Not a member of Pastebin yet?
Sign Up,
it unlocks many cool features!
- Swag Yolo
- By
- Achraf Baachaoui
- INT. COFFEE SHOP – MORNING
- A normal Denny's, Spires-like coffee shop in Los Angeles.
- It's about 9:00 in the morning. While the place isn't jammed,
- there's a healthy number of people drinking coffee, munching
- on bacon and eating eggs.
- Two of these people are a YOUNG MAN and a YOUNG WOMAN. The
- Young Man has a slight working-class English accent and,
- like his fellow countryman, smokes cigarettes like they're
- going out of style.
- It is impossible to tell where the Young Woman is from or
- how old she is; everything she does contradicts something
- she did. The boy and girl sit in a booth. Their dialogue is
- to be said in a rapid pace "HIS GIRL FRIDAY" fashion.
- YOUNG MAN
- No, forget it, it's too risky. I'm
- through doin' that shit.
- YOUNG WOMAN
- You always say that, the same thing
- every time: never again, I'm through,
- too dangerous.
- YOUNG MAN
- I know that's what I always say. I'm
- always right too, but –
- YOUNG WOMAN
- – but you forget about it in a day
- or two -
- YOUNG MAN
- – yeah, well, the days of me
- forgittin' are over, and the days of
- me rememberin' have just begun.
- YOUNG WOMAN
- When you go on like this, you know
- what you sound like?
- YOUNG MAN
- I sound like a sensible fucking man,
- is what I sound like.
- YOUNG WOMAN
- You sound like a duck.
- (imitates a duck)
- Quack, quack, quack, quack, quack,
- quack, quack...
- YOUNG MAN
- Well take heart, 'cause you're never
- gonna hafta hear it again. Because
- since I'm never gonna do it again,
- you're never gonna hafta hear me
- quack about how I'm never gonna do
- it again.
- YOUNG WOMAN
- After tonight.
- The boy and girl laugh, their laughter putting a pause in
- there, back and forth.
- YOUNG MAN
- (with a smile)
- Correct. I got all tonight to quack.
- A WAITRESS comes by with a pot of coffee.
- WAITRESS
- Can I get anybody anymore coffee?
- YOUNG WOMAN
- Oh yes, thank you.
- The Waitress pours the Young Woman's coffee. The Young Man
- lights up another cigarette.
- YOUNG MAN
- I'm doin' fine.
- The Waitress leaves. The Young Man takes a drag off of his
- smoke.
- The Young Woman pours a ton of cream and sugar into her
- coffee.
- The Young Man goes right back into it.
- YOUNG MAN
- I mean the way it is now, you're
- takin' the same fuckin' risk as when
- you rob a bank. You take more of a
- risk. Banks are easier! Federal
- banks aren't supposed to stop you
- anyway, during a robbery. They're
- insured, why should they care? You
- don't even need a gun in a federal
- bank. I heard about this guy, walked
- into a federal bank with a portable
- phone, handed the phone to the teller,
- the guy on the other end of the phone
- said: "We got this guy's little girl,
- and if you don't give him all your
- money, we're gonna kill 'er."
- YOUNG WOMAN
- Did it work?
- YOUNG MAN
- Fuckin' A it worked, that's what I'm
- talkin' about! Knucklehead walks in
- a bank with a telephone, not a pistol,
- not a shotgun, but a fuckin' phone,
- cleans the place out, and they don't
- lift a fuckin' finger.
- YOUNG WOMAN
- Did they hurt the little girl?
- YOUNG MAN
- I don't know. There probably never
- was a little girl – the point of the
- story isn't the little girl. The
- point of the story is they robbed
- the bank with a telephone.
- YOUNG WOMAN
- You wanna rob banks?
- YOUNG MAN
- I'm not sayin' I wanna rob banks,
- I'm just illustrating that if we
- did, it would be easier than what we
- been doin'.
- YOUNG WOMAN
- So you don't want to be a bank robber?
- YOUNG MAN
- Naw, all those guys are goin' down
- the same road, either dead or servin'
- twenty.
- YOUNG WOMAN
- And no more liquor stores?
- YOUNG MAN
- What have we been talking about?
- Yeah, no more-liquor-stores. Besides,
- it ain't the giggle it usta be. Too
- many foreigners own liquor stores.
- Vietnamese, Koreans, they can't
- fuckin' speak English. You tell 'em:
- "Empty out the register," and they
- don't know what it fuckin' means.
- They make it too personal. We keep
- on, one of those gook motherfuckers'
- gonna make us kill 'em.
- YOUNG WOMAN
- I'm not gonna kill anybody.
- YOUNG MAN
- I don't wanna kill anybody either.
- But they'll probably put us in a
- situation where it's us of them. And
- if it's not the gooks, it these old
- Jews who've owned the store for
- fifteen fuckin' generations. Ya got
- Grandpa Irving sittin' behind the
- counter with a fuckin' Magnum. Try
- walkin' into one of those stores
- with nothin' but a telephone, see
- how far it gets you. Fuck it, forget
- it, we're out of it.
- YOUNG WOMAN
- Well, what else is there, day jobs?
- YOUNG MAN
- (laughing)
- Not this life.
- YOUNG WOMAN
- Well what then?
- He calls to the Waitress.
- YOUNG MAN
- Garcon! Coffee!
- Then looks to his girl.
- YOUNG MAN
- This place.
- The Waitress comes by, pouring him some more.
- WAITRESS
- (snotty)
- "Garcon" means boy.
- She splits.
- YOUNG WOMAN
- Here? It's a coffee shop.
- YOUNG MAN
- What's wrong with that? People never
- rob restaurants, why not? Bars, liquor
- stores, gas stations, you get your
- head blown off stickin' up one of
- them. Restaurants, on the other hand,
- you catch with their pants down.
- They're not expecting to get robbed,
- or not as expecting.
- YOUNG WOMAN
- (taking to idea)
- I bet in places like this you could
- cut down on the hero factor.
- YOUNG MAN
- Correct. Just like banks, these places
- are insured. The managers don't give
- a fuck, they're just tryin' to get
- ya out the door before you start
- pluggin' diners. Waitresses, forget
- it, they ain't takin' a bullet for
- the register. Busboys, some wetback
- gettin' paid a dollar fifty a hour
- gonna really give a fuck you're
- stealin' from the owner. Customers
- are sittin' there with food in their
- mouths, they don't know what's goin'
- on. One minute they're havin' a Denver
- omelet, next minute somebody's
- stickin' a gun in their face.
- The Young Woman visibly takes in the idea. The Young Man
- continues in a low voice.
- YOUNG MAN
- See, I got the idea last liquor store
- we stuck up. 'Member all those
- customers kept comin' in?
- YOUNG WOMAN
- Yeah.
- YOUNG MAN
- Then you got the idea to take
- everybody's wallet.
- YOUNG WOMAN
- Uh-huh.
- YOUNG MAN
- That was a good idea.
- YOUNG WOMAN
- Thanks.
