just met each 2154 other. 2155 2156 MIA 2157 Well I'll tell you what, I'll go to 2158 the bathroom and powder my nose, 2159 while you sit here and think of 2160 something to say. 2161 2162 VINCENT 2163 I'll do that. 2164 2165 INT. JACKRABBIT SLIM'S (LADIES ROOM) � NIGHT 2166 2167 Mia powders her nose by doing a big line of coke off the 2168 bathroom sink. Her head jerks up from the rush. 2169 2170 MIA 2171 (imitating Steppenwolf) 2172 I said goddamn! 2173 2174 INT. JACKRABBIT SLIM'S (DINING AREA) � NIGHT 2175 2176 Vincent digs into his Douglas Sirk steak. As he chews, his 2177 eyes scan the Hellsapopinish restaurant. 2178 2179 Mia comes back to the table. 2180 2181 MIA 2182 Don't you love it when you go to the 2183 bathroom and you come back to find 2184 your food waiting for you? 2185 2186 VINCENT 2187 We're lucky we got it at all. Buddy 2188 Holly doesn't seem to be much of a 2189 waiter. We shoulda sat in Marilyn 2190 Monroe's section. 2191 2192 MIA 2193 Which one, there's two Marilyn 2194 Monroes. 2195 2196 VINCENT 2197 No there's not. 2198 2199 Pointing at Marilyn in the white dress serving a table. 2200 2201 VINCENT 2202 That's Marilyn Monroe... 2203 2204 Then, pointing at a BLONDE WAITRESS in a tight sweater and 2205 capri pants, taking an order from a bunch of FILM GEEKS � 2206 2207 VINCENT 2208 ... and that's Mamie Van Doren. I 2209 don't see Jayne Mansfield, so it 2210 must be her night off. 2211 2212 MIA 2213 Pretty smart. 2214 2215 VINCENT 2216 I have moments. 2217 2218 MIA 2219 Did ya think of something to say? 2220 2221 VINCENT 2222 Actually, there's something I've 2223 wanted to ask you about, but you 2224 seem like a nice person, and I didn't 2225 want to offend you. 2226 2227 MIA 2228 Oooohhhh, this doesn't sound like 2229 mindless, boring, getting-to-know- 2230 you chit-chat. This sounds like you 2231 actually have something to say. 2232 2233 VINCENT 2234 Only if you promise not to get 2235 offended. 2236 2237 MIA 2238 You can't promise something like 2239 that. I have no idea what you're 2240 gonna ask. You could ask me what 2241 you're gonna ask me, and my natural 2242 response could be to be offended. 2243 Then, through no fault of my own, I 2244 woulda broken my promise. 2245 2246 VINCENT 2247 Then let's just forget it. 2248 2249 MIA 2250 That is an impossibility. Trying to 2251 forget anything as intriguing as 2252 this would be an exercise in futility. 2253 2254 VINCENT 2255 Is that a fact? 2256 2257 Mia nods her head: "Yes." 2258 2259 MIA 2260 Besides, it's more exciting when you 2261 don't have permission. 2262 2263 VINCENT 2264 What do you think about what happened 2265 to Antwan? 2266 2267 MIA 2268 Who's Antwan? 2269 2270 VINCENT 2271 Tony Rocky Horror. 2272 2273 MIA 2274 He fell out of a window. 2275 2276 VINCENT 2277 That's one way to say it. Another 2278 way is, he was thrown out. Another 2279 was is, he was thrown out by 2280 Marsellus. And even another way is, 2281 he was thrown out of a window by 2282 Marsellus because of you. 2283 2284 MIA 2285 Is that a fact? 2286 2287 VINCENT 2288 No it's not, it's just what I heard. 2289 2290 MIA 2291 Who told you this? 2292 2293 VINCENT 2294 They. 2295 2296 Mia and Vincent smile. 2297 2298 MIA 2299 They talk a lot, don't they? 2300 2301 VINCENT 2302 They certainly do. 2303 2304 MIA 2305 Well don't by shy Vincent, what 2306 exactly did they say? 2307 2308 Vincent is slow to answer. 2309 2310 MIA 2311 Let me help you Bashful, did it 2312 involve the F-word? 2313 2314 VINCENT 2315 No. They just said Rocky Horror gave 2316 you a foot massage. 2317 2318 MIA 2319 And...? 2320 2321 VINCENT 2322 No and, that's it. 2323 2324 MIA 2325 You heard Marsellus threw Rocky Horror 2326 out of a four-story window because 2327 he massaged my feet? 2328 2329 VINCENT 2330 Yeah. 2331 2332 MIA 2333 And you believed that? 2334 2335 VINCENT 2336 At the time I was told, it seemed 2337 reasonable. 2338 2339 MIA 2340 Marsellus throwing Tony out of a 2341 four story window for giving me a 2342 foot massage seemed reasonable? 2343 2344 VINCENT 2345 No, it seemed excessive. But that 2346 doesn't mean it didn't happen. I 2347 heard Marsellus is very protective 2348 of you. 2349 2350 MIA 2351 A husband being protective of his 2352 wife is one thing. A husband almost 2353 killing another man for touching his 2354 wife's feet is something else. 2355 2356 VINCENT 2357 But did it happen? 2358 2359 MIA 2360 The only thing Antwan ever touched 2361 of mine was my hand, when he shook 2362 it. I met Anwan once � at my wedding 2363 � then never again. The truth is, 2364 nobody knows why Marsellus tossed 2365 Tony Rocky Horror out of that window 2366 except Marsellus and Tony Rocky 2367 Horror. But when you scamps get 2368 together, you're worse than a sewing 2369 circle. 2370 2371 CUT TO: 2372 2373 ED SULLIVAN AND MARILYN MONROE STAND ON STAGE 2374 2375 ED SULLIVAN 2376 (into microphone) 2377 Ladies and gentlemen, now the moment 2378 you've all been waiting for, the 2379 worldfamous Jackrabbit Slim's twist 2380 contest. 2381 2382 Patrons cheer. 2383 2384 Ed Sullivan is with Marilyn Monroe, who holds a trophy. 2385 2386 ED SULLIVAN 2387 ...One lucky couple will win this 2388 handsome trophy that Marilyn here is 2389 holding. 2390 2391 Marilyn holds the trophy. 2392 2393 ED SULLIVAN 2394 ...Now, who will be our first 2395 contestants? 2396 2397 Mia holds her hand. 2398 2399 MIA 2400 Right here. 2401 2402 Vincent reacts. 2403 2404 MIA 2405 I wanna dance. 2406 2407 VINCENT 2408 No, no, no no, no, no, no, no. 2409 2410 MIA 2411 (overlapping) 2412 No, no, no, no, no, no, no. I do 2413 believe Marsellus, my husband, your 2414 boss, told you to take me out and do 2415 whatever I wanted, Now, I want to 2416 dance. I want to win. I want that 2417 trophy. 2418 2419 VINCENT 2420 (sighs) 2421 All right. 2422 2423 MIA 2424 So, dance good. 2425 2426 VINCENT 2427 All right, you asked for it. 2428 2429 Vincent and Mia walk onto the dance floor, toward Ed Sullivan. 2430 2431 ED SULLIVAN 2432 (into microphone) 2433 Let's hear it for our first 2434 contestants. 2435 2436 Patrons cheer. 2437 2438 Vincent and Mia walk up to the microphone. 2439 2440 ED SULLIVAN 2441 Now let's meet our first contestants 2442 here this evening. Young lady, what 2443 is your name? 2444 2445 MIA 2446 (into microphone) 2447 Missus Mia Wallace. 2448 2449 ED SULLIVAN 2450 (into microphone) 2451 And, uh, how 'bout your fella here? 2452 2453 MIA 2454 (into microphone) 2455 Vincent Vega. 2456 2457 ED SULLIVAN 2458 (into microphone) 2459 All right, let's see what you can 2460 do. Take it away! 2461 2462 Mia and Vincent dance to Chuck Berry's "YOU NEVER CAN TELL". 2463 They make hand movements as they dance. 2464 2465 INT. MARSELLUS WALLACE'S HOME � NIGHT 2466 2467 The front door FLINGS open, and Mia and Vincent dance tango- 2468 style into the house, singing a cappella the song from the 2469 previous scene. They finish their little dance, laughing. 2470 2471 Then... 2472 2473 The two just stand face to face looking at each other. 2474 2475 VINCENT 2476 Was than an uncomfortable silence? 2477 2478 MIA 2479 I don't know what that was. 2480 (pause) 2481 Music and drinks! 2482 2483 Mia moves away to attend to both. Vincent hangs up his 2484 overcoat on a big bronze coat rack in the alcove. 2485 2486 VINCENT 2487 I'm gonna take a piss. 2488 2489 MIA 2490 That was a little bit more information 2491 than I needed to know, but go right 2492 ahead. 2493 2494 Vincent shuffles off to the john. 2495 2496 Mia moves to her CD player, thumbs through a stack of CDs 2497 and selects one: k.d. lang. The speakers BLAST OUT a high 2498 energy country number, which Mia plays air-guitar to. She 2499 dances her way around the room and finds herself by Vincent's 2500 overcoat hanging on the rack. She touches its sleeve. It 2501 feels good. 2502 2503 Her hand hoes in its pocket and pulls out his tobacco pouch. 2504 Like a little girl playing cowboy, she spreads the tobacco 2505 on some rolling paper. Imitating what he did earlier, licks 2506 the paper and rolls it into a pretty good cigarette. Maybe a 2507 little too fat, but not bad for a first try. Mia thinks so 2508 anyway. Her hand reaches back in the pocket and pulls out 2509 his Zippo lighter. She SLAPS the lighter against her leg, 2510 trying to light it fancy-style like Vince did. What do you 2511 know, she did it! Mia's one happy clam. She triumphantly 2512 brings the fat flame up to her fat smoke, lighting it up, 2513 then LOUDLY SNAPS the Zippo closed. 2514 2515 The Mia-made cigarette is brought up to her lips, and she 2516 takes a long, cool drag. Her hand slides the Zippo back in 2517 the overcoat pocket. But wait, her fingers touch something 2518 else. Those fingers bring out a plastic bag with white powder 2519 inside, the madman that Vincent bought earlier from Lance. 2520 Wearing a big smile, Mia brings the bag of heroin up to her 2521 face. 2522 2523 MIA 2524 (like you would say 2525 Bingo!) 2526 Disco! Vince, you little cola nut, 2527 you've been holding out on me. 2528 2529 CUT TO: 2530 2531 INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) � NIGHT 2532 2533 Vincent stands at the sink, washing his hands, talking to 2534 himself in the mirror. 2535 2536 VINCENT 2537 One drink and leave. Don't be rude, 2538 but drink your drink quickly, say 2539 goodbye, walk out the door, get in 2540 your car, and go down the road. 2541 2542 LIVING ROOM 2543 2544 Mia has the unbeknownst-to-her heroin cut up into big lines 2545 on her glass top coffee table. Taking her trusty hundred 2546 dollar bill like a human Dust-Buster, she quickly snorts the 2547 fat line. 2548 2549 CLOSEUP � MIA 2550 2551 Her head JERKS back. Her hands go to her nose (which feels 2552 like it's on fucking fire), something is terribly wrong. 2553 Then... the rush hits... 2554 2555 BATHROOM 2556 2557 Vincent dries his hands on a towel while he continues his 2558 dialogue with the mirror. 2559 2560 VINCENT 2561 ...It's a moral test of yourself, 2562 whether or not you can maintain 2563 loyalty. Because when people are 2564 loyal to each other, that's very 2565 meaningful. 2566 2567 LIVING ROOM 2568 2569 Mia is on all fours trying to crawl to the bathroom, but 2570 it's like she's trying to crawl with the bones removed from 2571 her knees. Blood begins to drip from Mia's nose. Then her 2572 stomach gets into the act and she VOMITS. 2573 2574 BATHROOM 2575 2576 Vince continues. 2577 2578 VINCENT 2579 So you're gonna go out there, drink 2580 your drink, say "Goodnight, I've had 2581 a very lovely evening," go home, and 2582 jack off. And that's all you're 2583 gonna do. 2584 2585 Now that he's given himself a little pep talk, Vincent's 2586 ready for whatever's waiting for him on the other side of 2587 that door. So he goes through it. 2588 2589 LIVING ROOM 2590 2591 We follow behind Vincent as he walks from the bathroom to 2592 the living room, where he finds Mia lying on the floor like 2593 a rag doll. She's twisted on her back. Blood and puke are 2594 down her front. And her face is contorted. Not out of the 2595 tightness of pain, but just the opposite, the muscles in her 2596 face are so relaxed, she lies still with her mouth wide open. 2597 Slack-jawed. 2598 2599 VINCENT 2600 Jesus Christ! 2601 2602 Vincent moves like greased lightning to Mia's fallen body. 2603 Bending down where she lays, he puts his fingers on her neck 2604 to check her pulse. She slightly stirs. 2605 2606 Mia is aware of Vincent over her, speaking to her. 2607 2608 VINCENT 2609 (sounding weird) 2610 Mia! MIA! What the hell happened? 2611 2612 But she's unable to communicate Mia makes a few lost mumbles, 2613 but they're not distinctive enough to be called words. 2614 2615 Vincent props her eyelids open and sees the story. 2616 2617 VINCENT 2618 (to himself) 2619 I'll be a son-of-a-bitch. 2620 (to Mia) 2621 Mia! MIA! What did you take? Answer 2622 me honey, what did you take? 2623 2624 Mia is incapable of answering. He SLAPS her face hard. 2625 2626 Vincent SPRINGS up and RUNS to his overcoat, hanging on the 2627 rack. 2628 2629 He goes through the pockets FRANTICALLY. It's gone. Vincent 2630 makes a beeline to Mia. We follow. 2631 2632 VINCENT 2633 (yelling to Mia) 2634 Okay honey, we're getting you on 2635 your feet. 2636 2637 He reaches her and hoists the dead weight up in his arms. 2638 2639 VINCENT 2640 We're on our feet now, and now we're 2641 gonna talk out to the car. Here we 2642 go, watch us walk. 2643 2644 We follow behind as he hurriedly walks the practically- 2645 unconscious Mia through the house and out the front door. 2646 2647 EXT. VINCENT'S HOT ROD (MOVING) � NIGHT 2648 2649 INSERT SPEEDOMETER: red needle on a hundred. 2650 2651 Vincent driving like a madman in a town without traffic laws, 2652 speeds the car into turns and up and over hills. 2653 2654 INT.VINCENT'S HOT ROD (MOVING) � NIGHT 2655 2656 Vincent, one hand firmly on the wheel, the other shifting 2657 like Robocop, both eyes staring straight ahead except when 2658 he glances over at Mia. 2659 2660 Mia, slack-jawed expression, mouth gaping, posture of a bag 2661 of water. 2662 2663 Vincent takes a cellular phone out of his pocket. He punches 2664 a number. 2665 2666 INT. LANCE'S HOUSE � NIGHT 2667 2668 At this late hour, LANCE has transformed from a bon vivant 2669 drug dealer to a bathrobe creature. 2670 2671 He sits in a big comfy chair, ratty blue gym pants, a worn- 2672 out but comfortable tee-shirt that has, written on it, "TAFT, 2673 CALIFORNIA", and a moth-ridden terry cloth robe. In his hand 2674 is a bowl of Cap'n Crunch with Crunch Berries. In front of 2675 him on the coffee table is a jug of milk, the box the Cap'n 2676 Crunch with Crunch Berries came out of, and a hash pipe in 2677 an ashtray. 2678 2679 On the big-screen TV in front of the table is the Three 2680 Stooges, and they're getting married. 2681 2682 PREACHER (EMIL SIMKUS) 2683 (on TV) 2684 Hold hands, you love birds. 2685 2686 The phone RINGS. 2687 2688 Lance puts down his cereal and makes his way to the phone. 2689 2690 It RINGS again. 2691 2692 Jody, his wife, CALLS from the bedroom, obviously woken up. 2693 2694 JODY (O.S.) 2695 Lance! The phone's ringing! 2696 2697 LANCE 2698 (calling back) 2699 I can hear it! 2700 2701 JODY (O.S.) 2702 I thought you told those fuckin' 2703 assholes never to call this late! 2704 2705 LANCE 2706 (by the phone) 2707 I told 'em and that's what I'm gonna 2708 tell this fuckin' asshole right now! 2709 (he answers the phone) 2710 Hello, do you know how late it is? 2711 You're not supposed to be callin' me 2712 this fuckin' late. 2713 2714 BACK TO: 2715 2716 VINCENT IN THE MALIBU 2717 2718 Vincent is still driving like a stripe-assed ape, clutching 2719 the phone to his ear. WE CUT BACK AND FORTH during the 2720 conversation. 2721 2722 VINCENT 2723 Lance, this is Vincent, I'm in big 2724 fuckin' trouble man, I'm on my way 2725 to your place. 2726 2727 LANCE 2728 Whoa, hold you horses man, what's 2729 the problem? 2730 2731 VINCENT 2732 You still got an adrenaline shot? 2733 2734 LANCE 2735 (dawning on him) 2736 Maybe. 2737 2738 VINCENT 2739 I need it man, I got a chick she's 2740 fuckin' Doing on me. 2741 2742 LANCE 2743 Don't bring her here! I'm not even 2744 fuckin' joking with you, don't you 2745 be bringing some fucked up pooh-butt 2746 to my house! 2747 2748 VINCENT 2749 No choice. 2750 2751 LANCE 2752 She's ODin'? 2753 2754 VINCENT 2755 Yeah. She's dyin'. 2756 2757 LANCE 2758 Then bite the fuckin' bullet, take 2759 'er to a hospital and call a lawyer! 2760 2761 VINCENT 2762 Negative. 2763 2764 LANCE 2765 She ain't my fuckin' problem, you 2766 fucked her up, you deal with it � 2767 are you talkin' to me on a cellular 2768 phone? 2769 2770 VINCENT 2771 Sorry. 2772 2773 LANCE 2774 I don't know you, who is this, don't 2775 come here, I'm hangin' up. 2776 2777 VINCENT 2778 Too late, I'm already here. 2779 2780 At that moment inside Lance's house, WE HEAR VINCENT's Malibu 2781 coming up the street. Lance hangs up the phone, goes to his 2782 curtains and YANKS the cord. The curtains open with a WHOOSH 2783 in time to see Vincent's Malibu DRIVING UP on his front lawn 2784 and CRASHING into his house. The window Lance is looking out 2785 of SHATTERS from the impact. 2786 2787 JODY (O.S.) 2788 What the hell was that? 2789 2790 Lance CHARGES from the window, out the door to his front 2791 lawn. 2792 2793 EXT. LANCE'S HOUSE � NIGHT 2794 2795 Vincent is already out of the car, working on getting Mia 2796 out. 2797 2798 LANCE 2799 Have you lost your mind?! You crashed 2800 your car in my fuckin' house! You 2801 talk about drug shit on a cellular 2802 fuckin' phone � 2803 2804 VINCENT 2805 If you're through havin' your little 2806 hissy fit, this chick is dyin', get 2807 your needle and git it now! 2808 2809 LANCE 2810 Are you deaf? You're not bringin' 2811 that fucked up bitch in my house! 2812 2813 VINCENT 2814 This fucked up bitch is Marsellus 2815 Wallace's wife. Now if she fuckin' 2816 croaks on me, I'm a grease spot. But 2817 before he turns me into a bar soap, 2818 I'm gonna be forced to tell 'im about 2819 how you coulda saved her life, but 2820 instead you let her die on your front 2821 lawn. 2822 2823 INT. LANCE'S HOUSE � NIGHT 2824 2825 WE START in Lance's and Jody's bedroom. 2826 2827 Jody, in bed, throws off the covers and stands up. She's 2828 wearing a long tee-shirt with a picture of Fred Flintstone 2829 on it. 2830 2831 We follow HANDHELD behind her as she opens the door, walking 2832 through the hall into the living room. 2833 2834 JODY 2835 It's only one-thirty in the goddamn 2836 mornin'! What the fuck's goin' on 2837 out here? 2838 2839 As she walks in the living room, she sees Vincent and Lance 2840 standing over Mia, who's lying on the floor in the middle of 2841 the room. 2842 2843 From here on in, everything in this scene is frantic, like a 2844 DOCUMENTARY in an emergency ward, with the big difference 2845 here being nobody knows what the fuck they're doing. 2846 2847 JODY 2848 Who's she? 2849 2850 Lance looks up at Jody. 2851 2852 LANCE 2853 Get that black box in the bedroom I 2854 have with the adrenaline shot. 2855 2856 JODY 2857 What's wrong with her? 2858 2859 VINCENT 2860 She's ODing on us. 2861 2862 JODY 2863 Well get her the hell outta here! 2864 2865 LANCE AND VINCENT 2866 (in stereo) 2867 Get the fuckin' shot! 2868 2869 JODY 2870 Don't yell and me! 2871 2872 She angrily turns and disappears into the bedroom looking 2873 for the shot. 2874 2875 WE MOVE into the room with the two men. 2876 2877 VINCENT 2878 (to Lance) 2879 You two are a match made in heaven. 2880 2881 LANCE 2882 Look, just keep talkin' to her, okay? 2883 While she's gettin' the shot, I gotta 2884 get a medical book. 2885 2886 VINCENT 2887 What do you need a medical book for? 2888 2889 LANCE 2890 To tell me how to do it. I've never 2891 given an adrenaline shot before. 2892 2893 VINCENT 2894 You've had that thing for six years 2895 and you never used it? 2896 2897 LANCE 2898 I never had to use it. I don't go 2899 joypoppin' with bubble-gummers, all 2900 of my friends can handle their highs! 2901 2902 VINCENT 2903 Well then get it. 2904 2905 LANCE 2906 I am, if you'll let me. 2907 2908 VINCENT 2909 I'm not fuckin' stoppin' you. 2910 2911 LANCE 2912 Stop talkin' to me, and start talkin' 2913 to her. 2914 2915 WE FOLLOW Lance as he runs out of the living room into a... 2916 2917 INT. SPARE ROOM 2918 2919 With a bunch of junk in it. He frantically starts scanning 2920 the junk for the book he's looking for, repeating the words, 2921 "Come on," endlessly. 2922 2923 From OFF SCREEN we hear: 2924 2925 VINCENT (O.S.) 2926 Hurry up man! We're losin' her! 2927 2928 LANCE 2929 (calling back) 2930 I'm looking as fast as I can! 2931 2932 Lance continues his frenzied search. 2933 2934 WE HEAR Jody in the living room now as she talks to Vincent. 2935 2936 JODY (O.S.) 2937 What's he lookin' for? 2938 2939 VINCENT (O.S.) 2940 I dunno, some medical book. 2941 2942 Jody calls to LANCE. 2943 2944 JODY (O.S.) 2945 What are you lookin' for? 2946 2947 LANCE 2948 My black medical book! 2949 2950 As he continues searching, flipping and knocking over shit, 2951 Jody appears in the doorway. 2952 2953 JODY 2954 Whata're you looking for? 2955 2956 LANCE 2957 My black fuckin' medical book. It's 2958 like a text book they give to nurses. 2959 2960 JODY 2961 I never saw a medical book. 2962 2963 LANCE 2964 Trust me, I have one. 2965 2966 JODY 2967 Well if it's that important, why 2968 didn't you keep it with the shot? 2969 2970 Lance spins toward her. 2971 2972 LANCE 2973 I don't know! Stop bothering me! 2974 2975 JODY 2976 While you're lookin' for it, that 2977 girl's gonna die on our carpet. You're 2978 never gonna find it in all this shit. 2979 For six months now, I've been telling 2980 you to clean this room � 2981 2982 VINCENT (O.S.) 2983 � get your ass in here, fuck the 2984 book! 2985 2986 Lance angrily knocks over a pile of shit and leaves the SHOT 2987 heading for the living room. 2988 2989 LIVING ROOM 2990 2991 Vincent is bent over Mia, talking softly to her, when Lance 2992 reenters the room. 2993 2994 VINCENT 2995 Quit fuckin' around man and give her 2996 the shot! 2997 2998 Lance bends down by the black case brought in by Jody. He 2999 opens it and begins preparing the needle for injection. 3000 3001 LANCE 3002 While I'm doing this, take her shirt 3003 off and find her heart. 3004 3005 Vince rips her blouse open. 3006 3007 Jody stumbles back in the room, hanging back from the action. 3008 3009 VINCENT 3010 Does it have to be exact? 3011 3012 LANCE 3013 Yeah, it has to be exact! I'm giving 3014 her an injection in the heart, so I 3015 gotta exactly hit her in the heart. 3016 3017 VINCENT 3018 Well, I don't know exactly where her 3019 heart is, I think it's here. 3020 3021 Vince points to Mia's right breast. Lance glances over and 3022 nods. 3023 3024 LANCE 3025 That's it. 3026 3027 As Lance readies the injection, Vincent looks up at Jody. 3028 3029 VINCENT 3030 I need a big fat magic marker, got 3031 one? 3032 3033 JODY 3034 What? 3035 3036 VINCENT 3037 I need a big fat magic marker, any 3038 felt pen'll do, but a magic marker 3039 would be great. 3040 3041 JODY 3042 Hold on. 3043 3044 Jody runs to the desk, opens the top drawer and, in her 3045 enthusiasm, she pulls the drawer out of the desk, the contents 3046 of which (bills, papers, pens) spill to the floor. 3047 3048 The injection is ready. Lance hands Vincent the needle. 3049 3050 LANCE 3051 It's ready, I'll tell you what to 3052 do. 3053 3054 VINCENT 3055 You're gonna give her the shot. 3056 3057 LANCE 3058 No, you're gonna give her the shot. 3059 3060 VINCENT 3061 I've never does this before. 3062 3063 LANCE 3064 I've never done this before either, 3065 and I ain't starting now. You brought 3066 'er here, that means you give her 3067 the shot. The day I bring an ODing 3068 bitch to your place, then I gotta 3069 give her the shot. 3070 3071 Jody hurriedly joins them in the huddle, a big fat red magic 3072 marker in her hand. 3073 3074 JODY 3075 Got it. 3076 3077 Vincent grabs the magic marker out of Jody's hand and makes 3078 a big red dot on Mia's body where her heart is. 3079 3080 VINCENT 3081 Okay, what do I do? 3082 3083 LANCE 3084 Well, you're giving her an injection 3085 of adrenaline straight to her heart. 3086 But she's got a breast plate in front 3087 of her heart, so you gotta pierce 3088 through that. So what you gotta do 3089 is bring the needle down in a stabbing 3090 motion. 3091 3092 Lance demonstrates a stabbing motion, which looks like "The 3093 Shape" killing its victims in "HALLOWEEN". 3094 3095 VINCENT 3096 I gotta stab her? 3097 3098 LANCE 3099 If you want the needle to pierce 3100 through to her heart, you gotta stab 3101 her hard. 3102 3103 Then once you do, push down on the plunger. 3104 3105 VINCENT 3106 What happens after that? 3107 3108 LANCE 3109 I'm curious about that myself. 3110 3111 VINCENT 3112 This ain't a fuckin' joke man! 3113 3114 LANCE 3115 She's supposed to come out of it 3116 like � 3117 (snaps his fingers) 3118 � that. 3119 3120 Vincent lifts the needle up above his head in a stabbing 3121 motion. 3122 3123 He looks down on Mia. 3124 3125 Mia is fading fast. Soon nothing will help her. 3126 3127 Vincent's eyes narrow, ready to do this. 3128 3129 VINCENT 3130 Count to three. 3131 3132 Lance, on this knees right beside Vincent, does not know 3133 what to expect. 3134 3135 LANCE 3136 One... 3137 3138 RED DOT on Mia's body. 3139 3140 Needle raised ready to strike. 3141 3142 LANCE (O.S.) 3143 ...two... 3144 3145 Jody's face is alive with anticipation. 3146 3147 NEEDLE in that air, poised like a rattler ready to strike. 3148 3149 LANCE (O.S.) 3150 ...three! 3151 3152 The needle leaves frame, THRUSTING down hard. 3153 3154 Vincent brings the needle down hard, STABBING Mia in the 3155 chest. 3156 3157 Mia's head is JOLTED from the impact. 3158 3159 The syringe plunger is pushed down, PUMPING the adrenaline 3160 out through the needle. 3161 3162 Mia's eyes POP WIDE OPEN and she lets out a HELLISH cry of 3163 the banshee. She BOLTS UP in a sitting position, needle stuck 3164 in her chest � SCREAMING. 3165 3166 Vincent, Lance and Jody, who were in sitting positions in 3167 front of Mia, JUMP BACK, scared to death. 3168 3169 Mia's scream runs out. She slowly starts taking breaths of 3170 air. 3171 3172 The other three, now scooted halfway across the room, shaken 3173 to their bones, look to see if she's alright. 3174 3175 LANCE 3176 If you're okay, say something. 3177 3178 Mia, still breathing, not looking up at them, says in a 3179 relatively normal voice. 3180 3181 MIA 3182 Something. 3183 3184 Vincent and Lance collapse on their backs, exhausted and 3185 shaking from how close to death Mia came. 3186 3187 JODY 3188 Anybody want a beer? 3189 3190 CUT TO: 3191 3192 INT. VINCENT'S MALIBU (MOVING) � NIGHT 3193 3194 Vincent is behind the wheel driving Mia home. No one says 3195 anything, both are still too shaken. 3196 3197 EXT. FRONT OF MARSELLUS WALLACE'S HOUSE � NIGHT 3198 3199 The Malibu pulls up to the front. Mia gets out without saying 3200 a word (still in a daze) and begins walking down the walkway 3201 toward her front door. 3202 3203 VINCENT (O.S.) 3204 Mia! 3205 3206 She turns around. 3207 3208 Vincent's out of the car, standing on the walkway, a big 3209 distance between the two. 3210 3211 VINCENT 3212 What are your thoughts on how to 3213 handle this? 3214 3215 MIA 3216 What's yours? 3217 3218 VINCENT 3219 Well I'm of the opinion that Marsellus 3220 can live his whole live and never 3221 ever hear of this incident. 3222 3223 Mia smiles. 3224 3225 MIA 3226 Don't worry about it. If Marsellus 3227 ever heard of this, I'd be in as 3228 much trouble as you. 3229 3230 VINCENT 3231 I seriously doubt that. 3232 3233 MIA 3234 If you can keep a secret, so can I. 3235 3236 VINCENT 3237 Let's shake on it. 3238 3239 The two walk toward each other, holding out their hands to 3240 shake and shake they do. 3241 3242 VINCENT 3243 Mum's the word. 3244 3245 Mia lets go of Vincent's hand and silently makes the see-no- 3246 evil, hear-no-evil, and speak-no-evil sign with her hands. 3247 3248 Vincent smiles. 3249 3250 VINCENT 3251 If you'll excuse me, I gotta go home 3252 and have a heart attack. 3253 3254 Mia giggles. 3255 3256 Vincent turns to leave. 3257 3258 MIA 3259 You still wanna hear my "FOX FORCE 3260 FIVE" joke? 3261 3262 Vincent turns around. 3263 3264 VINCENT 3265 Sure, but I think I'm still a little 3266 too petrified to laugh. 3267 3268 MIA 3269 Uh-huh. You won't laugh because it's 3270 not funny. But if you still wanna 3271 hear it, I'll tell it. 3272 3273 VINCENT 3274 I can't wait. 3275 3276 MIA 3277 Three tomatoes are walking down the 3278 street, a poppa tomato, a momma 3279 tomato, and a little baby tomato. 3280 The baby tomato is lagging behind 3281 the poppa and momma tomato. The poppa 3282 tomato gets mad, goes over to the 3283 momma tomato and stamps on him � 3284 (stamps on the ground) 3285 � and says: catch up. 3286 3287 They both smile, but neither laugh. 3288 3289 MIA 3290 See ya 'round, Vince. 3291 3292 Mia turns and walks inside her house. 3293 3294 CLOSEUP � VINCENT 3295 3296 After Mia walks inside. Vincent continues to look at where 3297 she was. He brings his hands to his lips and blows her a 3298 kiss. Then exits FRAME leaving it empty. WE HEAR his Malibu 3299 START UP and DRIVE AWAY. 3300 3301 FADE TO BLACK 3302 3303 FADE UP On the cartoon "SPEED RACER." Speed is giving a 3304 detailed description of all the features on his race car 3305 "The Mac-5," which he does at the beginning of every episode. 3306 3307 OFF SCREEN we hear a WOMAN'S VOICE... . 3308 3309 WOMAN'S VOICE (O.S.) 3310 Butch. 3311 3312 DISSOLVE TO: 3313 3314 BUTCH'S POV 3315 3316 We're in the living room of a modest two bedroom house in 3317 Alhambra, California, in the year 1972. BUTCH'S MOTHER, 35ish, 3318 stands in the doorway leading into the living room. Next to 3319 her is a man dressed in the uniform of an American Air Force 3320 officer. The CAMERA is the perspective of a five-year old 3321 boy. 3322 3323 MOTHER 3324 Butch, stop watching TV a second. We 3325 got a special visitor. Now do you 3326 remember when I told you your daddy 3327 dies in a P.O.W. camp? 3328 3329 BUTCH (O.S.) 3330 Uh-huh. 3331 3332 MOTHER 3333 Well this here is Capt. Koons. He 3334 was in the P.O.W. camp with Daddy. 3335 3336 CAPT. KOONS steps inside the room toward the little boy and 3337 bends down on one knee to bring him even with the boy's 3338 eyeline. When Koons speaks, he speaks with a slight Texas 3339 accent. 3340 3341 CAPT. KOONS 3342 Hello, little man. Boy I sure heard 3343 a bunch about you. See, I was a good 3344 friend of your Daddy's. We were in 3345 that Hanoi pit of hell over five 3346 years together. Hopefully, you'll 3347 never have to experience this 3348 yourself, but when two men are in a 3349 situation like me and your Daddy 3350 were, for as long as we were, you 3351 take on certain responsibilities of 3352 the other. If it had been me who had 3353 not made it, Major Coolidge would be 3354 talkin' right now to my son Jim. But 3355 the way it worked out is I'm talkin' 3356 to you, Butch. I got somethin' for 3357 ya. 3358 3359 The Captain pulls a gold wrist watch out of his pocket. 3360 3361 CAPT. KOONS 3362 This watch I got here was first 3363 purchased by your great-granddaddy. 3364 It was bought during the First World 3365 War in a little general store in 3366 Knoxville, Tennessee. It was bought 3367 by private Doughboy Ernie Coolidge 3368 the day he set sail for Paris. It 3369 was your great-granddaddy's war watch, 3370 made by the first company to ever 3371 make wrist watches. You see, up until 3372 then, people just carried pocket 3373 watches. Your great-granddaddy wore 3374 that watch every day he was in the 3375 war. Then when he had done his duty, 3376 he went home to your great- 3377 grandmother, took the watch off his 3378 wrist and put it in an ol' coffee 3379 can. And in that can it stayed 'til 3380 your grandfather Dane Coolidge was 3381 called upon by his country to go 3382 overseas and fight the Germans once 3383 again. This time they called it World 3384 War Two. Your great-granddaddy gave 3385 it to your granddad for good luck. 3386 Unfortunately, Dane's luck wasn't as 3387 good as his old man's. Your granddad 3388 was a Marine and he was killed with 3389 all the other Marines at the battle 3390 of Wake Island. Your granddad was 3391 facing death and he knew it. None of 3392 those boys had any illusions about 3393 ever leavin' that island alive. So 3394 three days before the Japanese took 3395 the island, your 22-year old 3396 grandfather asked a gunner on an Air 3397 Force transport named Winocki, a man 3398 he had never met before in his life, 3399 to deliver to his infant son, who he 3400 had never seen in the flesh, his 3401 gold watch. Three days later, your 3402 grandfather was dead. But Winocki 3403 kept his word. After the war was 3404 over, he paid a visit to your 3405 grandmother, delivering to your infant 3406 father, his Dad's gold watch. This 3407 watch. This watch was on your Daddy's 3408 wrist when he was shot down over 3409 Hanoi. He was captured and put in a 3410 Vietnamese prison camp. Now he knew 3411 if the gooks ever saw the watch it'd 3412 be confiscated. The way your Daddy 3413 looked at it, that watch was your 3414 birthright. And he'd be damned if 3415 and slopeheads were gonna put their 3416 greasy yella hands on his boy's 3417 birthright. So he hid it in the one 3418 place he knew he could hide somethin'. 3419 His ass. Five long years, he wore 3420 this watch up his ass. Then when he 3421 died of dysentery, he gave me the 3422 watch. I hid with uncomfortable hunk 3423 of metal up my ass for two years. 3424 Then, after seven years, I was sent 3425 home to my family. And now, little 3426 man, I give the watch to you. 3427 3428 Capt. Koons hands the watch to Butch. A little hand comes 3429 into FRAME to accept it. 3430 3431 CUT TO: 3432 3433 INT. LOCKER ROOM � NIGHT 3434 3435 The 27-year old Butch Coolidge is dressed in boxing regalia: 3436 trunks, shoes and gloves. He lies on a table catching a few 3437 zzzzzz's before his big fight. Almost as soon as WE CUT to 3438 him, he wakes up with a start. Shaken by the bizarre memory, 3439 he wipes his sweaty face with his boxing glove. 3440 3441 His trainer KLONDIKE, an older fireplug, opens the door a 3442 little, sticking his head in the room. Pandemonium seems to 3443 be breaking out behind Klondike in the hallway. 3444 3445 KLONDIKE 3446 It's time, Butch. 3447 3448 BUTCH 3449 I'm ready. 3450 3451 Klondike steps inside, closing the door on the WILD MOB 3452 outside. 3453 3454 He goes to the long yellow robe hanging on a hook. Butch 3455 hops off the table and, without a word, Klondike helps him 3456 on with the robe, which says on the back: "BATTLING BUTCH 3457 COOLIDGE". 3458 3459 The two men head for the door. Klondike opens the door for 3460 Butch. 3461 3462 As Butch steps into the hallway, the Crowd goes apeshit. 