- YOUNG MAN
- We made more from the wallets then
- we did the register.
- YOUNG WOMAN
- Yes we did.
- YOUNG MAN
- A lot of people go to restaurants.
- YOUNG WOMAN
- A lot of wallets.
- YOUNG MAN
- Pretty smart, huh?
- The Young Woman scans the restaurant with this new
- information.
- She sees all the PATRONS eating, lost in conversations. The
- tired WAITRESS, taking orders. The BUSBOYS going through the
- motions, collecting dishes. The MANAGER complaining to the
- COOK about something. A smiles breaks out on the Young Woman's
- face.
- YOUNG WOMAN
- Pretty smart.
- (into it)
- I'm ready, let's go, right here,
- right now.
- YOUNG MAN
- Remember, same as before, you're
- crowd control, I handle the employees.
- YOUNG WOMAN
- Got it.
- They both take out their .32-caliber pistols and lay them on
- the table. He looks at her and she back at him.
- YOUNG WOMAN
- I love you, Pumpkin.
- YOUNG MAN
- I love you, Honey Bunny.
- And with that, Pumpkin and Honey Bunny grab their weapons,
- stand up and rob the restaurant. Pumpkin's robbery persona
- is that of the in-control professional. Honey Bunny's is
- that of the psychopathic, hair-triggered, loose cannon.
- PUMPKIN
- (yelling to all)
- Everybody be cool this is a robbery!
- HONEY BUNNY
- Any of you fuckin' pricks move and
- I'll execute every one of you
- motherfuckers! Got that?
- CUT TO:
- CREDIT SEQUENCE:
- "PULP FICTION"
- INT. '74 CHEVY (MOVING) – MORNING
- An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS
- down a homeless-ridden street in Hollywood. In the front
- seat are two young fellas – one white, one black – both
- wearing cheap black suits with thin black ties under long
- green dusters. Their names are VINCENT VEGA (white) and JULES
- WINNFIELD (black). Jules is behind the wheel.
- JULES
- – Okay now, tell me about the hash
- bars?
- VINCENT
- What so you want to know?
- JULES
- Well, hash is legal there, right?
- VINCENT
- Yeah, it's legal, but is ain't a
- hundred percent legal. I mean you
- can't walk into a restaurant, roll a
- joint, and start puffin' away. You're
- only supposed to smoke in your home
- or certain designated places.
- JULES
- Those are hash bars?
- VINCENT
- Yeah, it breaks down like this: it's
- legal to buy it, it's legal to own
- it and, if you're the proprietor of
- a hash bar, it's legal to sell it.
- It's legal to carry it, which doesn't
- really matter 'cause – get a load of
- this – if the cops stop you, it's
- illegal for this to search you.
- Searching you is a right that the
- cops in Amsterdam don't have.
- JULES
- That did it, man – I'm fuckin' goin',
- that's all there is to it.
- VINCENT
- You'll dig it the most. But you know
- what the funniest thing about Europe
- is?
- JULES
- What?
- VINCENT
- It's the little differences. A lotta
- the same shit we got here, they got
- there, but there they're a little
- different.
- JULES
- Examples?
- VINCENT
- Well, in Amsterdam, you can buy beer
- in a movie theatre. And I don't mean
- in a paper cup either. They give you
- a glass of beer, like in a bar. In
- Paris, you can buy beer at
- MacDonald's. Also, you know what
- they call a Quarter Pounder with
- Cheese in Paris?
- JULES
- They don't call it a Quarter Pounder
- with Cheese?
- VINCENT
- No, they got the metric system there,
- they wouldn't know what the fuck a
- Quarter Pounder is.
- JULES
- What'd they call it?
- VINCENT
- Royale with Cheese.
- JULES
- (repeating)
- Royale with Cheese. What'd they call
- a Big Mac?
- VINCENT
- Big Mac's a Big Mac, but they call
- it Le Big Mac.
- JULES
- Le Big Mac. What do they call a
- Whopper?
- VINCENT
- I dunno, I didn't go into a Burger
- King. But you know what they put on
- french fries in Holland instead of
- ketchup?
- JULES
- What?
- VINCENT
- Mayonnaise.
- JULES
- Goddamn!
- VINCENT
- I seen 'em do it. And I don't mean a
- little bit on the side of the plate,
- they fuckin' drown 'em in it.
- JULES
- Uuccch!
- CUT TO:
- INT. CHEVY (TRUNK) – MORNING
- The trunk of the Chevy OPENS UP, Jules and Vincent reach
- inside, taking out two .45 Automatics, loading and cocking
- them.
- JULES
- We should have shotguns for this
- kind of deal.
- VINCENT
- How many up there?
- JULES
- Three or four.
- VINCENT
- Counting our guy?
- JULES
- I'm not sure.
- VINCENT
- So there could be five guys up there?
- JULES
- It's possible.
- VINCENT
- We should have fuckin' shotguns.
- They CLOSE the trunk.
- CUT TO:
- EXT. APARTMENT BUILDING COURTYARD – MORNING
- Vincent and Jules, their long matching overcoats practically
- dragging on the ground, walk through the courtyard of what
- looks like a hacienda-style Hollywood apartment building.
- We TRACK alongside.
- VINCENT
- What's her name?
- JULES
- Mia.
- VINCENT
- How did Marsellus and her meet?
- JULES
- I dunno, however people meet people.
- She usta be an actress.
- VINCENT
- She ever do anything I woulda saw?
- JULES
- I think her biggest deal was she
- starred in a pilot.
- VINCENT
- What's a pilot?
- JULES
- Well, you know the shows on TV?
- VINCENT
- I don't watch TV.
- JULES
- Yes, but you're aware that there's
- an invention called television, and
- on that invention they show shows?
- VINCENT
- Yeah.
- JULES
- Well, the way they pick the shows on
- TV is they make one show, and that
- show's called a pilot. And they show
- that one show to the people who pick
- the shows, and on the strength of
- that one show, they decide if they
- want to make more shows. Some get
- accepted and become TV programs, and
- some don't, and become nothing. She
- starred in one of the ones that became
- nothing.
- They enter the apartment building.
- INT. RECEPTION AREA (APARTMENT BUILDING) – MORNING
- Vincent and Jules walk through the reception area and wait
- for the elevator.
- JULES
- You remember Antwan Rockamora? Half-
- black, half-Samoan, usta call him
- Tony Rocky Horror.
- VINCENT
- Yeah maybe, fat right?
- JULES
- I wouldn't go so far as to call the
- brother fat. He's got a weight
- problem. What's the nigger gonna
- do, he's Samoan.
- VINCENT
- I think I know who you mean, what
- about him?
- JULES
- Well, Marsellus fucked his ass up
- good. And word around the campfire,
- it was on account of Marsellus
- Wallace's wife.
- The elevator arrives, the men step inside.
- INT. ELEVATOR – MORNING
- VINCENT
- What'd he do, fuck her?