3463 Klondike closes the door behind him, leaving us in the quiet, 3464 empty locker room. 3465 3466 FADE TO BLACK 3467 3468 TITLE CARD: 3469 3470 "THE GOLD WATCH" 3471 3472 We hear over the black and white title: 3473 3474 SPORTSCASTER #1 (O.S.) 3475 � Well Dan, that had to be the 3476 bloodiest and, hands-down, the most 3477 brutal fight this city has ever seen. 3478 3479 The SOUND of chaos in the b.g. 3480 3481 FADE IN: 3482 3483 EXT. ALLEY (RAINING) � NIGHT 3484 3485 A taxi is parked in a dark alley next to an auditorium. The 3486 sky is PISSIN' DOWN RAIN. WE SLOWLY DOLLY toward the parked 3487 car. The SOUND of the CAR RADIO can be heard coming from 3488 inside. 3489 3490 SPORTSCASTER #1 (O.S.) 3491 ...Coolidge was out of there faster 3492 than I've ever seen a victorious 3493 boxer vacate the ring. Do you think 3494 he knew Willis was dead? 3495 3496 SPORTSCASTER #2 (O.S.) 3497 My guess would be yes, Richard. I 3498 could see from my position here, the 3499 frenzy in his eyes give way to the 3500 realization of what he was doing. I 3501 think any man would've left the ring 3502 that fast. 3503 3504 DISSOLVE TO: 3505 3506 INT. TAXI (PARKED/RAINING) � NIGHT 3507 3508 Inside the taxi, behind the wheel, is a female cabbie named 3509 ESMARELDA VILLALOBOS. A young woman, with Spanish looks, 3510 sits parked, drinking a steaming hot cup of coffee out of a 3511 white styrofoam cup. 3512 3513 The Sportscasters continue their coverage. 3514 3515 SPORTSCASTER #1 (O.S.) 3516 Do you feel this ring death tragedy 3517 will have an effect on the world of 3518 boxing? 3519 3520 SPORTSCASTER #2 (O.S.) 3521 Oh Dan, a tragedy like this can't 3522 help but shake the world of boxing 3523 to its very foundation. But it's of 3524 paramount importance that during the 3525 sad weeks ahead, the eyes of the 3526 W.B.A. remain firmly fixed on the � 3527 3528 CLICK � Esmarelda shuts off the radio. 3529 3530 She takes a sip of coffee, then hears a NOISE behind her in 3531 the alley. She sticks her head out of the car door to see: 3532 3533 EXT. BOXING AUDITORIUM (RAINING) � NIGHT 3534 3535 A window about three stories high opens on the auditorium- 3536 side of the alley. A gym bag is tossed out into a garbage 3537 dumpster below the window. Then, Butch Coolidge, still dressed 3538 in boxing trunks, shoes, gloves and yellow robe, LEAPS to 3539 the dumpster below. 3540 3541 ESMARELDA'S REACTION takes in the strangeness of this sight. 3542 3543 Gym bag in hand, Butch CLIMBS out of the dumpster and RUNS 3544 to the taxi. Before he climbs in, he takes off his robe and 3545 throws it to the ground. 3546 3547 INT. TAXI (PARKED / RAINING) � NIGHT 3548 3549 Butch, soaking wet, naked except for trunks, shoes and gloves, 3550 HOPS in the backseat, SLAMMING the door. 3551 3552 Esmarelda, staring straight ahead, talks to Butch through 3553 the rearview mirror: 3554 3555 ESMARELDA 3556 (Spanish accent) 3557 Are you the man I was supposed to 3558 pick up? 3559 3560 BUTCH 3561 If you're the cab I called, I'm the 3562 guy you're supposed to pick up. 3563 3564 ESMARELDA 3565 Where to? 3566 3567 BUTCH 3568 Outta here. 3569 3570 The ignition key is TWISTED. The engine ROARS to life. 3571 3572 The meter is FLIPPED on. 3573 3574 Esmarelda's bare foot STOMPS on the gas pedal. 3575 3576 EXT. BOXING AUDITORIUM (RAINING) � NIGHT 3577 3578 The cab WHIPS out of the alley, FISH-TAILING on the wet 3579 pavement in front of the auditorium at a rapid pace. 3580 3581 INT. WILLIS LOCKER ROOM (AUDITORIUM) � NIGHT 3582 3583 Locker room door opens, English Dave fights his way through 3584 the pandemonium which is going on outside in the hall, 3585 shutting the door on the madness. Once inside, English Dave 3586 takes time to adjust his suit and tie. Mia is standing by 3587 the door. She sees Vincent with English Dave. 3588 3589 VINCENT 3590 Mia. How you doin'? 3591 3592 MIA 3593 Great. I never thanked you for the 3594 dinner. 3595 3596 In the room, black boxer FLOYD RAY WILLIS lies on a table � 3597 dead. 3598 3599 His face looks like he went dunking for bees. His TRAINER is 3600 on his knees, head on Floyd's chest, crying over the body. 3601 3602 The huge figure that is Marsellus Wallace stands at the table, 3603 hand on the Trainer's shoulder, lending emotional support. 3604 We still do not see Marsellus clearly, only that he is big. 3605 3606 Mia sits in a chair at the far end of the room. 3607 3608 Marsellus looks up, sees English Dave and walks over to him. 3609 3610 MARSELLUS (O.S.) 3611 What'cha got? 3612 3613 ENGLISH DAVE 3614 He booked. 3615 3616 MARSELLUS (O.S.) 3617 I'm prepared to scour the earth for 3618 this motherfucker. If Butch goes to 3619 Indo China, I want a nigger hidin' 3620 in a bowl of rice, ready to pop a 3621 cap in his ass. 3622 3623 ENGLISH DAVE 3624 I'll take care of it. 3625 3626 INT. CAB (MOVING / RAINING) � NIGHT 3627 3628 Butch gets one of his boxing gloves off. 3629 3630 Esmeralda watches in the rearview mirror. 3631 3632 He tries to roll down one of the backseat windows, but can't 3633 find the roll bar. 3634 3635 BUTCH 3636 Hey, how do I open the window back 3637 here? 3638 3639 ESMARELDA 3640 I have to do it. 3641 3642 She presses a button and the back window moves down. Butch 3643 tosses his boxing glove out the window, then starts untying 3644 the other one. 3645 3646 Esmeralda can't keep quiet anymore. 3647 3648 ESMARELDA 3649 Hey, mister? 3650 3651 BUTCH 3652 (still working on the 3653 glove) 3654 What? 3655 3656 ESMARELDA 3657 You were in that fight? The fight on 3658 the radio � you're the fighter? 3659 3660 As he tosses his other glove out the window. 3661 3662 BUTCH 3663 Whatever gave you that idea? 3664 3665 ESMARELDA 3666 No c'mon, you're him, I know you're 3667 him, tell me you're him. 3668 3669 BUTCH 3670 (drying himself with 3671 a gym towel) 3672 I'm him. 3673 3674 ESMARELDA 3675 You killed the other boxing man. 3676 3677 BUTCH 3678 He's dead? 3679 3680 ESMARELDA 3681 The radio said he was dead. 3682 3683 He finished wiping himself down. 3684 3685 BUTCH 3686 (to himself) 3687 Sorry 'bout that, Floyd. 3688 3689 He tosses the towel out the window. 3690 3691 Silence, as Butch digs in his bag for a t-shirt. 3692 3693 ESMARELDA 3694 What does it feel like? 3695 3696 BUTCH 3697 (finds his shirt) 3698 What does what feel like? 3699 3700 ESMARELDA 3701 Killing a man. Beating another man 3702 to death with your bare hands. 3703 3704 Butch pulls on his tee-shirt. 3705 3706 BUTCH 3707 Are you some kinda weirdo? 3708 3709 ESMARELDA 3710 No, it's a subject I have much 3711 interest in. You are the first person 3712 I ever met who has killed somebody. 3713 So, what was it like to kill a man? 3714 3715 BUTCH 3716 Tell ya what, you give me one of 3717 them cigarettes, I'll give you an 3718 answer. 3719 3720 Esmarelda bounces in her seat with excitement. 3721 3722 ESMARELDA 3723 Deal! 3724 3725 Butch leans forward. Esmarelda, keeping her eyes on the road, 3726 passes a cigarette back to him. He takes it. Then, still not 3727 looking behind her, she brings up her hand, a lit match in 3728 it. 3729 3730 Butch lights his smoke, then blows out the match. 3731 3732 He takes a long drag. 3733 3734 BUTCH 3735 So... 3736 3737 He looks at her license. 3738 3739 BUTCH 3740 ...Esmarelda Villalobos � is that 3741 Mexican? 3742 3743 ESMARELDA 3744 The name is Spanish, but I'm 3745 Columbian. 3746 3747 BUTCH 3748 It's a very pretty name. 3749 3750 ESMARELDA 3751 It mean "Esmarelda of the wolves." 3752 3753 BUTCH 3754 That's one hell of a name you got 3755 there, sister. 3756 3757 ESMARELDA 3758 Thank you. And what is your name? 3759 3760 BUTCH 3761 Butch. 3762 3763 ESMARELDA 3764 Butch. What does it mean? 3765 3766 BUTCH 3767 I'm an American, our names don't 3768 mean shit. Anyway, moving right along, 3769 what is it you wanna know, Esmarelda? 3770 3771 ESMARELDA 3772 I want to know what it feels like to 3773 kill a man � 3774 3775 BUTCH 3776 � I couldn't tell ya. I didn't know 3777 he was dead 'til you told me he was 3778 dead. Now I know he's dead, do you 3779 wanna know how I feel about it? 3780 3781 Esmarelda nods her head: "yes." 3782 3783 BUTCH 3784 I don't feel the least little bit 3785 bad. 3786 3787 EXT. PHONE BOOTH (RAINING) � NIGHT 3788 3789 We DOLLY around a phone booth as Butch talks inside. 3790 3791 BUTCH 3792 (into phone) 3793 What'd I tell ya, soon as the word 3794 got out a fix was in, the odds would 3795 be outta control. Hey, if he was a 3796 better fighter he's be alive. If he 3797 never laced up his gloves in the 3798 first place, which he never shoulda 3799 done, he'd be alive. Enough about 3800 the poor unfortunate Mr. Floyd, let's 3801 talk about the rich and prosperous 3802 Mr. Butch. How many bookies you 3803 spread it around with? 3804 3805 (PAUSE) 3806 Eight? How long to collect? 3807 (pause) 3808 So by tomorrow evening, you'll have 3809 it all? 3810 (pause) 3811 Good news Scotty, real good news � I 3812 understand a few stragglers aside. 3813 Me an' Fabienne're gonna leave in 3814 the morning. It should take us a 3815 couple days to get into Knoxville. 3816 Next time we see each other, it'll 3817 be on Tennessee time. 3818 3819 Butch hangs up the phone. He looks at the cab waiting to 3820 take him wherever he wants to go. 3821 3822 BUTCH 3823 (to himself in French 3824 with English subtitles) 3825 Fabienne my love, our adventure 3826 begins. 3827 3828 CUT TO: 3829 3830 EXT. MOTEL (STOPPED / RAINING) � NIGHT 3831 3832 Esmeralda's taxi pulled into the motel parking lot. The rain 3833 has stopped, but the night is still soaked. Butch gets out, 3834 now fully dressed in tee-shirt, jeans and high school athletic 3835 jacket. He leans in the driver's side window. 3836 3837 ESMARELDA 3838 Forty-five sixty. 3839 3840 Handing her the money. 3841 3842 BUTCH 3843 Merci beaucoup. And here's a little 3844 something for the effort. 3845 3846 Butch holds up a hundred dollar bill. 3847 3848 Esmarelda's eyes light up. She goes to take it. Butch holds 3849 it out of reach. 3850 3851 BUTCH 3852 Now if anybody should ask you about 3853 who your fare was tonight, what're 3854 you gonna tell 'em? 3855 3856 ESMARELDA 3857 The truth. Three well-dressed, 3858 slightly toasted, Mexicans. 3859 3860 He gives her the bill. 3861 3862 BUTCH 3863 Bon soir, Esmarelda. 3864 3865 ESMARELDA 3866 (in Spanish) 3867 Sleep well, Butch. 3868 3869 He tweaks her nose, she smiles, and he turns and walks away. 3870 She drives off. 3871 3872 INT. MOTEL (ROOM SIX) � NIGHT 3873 3874 Butch enters and turns on the light. 3875 3876 Lying curled up on the bed, fully dressed, with her back to 3877 us is Butch's French girlfriend, FABIENNE. 3878 3879 FABIENNE 3880 Keep the light off. 3881 3882 Butch flicks the switch back, making the room dark again. 3883 3884 BUTCH 3885 Is that better, sugar pop? 3886 3887 FABIENNE 3888 Oui. Hard day at the office? 3889 3890 BUTCH 3891 Pretty hard. I got into a fight. 3892 3893 FABIENNE 3894 Poor baby. Can we make spoons? 3895 3896 Butch climbs into bed, spooning Fabienne from behind. 3897 3898 When Butch and Fabienne speak to each other, they speak in 3899 babytalk. 3900 3901 FABIENNE 3902 I was looking at myself in the mirror. 3903 3904 BUTCH 3905 Uh-huh? 3906 3907 FABIENNE 3908 I wish I had a pot. 3909 3910 BUTCH 3911 You were lookin' in the mirror and 3912 you wish you had some pot? 3913 3914 FABIENNE 3915 A pot. A pot belly. Pot bellies are 3916 sexy. 3917 3918 BUTCH 3919 Well you should be happy, 'cause you 3920 do. 3921 3922 FABIENNE 3923 Shut up, Fatso! I don't have a pot! 3924 I have a bit of a tummy, like Madonna 3925 when she did "Lucky Star," it's not 3926 the same thing. 3927 3928 BUTCH 3929 I didn't realize there was a 3930 difference between a tummy and a pot 3931 belly. 3932 3933 FABIENNE 3934 The difference is huge. 3935 3936 BUTCH 3937 You want me to have a pot? 3938 3939 FABIENNE 3940 No. Pot bellies make a man look either 3941 oafish, or like a gorilla. But on a 3942 woman, a pot belly is very sexy. The 3943 rest of you is normal. Normal face, 3944 normal legs, normal hips, normal 3945 ass, but with a big, perfectly round 3946 pot belly. If I had one, I'd wear a 3947 tee-shirt two sizes too small to 3948 accentuate it. 3949 3950 BUTCH 3951 You think guys would find that 3952 attractive? 3953 3954 FABIENNE 3955 I don't give a damn what men find 3956 attractive. It's unfortunate what we 3957 find pleasing to the touch and 3958 pleasing to the eye is seldom the 3959 same. 3960 3961 BUTCH 3962 If you a pot belly, I'd punch you in 3963 it. 3964 3965 FABIENNE 3966 You'd punch me in my belly? 3967 3968 BUTCH 3969 Right in the belly. 3970 3971 FABIENNE 3972 I'd smother you. I'd drop it on your 3973 right on your face 'til you couldn't 3974 breathe. 3975 3976 BUTCH 3977 You'd do that to me? 3978 3979 FABIENNE 3980 Yes! 3981 3982 BUTCH 3983 Did you get everything, sugar pop? 3984 3985 FABIENNE 3986 Yes, I did. 3987 3988 BUTCH 3989 Good job. 3990 3991 FABIENNE 3992 Did everything go as planned? 3993 3994 BUTCH 3995 You didn't listen to the radio? 3996 3997 FABIENNE 3998 I never listen to your fights. Were 3999 you the winner? 4000 4001 BUTCH 4002 I won alright. 4003 4004 FABIENNE 4005 Are you still retiring? 4006 4007 BUTCH 4008 Sure am. 4009 4010 FABIENNE 4011 What about the man you fought? 4012 4013 BUTCH 4014 Floyd retired too. 4015 4016 FABIENNE 4017 (smiling) 4018 Really?! He won't be fighting no 4019 more?! 4020 4021 BUTCH 4022 Not no more. 4023 4024 FABIENNE 4025 So it all worked out in the finish? 4026 4027 BUTCH 4028 We ain't at the finish, baby. 4029 4030 Fabienne rolls over and Butch gets on top of her. They kiss. 4031 4032 FABIENNE 4033 We're in a lot of danger, aren't we? 4034 4035 Butch nods his head: "yes." 4036 4037 FABIENNE 4038 If they find us, they'll kill us, 4039 won't they? 4040 4041 Butch nods his head: "yes." 4042 4043 FABIENNE 4044 But they won't find us, will they? 4045 4046 Butch nods his head: "no." 4047 4048 FABIENNE 4049 Do you still want me to go with you? 4050 4051 Butch nods his head: "yes." 4052 4053 FABIENNE 4054 I don't want to be a burden or a 4055 nuisance - 4056 4057 Butch's hand goes out of frame and starts massaging her 4058 crotch. 4059 4060 Fabienne reacts. 4061 4062 FABIENNE 4063 Say it! 4064 4065 BUTCH 4066 Fabienne, I want you to be with me. 4067 4068 FABIENNE 4069 Forever? 4070 4071 BUTCH 4072 ...and ever. 4073 4074 Fabienne lies her head back. 4075 4076 Butch continues to massage her crotch. 4077 4078 FABIENNE 4079 Do you love me? 4080 4081 BUTCH 4082 Oui. 4083 4084 FABIENNE 4085 Butch? Will you give me oral pleasure? 4086 4087 Butch kisses her on the mouth. 4088 4089 BUTCH 4090 Will you kiss it? 4091 4092 She nods her head: "yes." 4093 4094 FABIENNE 4095 But you first. 4096 4097 Butch's head goes down out of frame to carry out the oral 4098 pleasure. Fabienne's face is alone in the frame. 4099 4100 FABIENNE 4101 (in French, with 4102 English subtitles) 4103 Butch my love, the adventure begins. 4104 4105 FADE TO BLACK 4106 4107 FADE UP: 4108 4109 MOTEL ROOM 4110 4111 Same motel room, except empty. WE HEAR THE SHOWER RUNNING in 4112 the bathroom. The CAMERA MOVES to the bathroom doorway. We 4113 see Fabienne in a white terry cloth robe that seems to swallow 4114 her up. 4115 4116 She's drying her head with a towel. Butch is inside the shower 4117 washing up. We see the outline of his naked body through the 4118 smoky glass of the shower door. Steam fills the bathroom. 4119 Butch turns the shower off and opens the door, popping his 4120 head out. 4121 4122 BUTCH 4123 I think I cracked a rib. 4124 4125 FABIENNE 4126 Giving me oral pleasure? 4127 4128 BUTCH 4129 No retard, from the fight. 4130 4131 FABIENNE 4132 Don't call me retard. 4133 4134 BUTCH 4135 (in a Mongoloid voice) 4136 My name is Fabby! My name is Fabby! 4137 4138 FABIENNE 4139 Shut up fuck head! I hate that 4140 Mongoloid voice. 4141 4142 BUTCH 4143 Okay, sorry, sorry, sorry, I take it 4144 back! Can I have a towel please, 4145 Miss Beautiful Tulip. 4146 4147 FABIENNE 4148 Oh I like that, I like being called 4149 a tulip. Tulip is much better than 4150 Mongoloid. 4151 4152 She finishes drying her hair and wraps the towel like a turban 4153 on her head. 4154 4155 BUTCH 4156 I didn't call you a Mongoloid, I 4157 called you a retard, but I took it 4158 back. 4159 4160 She hands him a towel. 4161 4162 BUTCH 4163 Merci beaucoup. 4164 4165 FABIENNE 4166 Butch? 4167 4168 BUTCH 4169 (drying his head) 4170 Yes, lemon pie. 4171 4172 FABIENNE 4173 Where are we going to go? 4174 4175 BUTCH 4176 I'm not sure yet. Wherever you want. 4177 We're gonna get a lot of money from 4178 this. But it ain't gonna be so much, 4179 we can live like hogs in the fat 4180 house forever. I was thinking we 4181 could go somewhere in the South 4182 Pacific. The kinda money we'll have'll 4183 carry us a long way down there. 4184 4185 FABIENNE 4186 So if we wanted, we could live in 4187 Bora Bora? 4188 4189 BUTCH 4190 You betcha. And if after awhile you 4191 don't dig Bora Bora, then we can 4192 move over to Tahiti or Mexico. 4193 4194 FABIENNE 4195 But I do not speak Spanish. 4196 4197 BUTCH 4198 You don't speak Bora Boran either. 4199 Besides, Mexican is easy: Donde esta 4200 el zapataria? 4201 4202 FABIENNE 4203 What does that mean? 4204 4205 BUTCH 4206 Where's the shoe store? 4207 4208 FABIENNE 4209 Donde esta el zapataria? 4210 4211 BUTCH 4212 Excellent pronunciation. You'll be 4213 my little mama ceta in no time. 4214 4215 Butch exits the bathroom. We stay on Fabienne as she brushes 4216 her teeth. 4217 4218 Butch keeps on from the other room. 4219 4220 BUTCH (O.S.) 4221 Que hora es? 4222 4223 FABIENNE 4224 Que hora es? 4225 4226 BUTCH (O.S.) 4227 What time is it? 4228 4229 FABIENNE 4230 What time is it? 4231 4232 BUTCH (O.S.) 4233 Time for bed. Sweet dream, jellybean. 4234 4235 Fabienne brushes her teeth. We watch her for a moment or 4236 two, then she remember something. 4237 4238 FABIENNE 4239 Butch. 4240 4241 She walks out of the bathroom to ask Butch a question, only 4242 to find him sound asleep in bed. 4243 4244 She looks at him for a moment. 4245 4246 FABIENNE 4247 Forget it. 4248 4249 She exits frame, going back in the bathroom. WE STAY on the 4250 WIDE SHOT of the unconscious Butch in bed. 4251 4252 FADE TO BLACK 4253 4254 FADE UP: 4255 4256 MOTEL ROOM � MORNING 4257 4258 SAME SHOT AS BEFORE, the next morning. We find Butch still 4259 asleep in bed. 4260 4261 Fabienne brushes her teeth half in and half out of the 4262 bathroom so she can watch TV at the same time. She still 4263 wears the terry cloth robe from the night before. 4264 4265 ON TV: WILLIAM SMITH and a BUNCH OF HELL'S ANGELS are taking 4266 on the entire Vietnamese army in the film "THE LOSERS". 4267 4268 Butch wakes from his sleep, as if a scary monster was chasing 4269 him. 4270 4271 His start startles Fabienne. 4272 4273 FABIENNE 4274 Merde! You startled me. Did you have 4275 a bad dream? 4276 4277 Butch squints down the front of the bed at her, trying to 4278 focus. 4279 4280 Butch, still trying to chase the cobwebs away, sees on TV 4281 Hell's Angels tear-assin' through a Vietnamese prison camp. 4282 4283 BUTCH 4284 What are you watching? 4285 4286 FABIENNE 4287 A motorcycle movie, I'm not sure the 4288 name. 4289 4290 BUTCH 4291 Are you watchin' it? 4292 4293 Fabienne enters the room. 4294 4295 FABIENNE 4296 In a way. Why? Would you like for me 4297 to switch it off? 4298 4299 BUTCH 4300 Would you please? 4301 4302 She reaches over and turns off the TV. 4303 4304 BUTCH 4305 It's a little too early in the morning 4306 for explosions and war. 4307 4308 FABIENNE 4309 What was it about? 4310 4311 BUTCH 4312 How should I know, you were the one 4313 watchin' it. 4314 4315 Fabienne laughs. 4316 4317 FABIENNE 4318 No, imbecile, what was your dream 4319 about? 4320 4321 BUTCH 4322 Oh, I... don't remember. It's really 4323 rare I remember a dream. 4324 4325 FABIENNE 4326 You just woke up from it. 4327 4328 BUTCH 4329 Fabienne, I'm not lying to you, I 4330 don't remember. 4331 4332 FABIENNE 4333 Well, let's look at the grumpy man 4334 in the morning. I didn't say you 4335 were lying, it's just odd you don't 4336 remember your dreams. I always 4337 remember mine. Did you know you talk 4338 in your sleep? 4339 4340 BUTCH 4341 I don't talk in my sleep, do I talk 4342 in my sleep? 4343 4344 FABIENNE 4345 You did last night. 4346 4347 BUTCH 4348 What did I say? 4349 4350 Laying on top of him. 4351 4352 FABIENNE 4353 I don't know. I couldn't understand 4354 you. 4355 4356 She kisses Butch. 4357 4358 FABIENNE 4359 Why don't you get up and we'll get 4360 some breakfast at that breakfast 4361 place with the pancakes. 4362 4363 BUTCH 4364 One more kiss and I'll get up. 4365 4366 Fabienne gives Butch a sweet long kiss. 4367 4368 FABIENNE 4369 Satisfied? 4370 4371 BUTCH 4372 Yep. 4373 4374 FABIENNE 4375 Then get up, lazy bones. 4376 4377 Butch climbs out of bed and starts pulling clothes out of 4378 the suitcase that Fabienne brought. 4379 4380 BUTCH 4381 What time is it? 4382 4383 FABIENNE 4384 Almost nine in the morning. What 4385 time does our train arrive? 4386 4387 BUTCH 4388 Eleven. 4389 4390 FABIENNE 4391 I'm gonna order a big plate of 4392 blueberry pancakes with maple syrup, 4393 eggs over easy, and five sausages. 4394 4395 BUTCH 4396 (surprised at her 4397 potential appetite) 4398 Anything to drink with that? 4399 4400 Butch is finished dressing. 4401 4402 FABIENNE 4403 (referring to his 4404 clothes) 4405 Oh yes, that looks nice. To drink, a 4406 tall glass or orange juice and a 4407 black cup of coffee. After that, I'm 4408 going to have a slice of pie. 4409 4410 As he goes through the suitcase. 4411 4412 BUTCH 4413 Pie for breakfast? 4414 4415 FABIENNE 4416 Any time of the day is a good time 4417 for pie. Blueberry pie to go with 4418 the pancakes. And on top, a thin 4419 slice of melted cheese � 4420 4421 BUTCH 4422 � where's my watch? 4423 4424 FABIENNE 4425 It's there. 4426 4427 BUTCH 4428 No, it's not. It's not here. 4429 4430 FABIENNE 4431 Have you looked? 4432 4433 By now, Butch is frantically rummaging through the suitcase. 4434 4435 BUTCH 4436 Yes I've fuckin' looked!! 4437 4438 He's now throwing clothes. 4439 4440 BUTCH 4441 What the fuck do you think I'm doing?! 4442 Are you sure you got it? 4443 4444 Fabienne can hardly speak, she's never seen Butch this way. 4445 4446 FABIENNE 4447 Uhhh... yes... beside the table drawer 4448 � 4449 4450 BUTCH 4451 � on the little kangaroo. 4452 4453 FABIENNE 4454 Yes, it was on your little kangaroo. 4455 4456 BUTCH 4457 Well it's not here! 4458 4459 FABIENNE 4460 (on the verge of tears) 4461 Well it should be! 4462 4463 BUTCH 4464 Oh it most definitely should be here, 4465 but it's not. So where is it? 4466 4467 Fabienne is crying and scared. 4468 4469 Butch lowers his voice, which only serves to make him more 4470 menacing. 4471 4472 BUTCH 4473 Fabienne, that was my father's fuckin' 4474 watch. You know what my father went 4475 through to git me that watch?... I 4476 don't wanna get into it right now... 4477 but he went through a lot. Now all 4478 this other shit, you coulda set on 4479 fire, but I specifically reminded 4480 you not to forget my father's watch. 4481 Now think, did you get it? 4482 4483 FABIENNE 4484 I believe so... 4485 4486 BUTCH 4487 You believe so? You either did, or 4488 you didn't, now which one is it? 4489 4490 FABIENNE 4491 Then I did. 4492 4493 BUTCH 4494 Are you sure? 4495 4496 FABIENNE 4497 (shaking) 4498 No. 4499 4500 Butch freaks out, he punches the air. 4501 4502 Fabienne SCREAMS and backs into a corner, Butch picks up the 4503 motel TV and THROWS IT AGAINST the wall. 4504 4505 Fabienne SCREAMS IN HORROR. 4506 4507 Butch looks toward her, suddenly calm. 4508 4509 BUTCH 4510 (to Fabienne) 4511 No! It's not your fault. 4512 (he approached her) 4513 You left it at the apartment. 4514 4515 He bends down in front of the woman who has sunk to the floor. 4516 4517 He touches her hand, she flinches. 4518 4519 BUTCH 4520 If you did leave it at the apartment, 4521 it's not your fault. I had you bring 4522 a bunch of stuff. I reminded you 4523 about it, but I didn't illustrate 4524 how personal the watch was to me. If 4525 all I gave a fuck about was my watch, 4526 I should've told you. You ain't a 4527 mind reader. 4528 4529 He kisses her hand. Then rises. 4530 4531 Fabienne is still sniffling. 4532 4533 Butch goes to the closet. 4534 4535 FABIENNE 4536 I'm sorry. 4537 4538 Butch puts on his high school jacket. 4539 4540 BUTCH 4541 Don't be. It just means I won't be 4542 able to eat breakfast with you. 4543 4544 FABIENNE 4545 Why does it mean that? 4546 4547 BUTCH 4548 Because I'm going back to my apartment 4549 to get my watch. 4550 4551 FABIENNE 4552 Won't the gangsters be looking for 4553 you there? 4554 4555 BUTCH 4556 That's what I'm gonna find out. If 4557 they are, and I don't think I can 4558 handle it, I'll split. 4559 4560 Rising from the floor. 4561 4562 FABIENNE 4563 I was so dreadful. I saw your watch, 4564 I thought I brought it. I'm so sorry. 4565 4566 Butch brings her close and puts his hands on her face. 4567 4568 BUTCH 4569 Don't feel bad, sugar pop. Nothing 4570 you could ever do would make me 4571 permanently angry at you. 4572 (pause) 4573 I love you, remember? 4574 (he digs some money 4575 out of his wallet) 4576 Now here's some money, order those 4577 pancakes and have a great breakfast. 4578 4579 FABIENNE 4580 Don't go. 4581 4582 BUTCH 4583 I'll be back before you can say, 4584 blueberry pie. 4585 4586 FABIENNE 4587 Blueberry pie. 4588 4589 BUTCH 4590 Well maybe not that fast, but fast. 4591 Okay? Okay? 4592 4593 FABIENNE 4594 Okay. 4595 4596 He kisses her once more and heads for the door. 4597 4598 BUTCH 4599 Bye-bye, sugar pop. 4600 4601 FABIENNE 4602 Bye. 4603 4604 BUTCH 4605 I'm gonna take your Honda. 4606 4607 FABIENNE 4608 Okay. 4609 4610 And with that, he's out the door. 4611 4612 Fabienne sits on the bed and looks at the money he gave her. 4613 4614 INT. HONDA (MOVING) � DAY 4615 4616 Butch is beating the steering wheel and the dash with his 4617 fists as he drives down the street. 4618 4619 BUTCH 4620 Of all the fuckin' things she coulda 4621 forgot, she forgets my father's watch. 4622 I specifically reminded her not to 4623 forget it. "Bedside table � on the 4624 kangaroo." I said the words: "Don't 4625 forget my father's watch." 4626 4627 EXT. CITY STREET � DAY 4628 4629 The little Honda races toward its destination as fast as is 4630 little engine will take it. 4631 4632 CUT TO: 4633 4634 A parking meter red flag rises up, then out, leaving the 4635 arrow pointing at one hour. 4636 4637 EXT. RESIDENTIAL STREET CORNER � DAY 4638 4639 Butch isn't completely reckless. He has parked his car a 4640 couple of blocks from his apartment to check things out before 4641 he goes boppin' through the front door. 4642 4643 EXT. ALLEY � DAY 4644 4645 Butch walks down the alley until he gets to another street, 4646 then he discreetly glances out. 4647 4648 EXT. STREET � BUTCH'S APARTMENT � DAY 4649 4650 Everything seems normal. More or less the right number of 4651 cars in the street. None of the parked cars appear out of 4652 place. None of them have a couple of goons sitting inside. 4653 Basically, it looks like normal morning activity in front of 4654 Butch's home. 4655 4656 Butch peers around a wall, taking in the vital information. 4657 4658 Butch walks out of the alley and is ready for anything. He 4659 crosses the street and enters his apartment courtyard. 4660 4661 Across the street from Butch's building, on the corner, is a 4662 combination donut shop and Japanese restaurant. A big sign 4663 sticks up in the air, with the name "Teriyaki Donut" and a 4664 graphic of a donut sticking out of a bowl of rice. 4665 4666 EXT. BUTCH'S APARTMENT COURTYARD � DAY 4667 4668 Butch is in the courtyard of his North Hollywood apartment 4669 building. Once again, everything appears normal � the laundry 4670 room, the pool, his apartment door � nothing appears 4671 disturbed. 4672 4673 Butch climbs the stairs leading to his apartment, number 12. 4674 He steps outside the door and listens inside. Nothing. 4675 4676 Butch slowly inserts the key into the door, quietly opening 4677 it. 4678 4679 INT. BUTCH'S APARTMENT � DAY 4680 4681 His apartment hasn't been touched. 4682 4683 He cautiously steps inside, shuts the door and takes a quick 4684 look around. Obviously, no one is there. 4685 4686 Butch walks into his modest kitchen, and opens the 4687 refrigerator. 4688 4689 He takes out a carton of milk and drinks from it. 4690 4691 With carton in hard, Butch surveys the apartment. Then he 4692 goes to the bedroom. 4693 4694 His bedroom is like the rest of the apartment � neat, clean 4695 and anonymous. The only things personal in his room are a 4696 few boxing trophies, an Olympic silver medal, a framed issue 4697 of "Ring Magazine" with Butch on the cover, and a poster of 4698 Jerry Quarry and one of George Chuvalo. 4699 4700 Sure enough, there's the watch just like he said it was: On 4701 the bedside table, hanging on his little kangaroo statue. 4702 4703 He walks through the apartment and back into the kitchen. He 4704 opens a cupboard and takes out a box of Pop Tarts. Putting 4705 down the milk, he opens the box, takes out two Pop Tarts and 4706 puts them in the toaster. 4707 4708 Butch glances to his right, his eyes fall on something. 4709 4710 What he sees is a small compact Czech M61 submachine gun 4711 with a huge silencer on it, lying on his kitchen counter. 4712 4713 BUTCH 4714 (softly) 4715 Holy shit. 4716 4717 He picks up the intimidating peace of weaponry and examines 4718 it. 4719 4720 Then... a toilet FLUSHES. 4721 4722 Butch looks up to the bathroom door, which is parallel to 4723 the kitchen. There is someone behind it. 4724 4725 Like a rabbit caught in a radish patch, Butch freezes, not 4726 knowing what to do. 4727 4728 The bathroom door opens and Vincent Vega steps out of the 4729 bathroom, tightening his belt. In his hand is the book 4730 "MODESTY BLAISE" by Peter O'Donnell. 4731 4732 Vincent and Butch lock eyes. 4733 4734 Vincent freezes. 4735 4736 Butch doesn't move, except to point the M61 in Vincent's 4737 direction. 4738 4739 Neither man opens his mouth. 4740 4741 Then... the toaster LOUDLY kicks up the Pop Tarts. 4742 4743 That's all the situation needed. 4744 4745 Butch's finger HITS the trigger. 4746 4747 MUFFLED FIRE SHOOTS out of the end of the gun. 4748 4749 Vincent is seemingly WRACKED with twenty bullets 4750 SIMULTANEOUSLY � LIFTING him off his feet, PROPELLING him 4751 through the air and CRASHING through the glass shower door 4752 at the end of the bathroom. 4753 4754 By the time Butch removes his finger from the trigger, Vincent 4755 is annihilated. 4756 4757 Butch stands frozen, amazed at what just happened. His look 4758 goes from the grease spot in the bathroom that was once 4759 Vincent, down to the powerful piece of artillery in his grip. 4760 4761 With the respect it deserves, Butch carefully places the M61 4762 back on the kitchen counter. 4763 4764 Then he exits the apartment, quickly. 4765 4766 EXT. APARTMENT COURTYARD � DAY 4767 4768 Butch, not running, but walking very rapidly, crosses the 4769 courtyard... 4770 4771 ...comes out of the apartment building, crosses the street... 4772 4773 ...goes through the alley... 4774 4775 ...and into his car in one STEADICAM SHOT. 4776 4777 EXT. HONDA � DAY 4778 4779 Butch CRANKS the car into gear and drives away. The big wide 4780 smile of a survivor breaks across his face. 4781 4782 EXT. APARTMENT BUILDING STREET � DAY 4783 4784 The Honda turns down the alley and slowly cruises by his 4785 apartment building. 4786 4787 INT. HONDA � DAY 4788 4789 Butch looks out the window at his former home. 4790 4791 BUTCH 4792 That's how you're gonna beat 'em, 4793 Butch. They keep underestimatin' 4794 ya. 4795 4796 This makes the boxer laugh out loud. As he laughs, he flips 4797 a tape in the cassette player. When the MUSIC starts, he 4798 SINGS along with it. 4799 4800 He drives by the apartment, but is stopped at the light on 4801 the corner across from Teriyaki Donut. 4802 4803 Butch is still chuckling, singing along with the song, as we 4804 see: 4805 4806 THROUGH THE WINDSHIELD 4807 4808 The big man himself, Marsellus Wallace, exit Teriyaki Donut, 4809 carrying a box of a dozen donuts and two large styrofoam 4810 cups of coffee. He steps off the curb, crossing the street 4811 in front of Butch's car. This is the first time we see 4812 Marsellus clearly. 4813 4814 Laughing boy stops when he sees the big man directly in front 4815 of him. 4816 4817 When Marsellus is in front of Butch's car, he casually glances 4818 to his left, sees Butch, continues walking... then STOPS! 4819 4820 DOUBLE-TAKE: "Am I really seeing what I'm seeing?" 4821 4822 Butch doesn't wait for the big man to answer his own question. 4823 He STOMPS on the gas pedal. 4824 4825 The little Honda SLAMS into Marsellus, sending him, the donuts 4826 and the coffee HITTING the pavement at thirty miles an hour. 4827 4828 Butch CUTS into cross traffic and is BROAD-SIDED by a gold 4829 Camaro Z-28, BREAKING all the windows in the Honda and sending 4830 it up on the sidewalk. 4831 4832 Butch sits dazed and confused in the crumpled mess of what 4833 at one time was Fabienne's Honda. Blood flows from his 4834 nostrils. The still-functional tape player continues to play. 4835 A PEDESTRIAN pokes his head inside. 4836 4837 PEDESTRIAN 4838 Jesus, are you okay? 4839 4840 Butch look at him, spaced-out. 4841 4842 BUTCH 4843 I guess. 4844 4845 Marsellus Wallace lies sprawled out in the street. GAWKERS 4846 gather around the body. 4847 4848 GAWKER #1 4849 (to the others) 4850 He's dead! He's dead! 4851 4852 This jerk's yelling makes Marsellus come to. 4853 4854 TWO PEDESTRIANS help the shaken Butch out of the wreckage. 4855 4856 The woozy Marsellus gets to his feet. 4857 4858 GAWKER #2 4859 If you need a witness in court, I'll 4860 be glad to help. He was a drunken 4861 maniac. He hit you and crashed into 4862 that car. 4863 4864 MARSELLUS 4865 (still incoherent) 4866 Who? 4867 4868 GAWKER #2 4869 (pointing at Butch) 4870 Him. 4871 4872 Marsellus follows the Gawker's finger and sees Butch Coolidge 4873 down the street, looking a shambles. 4874 4875 MARSELLUS 4876 Well, I'll be damned. 4877 4878 The big man takes out a .45 Automatic and the Gawkers back 4879 away. 4880 4881 Marsellus starts moving toward Butch. 4882 4883 Butch sees the fierce figure making a wobbly bee-line toward 4884 him. 4885 4886 BUTCH 4887 Sacre bleu. 4888 4889 Marsellus brings up his weapon and FIRES, but he's so hurt, 4890 shaky and dazed that his arm goes wild. 4891 4892 He HITS a LOOKY-LOO WOMAN in the hip. She falls to the ground, 4893 screaming. 