- JULES
- No no no no no no no, nothin' that
- bad.
- VINCENT
- Well what then?
- JULES
- He gave her a foot massage.
- VINCENT
- A foot massage?
- Jules nods his head: "Yes."
- VINCENT
- That's all?
- Jules nods his head: "Yes."
- VINCENT
- What did Marsellus do?
- JULES
- Sent a couple of guys over to his
- place. They took him out on the
- patio of his apartment, threw his
- ass over the balcony. Nigger fell
- four stories. They had this garden
- at the bottom, enclosed in glass,
- like one of them greenhouses – nigger
- fell through that. Since then, he's
- kinda developed a speech impediment.
- The elevator doors open, Jules and Vincent exit.
- VINCENT
- That's a damn shame.
- INT. APARTMENT BUILDING HALLWAY – MORNING
- STEADICAM in front of Jules and Vincent as they make a beeline
- down the hall.
- VINCENT
- Still I hafta say, play with matches,
- ya get burned.
- JULES
- Whaddya mean?
- VINCENT
- You don't be givin' Marsellus
- Wallace's new bride a foot massage.
- JULES
- You don't think he overreacted?
- VINCENT
- Antwan probably didn't expect
- Marsellus to react like he did, but
- he had to expect a reaction.
- JULES
- It was a foot massage, a foot massage
- is nothing, I give my mother a foot
- massage.
- VINCENT
- It's laying hands on Marsellus
- Wallace's new wife in a familiar
- way. Is it as bad as eatin' her out
- – no, but you're in the same fuckin'
- ballpark.
- Jules stops Vincent.
- JULES
- Whoa... whoa... whoa... stop right
- there. Eatin' a bitch out, and givin'
- a bitch a foot massage ain't even
- the same fuckin' thing.
- VINCENT
- Not the same thing, the same ballpark.
- JULES
- It ain't no ballpark either. Look
- maybe your method of massage differs
- from mine, but touchin' his lady's
- feet, and stickin' your tongue in
- her holyiest of holyies, ain't the
- same ballpark, ain't the same league,
- ain't even the same fuckin' sport.
- Foot massages don't mean shit.
- VINCENT
- Have you ever given a foot massage?
- JULES
- Don't be tellin' me about foot
- massages – I'm the foot fuckin'
- master.
- VINCENT
- Given a lot of 'em?
- JULES
- Shit yeah. I got my technique down
- man, I don't tickle or nothin'.
- VINCENT
- Have you ever given a guy a foot
- massage?
- Jules looks at him a long moment – he's been set up.
- JULES
- Fuck you.
- He starts walking down the hall. Vincent, smiling, walks a
- little bit behind.
- VINCENT
- How many?
- JULES
- Fuck you.
- VINCENT
- Would you give me a foot massage –
- I'm kinda tired.
- JULES
- Man, you best back off, I'm gittin'
- pissed – this is the door.
- The two men stand in front of the door numbered "49." They
- whisper.
- JULES
- What time is it?
- VINCENT
- (checking his watch)
- Seven-twenty-two in the morning.
- JULES
- It ain't quite time, let's hang back.
- They move a little away from the door, facing each other,
- still whispering.
- JULES
- Look, just because I wouldn't give
- no man a foot massage, don't make it
- right for Marsellus to throw Antwan
- off a building into a glass-
- motherfuckin-house, fuckin' up the
- way the nigger talks. That ain't
- right, man. Motherfucker do that to
- me, he better paralyze my ass, 'cause
- I'd kill'a motherfucker.
- VINCENT
- I'm not sayin' he was right, but
- you're sayin' a foot massage don't
- mean nothing, and I'm sayin' it does.
- I've given a million ladies a million
- foot massages and they all meant
- somethin'. We act like they don't,
- but they do. That's what's so fuckin'
- cool about 'em. This sensual thing's
- goin' on that nobody's talkin about,
- but you know it and she knows it,
- fuckin' Marsellus knew it, and Antwan
- shoulda known fuckin' better. That's
- his fuckin' wife, man. He ain't gonna
- have a sense of humor about that
- shit.
- JULES
- That's an interesting point, but
- let's get into character.
- VINCENT
- What's her name again?
- JULES
- Mia. Why you so interested in big
- man's wife?
- VINCENT
- Well, Marsellus is leavin' for Florida
- and when he's gone, he wants me to
- take care of Mia.
- JULES
- Take care of her?
- Making a gun out of his finger and placing it to his head.
- VINCENT
- Not that! Take her out. Show her a
- good time. Don't let her get lonely.
- JULES
- You're gonna be takin' Mia Wallace
- out on a date?
- VINCENT
- It ain't a date. It's like when you
- and your buddy's wife go to a movie
- or somethin'. It's just... you know...
- good company.
- Jules just looks at him.
- VINCENT
- It's not a date.
- Jules just looks at him.
- INT. APARTMENT (ROOM 49) – MORNING
- THREE YOUNG GUYS, obviously in over their heads, sit at a
- table with hamburgers, french fries and soda pops laid out.
- One of them flips the LOUD BOLT on the door, opening it to
- REVEAL Jules and Vincent in the hallway.
- JULES
- Hey kids.
- The two men stroll inside.
- The three young caught-off-guard Guys are:
- MARVIN, the black young man, who open the door, will, as the
- scene progresses, back into the corner.
- ROGER, a young blond-haired surfer kid with a "Flock of
- Seagulls" haircut, who has yet to say a word, sits at the
- table with a big sloppy hamburger in his hand.
- BRETT, a white, preppy-looking sort with a blow-dry haircut.
- Vincent and Jules take in the place, with their hands in
- their pockets. Jules is the one who does the talking.
- JULES
- How you boys doin'?
- No answer.
- JULES
- (to Brett)
- Am I trippin', or did I just ask you
- a question.
- BRETT
- We're doin' okay.
- As Jules and Brett talk, Vincent moves behind the young Guys.
- JULES
- Do you know who we are?
- Brett shakes his head: "No."
- JULES
- We're associates of your business
- partner Marsellus Wallace, you
- remember your business partner
- dont'ya?
- No answer.
- JULES
- (to Brett)
- Now I'm gonna take a wild guess here:
- you're Brett, right?
- BRETT
- I'm Brett.
- JULES
- I thought so. Well, you remember
- your business partner Marsellus
- Wallace, dont'ya Brett?
- BRETT
- I remember him.
- JULES
- Good for you. Looks like me and
- Vincent caught you at breakfast,
- sorry 'bout that. What'cha eatin'?
- BRETT
- Hamburgers.
- JULES
- Hamburgers. The cornerstone of any
- nutritious breakfast. What kinda
- hamburgers?
- BRETT
- Cheeseburgers.
- JULES
- No, I mean where did you get'em?
- MacDonald's, Wendy's, Jack-in-the-
- Box, where?
- BRETT
- Big Kahuna Burger.
- JULES
- Big Kahuna Burger. That's that
- Hawaiian burger joint. I heard they
- got some tasty burgers. I ain't never
- had one myself, how are they?