4894 4895 LOOKY-LOO WOMAN 4896 Oh my God, I've been shot! 4897 4898 That's all Butch needs to see. He's outta here. 4899 4900 Marsellus RUNS after him. 4901 4902 The CROWD looks agape. 4903 4904 Butch is in a mad, limping RUN. 4905 4906 The big man's hot on his ass with a cockeyed wobbly run. 4907 4908 Butch cuts across traffic and dashes into a business with a 4909 sign that reads "MASON-DIXIE PAWNSHOP". 4910 4911 INT. MASON-DIXIE PAWNSHOP � DAY 4912 4913 MAYNARD, a hillbilly-lookin' boy, stands behind the counter 4914 of his pawnshop when, all of a sudden, chaos in the form of 4915 Butch RACES into his world. 4916 4917 MAYNARD 4918 Can I help you wit' somethin'? 4919 4920 BUTCH 4921 Shut up! 4922 4923 Butch quickly takes measure of the situation, than stands 4924 next to the door. 4925 4926 MAYNARD 4927 Now you just wait one goddamn minute 4928 � 4929 4930 Before Maynard can finish his threat, Marsellus CHARGES in. 4931 He doesn't get past the doorway because Butch LANDS his fist 4932 in Marsellus' face. 4933 4934 The gangster's feet go out from under him and the big man 4935 FALLS FLAT on his back. 4936 4937 Outside, two police cars with their SIRENS BLARING race by. 4938 4939 Butch POUNCES on the fallen body, PUNCHING him twice more in 4940 the face. 4941 4942 Butch takes the gun out of Marsellus' hand, than grabs ahold 4943 of his middle finger. 4944 4945 BUTCH 4946 So you like chasing people, huh? 4947 4948 He BREAKS the finger. Marsellus lets out a pain sound. Butch 4949 then places the barrel of the .45 between his eyes, PULLS 4950 back the hammer and places his open hand behind the gun to 4951 shield the splatter. 4952 4953 BUTCH 4954 Well guess what, big man, you caught 4955 me � 4956 4957 MAYNARD (O.S.) 4958 � hold it right there, godammit! 4959 4960 Butch and Marsellus look up at Maynard, who's brandishing a 4961 pumpaction shotgun, aimed at the two men. 4962 4963 BUTCH 4964 Look mister, this ain't any of your 4965 business � 4966 4967 MAYNARD 4968 � I'm makin' it my business! Now 4969 toss that gun! 4970 4971 Butch does. 4972 4973 MAYNARD 4974 Now you on top, stand up and come to 4975 the counter. 4976 4977 Butch slowly gets up and moves to the counter. As soon as he 4978 gets there, Maynard HAULS OFF, HITTING him hard in the face 4979 with the butt of the shotgun, knocking Butch down and out. 4980 4981 After Butch goes down, Maynard calmly lays the shotgun on 4982 the counter and moves to the telephone. 4983 4984 Marsellus Wallace, from his position on the floor, groggily 4985 watches the pawnshop owner dial a number. Maynard waits on 4986 the line while the other end rings. Then it picks up. 4987 4988 MAYNARD 4989 Zed? It's Maynard. The spider just 4990 caught a coupl'a flies. 4991 4992 Marsellus passes out. 4993 4994 FADE TO BLACK 4995 4996 FADE UP: 4997 4998 INT. PAWNSHOP BACK ROOM � DAY 4999 5000 TWO SHOT � BUTCH AND MARSELLUS 5001 5002 They are tied up in two separate chairs. In their mouths are 5003 two S&M-style ball gags (a belt goes around their heads and 5004 a little red ball sticks in their mouths). Both men are 5005 unconscious. 5006 5007 Maynard steps in with a fire extinguisher and SPRAYS both 5008 guys until they're wide awake and wet as otters. The two 5009 prisoners look up at their captors. 5010 5011 Maynard stands in front of them, fire extinguisher in one 5012 hand, shotgun in the other, and Marsellus' .45 sticking in 5013 his belt. 5014 5015 MAYNARD 5016 Nobody kills anybody in my place of 5017 business except me or Zed. 5018 5019 A BUZZER buzzes. 5020 5021 MAYNARD 5022 That's Zed. 5023 5024 Without saying another word, Maynard climbs up the stairs 5025 that lead to red curtains and goes through them. 5026 5027 WE HEAR, on the other side of the curtains, Maynard let Zed 5028 inside the store. 5029 5030 Butch and Marsellus look around the room. The basement of 5031 the pawnshop has been converted into a dungeon. After taking 5032 in their predicament, Butch and Marsellus look at each other, 5033 all traces of hostility gone, replaced by a terror they both 5034 share at what they've gotten themselves into. 5035 5036 Maynard and ZED come through the curtains. Zed is an even 5037 more intense version of Maynard, if such a thing is possible. 5038 The two hillbillys are obviously brothers. Where Maynard is 5039 a vicious pitbull, Zed is a deadly cobra. Zed walks in and 5040 stands in front of the two captives. He inspects them for a 5041 long time, then says: 5042 5043 ZED 5044 (to Maynard) 5045 You said you waited for me? 5046 5047 MAYNARD 5048 I did. 5049 5050 ZED 5051 Then how come they're all beat up? 5052 5053 MAYNARD 5054 They did that to each other. They 5055 was fightin' when they came in. This 5056 one was gonna shoot that one. 5057 5058 ZED 5059 (to Butch) 5060 You were gonna shoot him? 5061 5062 Butch makes no reply. 5063 5064 ZED 5065 Hey, is Grace gonna be okay in front 5066 of this place? 5067 5068 MAYNARD 5069 Yeah, it ain't Tuesday is it? 5070 5071 ZED 5072 No, it's Thursday. 5073 5074 MAYNARD 5075 Then she'll be fine. 5076 5077 ZED 5078 Bring out The Gimp. 5079 5080 MAYNARD 5081 I think The Gimp's sleepin'. 5082 5083 ZED 5084 Well, I guess you'll just wake 'em 5085 up then, won't you? 5086 5087 Maynard opens a trap door in the floor. 5088 5089 MAYNARD 5090 (yelling in the hole) 5091 Wake up! 5092 5093 Maynard reaches into the hole and comes back holding onto a 5094 leash. 5095 5096 He gives it a rough yank and, from below the floor, rises 5097 THE GIMP. 5098 5099 The Gimp is a man they keep dressed from head to toe in black 5100 leather bondage gear. There are zippers, buckles and studs 5101 here and there on the body. On his head is a black leather 5102 mask with two eye holes and a zipper (closed) for a mouth. 5103 They keep him in a hole in the floor big enough for a large 5104 dog. 5105 5106 Zed takes the chair, sits it in front of the two prisoners, 5107 then lowers into it. Maynard hands The Gimp's leash to Zed, 5108 then backs away. 5109 5110 MAYNARD 5111 (to The Gimp) 5112 Down! 5113 5114 The Gimp gets on its knees. 5115 5116 Maynard hangs back while Zed appraises the two men. 5117 5118 MAYNARD 5119 Who's first? 5120 5121 ZED 5122 I ain't fer sure yet. 5123 5124 Then with his little finger, Zed does a silent "Eenie, meany, 5125 miney, moe... " just his mouth mouthing the words and his 5126 finger going back and forth between the two. 5127 5128 Butch are Marsellus are terrified. 5129 5130 Maynard looks back and forth at the victims. 5131 5132 The Gimps's eyes go from one to the other inside the mask. 5133 5134 Zed continues his silent sing-song with his finger moving 5135 left to right, then it stops. 5136 5137 TWO SHOT � BUTCH AND MARSELLUS 5138 5139 After a beat, THE CAMERA MOVES to the right, zeroing in on 5140 Marsellus. 5141 5142 Zed stands up. 5143 5144 ZED 5145 Wanna do it here? 5146 5147 MAYNARD 5148 Naw, drag big boy to Russell's old 5149 room. 5150 5151 Zed grabs Marsellus' chair and DRAGS him into Russell's old 5152 room. 5153 5154 Russell, no doubt, was some other poor bastard that has the 5155 misfortune of stumbling into the Mason-Dixie pawnshop. 5156 Whatever happened to Russell is known only to Maynard and 5157 Zed because his old room, a back room in the back of the 5158 back room, is empty. 5159 5160 As Marsellus is dragged away, he locks eyes with Butch before 5161 he disappears behind the door of Russell's old room. 5162 5163 MAYNARD 5164 (to The Gimp) 5165 Up! 5166 5167 The Gimp rises. Maynard ties The Gimp's leash to a hook on 5168 the ceiling. 5169 5170 MAYNARD 5171 Keep an eye on this one. 5172 5173 The Gimp bows its head: "yes." Maynard disappears into 5174 Russell's old room. There must be a stereo in there because 5175 suddenly The Judds, singing in harmony, fills the air. 5176 5177 Butch looks at The Gimp. The Gimp giggles from underneath 5178 the mask as if this were the funniest moment in the history 5179 of comedy. 5180 5181 From behind the door we hear country MUSIC, struggling, and: 5182 5183 MAYNARD (O.S.) 5184 Whoa, this boy's got a bit of fight 5185 in 'em! 5186 5187 We the HEAR Maynard and Zed beat on Marsellus. 5188 5189 ZED (O.S.) 5190 You wanna fight? You wanna fight? 5191 Good, I like to fight! 5192 5193 Butch pauses, listens to the voices. Then, in a panic, 5194 hurriedly struggles to get free. 5195 5196 The Gimp is laughing wildly. 5197 5198 The ropes are on too tight and Butch can't break free. 5199 5200 The Gimp slaps his knee laughing In the back room, we hear: 5201 5202 MAYNARD (O.S.) 5203 That's it... that's it boy, you're 5204 goin' fine. Oooooooh, just like 5205 that... that's good. 5206 (grunting faster) 5207 Stay still... stay still goddamn ya! 5208 Zed goddammit, git over here and 5209 hold 'em! 5210 5211 Butch stops struggling and lifts up on his arms. Then, quite 5212 easily, the padded chair back slides up and off as if it 5213 were never connected by a bolt. 5214 5215 The Gimp sees this and its eyes widen. 5216 5217 THE GIMP 5218 Huhng? 5219 5220 The Gimp FLAILS WILDLY, trying to get the leash off the hook. 5221 He tries to yell, but all that comes out are excited gurgles 5222 and grunts. 5223 5224 Butch is out of his chair, quickly dispensing three BOXER'S 5225 PUNCHES to its face. The punches knock The Gimp out, making 5226 him fall to his knees, this HANGING HIMSELF by the leash 5227 attached to the hook, Butch removes the ball gag, then 5228 silently makes his way through the red curtains. 5229 5230 INT. PAWNSHOP � DAY 5231 5232 Butch sneaks to the door. 5233 5234 On the counter is a big set of keys with a large Z connected 5235 to the ring. Grabbing them, he's about to go out when he 5236 stops and listens to the hillbilly psychopaths having their 5237 way with Marsellus. 5238 5239 Butch decides for the life of him, he can't leave anybody in 5240 a situation like that. Se he begins rooting around the 5241 pawnshop for a weapon to bash those hillbillies' heads in 5242 with. 5243 5244 He picks up a big destructive-looking hammer, then discards 5245 it: Not destructive enough. He picks up a chainsaw, thinks 5246 about it for a moment, then puts it back. Next, a large 5247 Louisville slugger he tries on for size. But then he spots 5248 what he's been looking for: 5249 5250 A Samurai sword. 5251 5252 It hands in its hand-carved wood sheath from a nail on the 5253 wall, next to a neon "DAD'S OLD-FASHIONED ROOT BEER" sign. 5254 Butch takes the sword off the wall, removing it from its 5255 sheath. It's a magnificent piece of steel. It seems to glisten 5256 in the low-wattage light of the pawnshop. Butch touches his 5257 thumb to the blade to see if the sword is just for show. Not 5258 on your life. It's as sharp as it gets. This weapon seems 5259 made to order for the Brothers Grimm downstairs. Holding the 5260 sword pointed downward, Takakura Kenstyle, he disappears 5261 through the red curtains to take care of business. 5262 5263 INT. PAWNSHOP BACK ROOM � DAY 5264 5265 Butch quietly sneaks down the stairs leading to the dungeon. 5266 5267 Sodomy and the Judds can still be heard going string behind 5268 the closed door that leads to Russell's old room. 5269 5270 INT. RUSSELL'S OLD ROOM � DAY 5271 5272 Butch's hand comes into frame, pushing the door open. It 5273 swings open silently, revealing the rapists, who have switched 5274 positions. 5275 5276 Zed is now bent over Marsellus, who is bent over a wooden 5277 horse. 5278 5279 Maynard watches. Both have their backs to Butch. 5280 5281 Maynard faces the CAMERA, grinning, while Butch comes up 5282 behind him with the sword. 5283 5284 Miserable, violated, and looking like a rag doll, Marsellus, 5285 red ball gag still in mouth, opens his watery eyes to see 5286 Butch coming up behind Maynard. His eyes widen. 5287 5288 BUTCH 5289 Hey hillbilly. 5290 5291 Maynard turns and sees Butch holding the sword. 5292 5293 Butch SCREAMS... with one mighty SWING, SLASHES Maynard across 5294 the front, moving past him, eyes and blade now locked on 5295 Zed. 5296 5297 Maynard stands trembling, his front sliced open, in shock. 5298 5299 Butch, while never taking his eyes off Zed, THRUSTS the sword 5300 behind him, SKEWERING Maynard, then EXTRACTS it, pointing 5301 the blade toward Zed. Maynard COLLAPSES. 5302 5303 Zed disengages from Marsellus in a hurry and his eyes go 5304 from the tip of Butch's sword to Marsellus' .45 Automatic, 5305 which lies within reach. 5306 5307 Butch's eyes follow Zed's. 5308 5309 BUTCH 5310 You want that gun, Zed? Pick it up. 5311 5312 Zed's hand inches toward the weapon. 5313 5314 Butch GRIPS the sword tighter. 5315 5316 Zed studies Butch. 5317 5318 Butch looks hard at Zed. 5319 5320 Then a VOICE says: 5321 5322 MARSELLUS (O.S.) 5323 Step aside, Butch. 5324 5325 Butch steps aside, REVEALING Marsellus standing behind him, 5326 holding Maynard's pump-action shotgun. 5327 5328 KABOOM!!!! 5329 5330 Zed is BLASTED in the groin. Down he goes, SCREAMING in AGONY. 5331 5332 Marsellus, looking down at his whimpering rapist, EJECTS the 5333 used shotgun shell. 5334 5335 Butch lowers the sword and hangs back. Not a word, until: 5336 5337 BUTCH 5338 You okay? 5339 5340 MARSELLUS 5341 Naw man. I'm pretty fuckin' far from 5342 okay! 5343 5344 Long pause. 5345 5346 BUTCH 5347 What now? 5348 5349 MARSELLUS 5350 What now? Well let me tell you what 5351 now. I'm gonna call a couple pipe- 5352 hittin' niggers, who'll go to work 5353 on homes here with a pair of pliers 5354 and a blow torch. 5355 (to Zed) 5356 Hear me talkin' hillbilly boy?! I 5357 ain't through with you by a damn 5358 sight. I'm gonna git Medieval on 5359 your ass. 5360 5361 BUTCH 5362 I meant what now, between me and 5363 you? 5364 5365 MARSELLUS 5366 Oh, that what now? Well, let me tell 5367 ya what now between me an' you. There 5368 is no me an' you. Not no more. 5369 5370 BUTCH 5371 So we're cool? 5372 5373 MARSELLUS 5374 Yeah man, we're cool. One thing I 5375 ask � two things I ask: Don't tell 5376 nobody about this. This shit's between 5377 me and you and the soon-to-be-livin'- 5378 the-rest-of-his-short-ass-life-in- 5379 agonizing-pain, Mr. Rapist here. It 5380 ain't nobody else's business. Two: 5381 leave town. Tonight. Right now. And 5382 when you're gone, stay gone. You've 5383 lost your Los Angeles privileges. 5384 Deal? 5385 5386 BUTCH 5387 Deal. 5388 5389 The two men shake hands, then hug one another. 5390 5391 MARSELLUS 5392 Go on now, get your ass outta here. 5393 5394 Butch leaves Russell's old room through the red curtains. 5395 5396 Marsellus walks over to a phone, dialing a number. 5397 5398 MARSELLUS 5399 (into the phone) 5400 Hello Mr. Wolf, it's Marsellus. Gotta 5401 bit of a situation. 5402 5403 EXT. MASON-DIXIE PAWNSHOP � DAY 5404 5405 Butch, still shaking in his boots, exits the pawnshop. He 5406 looks ahead and sees, parked in front of the establishment, 5407 Zed's Big Chrome Chopper with a teardrop gas tank that has 5408 the name "GRACE" on it. He climbs aboard, takes out the keys 5409 with the big Z on them and starts up the huge hog. It RUMBLES 5410 to life, making sounds like a rocket fighting for orbit. 5411 Butch twists the accelerator handle and SPEEDS off. 5412 5413 WE CUT BACK AND FORTH BETWEEN... 5414 5415 INT. BUTCH AND FABIENNE'S HOTEL ROOM � DAY 5416 5417 Fabienne stands in front of a mirror wearing a "Frankie says, 5418 Relax" tee-shirt, singing along with MUSIC coming from a 5419 BOOM BOX. 5420 5421 EXT. CITY STREET � CHOPPER (MOVING) � DAY 5422 5423 Butch drives down the street, humping a hot hog named "GRACE." 5424 He checks his father's watch. It says: 10:30. 5425 5426 The SONG in the motel room PLAYS OVER this. 5427 5428 EXT. MOTEL ROOM � DAY 5429 5430 Butch rides up on Grace. He hops off and runs inside the 5431 motel room, while we stay outside with the bike. 5432 5433 FABIENNE (O.S.) 5434 Butch, I was so worried! 5435 5436 BUTCH 5437 Honey, grab your radio and your purse 5438 and let's go! 5439 5440 FABIENNE (O.S.) 5441 But what about all our bags? 5442 5443 BUTCH 5444 Fuck the bags. We'll miss our train 5445 if we don't split now. 5446 5447 FABIENNE (O.S.) 5448 Is everything well? Are we in danger? 5449 5450 BUTCH 5451 We're cool. In fact, we're super- 5452 cool. But we gots to go. I'll wait 5453 for you outside. 5454 5455 Butch runs out and hops back on the bike. Fabienne exits the 5456 motel room with the boom box and a large purse. When she 5457 sees Butch on the chopper, she stops dead. 5458 5459 FABIENNE 5460 Where did you get this motorcycle? 5461 5462 BUTCH 5463 (he kick-starts it) 5464 It's a chopper, baby, hop on. 5465 5466 Fabienne slowly approaches the two-wheel demon. 5467 5468 FABIENNE 5469 What happened to my Honda? 5470 5471 BUTCH 5472 Sorry baby, I crashed the Honda. 5473 5474 FABIENNE 5475 You're hurt? 5476 5477 BUTCH 5478 I might've broke my nose, no biggie. 5479 Hop on. 5480 5481 She doesn't move. 5482 5483 Butch looks at her. 5484 5485 BUTCH 5486 Honey, we gotta hit the fuckin' road! 5487 5488 Fabienne starts to cry. 5489 5490 Butch realizes that this is not the way to get her on the 5491 bike. He turns off the engine and reaches out, taking her 5492 hand. 5493 5494 BUTCH 5495 I'm sorry, baby-love. 5496 5497 FABIENNE 5498 (crying) 5499 You were gone so long, I started to 5500 think dreadful thoughts. 5501 5502 BUTCH 5503 I'm sorry I worried you, sweetie. 5504 Everything's fine. Hey, how was 5505 breakfast? 5506 5507 FABIENNE 5508 (waterworks drying a 5509 little) 5510 It was good � 5511 5512 BUTCH 5513 � did you get the blueberry pancakes? 5514 5515 FABIENNE 5516 No, they didn't have blueberry 5517 pancakes, I had to get buttermilk � 5518 are you sure you're okay? 5519 5520 BUTCH 5521 Baby-love, from the moment I left 5522 you, this has been without a doubt 5523 the single weirdest day of my entire 5524 life. Climb on an' I'll tell ya about 5525 it. 5526 5527 Fabienne does climb on. Butch STARTS her up. 5528 5529 FABIENNE 5530 Butch, whose motorcycle is this? 5531 5532 BUTCH 5533 It's a chopper. 5534 5535 FABIENNE 5536 Whose chopper is this? 5537 5538 BUTCH 5539 Zed's. 5540 5541 FABIENNE 5542 Who's Zed? 5543 5544 BUTCH 5545 Zed's dead, baby, Zed's dead. 5546 5547 And with that, the two lovebirds PEEL AWAY on Grace, as the 5548 SONG on the BOOM BOX RISES. 5549 5550 FADE TO BLACK 5551 5552 TITLE CARD: 5553 5554 "JULES VINCENT JIMMIE & THE WOLF" 5555 5556 TITLE DISAPPEARS. 5557 5558 Over black, we can HEAR in the distance, men talking. 5559 5560 JULES (O.S.) 5561 You ever read the Bible, Brett? 5562 5563 BRETT (O.S.) 5564 Yes! 5565 5566 JULES (O.S.) 5567 There's a passage I got memorized, 5568 seems appropriate for this situation: 5569 Ezekiel 25:17. "The path of the 5570 righteous man is beset on all sides 5571 by the inequities of the selfish and 5572 the tyranny of evil men..." 5573 5574 FADE UP: 5575 5576 INT. BATHROOM � DAY 5577 5578 We're in the bathroom of the Hollywood apartment we were in 5579 earlier. In fact, we're there at exactly the same time. Except 5580 this time, we're in the bathroom with the FOURTH MAN. The 5581 Fourth Man is pacing around the small room, listening hard 5582 to what's being said on the other side of the door, tightly 5583 CLUTCHING his huge silver .357 Magnum. 5584 5585 JULES (O.S.) 5586 "...blessed is he who, in the name 5587 of charity and good will, shepherded 5588 the weak through the valley of 5589 darkness. And I will strike down 5590 upon thee with great vengeance and 5591 furious anger those who attempt to 5592 poison and destroy my brothers. And 5593 you will know I am the Lord when I 5594 lay my vengeance upon you." 5595 5596 BANG! BANG! BOOM! POW! BAM BAM BAM BAM BAM! 5597 5598 The Fourth Man freaks out. He THROWS himself against the 5599 back wall, gun outstretched in front of him, a look of yellow 5600 fear on his face, ready to blow in half anybody fool enough 5601 to stick their head through that door. 5602 5603 Then he listens to them talk. 5604 5605 VINCENT (O.S.) 5606 Friend of yours? 5607 5608 JULES (O.S.) 5609 Yeah, Marvin-Vincent-Vincent-Marvin. 5610 5611 Waiting for them isn't the smartest move. Bursting out the 5612 door and blowing them all away while they're fuckin' around 5613 is the way to go. 5614 5615 INT. APARTMENT � DAY 5616 5617 The bathroom door BURSTS OPEN and the Fourth Man CHARGES 5618 out, silver Magnum raised, FIRING SIX BOOMING SHOTS from his 5619 hand cannon. 5620 5621 FOURTH MAN 5622 Die... die... die... die...! 5623 5624 DOLLY INTO Fourth Man, same as before. 5625 5626 He SCREAM until he's dry firing. Then a look of confusion 5627 crosses his face. 5628 5629 TWO SHOT � JULES AND VINCENT 5630 5631 Standing next to each other, unharmed. Amazing as it seems, 5632 none of the Fourth Man's shots appear to have hit anybody. 5633 Jules and Vincent exchange looks like, "Are we hit?" They're 5634 as confused at the shooter. After looking at each other, 5635 they bring their looks up to the Fourth Man. 5636 5637 FOURTH MAN 5638 I don't understand � 5639 5640 The Fourth Man is taken out of the scenario by the two men's 5641 bullets who, unlike his, HIT their marks. He drops DEAD. 5642 5643 The two men lower their guns. Jules, obviously shaken, sits 5644 down in a chair. Vincent, after a moment of respect, shrugs 5645 it off. 5646 5647 Then heads toward Marvin in the corner. 5648 5649 VINCENT 5650 Why the fuck didn't you tell us about 5651 that guy in the bathroom? Slip your 5652 mind? Forget he was in there with a 5653 goddamn hand cannon? 5654 5655 JULES 5656 (to himself) 5657 We should be fuckin' dead right now. 5658 (pause) 5659 Did you see that gun he fired at us? 5660 It was bigger than him. 5661 5662 VINCENT 5663 .357. 5664 5665 JULES 5666 We should be fuckin' dead! 5667 5668 VINCENT 5669 Yeah, we were lucky. 5670 5671 Jules rises, moving toward Vincent. 5672 5673 JULES 5674 That shit wasn't luck. That shit was 5675 somethin' else. 5676 5677 Vincent prepares to leave. 5678 5679 VINCENT 5680 Yeah, maybe. 5681 5682 JULES 5683 That was... divine intervention. You 5684 know what divine intervention is? 5685 5686 VINCENT 5687 Yeah, I think so. That means God 5688 came down from Heaven and stopped 5689 the bullets. 5690 5691 JULES 5692 Yeah, man, that's what is means. 5693 That's exactly what it means! God 5694 came down from Heaven and stopped 5695 the bullets. 5696 5697 VINCENT 5698 I think we should be going now. 5699 5700 JULES 5701 Don't do that! Don't you fuckin' do 5702 that! Don't blow this shit off! 5703 What just happened was a fuckin' 5704 miracle! 5705 5706 VINCENT 5707 Chill the fuck out, Jules, this shit 5708 happens. 5709 5710 JULES 5711 Wrong, wrong, this shit doesn't just 5712 happen. 5713 5714 VINCENT 5715 Do you wanna continue this theological 5716 discussion in the car, or at the 5717 jailhouse with the cops? 5718 5719 JULES 5720 We should be fuckin' dead now, my 5721 friend! We just witnessed a miracle, 5722 and I want you to fuckin' acknowledge 5723 it! 5724 5725 VINCENT 5726 Okay man, it was a miracle, can we 5727 leave now? 5728 5729 EXT. HOLLYWOOD APARTMENT BUILDING � MORNING 5730 5731 The Chevy Nova PROPELS itself into traffic. 5732 5733 INT. NOVA (MOVING) � MORNING 5734 5735 Jules is behind the wheel,Vincent in the passenger seat and 5736 Marvin in the back. 5737 5738 VINCENT 5739 ...Ever seen that show "COPS?" I 5740 was watchin' it once and this cop 5741 was on it who was talkin' about this 5742 time he got into this gun fight with 5743 a guy in a hallway. He unloads on 5744 this guy and he doesn't hit anything. 5745 And these guys were in a hallway. 5746 It's a freak, but it happens. 5747 5748 JULES 5749 If you wanna play blind man, then go 5750 walk with a Shepherd. But me, my 5751 eyes are wide fuckin' open. 5752 5753 VINCENT 5754 What the fuck does that mean? 5755 5756 JULES 5757 That's it for me. For here on in, 5758 you can consider my ass retired. 5759 5760 VINCENT 5761 Jesus Christ! 5762 5763 JULES 5764 Don't blaspheme! 5765 5766 VINCENT 5767 Goddammit, Jules � 5768 5769 JULES 5770 � I said don't do that � 5771 5772 VINCENT 5773 � you're fuckin' freakin' out! 5774 5775 JULES 5776 I'm tellin' Marsellus today I'm 5777 through. 5778 5779 VINCENT 5780 While you're at it, be sure to tell 5781 'im why. 5782 5783 JULES 5784 Don't worry, I will. 5785 5786 VINCENT 5787 I'll bet ya ten thousand dollars, he 5788 laughs his ass off. 5789 5790 JULES 5791 I don't give a damn if he does. 5792 5793 Vincent turns to the backseat with the .45 casually in his 5794 grip. 5795 5796 VINCENT 5797 Marvin, what do you make of all this? 5798 5799 MARVIN 5800 I don't even have an opinion. 5801 5802 VINCENT 5803 C'mon, Marvin. Do you think God came 5804 down from Heaven and stopped the 5805 bullets? 5806 5807 Vincent's .45 goes BANG! 5808 5809 Marvin is hit in the upper chest, below the throat. He GURGLES 5810 blood and SHAKES. 5811 5812 JULES 5813 What the fuck's happening? 5814 5815 VINCENT 5816 I just accidentally shot Marvin in 5817 the throat. 5818 5819 JULES 5820 Why the fuck did you do that? 5821 5822 VINCENT 5823 I didn't mean to do it. I said it 5824 was an accident. 5825 5826 JULES 5827 I've seen a lot of crazy-ass shit in 5828 my time � 5829 5830 VINCENT 5831 � chill out, man, it was an accident, 5832 okay? You hit a bump or somethin' 5833 and the gun went off. 5834 5835 JULES 5836 The car didn't hit no motherfuckin' 5837 bump! 5838 5839 VINCENT 5840 Look! I didn't mean to shoot this 5841 son-ofa-bitch, the gun just went 5842 off, don't ask me how! 5843 5844 JULES 5845 Look at this mess! We're drivin' 5846 around on a city street in broad 5847 daylight � 5848 5849 VINCENT 5850 � I know, I know, I wasn't thinkin' 5851 about the splatter. 5852 5853 JULES 5854 Well you better be thinkin' about it 5855 now, motherfucker! We gotta get this 5856 car off the road. Cops tend to notice 5857 shit like you're driving a car 5858 drenched in fuckin' blood. 5859 5860 VINCENT 5861 Can't we just take it to a friendly 5862 place? 5863 5864 JULES 5865 This is the Valley, Vincent. Marsellus 5866 don't got no friendly places in the 5867 Valley. 5868 5869 VINCENT 5870 Well, don't look at me, this is your 5871 town, Jules. 5872 5873 Jules takes out a cellular phone and starts punching digits. 5874 5875 VINCENT 5876 Who ya callin'? 5877 5878 JULES 5879 A buddy of mine in Toluca Lake. 5880 5881 VINCENT 5882 Where's Toluca Lake. 5883 5884 JULES 5885 On the other side of the hill, by 5886 Burbank Studios. If Jimmie's ass 5887 ain't home, I don't know what the 5888 fuck we're gonna go. I ain't got any 5889 other partners in 818. 5890 (into phone) 5891 Jimmie! How you doin' man, it's Jules. 5892 (pause) 5893 Listen up man, me an' my homeboy are 5894 in some serious shit. We're in a car 5895 we gotta get off the road, pronto! I 5896 need to use your garage for a couple 5897 hours. 5898 5899 INT. JIMMIE'S BATHROOM � DAY 5900 5901 Jules is bent over a sink, washing his bloody hands while 5902 Vincent stands behind him. 5903 5904 JULES 5905 We gotta be real fuckin' delicate 5906 with this Jimmie's situation. He's 5907 one remark away from kickin' our 5908 asses out the door. 5909 5910 VINCENT 5911 If he kicks us out, whadda we do? 5912 5913 JULES 5914 Well, we ain't leavin' 'til we made 5915 a couple phone calls. But I never 5916 want it to reach that pitch. Jimmie's 5917 my friend and you don't bust in your 5918 friend's house and start tellin' 'im 5919 what's what. 5920 5921 Jules rises and dries his hands. Vincent takes his place at 5922 the sink. 5923 5924 VINCENT 5925 Just tell 'im not to be abusive. He 5926 kinda freaked out back there when he 5927 saw Marvin. 5928 5929 JULES 5930 Put yourself in his position. It's 5931 eight o'clock in the morning. He 5932 just woke up, he wasn't prepared for 5933 this shit. Don't forget who's doin' 5934 who a favor. 5935 5936 Vincent finishes, then dries his hands on a white towel. 5937 5938 VINCENT 5939 If the price of that favor is I gotta 5940 take shit, he can stick his favor 5941 straight up his ass. 5942 5943 When Vincent is finished drying his hands, the towel is 5944 stained with red. 5945 5946 JULES 5947 What the fuck did you just do to his 5948 towel? 5949 5950 VINCENT 5951 I was just dryin' my hands. 5952 5953 JULES 5954 You're supposed to wash 'em first. 5955 5956 VINCENT 5957 You watched me wash 'em. 5958 5959 JULES 5960 I watched you get 'em wet. 5961 5962 VINCENT 5963 I washed 'em. Blood's real hard to 5964 get off. Maybe if he had some Lava, 5965 I coulda done a better job. 5966 5967 JULES 5968 I used the same soap you did and 5969 when I dried my hands, the towel 5970 didn't look like a fuckin' Maxie 5971 pad. Look, fuck it, alright. Who 5972 cares? But it's shit like this that's 5973 gonna bring this situation to a boil. 5974 If he were to come in here and see 5975 that towel like that... I'm tellin' 5976 you Vincent, you best be cool. 'Cause 5977 if I gotta get in to it with Jimmie 5978 on account of you... Look, I ain't 5979 threatenin' you, I respect you an' 5980 all, just don't put me in that 5981 position. 5982 5983 JULES 5984 Jules, you ask me nice like that, no 5985 problem. He's your friend, you handle 5986 him. 5987 5988 INT. JIMMIE'S KITCHEN � MORNING 5989 5990 Three men are standing in Jimmie's kitchen, each with a mug 5991 of coffee. Jules, Vincent and JIMMIE DIMMICK, a young man in 5992 his late 20s dressed in a bathrobe. 5993 5994 JULES 5995 Goddamn Jimmie, this is some serious 5996 gourmet shit. Me an' Vincent woulda 5997 been satisfied with freeze-dried 5998 Tasters Choice. You spring this 5999 gourmet fuckin' shit on us. What 6000 flavor is this? 6001 6002 JIMMIE 6003 Knock it off, Julie. 6004 6005 JULES 6006 What? 6007 6008 JIMMIE 6009 I'm not a cobb or corn, so you can 6010 stop butterin' me up. I don't need 6011 you to tell me how good my coffee 6012 is. I'm the one who buys it, I know 6013 how fuckin' good it is. When Bonnie 6014 goes shoppin;, she buys shit. I buy 6015 the gourmet expensive stuff 'cause 6016 when I drink it, I wanna taste it. 6017 But what's on my mind at this moment 6018 isn't the coffee in my kitchen, it's 6019 the dead nigger in my garage. 6020 6021 JULES 6022 Jimmie � 6023 6024 JIMMIE 6025 � I'm talkin'. Now let me ask you a 6026 question, Jules. When you drove in 6027 here, did you notice a sign out front 6028 that said, "Dead nigger storage?" 6029 6030 Jules starts to "Jimmie" him � 6031 6032 JIMMIE 6033 � answer to question. Did you see a 6034 sign out in front of my house that 6035 said, "Dead nigger storage?" 6036 6037 JULES 6038 (playing along) 6039 Naw man, I didn't. 6040 6041 JIMMIE 6042 You know why you didn't see that 6043 sign? 6044 6045 JULES 6046 Why? 6047 6048 JIMMIE 6049 'Cause storin' dead niggers ain't my 6050 fuckin' business! 6051 6052 Jules starts to "Jimmie" him. 6053 6054 JIMMIE 6055 � I ain't through! Now don't you 6056 understand that if Bonnie comes home 6057 and finds a dead body in her house, 6058 I'm gonna get divorced. No marriage 6059 counselor, no trial separation � 6060 fuckin' divorced. And I don't wanna 6061 get fuckin' divorced. The last time 6062 me an' Bonnie talked about this shit 6063 was gonna be the last time me an' 6064 Bonnie talked about this shit. Now I 6065 wanna help ya out Julie, I really 6066 do. But I ain't gonna lose my wife 6067 doin' it. 6068 6069 JULES 6070 Jimmie � 6071 6072 JIMMIE 6073 � don't fuckin' Jimmie me, man, I 6074 can't be Jimmied. There's nothin' 6075 you can say that's gonna make me 6076 forget I love my wife. Now she's 6077 workin' the graveyard shift at the 6078 hospital. She'll be comin' home in 6079 less than an hour and a half. Make 6080 your phone calls, talk to your people, 6081 than get the fuck out of my house. 6082 6083 JULES 6084 That's all we want. We don't wanna 6085 fuck up your shit. We just need to 6086 call our people to bring us in. 6087 6088 JIMMIE 6089 Then I suggest you get to it. Phone's 6090 in my bedroom. 6091 6092 INT. MARSELLUS WALLACE'S DINING ROOM � MORNING 6093 6094 Marsellus Wallace sits at his dining table in a big comfy 6095 robe, eating his large breakfast, while talking on the phone. 6096 6097 MARSELLUS 6098 ...well, say she comes home. Whaddya 6099 think she'll do? 6100 (pause) 6101 No fuckin' shit she'll freak. That 6102 ain't no kinda answer. You know 'er, 6103 I don't. How bad, a lot or a little? 6104 6105 INT. JIMMIE'S BEDROOM � MORNING 6106 6107 Jules paces around in Jimmie's bedroom on the phone. 6108 6109 JULES 6110 You got to appreciate what an 6111 explosive element this Bonnie 6112 situation is. If she comes home from 6113 a hard day's work and finds a bunch 6114 of gangsters doin' a bunch of gangsta' 6115 shit in her kitchen, ain't no tellin' 6116 what she's apt to do. 6117 6118 MARSELLUS 6119 I've grasped that, Jules. All I'm 6120 doin' is contemplating the "ifs." 6121 6122 JULES 6123 I don't wanna hear about no 6124 motherfuckin' "ifs."What I wanna 6125 hear from your ass is: "you ain't 6126 got no problems, Jules. I'm on the 6127 motherfucker. Go back in there, chill 6128 them niggers out and wait for the 6129 cavalry, which should be comin' 6130 directly." 6131 6132 MARSELLUS 6133 You ain't got no problems, Jules. 6134 I'm on the motherfucker. Go back in 6135 there, chill them niggers out and 6136 wait for The Wolf, who should be 6137 comin' directly. 6138 6139 JULES 6140 You sendin' The Wolf? 6141 6142 MARSELLUS 6143 Feel better? 6144 6145 JULES 6146 Shit Negro, that's all you had to 6147 say. 6148 6149 INT. HOTEL SUITE � MORNING 6150 6151 The CAMERA looks through the bedroom doorway of a hotel suite 6152 into the main area. We SEE a crap game being played on a 6153 fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in 6154 fancy evening gowns. The CAMERA PANS to the right revealing: 6155 Sitting on a bed, phone in hand with his back to us, the 6156 tuxedo-clad WINSTON WOLF aka "THE WOLF". We also see The 6157 Wolf has a small notepad that he jots details in. 6158 6159 THE WOLF 6160 (into phone) 6161 Is she the hysterical type? 6162 (pause) 6163 When she due? 6164 (jotting down) 6165 Give me the principals' names again? 6166 (jots down) 6167 Jules... 6168 6169 We SEE his book. The page has written on it: 6170 6171 "1265 Riverside Drive Toluca Lake 1 body (no head) 6172 Bloody shot-up car Jules (black)" 6173 6174 THE WOLF 6175 ...Vincent... Jimmie... Bonnie... 