- BRETT
- They're good.
- JULES
- Mind if I try one of yours?
- BRETT
- No.
- JULES
- Yours is this one, right?
- BRETT
- Yeah.
- Jules grabs the burger and take a bite of it.
- JULES
- Uuummmm, that's a tasty burger.
- (to Vincent)
- Vince, you ever try a Big Kahuna
- Burger?
- VINCENT
- No.
- Jules holds out the Big Kahuna.
- JULES
- You wanna bite, they're real good.
- VINCENT
- I ain't hungry.
- JULES
- Well, if you like hamburgers give
- 'em a try sometime. Me, I can't
- usually eat 'em 'cause my girlfriend's
- a vegetarian. Which more or less
- makes me a vegetarian, but I sure
- love the taste of a good burger.
- (to Brett)
- You know what they call a Quarter
- Pounder with Cheese in France?
- BRETT
- No.
- JULES
- Tell 'em, Vincent.
- VINCENT
- Royale with Cheese.
- JULES
- Royale with Cheese, you know why
- they call it that?
- BRETT
- Because of the metric system?
- JULES
- Check out the big brain on Brett.
- You'a smart motherfucker, that's
- right. The metric system.
- (he points to a fast
- food drink cup)
- What's in this?
- BRETT
- Sprite.
- JULES
- Sprite, good, mind if I have some of
- your tasty beverage to wash this
- down with?
- BRETT
- Sure.
- Jules grabs the cup and takes a sip.
- JULES
- Uuuuummmm, hit's the spot!
- (to Roger)
- You, Flock of Seagulls, you know
- what we're here for?
- Roger nods his head: "Yes."
- JULES
- Then why don't you tell my boy here
- Vince, where you got the shit hid.
- MARVIN
- It's under the be –
- JULES
- – I don't remember askin' you a
- goddamn thing.
- (to Roger)
- You were sayin'?
- ROGER
- It's under the bed.
- Vincent moves to the bed, reaches underneath it, pulling out
- a black snap briefcase.
- VINCENT
- Got it.
- Vincent flips the two locks, opening the case. We can't see
- what's inside, but a small glow emits from the case. Vincent
- just stares at it, transfixed.
- JULES
- We happy?
- No answer from the transfixed Vincent.
- JULES
- Vincent!
- Vincent looks up at Jules.
- JULES
- We happy?
- Closing the case.
- VINCENT
- We're happy.
- BRETT
- (to Jules)
- Look, what's your name? I got his
- name's Vincent, but what's yours?
- JULES
- My name's Pitt, and you ain't talkin'
- your ass outta this shit.
- BRETT
- I just want you to know how sorry we
- are about how fucked up things got
- between us and Mr. Wallace. When we
- entered into this thing, we only had
- the best intentions –
- As Brett talks, Jules takes out his gun and SHOOTS Roger
- three times in the chest, BLOWING him out of his chair.
- Vince smiles to himself. Jules has got style.
- Brett has just shit his pants. He's not crying or whimpering,
- but he's so full of fear, it's as if his body is imploding.
- JULES
- (to Brett)
- Oh, I'm sorry. Did that break your
- concentration? I didn't mean to do
- that. Please, continue. I believe
- you were saying something about "best
- intentions."
- Brett can't say a word.
- JULES
- Whatsamatter? Oh, you were through
- anyway. Well, let me retort. Would
- you describe for me what Marsellus
- Wallace looks like?
- Brett still can't speak.
- Jules SNAPS, SAVAGELY TIPPING the card table over, removing
- the only barrier between himself and Brett. Brett now sits
- in a lone chair before Jules like a political prisoner in
- front of an interrogator.
- JULES
- What country you from!
- BRETT
- (petrified)
- What?
- JULES
- "What" ain't no country I know! Do
- they speak English in "What?"
- BRETT
- (near heart attack)
- What?
- JULES
- English-motherfucker-can-you-speak-
- it?
- BRETT
- Yes.
- JULES
- Then you understand what I'm sayin'?
- BRETT
- Yes.
- JULES
- Now describe what Marsellus Wallace
- looks like!
- BRETT
- (out of fear)
- What?
- Jules takes his .45 and PRESSES the barrel HARD in Brett's
- cheek.
- JULES
- Say "What" again! C'mon, say "What"
- again! I dare ya, I double dare ya
- motherfucker, say "What" one more
- goddamn time!
- Brett is regressing on the spot.
- JULES
- Now describe to me what Marsellus
- Wallace looks like!
- Brett does his best.
- BRETT
- Well he's... he's... black –
- JULES
- – go on!
- BRETT
- ...and he's... he's... bald –
- JULES
- – does he look like a bitch?!
- BRETT
- (without thinking)
- What?
- Jules' eyes go to Vincent, Vincent smirks, Jules rolls his
- eyes and SHOOT Brett in the shoulder.
- Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in
- the chair.
- JULES
- Does-he-look-like-a-bitch?!
- BRETT
- (in agony)
- No.
- JULES
- Then why did you try to fuck 'im
- like a bitch?!
- BRETT
- (in spasm)
- I didn't.
- Now in a lower voice.
- JULES
- Yes ya did Brett. Ya tried ta fuck
- 'im. You ever read the Bible, Brett?
- BRETT
- (in spasm)
- Yes.
- JULES
- There's a passage I got memorized,
- seems appropriate for this situation:
- Ezekiel 25:17. "The path of the
- righteous man is beset on all sides
- by the inequities of the selfish and
- the tyranny of evil men. Blessed is
- he who, in the name of charity and
- good will, shepherds the weak through
- the valley of darkness, for he is
- truly his brother's keeper and the
- finder of lost children. And I will
- strike down upon thee with great
- vengeance and furious anger those
- who attempt to poison and destroy my
- brothers. And you will know my name
- is the Lord when I lay my vengeance
- upon you."
- The two men EMPTY their guns at the same time on the sitting
- Brett.
- AGAINST BLACK, TITLE CARD:
- "VINCENT VEGA AND MARSELLUS WALLACE'S WIFE"
- FADE IN:
- MEDIUM SHOT – BUTCH COOLIDGE
- We FADE UP on BUTCH COOLIDGE, a white, 26-year-old
- prizefighter. Butch sits at a table wearing a red and blue
- high school athletic jacket. Talking to him OFF SCREEN is
- everybody's boss MARSELLUS WALLACE. The black man sounds
- like a cross between a gangster and a king.
- MARSELLUS (O.S.)
- I think you're gonna find – when all
- this shit is over and done – I think
- you're gonna find yourself one smilin'
- motherfucker. Thing is Butch, right
- now you got ability. But painful as
- it may be, ability don't last. Now
- that's a hard motherfuckin' fact of
- life, but it's a fact of life your
- ass is gonna hafta git realistic
- about. This business is filled to
- the brim with unrealistic
- motherfuckers who thought their ass
- aged like wine. Besides, even if
- you went all the way, what would you
- be? Feather-weight champion of the
- world. Who gives a shit? I doubt you
- can even get a credit card based on
- that.