6176 6177 HE WRITES: 6178 6179 "Vincent (Dean Martin) Jimmie (house) Bonnie (9:30)" 6180 6181 THE WOLF 6182 Expect a call around 10:30. It's 6183 about thirty minutes away. I'll be 6184 there in ten. 6185 6186 He hangs up. We never see his face. 6187 6188 CUT TO: 6189 6190 TITLE CARD OVER BLACK: 6191 6192 "NINE MINUTES AND THIRTY-SEVEN SECONDS LATER" 6193 6194 CUT TO: 6195 6196 EXT. JIMMIE'S STREET � MORNING 6197 6198 A silver Porsche WHIPS the corner leading to Jimmie's home, 6199 in HYPER DRIVE. Easily doing 135 mph, the Porsche stops on a 6200 dime in front of Jimmie's house. 6201 6202 A ringed finger touches the doorbell: DING DONG. 6203 6204 INT. JIMMIE'S HOUSE � MORNING 6205 6206 Jimmie opens the door. We see, standing in the doorway, the 6207 tuxedo-clad man. He looks down to his notebook, then up at 6208 Jimmie. 6209 6210 THE WOLF 6211 You're Jimmie, right? This is your 6212 house? 6213 6214 JIMMIE 6215 Yeah. 6216 6217 THE WOLF 6218 (stick his hand out) 6219 I'm Winston Wolf, I solve problems. 6220 6221 JIMMIE 6222 Good, 'cause we got one. 6223 6224 THE WOLF 6225 So I heard. May I come in? 6226 6227 JIMMIE 6228 Please do. 6229 6230 In the dining room, Jules and Vincent stand up. 6231 6232 THE WOLF 6233 You must be Jules, which would make 6234 you Vincent. Let's get down to brass 6235 tacks, gentlemen. If I was informed 6236 correctly, the clock is ticking, is 6237 that right, Jimmie? 6238 6239 JIMMIE 6240 100%. 6241 6242 THE WOLF 6243 Your wife, Bonnie... 6244 (refers to his pad) 6245 ...comes home at 9:30 in the AM, is 6246 that correct? 6247 6248 JIMMIE 6249 Uh-huh. 6250 6251 THE WOLF 6252 I was led to believe if she comes 6253 home and finds us here, she wouldn't 6254 appreciate it none too much. 6255 6256 JIMMIE 6257 She won't at that. 6258 6259 THE WOLF 6260 That gives us forty minutes to get 6261 the fuck outta Dodge, which, if you 6262 do what I say when I say it, should 6263 by plenty. Now you got a corpse in a 6264 car, minus a head, in a garage. Take 6265 me to it. 6266 6267 INT. JIMMIE'S GARAGE � MORNING 6268 6269 The three men hang back as The Wolf examines the car. He 6270 studies the car in silence, opening the door, looking inside, 6271 circling it. 6272 6273 THE WOLF 6274 Jimmie? 6275 6276 JIMMIE 6277 Yes. 6278 6279 THE WOLF 6280 Do me a favor, will ya? Thought I 6281 smelled some coffee in there. Would 6282 you make me a cup? 6283 6284 JIMMIE 6285 Sure, how do you take it? 6286 6287 THE WOLF 6288 Lotsa cream, lotsa sugar. 6289 6290 Jimmie exists. The Wolf continues his examination. 6291 6292 THE WOLF 6293 About the car, is there anything I 6294 need to know? Does it stall, does it 6295 make a lot of noise, does it smoke, 6296 is there gas in it, anything? 6297 6298 JULES 6299 Aside from how it looks, the car's 6300 cool. 6301 6302 THE WOLF 6303 Positive? Don't get me out on the 6304 road and I find out the brake lights 6305 don't work. 6306 6307 JULES 6308 Hey man, as far as I know, the 6309 motherfucker's tip-top. 6310 6311 THE WOLF 6312 Good enough, let's go back to the 6313 kitchen. 6314 6315 INT. KITCHEN � MORNING 6316 6317 Jimmie hands The Wolf a cup of coffee. 6318 6319 THE WOLF 6320 Thank you, Jimmie. 6321 6322 He takes a sip, then, pacing as he thinks, lays out for the 6323 three men the plan of action. 6324 6325 THE WOLF 6326 Okay first thing, you two. 6327 (meaning Jules and 6328 Vincent) 6329 Take the body, stick it in the trunk. 6330 Now Jimmie, this looks to be a pretty 6331 domesticated house. That would lead 6332 me to believe that in the garage or 6333 under the sink, you got a bunch of 6334 cleansers and cleaners and shit like 6335 that, am I correct? 6336 6337 JIMMIE 6338 Yeah. Exactly. Under the sink. 6339 6340 THE WOLF 6341 Good. What I need you two fellas to 6342 do is take those cleaning products 6343 and clean the inside of the car. And 6344 I'm talkin' fast, fast, fast. You 6345 need to go in the backseat, scoop up 6346 all those little pieces of brain and 6347 skull. Get it out of there. Wipe 6348 down the upholstery � now when it 6349 comes to upholstery, it don't need 6350 to be spic and span, you don't need 6351 to eat off it. Give it a good once 6352 over. What you need to take care of 6353 are the really messy parts. The pools 6354 of blood that have collected, you 6355 gotta soak that shit up. But the 6356 windows are a different story. Them 6357 you really clean. Get the Windex, do 6358 a good job. Now Jimmie, we need to 6359 raid your linen closet. I need 6360 blankets, I need comforters, I need 6361 quilts, I need bedspreads. The thicker 6362 the better, the darker the better. 6363 No whites, can't use 'em. We need to 6364 camouflage the interior of the car. 6365 We're gonna line the front seat and 6366 the backseat and the floor boards 6367 with quilts and blankets. If a cop 6368 stops us and starts stickin' his big 6369 snout in the car, the subterfuge 6370 won't last. But at a glance, the car 6371 will appear to be normal. Jimmie � 6372 lead the way, boys � get to work. 6373 6374 The Wolf and Jimmie turn, heading for the bedroom, leaving 6375 Vincent and Jules standing in the kitchen. 6376 6377 VINCENT 6378 (calling after him) 6379 A "please" would be nice. 6380 6381 The Wolf stops and turns around. 6382 6383 THE WOLF 6384 Come again? 6385 6386 VINCENT 6387 I said a "please" would be nice. 6388 6389 The Wolf takes a step toward him. 6390 6391 THE WOLF 6392 Set is straight, Buster. I'm not 6393 here to say "please."I'm here to 6394 tell you want to do. And if self- 6395 preservation is an instinct you 6396 possess, you better fuckin' do it 6397 and do it quick. I'm here to help. 6398 If my help's not appreciated, lotsa 6399 luck gentlemen. 6400 6401 JULES 6402 It ain't that way, Mr. Wolf. Your 6403 help is definitely appreciated. 6404 6405 VINCENT 6406 I don't mean any disrespect. I just 6407 don't like people barkin' orders at 6408 me. 6409 6410 THE WOLF 6411 If I'm curt with you, it's because 6412 time is a factor. I think fast, I 6413 talk fast, and I need you guys to 6414 act fast if you want to get out of 6415 this. So pretty please, with sugar 6416 on top, clean the fuckin' car. 6417 6418 INT. JIMMIE'S BEDROOM � MORNING 6419 6420 Jimmie's gathering all the bedspreads, quilts and linen he 6421 has. 6422 6423 The Wolf is on the phone. 6424 6425 THE WOLF 6426 (into phone) 6427 It's a 1974 Chevy Nova. 6428 (pause) 6429 White. 6430 (pause) 6431 Nothin', except for the mess inside. 6432 (pause) 6433 About twenty minutes. 6434 (pause) 6435 Nobody who'll be missed. 6436 (pause) 6437 You're a good man, Joe. See ya soon. 6438 (he looks at Jimmie) 6439 How we comin', Jimmie? 6440 6441 Jimmie comes over with a handful of linen. 6442 6443 JIMMIE 6444 Mr. Wolf, you gotta understand 6445 somethin' � 6446 6447 THE WOLF 6448 � Winston, Jimmie � please, Winston. 6449 6450 JIMMIE 6451 You gotta understand something, 6452 Winston. I want to help you guys out 6453 and all, but that's my best linen. 6454 It was a wedding present from my 6455 Uncle Conrad and Aunt Ginny, and 6456 they ain't with us anymore � 6457 6458 THE WOLF 6459 � let me ask you a question, if you 6460 don't mind? 6461 6462 JIMMIE 6463 Sure. 6464 6465 THE WOLF 6466 Were you Uncle Conrad and Aunt Ginny 6467 millionaires? 6468 6469 JIMMIE 6470 No. 6471 6472 THE WOLF 6473 Well, your Uncle Marsellus is. And 6474 I'm positive if Uncle Conrad and 6475 Aunt Ginny were millionaires, they 6476 would've furnished you with a whole 6477 bedroom set, which your Uncle 6478 Marsellus is more than happy to do. 6479 (takes out a roll of 6480 bills) 6481 I like oak myself, that's what's in 6482 my bedroom. How 'bout you Jimmie, 6483 you an oak man? 6484 6485 JIMMIE 6486 Oak's nice. 6487 6488 INT. GARAGE � MORNING 6489 6490 Both Jules and Vincent are inside the car cleaning it up. 6491 Vincent is in the front seat washing windows, while Jules is 6492 in the backseat, picking up little pieces of skull and gobs 6493 of brain. 6494 6495 Both are twice as bloody as they were before. 6496 6497 JULES 6498 I will never forgive your ass for 6499 this shit. This is some fucked-up 6500 repugnant shit! 6501 6502 VINCENT 6503 Did you ever hear the philosophy 6504 that once a man admits he's wrong, 6505 he's immediately forgiven for all 6506 wrong-doings? 6507 6508 JULES 6509 Man, get outta my face with that 6510 shit! The motherfucker who said that 6511 never had to pick up itty-bitty pieces 6512 of skull with his fingers on account 6513 of your dumb ass. 6514 6515 VINCENT 6516 I got a threshold, Jules. I got a 6517 threshold for the abuse I'll take. 6518 And you're crossin' it. I'm a race 6519 car and you got me in the red. Redline 6520 7000, that's where you are. Just 6521 know, it's fuckin' dangerous to be 6522 drivin' a race car when it's in the 6523 red. It could blow. 6524 6525 JULES 6526 You're gettin' ready to blow? I'm a 6527 mushroom-cloud-layin' motherfucker! 6528 Every time my fingers touch brain 6529 I'm "SUPERFLY T.N.T," I'm the "GUNS 6530 OF NAVARONE." I'm what Jimmie Walker 6531 usta talk about. In fact, what the 6532 fuck am I doin' in the back? You're 6533 the motherfucker should be on brain 6534 detail. We're tradin'. I'm washin' 6535 windows and you're pickin' up this 6536 nigger's skull. 6537 6538 INT. CHEVY NOVA � MORNING 6539 6540 The interior of the car has been cleaned and lined with 6541 bedspreads and quilts. Believe it or not, what looked like a 6542 portable slaughterhouse can actually pass for a non-descript 6543 vehicle. 6544 6545 The Wolf circles the car examining it. 6546 6547 Jules and Vincent stand aside, their clothes are literally a 6548 bloody mess, but they do have a sense of pride in what a 6549 good job they've done. 6550 6551 THE WOLF 6552 Fine job, gentlemen. We may get out 6553 of this yet. 6554 6555 JIMMIE 6556 I can't believe that's the same car. 6557 6558 THE WOLF 6559 Well, let's not start suckin' each 6560 other's dicks quite yet. Phase one 6561 is complete, clean the car, which 6562 moves us right along to phase two, 6563 clean you two. 6564 6565 EXT. JIMMIE'S BACKYARD � MORNING 6566 6567 Jules and Vincent stand side by side in their black suits, 6568 covered in blood, in Jimmie's backyard. Jimmie holds a plastic 6569 Hefty trash bag, while The Wolf holds a garden hose with one 6570 of those guns nozzles attached. 6571 6572 THE WOLF 6573 Strip. 6574 6575 VINCENT 6576 All the way? 6577 6578 THE WOLF 6579 To your bare ass. 6580 6581 As they follow directions, The Wolf enjoys a smoke. 6582 6583 THE WOLF 6584 Quickly gentlemen, we got about 6585 fifteen minutes before Jimmie's better- 6586 half comes pulling into the driveway. 6587 6588 JULES 6589 This morning air is some chilly shit. 6590 6591 VINCENT 6592 Are you sure this is absolutely 6593 necessary? 6594 6595 THE WOLF 6596 You know what you two look like? 6597 6598 VINCENT 6599 What? 6600 6601 THE WOLF 6602 Like a couple of guys who just blew 6603 off somebody's head. Yes, strippin' 6604 off those bloody rags is absolutely 6605 necessary. Toss the clothes in Jim's 6606 garbage bag. 6607 6608 JULES 6609 Now Jimmie, don't do nothin' stupid 6610 like puttin' that out in front of 6611 your house for Elmo the garbage man 6612 to take away. 6613 6614 THE WOLF 6615 Don't worry, we're takin' it with 6616 us. Jim, the soap. 6617 6618 He hands the now-naked men a bar of soap. 6619 6620 THE WOLF 6621 Okay gentlemen, you're both been to 6622 County before, I'm sure. Here it 6623 comes. 6624 6625 He hits the trigger, water SHOOTS OUT, SMACKING both men. 6626 6627 JULES 6628 Goddamn, that water's fuckin' cold! 6629 6630 THE WOLF 6631 Better you than me, gentlemen. 6632 6633 The two men, trembling, scrub themselves. 6634 6635 THE WOLF 6636 Don't be afraid of the soap, spread 6637 it around. 6638 6639 The Wolf stops the hose, tossing it on the ground. 6640 6641 THE WOLF 6642 Towel 'em. 6643 6644 Jimmie tosses them each a towel, which they rub furiously 6645 across their bodies. 6646 6647 THE WOLF 6648 You're dry enough, give 'em their 6649 clothes. 6650 6651 FADE UP ON: 6652 6653 JULES AND VINCENT In their tee-shirts and swim trunks. They 6654 look a million miles away from the black-suited, bad-asses 6655 we first met. 6656 6657 THE WOLF 6658 Perfect. Perfect. We couldn't've 6659 planned this better. You guys look 6660 like... what do they look like, 6661 Jimmie? 6662 6663 JIMMIE 6664 Dorks. They look like a couple of 6665 dorks. 6666 6667 The Wolf and Jimmie laugh. 6668 6669 JULES 6670 Ha ha ha. They're your clothes, 6671 motherfucker. 6672 6673 JIMMIE 6674 I guess you just gotta know how to 6675 wear them. 6676 6677 JULES 6678 Yeah, well, our asses ain't the expert 6679 on wearin' dorky shit that your is. 6680 6681 THE WOLF 6682 C'mon, gentlemen, we're laughin' and 6683 jokin' our way into prison. Don't 6684 make me beg. 6685 6686 INT. JIMMIE'S GARAGE � MORNING 6687 6688 The garbage bag is tossed in the car trunk on top of Marvin. 6689 The Wolf SLAMS is closed. 6690 6691 THE WOLF 6692 Gentlemen, let's get our rules of 6693 the road straight. We're going to a 6694 place called Monster Joe's Truck and 6695 Tow. Monster Joe and his daughter 6696 Raquel are sympathetic to out dilemma. 6697 The place is North Hollywood, so a 6698 few twist and turns aside, we'll be 6699 goin' up Hollywood Way. Now I'll 6700 drive the tainted car. Jules, you 6701 ride with me. Vincent, you follow 6702 in my Porsche. Now if we cross the 6703 path of any John Q. Laws, nobody 6704 does a fuckin' thing 'til I do 6705 something. 6706 6707 (TO JULES) 6708 What did I say? 6709 6710 JULES 6711 Don't do shit unless � 6712 6713 THE WOLF 6714 � unless what? 6715 6716 JULES 6717 Unless you do it first. 6718 6719 THE WOLF 6720 Spoken like a true prodigy. 6721 (to Vincent) 6722 How 'bout you, Lash Larue? Can you 6723 keep your spurs from jingling and 6724 jangling? 6725 6726 VINCENT 6727 I'm cool, Mr. Wolf. My gun just went 6728 off, I dunno how. 6729 6730 THE WOLF 6731 Fair enough. 6732 (he throws Vince his 6733 car keys) 6734 I drive real fuckin' fast, so keep 6735 up. If I get my car back any different 6736 than I gave it, Monster Joe's gonna 6737 be disposing of two bodies. 6738 6739 EXT. MONSTER JOE'S TRUCK AND TOW � MORNING 6740 6741 Jules and Vincent wait by Winston's Porsche. 6742 6743 JULES 6744 We cool? 6745 6746 WINSTON 6747 Like it never happened. 6748 6749 Jules and Vincent bump fists. 6750 6751 WINSTON 6752 Boys, this is Raquel. Someday, all 6753 this will be hers. 6754 6755 RAQUEL 6756 (to the boys) 6757 Hi. You know, if they ever do "I 6758 SPY: THE MOTION PICTURE," you guys, 6759 I'd be great. What's with the 6760 outfits. You guys going to a 6761 volleyball game? 6762 6763 Winston laughs, the boys groan. 6764 6765 WINSTON 6766 I'm takin' m'lady out to breakfast. 6767 Maybe I can drop you two off. Where 6768 do you live? 6769 6770 VINCENT 6771 Redondo Beach. 6772 6773 JULES 6774 Inglewood. 6775 6776 Winston grabs Jules' wrist and pantomimes like he's in a 6777 "DEAD ZONE" trance. 6778 6779 WINSTON 6780 (painfully) 6781 It's your future: I see... a cab 6782 ride. 6783 (dropping the act) 6784 Sorry guys, move out of the sticks. 6785 (to Raquel) 6786 Say goodbye, Raquel. 6787 6788 RAQUEL 6789 Goodbye, Raquel. 6790 6791 WINSTON 6792 I'll see you two around, and stay 6793 outta trouble, you crazy kids. 6794 6795 Winston turns to leave. 6796 6797 JULES 6798 Mr. Wolf. 6799 6800 He turns around. 6801 6802 JULES 6803 I was a pleasure watchin' you work. 6804 6805 The Wolf smiles. 6806 6807 WINSTON 6808 Call me Winston. 6809 6810 He turns and banters with Raquel as they get in the Porsche. 6811 6812 WINSTON 6813 You hear that, young lady? Respect. 6814 You could lean a lot from those two 6815 fine specimens. Respect for one's 6816 elders shows character. 6817 6818 RAQUEL 6819 I have character. 6820 6821 WINSTON 6822 Just because you are a character 6823 doesn't mean you have character. 6824 6825 RAQUEL 6826 Oh you're so funny, oh you're so 6827 funny. 6828 6829 The Porsche SHOOTS OFF down the road. 6830 6831 The two men left alone look at each other. 6832 6833 JULES 6834 Wanna share a cab? 6835 6836 VINCENT 6837 You know I could go for some 6838 breakfast. Want to have breakfast 6839 with me? 6840 6841 JULES 6842 Sure. 6843 6844 INT. COFFEE SHOP � MORNING 6845 6846 Jules and Vincent sit at a booth. In front of Vincent is a 6847 big stack of pancakes and sausages, which he eats with gusto. 6848 Jules, on the other hand, just has a cup of coffee and a 6849 muffin. He seems far away in thought. The Waitress pours a 6850 refill for both men, 6851 6852 VINCENT 6853 Thanks a bunch. 6854 (to Jules, who's 6855 nursing his coffee) 6856 Want a sausage? 6857 6858 JULES 6859 Naw, I don't eat pork. 6860 6861 VINCENT 6862 Are you Jewish? 6863 6864 JULES 6865 I ain't Jewish man, I just don't dig 6866 on swine. 6867 6868 VINCENT 6869 Why not? 6870 6871 JULES 6872 They're filthy animals. I don't eat 6873 filthy animals. 6874 6875 VINCENT 6876 Sausages taste good. Pork chops taste 6877 good. 6878 6879 JULES 6880 A sewer rat may taste like pumpkin 6881 pie. I'll never know 'cause even if 6882 it did, I wouldn't eat the filthy 6883 motherfucker. Pigs sleep and root in 6884 shit. That's a filthy animal. I don't 6885 wanna eat nothin' that ain't got 6886 enough sense to disregard its own 6887 feces. 