- A hand lays an envelope full of money on the table in front
- of Butch. Butch picks it up.
- MARSELLUS (O.S.)
- Now the night of the fight, you may
- fell a slight sting, that's pride
- fuckin' wit ya. Fuck pride! Pride
- only hurts, it never helps. Fight
- through that shit. 'Cause a year
- from now, when you're kickin' it in
- the Caribbean you're gonna say,
- "Marsellus Wallace was right."
- BUTCH
- I got no problem with that.
- MARSELLUS (O.S.)
- In the fifth, your ass goes down.
- Butch nods his head: "yes."
- MARSELLUS (O.S.)
- Say it!
- BUTCH
- In the fifth, my ass goes down.
- CUT TO:
- INT. CAR (MOVING) – DAY
- Vincent Vega looks really cool behind the wheel of a 1964
- cherry red Chevy Malibu convertible. From the car radio,
- ROCKABILLY MUSIC PLAYS. The b.g. is a COLORFUL PROCESS SHOT.
- EXT. SALLY LEROY'S – DAY
- Sally LeRoy's is a large topless bar by LAX that Marsellus
- owns.
- Vincent's classic Malibu WHIPS into the near empty parking
- lot and parks next to a white Honda Civic.
- Vince knocks on the door. The front entrance is unlocked,
- revealing the Dapper Dan fellow on the inside: ENGLISH DAVE.
- Dave isn't really English, he's a young black man from Baldwin
- Park, who has run a few clubs for Marsellus, including Sally
- LeRoy's.
- ENGLISH DAVE
- Vincent Vega, our man in Amsterdam,
- git your ass on in here.
- Vincent, carrying the black briefcase from the scene between
- Vincent and Jules, steps inside. English Dave SLAMS the door
- in our faces.
- INT. SALLY LEROY'S – DAY
- The spacious club is empty this time of day. English Dave
- crosses to the bar, and Vince follows.
- VINCENT
- Where's the big man?
- ENGLISH DAVE
- He's over there, finishing up some
- business.
- VINCENT'S POV: Butch shakes hands with a huge figure with
- his back to us. The huge figure is the infamous and as of
- yet still UNSEEN Marsellus.
- ENGLISH DAVE (O.S.)
- Hang back for a second or two, and
- when you see the white boy leave, go
- on over. In the meanwhile, can I
- make you an espresso?
- VINCENT
- How 'bout a cup of just plain lo'
- American?
- ENGLISH DAVE
- Comin' up. I hear you're taking Mia
- out tomorrow?
- VINCENT
- At Marsellus' request.
- ENGLISH DAVE
- Have you met Mia?
- VINCENT
- Not yet.
- English Dave smiles to himself.
- VINCENT
- What's so funny?
- ENGLISH DAVE
- Not a goddamn thing.
- VINCENT
- Look, I'm not a idiot. She's the big
- man's fuckin' wife. I'm gonna sit
- across a table, chew my food with my
- mouth closed, laugh at her jokes and
- that's all I'm gonna do.
- English Dave puts Vince's coffee in front of him.
- ENGLISH DAVE
- My name's Paul, and this is between
- y'all.
- Butch bellies up to the bar next to Vincent, drinking his
- cup of "Plain ol' American."
- BUTCH
- (to English Dave)
- Can I get a pack'a Red Apples?
- ENGLISH DAVE
- Filters?
- BUTCH
- Non.
- While Butch waits for his smokes, Vincent just sips his
- coffee, staring at him. Butch looks over at him.
- BUTCH
- Lookin' at somethin', friend?
- VINCENT
- I ain't your friend, palooka.
- Butch does a slow turn toward Vincent.
- BUTCH
- What was that?
- VINCENT
- I think ya heard me just fine, punchy.
- Butch turns his body to Vincent, when...
- MARSELLUS (O.S.)
- Vincent Vega has entered the building,
- git your ass over here!
- Vincent walks forward OUT OF FRAME, never giving Butch another
- glance. We DOLLY INTO CU on Butch, left alone in the FRAME,
- looking like he's ready to go into the manners-teaching
- business.
- BUTCH'S POV: Vincent hugging and kissing the obscured figure
- that is Marsellus.
- Butch makes the wise decision that is this asshole's a friend
- of Marsellus, he better let it go – for now.
- ENGLISH DAVE (O.S.)
- Pack of Red Apples, dollar-forty.
- Butch is snapped out of his ass-kicking thoughts. He pays
- English Dave and walks out of the SHOT.
- DISSOLVE TO:
- INT. LANCE'S HOUSE (KITCHEN) – NIGHT
- CLOSEUP – JODY
- A woman who appears to have a fondness for earrings. Both of
- her ears are pierced five times. She also sports rings in
- her lips, eyebrows and nose.
- JODY
- ...I'll lend it to you. It's a great
- book on body piercing.
- Jody, Vincent and a young woman named TRUDI sit at the kitchen
- table of a suburban house in Echo Park. Even though Vince is
- at the same table, he's not included in the conversation.
- TRUDI
- You know how they use that gun when
- they pierce your ears? They don't
- use that when they pierce your
- nipples, do they?
- JODY
- Forget that gun. That gun goes against
- the entire idea behind piercing. All
- of my piercing, sixteen places on my
- body, every one of 'em done with a
- needle. Five in each ear. One through
- the nipple on my left breast. One
- through my right nostril. One through
- my left eyebrow. One through my lip.
- One in my clit. And I wear a stud in
- my tongue.
- Vince has been letting this conversation go through one ear
- and out the other, until that last remark.
- VINCENT
- (interrupting)
- Excuse me, sorry to interrupt. I'm
- curious, why would you get a stud in
- your tongue?
- Jody looks at him and says as if it were the most obvious
- thing in the world.
- JODY
- It's a sex thing. It helps fellatio.
- That thought never occurred to Vincent, but he can't deny it
- makes sense. Jody continues talking to Trudi, leaving Vincent
- to ponder the truth of her statement.
- LANCE (O.S.)
- Vince, you can come in now!
- INT. LANCE'S BEDROOM – NIGHT
- Lance, late 20s, is a young man with a wild and woolly
- appearance that goes hand-in-hand with his wild and woolly
- personality. LANCE has been selling drugs his entire adult
- life. He's never had a day job, never filed a tax return and
- has never been arrested. He wears a red flannel shirt over a
- "Speed Racer" tee-shirt.
- Three bags of heroin lie on Lance's bed.
- Lance and Vincent stand at the foot of the bed.
- LANCE
- Now this is Panda, from Mexico. Very
- good stuff. This is Bava, different,
- but equally good. And this is Choco
- from the Hartz Mountains of Germany.
- Now the first two are the same, forty-
- five an ounce – those are friend
- prices – but this one...
- (pointing to the Choco)
- ...this one's a little more expensive.
- It's fifty-five. But when you shoot
- it, you'll know where that extra
- money went. Nothing wrong with the
- first two. It's real, real, real,
- good shit. But this one's a fuckin'
- madman.
- VINCENT
- Remember, I just got back from
- Amsterdam.
- LANCE
- Am I a nigger? Are you in Inglewood?
- No. You're in my house. White people
- who know the difference between good
- shit and bad shit, this is the house
- they come to. My shit, I'll take the
- Pepsi Challenge with Amsterdam shit
- any ol' day of the fuckin' week.
- VINCENT
- That's a bold statement.
- LANCE
- This ain't Amsterdam, Vince. This is
- a seller's market. Coke is fuckin'
- dead as disco. Heroin's comin' back
- in a big fuckin' way. It's this whole
- seventies retro. Bell bottoms, heroin,
- they're as hot as hell.
- Vincent takes out a roll of money that would choke a horse
- to death.
- VINCENT
- Give me three hundred worth of the
- madman. If it's as good as you say,
- I'll be back for a thousand.
- LANCE
- I just hope I still have it. Whaddya
- think of Trudi? She ain't got a
- boyfriend, wanna hand out an' get
- high?
- VINCENT
- Which one's Trudi? The one with all
- the shit in her face?
- LANCE
- No, that's Jody. That's my wife.
- Vincent and Lance giggle at the "faux pas."
- VINCENT
- I'm on my way somewhere. I got a
- dinner engagement. Rain check?
- LANCE
- No problem?
- Vincent takes out his case of the works (utensils for shooting
- up).
- VINCENT
- You don't mind if I shoot up here?
- LANCE
- Me casa, su casa.
- VINCENT
- Mucho gracias.
- Vincent takes his works out of his case and, as the two
- continue to talk, Vince shoots up.
- LANCE
- Still got your Malibu?
- VINCENT
- You know what some fucker did to it
- the other day?
- LANCE
- What?
- VINCENT
- Fuckin' keyed it.
- LANCE
- Oh man, that's fucked up.
- VINCENT
- Tell me about it. I had the goddamn
- thing in storage three years. It's
- out five fuckin' days – five days,
- and some dickless piece of shit fucks
- with it.
- LANCE
- They should be fuckin' killed. No
- trial, no jury, straight to execution.
- As he cooks his heroin...
- VINCENT
- I just wish I caught 'em doin' it,
- ya know? Oh man, I'd give anything
- to catch 'em doin' it. It'a been
- worth his doin' it, if I coulda just
- caught 'em, you know what I mean?
- LANCE
- It's chicken shit. You don't fuck
- another man's vehicle.
- CLOSEUP – THE NEEDLE
- Going into Vincent's vein.
- CLOSEUP – BLOOD
- Spurting back into the syringe, mixing with the heroin.
- CLOSEUP – VINCENT'S THUMB
- Pushing down on the plunger.
- CUT TO:
- EXT. MARSELLUS WALLACE'S HOUSE – NIGHT
- Vincent walks toward the house and pulls a note off the door
- CLOSEUP – NOTE
- The Note reads:
- "Hi Vincent, I'm getting dressed. The door's open. Come inside
- and make yourself a drink. Mia"
- MIA (V.O.)
- Hi, Vincent. I'm getting dressed.
- The door's open. Come inside and
- make yourself a drink.
- FADE TO WHITE
- Music in.
- FADE TO:
- INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
- Vincent enters on the background.
- VINCENT
- Hello?
- INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
- MIA, Marcellus' beautiful young wife. Video screens are in
- the background. Dusty Springfield is singing "SON OF A
- PREACHER MAN".
- Mia's mouth comes toward a microphone.
- MIA
- (into microphone)
- Vincent.
- INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
- Vincent turns.
- MIA
- (over intercom)
- Vincent. I'm on the intercom.
- INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
- MIA
- (into microphone)
- It's on the wall by the two African
- fellas.
- INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
- MIA
- (over intercom)
- To your right.
- Vincent walks.
- MIA
- ...warm. Warmer. Disco.
- Vincent finds the intercom on the wall.
- VINCENT
- Hello.
- MIA
- (over intercom)
- Push the button if you want to talk.
- VINCENT
- (into intercom)
- Hello.
- INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
- MIA
- (into microphone)
- Go make yourself a drink., and I'll
- be down in two shakes of a lamb's
- tail.
- INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
- MIA
- (over intercom)
- The bar's by the fireplace.
- VINCENT
- (into intercom)
- Okay.
- (licks lips)
- INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
- A video screen with an image of Vincent, walking. The Dusty
- Springfield song continues.
- Mia turns a knob which controls the movement of the video
- camera in Marcellus' living room.
- INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
- Vincent picks up a bottle of scotch. He sniffs the bottle,
- and then pours it into a glass.
- INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
- A razor blade cuts cocaine on a mirror.
- INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
- Vincent drinks a glass of scotch.
- INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT
- Mia sniffs the cocaine.
- INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT
- Vincent sips the drink and looks at a portrait of Mia on the
- wall.
- Mia walks into the room, and takes the needle off a record.
- The Dusty Springfield song stops.
- MIA
- Let's go.
- EXT. JACKRABBIT SLIM'S – NIGHT
- In the past six years, 50's diners have sprung up all over
- L.A., giving Thai restaurants a run for their money. They're
- all basically the same. Decor out of an "Archie" comic book,
- Golden Oldies constantly emanating from a bubbly Wurlitzer,
- saucy waitresses in bobby socks, menus with items like the
- Fats Domino Cheeseburger, or the Wolfman Jack Omelet, and
- over prices that pay for all this bullshit.
- But then there's JACKRABBIT SLIM'S, the big mama of 50's
- diners.
- Either the best or the worst, depending on your point of
- view.
- Vincent's Malibu pulls up to the restaurant. A big sign with
- a neon figure of a cartoon surly cool cat jackrabbit in a
- red windbreaker towers over the establishment. Underneath
- the cartoon is the name: JACKRABBIT SLIM'S. Underneath that
- is the slogan: "Next best thing to a time machine."
- VINCENT
- What the fuck is this place?
- MIA
- This is Jackrabbit Slim's. An Elvis
- man should love it.
- VINCENT
- Come on, Mia, let's go get a steak.
- MIA
- You can get a steak here, daddy-o.
- Don't be a...
- Mia draws a square with her hands. Dotted lines appear on
- the screen, forming a sqaure. The lines disperse.
- VINCENT
- After you, kitty-cat.
- INT. JACKRABBIT SLIM'S – NIGHT
- Compared to the interior, the exterior was that of a quaint
- English pub. Posters from 50's A.I.P. movies are all over
- the wall
- ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF
- THE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths that
- the patrons sit in are made out of the cut up bodies of 50s
- cars.
- In the middle of the restaurant in a dance floor. A big sign
- on the wall states, "No shoes allowed." Some wannabe beboppers
- (actually Melrose-types), do the twist in their socks or
- barefeet.