6888 6889 VINCENT 6890 How about dogs? Dogs eat their own 6891 feces. 6892 6893 JULES 6894 I don't eat dog either. 6895 6896 VINCENT 6897 Yes, but do you consider a dog to be 6898 a filthy animal? 6899 6900 JULES 6901 I wouldn't go so far as to call a 6902 dog filthy, but they're definitely 6903 dirty. But a dog's got personality. 6904 And personality goes a long way. 6905 6906 VINCENT 6907 So by that rationale, if a pig had a 6908 better personality, he's cease to be 6909 a filthy animal? 6910 6911 JULES 6912 We'd have to be talkin' 'bout one 6913 motherfuckin' charmin' pig. It'd 6914 have to be the Cary Grant of pigs. 6915 6916 The two men laugh. 6917 6918 VINCENT 6919 Good for you. Lighten up a little. 6920 You been sittin' there all quiet. 6921 6922 JULES 6923 I just been sittin' here thinkin'. 6924 6925 VINCENT 6926 (mouthful of food) 6927 About what? 6928 6929 JULES 6930 The miracle we witnessed. 6931 6932 VINCENT 6933 The miracle you witnessed. I witnessed 6934 a freak occurrence. 6935 6936 JULES 6937 Do you know that a miracle is? 6938 6939 VINCENT 6940 An act of God. 6941 6942 JULES 6943 What's an act of God? 6944 6945 VINCENT 6946 I guess it's when God makes the 6947 impossible possible. And I'm sorry 6948 Jules, but I don't think what happened 6949 this morning qualifies. 6950 6951 JULES 6952 Don't you see, Vince, that shit don't 6953 matter. You're judging this thing 6954 the wrong way. It's not about what. 6955 It could be God stopped the bullets, 6956 he changed Coke into Pepsi, he found 6957 my fuckin' car keys. You don't judge 6958 shit like this based on merit. Whether 6959 or not what we experienced was an 6960 according-to-Hoyle miracle is 6961 insignificant. What is significant 6962 is I felt God's touch, God got 6963 involved. 6964 6965 VINCENT 6966 But why? 6967 6968 JULES 6969 That's what's fuckin' wit' me! I 6970 don't know why. But I can't go back 6971 to sleep. 6972 6973 VINCENT 6974 So you're serious, you're really 6975 gonna quit? 6976 6977 JULES 6978 The life, most definitely. 6979 6980 Vincent takes a bite of food. Jules takes a sip of coffee In 6981 the b.g., we see a PATRON call the Waitress. 6982 6983 PATRON 6984 Garcon! Coffee! 6985 6986 We recognize the patron to be Pumpkin from the first scene 6987 of Pumpkin and Honey Bunny. 6988 6989 VINCENT 6990 So if you're quitting the life, 6991 what'll you do? 6992 6993 JULES 6994 That's what I've been sitting here 6995 contemplating. First, I'm gonna 6996 deliver this case to Marsellus. Then, 6997 basically, I'm gonna walk the earth. 6998 6999 VINCENT 7000 What do you mean, walk the earth? 7001 7002 JULES 7003 You know, like Caine in "KUNG FU." 7004 Just walk from town to town, meet 7005 people, get in adventures. 7006 7007 VINCENT 7008 How long do you intend to walk the 7009 earth? 7010 7011 JULES 7012 Until God puts me where he want me 7013 to be. 7014 7015 VINCENT 7016 What if he never does? 7017 7018 JULES 7019 If it takes forever, I'll wait 7020 forever. 7021 7022 VINCENT 7023 So you decided to be a bum? 7024 7025 JULES 7026 I'll just be Jules, Vincent � no 7027 more, no less. 7028 7029 VINCENT 7030 No Jules, you're gonna be like those 7031 pieces of shit out there who beg for 7032 change. They walk around like a bunch 7033 of fuckin' zombies, they sleep in 7034 garbage bins, they eat what I throw 7035 away, and dogs piss on 'em. They got 7036 a word for 'em, they're called bums. 7037 And without a job, residence, or 7038 legal tender, that's what you're 7039 gonna be � a fuckin' bum! 7040 7041 JULES 7042 Look my friend, this is just where 7043 me and you differ � 7044 7045 VINCENT 7046 � what happened was peculiar � no 7047 doubt about it � but it wasn't water 7048 into wine. 7049 7050 JULES 7051 All shapes and sizes, Vince. 7052 7053 VINCENT 7054 Stop fuckin' talkin' like that! 7055 7056 JULES 7057 If you find my answers frightening, 7058 Vincent, you should cease askin' 7059 scary questions. 7060 7061 VINCENT 7062 I gotta take a shit. To be continued. 7063 7064 Vincent exits for the restroom. 7065 7066 Jules, alone, takes a mouthful of muffin, then... Pumpkin 7067 and Honey Bunny rise with guns raised. 7068 7069 PUMPKIN 7070 Everybody be cool, this is a robbery! 7071 7072 HONEY BUNNY 7073 Any of you fuckin' pricks move and 7074 I'll execute every one of you 7075 motherfuckers! Got that?! 7076 7077 Jules looks up, not believing what he's seeing. Under the 7078 table, Jules' hand goes to his .45 Automatic. He pulls it 7079 out, COCKING IT. 7080 7081 PUMPKIN 7082 Customers stay seated, waitresses on 7083 the floor. 7084 7085 HONEY BUNNY 7086 Now mean fuckin' now! Do it or die, 7087 do it or fucking die! 7088 7089 Like lightning, Pumpkin moves over to the kitchen. While 7090 Honey Bunny SCREAMS out threats to the PATRONS, keeping them 7091 terrified. 7092 7093 PUMPKIN 7094 You Mexicans in the kitchen, get out 7095 here! Asta luego! 7096 7097 Three COOKS and two BUSBOYS come out of the kitchen. 7098 7099 PUMPKIN 7100 On the floor or I'll cook you ass, 7101 comprende? 7102 7103 They comprende. The portly MANAGER speaks up. 7104 7105 MANAGER 7106 I'm the manager here, there's no 7107 problem, no problem at all � 7108 7109 Pumpkin heads his way. 7110 7111 PUMPKIN 7112 You're gonna give me a problem? 7113 7114 He reaches him and sticks the barrel of his gun hard in the 7115 Manager's neck. 7116 7117 PUMPKIN 7118 What? You said you're gonna give me 7119 a problem? 7120 7121 MANAGER 7122 No, I'm not. I'm not gonna give you 7123 any problem! 7124 7125 PUMPKIN 7126 I don't know, Honey Bunny. He looks 7127 like the hero type to me! 7128 7129 HONEY BUNNY 7130 Don't take any chances. Execute him! 7131 7132 The Patrons SCREAM. Jules watches all this silently, his 7133 hand tightly gripping the .45 Automatic under the table. 7134 7135 MANAGER 7136 Please don't! I'm not a hero. I'm 7137 just a coffee shop manager. Take 7138 anything you want. 7139 7140 PUMPKIN 7141 Tell everyone to cooperate and it'll 7142 be all over. 7143 7144 MANAGER 7145 Everybody just be calm and cooperate 7146 with them and this will be all over 7147 soon! 7148 7149 PUMPKIN 7150 Well done, now git your fuckin' ass 7151 on the ground. 7152 7153 INT. COFFEE SHOP BATHROOM � MORNING 7154 7155 Vincent, on the toilet, oblivious to the pandemonium outside, 7156 reads his "MODESTY BLAISE" book. 7157 7158 INT. COFFEE SHOP � MORNING 7159 7160 Cash register drawer opens. Pumpkin stuffs the money from 7161 the till in his pocket. Then walks from behind the counter 7162 with a trash bag in his hand. 7163 7164 PUMPKIN 7165 Okay people, I'm going to go 'round 7166 and collect your wallets. Don't talk, 7167 just toss 'em in the bag. We clear? 7168 7169 Pumpkin goes around collecting wallets. Jules sits with his 7170 .45 ready to spit under the table. 7171 7172 Pumpkin sees Jules sitting in his booth, holding his wallet, 7173 briefcase next to him. Pumpkin crosses to him, his tone more 7174 respectful, him manner more on guard. 7175 7176 PUMPKIN 7177 In the bag. 7178 7179 Jules DROPS his wallet in the bag. Using his gun as a pointer, 7180 Pumpkin points to the briefcase. 7181 7182 PUMPKIN 7183 What's in that? 7184 7185 JULES 7186 My boss' dirty laundry. 7187 7188 PUMPKIN 7189 You boss makes you do his laundry? 7190 7191 JULES 7192 When he wants it clean. 7193 7194 PUMPKIN 7195 Sounds like a shit job. 7196 7197 JULES 7198 Funny, I've been thinkin' the same 7199 thing. 7200 7201 PUMPKIN 7202 Open it up. 7203 7204 Jules' free hand lays palm flat on the briefcase. 7205 7206 JULES 7207 'Fraid I can't do that. 7208 7209 Pumpkin is definitely surprised by his answer. He aims the 7210 gun right in the middle of Jules' face and pulls back the 7211 hammer. 7212 7213 PUMPKIN 7214 I didn't hear you. 7215 7216 JULES 7217 Yes, you did. 7218 7219 This exchange has been kind of quiet, not everybody heard 7220 it, but Honey Bunny senses something's wrong. 7221 7222 HONEY BUNNY 7223 What's goin' on? 7224 7225 PUMPKIN 7226 Looks like we got a vigilante in our 7227 midst. 7228 7229 HONEY BUNNY 7230 Shoot 'em in the face! 7231 7232 JULES 7233 I don't mean to shatter your ego, 7234 but this ain't the first time I've 7235 had gun pointed at me. 7236 7237 PUMPKIN 7238 You don't open up that case, it's 7239 gonna be the last. 7240 7241 MANAGER 7242 (on the ground) 7243 Quit causing problems, you'll get us 7244 all killed! Give 'em what you got 7245 and get 'em out of here. 7246 7247 JULES 7248 Keep your fuckin' mouth closed, fat 7249 man, this ain't any of your goddamn 7250 business! 7251 7252 PUMPKIN 7253 I'm countin' to three, and if your 7254 hand ain't off that case, I'm gonna 7255 unload right in your fuckin' face. 7256 Clear? One... 7257 7258 PUMPKIN 7259 ...two... three. 7260 7261 JULES 7262 You win. 7263 7264 Jules raises his hand off the briefcase. 7265 7266 JULES 7267 It's all yours, Ringo. 7268 7269 PUMPKIN 7270 Open it. 7271 7272 Jules flips the locks and opens the case, revealing it to 7273 Pumpkin but not to us. The same light SHINES from the case. 7274 Pumpkin's expression goes to amazement. Honey Bunny, across 7275 the room, can't see shit. 7276 7277 HONEY BUNNY 7278 What is it? What is it? 7279 7280 PUMPKIN 7281 (softly) 7282 Is that what I think it is? 7283 7284 Jules nods his head: "yes." 7285 7286 PUMPKIN 7287 It's beautiful. 7288 7289 Jules nods his head: "yes." 7290 7291 HONEY BUNNY 7292 Goddammit, what is it? 7293 7294 Jules SLAMS the case closed, then sits back, as if offering 7295 the case to Pumpkin. Pumpkin, one big smile, bends over to 7296 pick up the case. 7297 7298 Like a rattlesnake, Jules' free hand GRABS the wrist of 7299 Pumpkin's gun hand, SLAMMING it on the table. His other hand 7300 comes from under the table and STICKS the barrel of his .45 7301 hand under Pumpkin's chin. 7302 7303 Honey Bunny freaks out, waving her gun in Jules' direction. 7304 7305 HONEY BUNNY 7306 Let him go! Let him go! I'll blow 7307 your fuckin' head off! I'll kill ya! 7308 I'll kill ya! You're gonna die, you're 7309 gonna fuckin' die bad! 7310 7311 JULES 7312 (to Pumpkin) 7313 Tell that bitch to be cool! Say, 7314 bitch be cool! Say, bitch be cool! 7315 7316 PUMPKIN 7317 Chill out, honey! 7318 7319 HONEY BUNNY 7320 Let him go! 7321 7322 JULES 7323 (softly) 7324 Tell her it's gonna be okay. 7325 7326 PUMPKIN 7327 I'm gonna be okay. 7328 7329 JULES 7330 Promise her. 7331 7332 PUMPKIN 7333 I promise. 7334 7335 JULES 7336 Tell her to chill. 7337 7338 PUMPKIN 7339 Just chill out. 7340 7341 JULES 7342 What's her name? 7343 7344 PUMPKIN 7345 Yolanda. 7346 7347 Whenever Jules talks to Yolanda, he never looks at her, only 7348 at Pumpkin. 7349 7350 JULES 7351 (to Yolanda) 7352 So, we cool Yolanda? We ain't gonna 7353 do anything stupid, are we? 7354 7355 YOLANDA 7356 (crying) 7357 Don't you hurt him. 7358 7359 JULES 7360 Nobody's gonna hurt anybody. We're 7361 gonna be like three Fonzies. And 7362 what' Fonzie like? 7363 7364 No answer. 7365 7366 JULES 7367 C'mon Yolanda, what's Fonzie like? 7368 7369 YOLANDA 7370 (through tears, unsure) 7371 He's cool? 7372 7373 JULES 7374 Correct-amundo! And that's what we're 7375 gonna be, we're gonna be cool. 7376 (to Pumpkin) 7377 Now Ringo, I'm gonna count to three 7378 and I want you to let go your gun 7379 and lay your palms flat on the table. 7380 But when you do it, do it cool. Ready? 7381 7382 Pumpkin looks at him. 7383 7384 JULES 7385 One... two... three. 7386 7387 Pumpkin lets go of his gun and places both hands on the table. 7388 7389 Yolanda can't stand it anymore. 7390 7391 YOLANDA 7392 Okay, now let him go! 7393 7394 JULES 7395 Yolanda, I thought you were gonna be 7396 cool. When you yell at me, it makes 7397 me nervous. When I get nervous, I 7398 get scared. And when motherfuckers 7399 get scared, that's when motherfuckers 7400 get accidentally shot. 7401 7402 YOLANDA 7403 (more conversational) 7404 Just know: you hurt him, you die. 7405 7406 JULES 7407 That seems to be the situation. Now 7408 I don't want that and you don't want 7409 that and Ringo here don't want that. 7410 So let's see what we can do. 7411 (to Ringo) 7412 Now this is the situation. Normally 7413 both of your asses would be dead as 7414 fuckin' fried chicken. But you 7415 happened to pull this shit while I'm 7416 in a transitional period. I don't 7417 wanna kill ya, I want to help ya. 7418 But I'm afraid I can't give you the 7419 case. It don't belong to me. Besides, 7420 I went through too much shit this 7421 morning on account of this case to 7422 just hand it over to your ass. 7423 7424 VINCENT (O.S.) 7425 What the fuck's goin' on here? 7426 7427 Yolanda WHIPS her gun toward the stranger. 7428 7429 Vincent, by the bathroom, has his gun out, dead-aimed at 7430 Yolanda. 7431 7432 JULES 7433 It's cool, Vincent! It's cool! Don't 7434 do a goddamn thing. Yolanda, it's 7435 cool baby, nothin's changed. We're 7436 still just talkin'. 7437 (to Pumpkin) 7438 Tell her we're still cool. 7439 7440 PUMPKIN 7441 It's cool, Honey Bunny, we're still 7442 cool. 7443 7444 VINCENT 7445 (gun raised) 7446 What the hell's goin' on, Jules? 7447 7448 JULES 7449 Nothin' I can't handle. I want you 7450 to just hang back and don't do shit 7451 unless it's absolutely necessary. 7452 7453 VINCENT 7454 Check. 7455 7456 JULES 7457 Yolanda, how we doin, baby? 7458 7459 YOLANDA 7460 I gotta go pee! I want to go home. 7461 7462 JULES 7463 Just hang in there, baby, you're 7464 doing' great, Ringo's proud of you 7465 and so am I. It's almost over. 7466 (to Pumpkin) 7467 Now I want you to go in that bag and 7468 find my wallet. 7469 7470 PUMPKIN 7471 Which one is it? 7472 7473 JULES 7474 It's the one that says Bad 7475 Motherfucker on it. 7476 7477 Pumpkin looks in the bag and � sure enough � there's a wallet 7478 with "Bad Motherfucker" embroidered on it. 7479 7480 JULES 7481 That's my bad motherfucker. Now open 7482 it up and take out the cash. How 7483 much is there? 7484 7485 PUMPKIN 7486 About fifteen hundred dollars. 7487 7488 JULES 7489 Put it in your pocket, it's yours. 7490 Now with the rest of them wallets 7491 and the register, that makes this a 7492 pretty successful little score. 7493 7494 VINCENT 7495 Jules, if you give this nimrod fifteen 7496 hundred buck, I'm gonna shoot 'em on 7497 general principle. 7498 7499 JULES 7500 You ain't gonna do a goddamn thing, 7501 now hang back and shut the fuck up. 7502 Besides, I ain't givin' it to him. 7503 I'm buyin' somethin' for my money. 7504 Wanna know what I'm buyin' Ringo? 7505 7506 PUMPKIN 7507 What? 7508 7509 JULES 7510 Your life. I'm givin' you that money 7511 so I don't hafta kill your ass. You 7512 read the Bible? 7513 7514 PUMPKIN 7515 Not regularly. 7516 7517 JULES 7518 There's a passage I got memorized. 7519 Ezekiel 25:17. "The path of the 7520 righteous man is beset on all sides 7521 by the inequities of the selfish and 7522 the tyranny of evil men. Blessed is 7523 he who, in the name of charity and 7524 good will, shepherds the weak through 7525 the valley of the darkness. For he 7526 is truly his brother's keeper and 7527 the finder of lost children. And I 7528 will strike down upon thee with great 7529 vengeance and furious anger those 7530 who attempt to poison and destroy my 7531 brothers. And you will know I am the 7532 Lord when I lay my vengeance upon 7533 you." I been sayin' that shit for 7534 years. And if you ever heard it, it 7535 meant your ass. I never really 7536 questioned what it meant. I thought 7537 it was just a coldblooded thing to 7538 say to a motherfucker 'fore you popped 7539 a cap in his ass. But I saw some 7540 shit this mornin' made me think twice. 7541 Now I'm thinkin', it could mean you're 7542 the evil man. And I'm the righteous 7543 man. And Mr. .45 here, he's the 7544 shepherd protecting my righteous ass 7545 in the valley of darkness. Or is 7546 could by you're the righteous man 7547 and I'm the shepherd and it's the 7548 world that's evil and selfish. I'd 7549 like that. But that shit ain't the 7550 truth. The truth is you're the weak. 7551 And I'm the tyranny of evil men. But 7552 I'm tryin'. I'm tryin' real hard to 7553 be a shepherd. 7554 7555 Jules lowers his gun, lying it on the table. 7556 7557 Pumpkin looks at him, to the money in his hand, then to 7558 Yolanda. 7559 7560 She looks back. 7561 7562 Grabbing the trash bag full of wallets, the two RUN out the 7563 door. 7564 7565 Jules, who was never risen from his seat the whole time, 7566 takes a sip of coffee. 7567 7568 JULES 7569 (to himself) 7570 It's cold. 7571 7572 He pushes it aside. 7573 7574 Vincent appears next to Jules. 7575 7576 VINCENT 7577 I think we oughta leave now. 7578 7579 JULES 7580 That's probably a good idea. 7581 7582 Vincent throws some money on the table and Jules grabs the 7583 briefcase. 7584 7585 Then, to the amazement of the Patrons, the Waitresses, the 7586 Cooks, the Bus Boys, and the Manager, these two bad-ass dudes 7587 � wearing UC Santa Cruz and "I'm with Stupid" tee-shirts, 7588 swim trunks, thongs and packing .45 Automatics � walk out of 7589 the coffee shop together without saying a word. 7590 7591 FADE OUT 7592 7593 THE END 7594
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