- The picture windows don't look out the street, but instead,
- B & W movies of 50's street scenes play behind them. The
- WAITRESSES and WAITERS are made up as replicas of 50's icons:
- MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and
- LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing
- appropriate costumes.
- Vincent and Mia study the menu in a booth made out of a red
- '59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting
- a big button on his chest that says: "Hi I'm Buddy, pleasing
- you please me."
- BUDDY
- Hi, I'm Buddy, what can I get'cha?
- VINCENT
- I'll have the Douglas Sirk steak.
- BUDDY
- How d'ya want it, burnt to a crisp,
- or bloody as hell?
- VINCENT
- Bloody as hell. And to drink, a
- vanilla coke.
- BUDDY
- How 'bout you, Peggy Sue?
- MIA
- I'll have the Durwood Kirby burger –
- bloody – and a five-dollar shake.
- BUDDY
- How d'ya want that shake, Martin and
- Lewis, or Amos and Andy?
- MIA
- Martin and Lewis.
- VINCENT
- Did you just order a five-dollar
- shake?
- MIA
- Sure did.
- VINCENT
- A shake? Milk and ice cream?
- MIA
- Uh-huh.
- VINCENT
- It costs five dollars?
- BUDDY
- Yep.
- VINCENT
- You don't put bourbon in it or
- anything?
- BUDDY
- Nope.
- VINCENT
- Just checking.
- Buddy exits.
- Vincent takes a look around the place. The YUPPIES are
- dancing, the DINERS are biting into big, juicy hamburgers,
- and the icons are playing their parts. Marilyn is squealing,
- The Midget is paging Philip Morris, Donna Reed is making her
- customers drink their milk, and Dean and Jerry are acting a
- fool.
- MIA
- Whaddya think?
- VINCENT
- It's like a wax museum with a pulse
- rate.
- Vincent takes out his pouch of tobacco and begins rolling
- himself a smoke.
- After a second of watching him –
- MIA
- What are you doing?
- VINCENT
- Rollin' a smoke.
- MIA
- Here?
- VINCENT
- It's just tobacco.
- MIA
- Oh. Well in that case, will you roll
- me one, cowboy?
- As he finishes licking it –
- VINCENT
- You can have this one, cowgirl.
- He hands her the rolled smoke. She takes it, putting it to
- her lips. Out of nowhere appears a Zippo lighter in Vincent's
- hand. He lights it.
- MIA
- Thanks.
- VINCENT
- Think nothing of it.
- He begins rolling one for himself.
- As this time, the SOUND of a subway car fills the diner,
- making everything SHAKE and RATTLE. Marilyn Monroe runs to a
- square vent in the floor. An imaginary subway train BLOWS
- the skirt of her white dress around her ears as she lets out
- a squeal. The entire restaurant applauds.
- Back to Mia and Vincent.
- MIA
- Marsellus said you just got back
- from Amsterdam.
- VINCENT
- Sure did. I heard you did a pilot.
- MIA
- That was my fifteen minutes.
- VINCENT
- What was it?
- MIA
- It was show about a team of female
- secret agents called "Fox Force Five."
- VINCENT
- What?
- MIA
- "Fox Force Five." Fox, as in we're a
- bunch of foxy chicks. Force, as in
- we're a force to be reckoned with.
- Five, as in there's one... two ...
- three... four... five of us. There
- was a blonde one, Sommerset O'Neal
- from that show "Baton Rouge," she
- was the leader. A Japanese one, a
- black one, a French one and a brunette
- one, me. We all had special skills.
- Sommerset had a photographic memory,
- the Japanese fox was a kung fu master,
- the black girl was a demolition
- expert, the French fox' specialty
- was sex...
- VINCENT
- What was your specialty?
- MIA
- Knives. The character I played, Raven
- McCoy, her background was she was
- raised by circus performers. So she
- grew up doing a knife act. According
- to the show, she was the deadliest
- woman in the world with a knife. But
- because she grew up in a circus, she
- was also something of an acrobat.
- She could do illusions, she was a
- trapeze artist – when you're keeping
- the world safe from evil, you never
- know when being a trapeze artist's
- gonna come in handy. And she knew a
- zillion old jokes her grandfather,
- an old vaudevillian, taught her. If
- we woulda got picked up, they woulda
- worked in a gimmick where every
- episode I woulda told and ol joke.
- VINCENT
- Do you remember any of the jokes?
- MIA
- Well I only got the chance to say
- one, 'cause we only did one show.
- VINCENT
- Tell me.
- MIA
- No. It's really corny.
- VINCENT
- C'mon, don't be that way.
- MIA
- No. You won't like it and I'll be
- embarrassed.
- VINCENT
- You told it in front of fifty million
- people and you can't tell it to me?
- I promise I won't laugh.
- MIA
- (laughing)
- That's what I'm afraid of.
- VINCENT
- That's not what I meant and you know
- it.
- MIA
- You're quite the silver tongue devil,
- aren't you?
- VINCENT
- I meant I wouldn't laugh at you.
- MIA
- That's not what you said Vince. Well
- now I'm definitely not gonna tell
- ya, 'cause it's been built up too
- much.
- VINCENT
- What a gyp.
- Buddy comes back with the drinks. Mia wraps her lips around
- the straw of her shake.
- MIA
- Yummy!
- VINCENT
- Can I have a sip of that? I'd like
- to know what a five-dollar shake
- tastes like.
- MIA
- Be my guest.
- She slides the shake over to him.
- MIA
- You can use my straw, I don't have
- kooties.
- Vincent smiles.
- VINCENT
- Yeah, but maybe I do.
- MIA
- Kooties I can handle.
- He takes a sip.
- VINCENT
- Goddamn! That's a pretty fuckin'
- good milk shake.
- MIA
- Told ya.
- VINCENT
- I don't know if it's worth five
- dollars, but it's pretty fuckin'
- good.
- He slides the shake back.
- Then the first of an uncomfortable silence happens.
- MIA
- Don't you hate that?
- VINCENT
- What?
- MIA
- Uncomfortable silences. Why do we
- feel it's necessary to yak about
- bullshit in order to be comfortable?
- VINCENT
- I don't know.
- MIA
- That's when you know you found
- somebody special. When you can just
- shit the fuck up for a minute, and
- comfortably share silence.
- VINCENT
- I don't think we're there yet. But
- don't feel bad, we just met each
- other.
- MIA
- Well I'll tell you what, I'll go to
- the bathroom and powder my nose,
- while you sit here and think of
- something to say.
- VINCENT
- I'll do that.
- INT. JACKRABBIT SLIM'S (LADIES ROOM) – NIGHT
- Mia powders her nose by doing a big line of coke off the
- bathroom sink. Her head jerks up from the rush.
- MIA
- (imitating Steppenwolf)
- I said goddamn!
- INT. JACKRABBIT SLIM'S (DINING AREA) – NIGHT
- Vincent digs into his Douglas Sirk steak. As he chews, his
- eyes scan the Hellsapopinish restaurant.
- Mia comes back to the table.
- MIA
- Don't you love it when you go to the
- bathroom and you come back to find
- your food waiting for you?
- VINCENT
- We're lucky we got it at all. Buddy
- Holly doesn't seem to be much of a
- waiter. We shoulda sat in Marilyn
- Monroe's section.
- MIA
- Which one, there's two Marilyn
- Monroes.
- VINCENT
- No there's not.
- Pointing at Marilyn in the white dress serving a table.
- VINCENT
- That's Marilyn Monroe...
- Then, pointing at a BLONDE WAITRESS in a tight sweater and
- capri pants, taking an order from a bunch of FILM GEEKS –
- VINCENT
- ... and that's Mamie Van Doren. I
- don't see Jayne Mansfield, so it
- must be her night off.
- MIA
- Pretty smart.
- VINCENT
- I have moments.
- MIA
- Did ya think of something to say?
- VINCENT
- Actually, there's something I've
- wanted to ask you about, but you
- seem like a nice person, and I didn't
- want to offend you.
- MIA
- Oooohhhh, this doesn't sound like
- mindless, boring, getting-to-know-
- you chit-chat. This sounds like you
- actually have something to say.
- VINCENT
- Only if you promise not to get
- offended.
- MIA
- You can't promise something like
- that. I have no idea what you're
- gonna ask. You could ask me what
- you're gonna ask me, and my natural
- response could be to be offended.
- Then, through no fault of my own, I
- woulda broken my promise.
- VINCENT
- Then let's just forget it.
- MIA
- That is an impossibility. Trying to
- forget anything as intriguing as
- this would be an exercise in futility.
- VINCENT
- Is that a fact?
- Mia nods her head: "Yes."
- MIA
- Besides, it's more exciting when you
- don't have permission.
- VINCENT
- What do you think about what happened
- to Antwan?
- MIA
- Who's Antwan?
- VINCENT
- Tony Rocky Horror.
- MIA
- He fell out of a window.
- VINCENT
- That's one way to say it. Another
- way is, he was thrown out. Another
- was is, he was thrown out by
- Marsellus. And even another way is,
- he was thrown out of a window by
- Marsellus because of you.
- MIA
- Is that a fact?
- VINCENT
- No it's not, it's just what I heard.
- MIA
- Who told you this?
- VINCENT
- They.
- Mia and Vincent smile.
- MIA
- They talk a lot, don't they?
- VINCENT
- They certainly do.
- MIA
- Well don't by shy Vincent, what
- exactly did they say?
- Vincent is slow to answer.
- MIA
- Let me help you Bashful, did it
- involve the F-word?
- VINCENT
- No. They just said Rocky Horror gave
- you a foot massage.
- MIA
- And...?
- VINCENT
- No and, that's it.
- MIA
- You heard Marsellus threw Rocky Horror
- out of a four-story window because
- he massaged my feet?
- VINCENT
- Yeah.
- MIA
- And you believed that?
- VINCENT
- At the time I was told, it seemed
- reasonable.
- MIA
- Marsellus throwing Tony out of a
- four story window for giving me a
- foot massage seemed reasonable?
- VINCENT
- No, it seemed excessive. But that
- doesn't mean it didn't happen. I
- heard Marsellus is very protective
- of you.
- MIA
- A husband being protective of his
- wife is one thing. A husband almost
- killing another man for touching his
- wife's feet is something else.
- VINCENT
- But did it happen?
- MIA
- The only thing Antwan ever touched
- of mine was my hand, when he shook
- it. I met Anwan once – at my wedding
- – then never again. The truth is,
- nobody knows why Marsellus tossed
- Tony Rocky Horror out of that window
- except Marsellus and Tony Rocky
- Horror. But when you scamps get
- together, you're worse than a sewing
- circle.
- CUT TO:
- ED SULLIVAN AND MARILYN MONROE STAND ON STAGE
- ED SULLIVAN
- (into microphone)
- Ladies and gentlemen, now the moment
- you've all been waiting for, the
- worldfamous Jackrabbit Slim's twist
- contest.
- Patrons cheer.
- Ed Sullivan is with Marilyn Monroe, who holds a trophy.
- ED SULLIVAN
- ...One lucky couple will win this
- handsome trophy that Marilyn here is
- holding.
- Marilyn holds the trophy.
- ED SULLIVAN
- ...Now, who will be our first
- contestants?
- Mia holds her hand.
- MIA
- Right here.
- Vincent reacts.
- MIA
- I wanna dance.
- VINCENT
- No, no, no no, no, no, no, no.
- MIA
- (overlapping)
- No, no, no, no, no, no, no. I do
- believe Marsellus, my husband, your
- boss, told you to take me out and do
- whatever I wanted, Now, I want to
- dance. I want to win. I want that
- trophy.
- VINCENT
- (sighs)
- All right.
- MIA
- So, dance good.
- VINCENT
- All right, you asked for it.
- Vincent and Mia walk onto the dance floor, toward Ed Sullivan.
- ED SULLIVAN
- (into microphone)
- Let's hear it for our first
- contestants.
- Patrons cheer.
- Vincent and Mia walk up to the microphone.
- ED SULLIVAN
- Now let's meet our first contestants
- here this evening. Young lady, what
- is your name?
- MIA
- (into microphone)
- Missus Mia Wallace.
- ED SULLIVAN
- (into microphone)
- And, uh, how 'bout your fella here?
- MIA
- (into microphone)
- Vincent Vega.
- ED SULLIVAN
- (into microphone)
- All right, let's see what you can
- do. Take it away!
- Mia and Vincent dance to Chuck Berry's "YOU NEVER CAN TELL".
- They make hand movements as they dance.
- INT. MARSELLUS WALLACE'S HOME – NIGHT
- The front door FLINGS open, and Mia and Vincent dance tango-
- style into the house, singing a cappella the song from the
- previous scene. They finish their little dance, laughing.
- Then...
- The two just stand face to face looking at each other.
- VINCENT
- Was than an uncomfortable silence?
- MIA
- I don't know what that was.
- (pause)
- Music and drinks!
- Mia moves away to attend to both. Vincent hangs up his
- overcoat on a big bronze coat rack in the alcove.
- VINCENT
- I'm gonna take a piss.
- MIA
- That was a little bit more information
- than I needed to know, but go right
- ahead.
- Vincent shuffles off to the john.
- Mia moves to her CD player, thumbs through a stack of CDs
- and selects one: k.d. lang. The speakers BLAST OUT a high
- energy country number, which Mia plays air-guitar to. She
- dances her way around the room and finds herself by Vincent's
- overcoat hanging on the rack. She touches its sleeve. It
- feels good.
- Her hand hoes in its pocket and pulls out his tobacco pouch.
- Like a little girl playing cowboy, she spreads the tobacco
- on some rolling paper. Imitating what he did earlier, licks
- the paper and rolls it into a pretty good cigarette. Maybe a
- little too fat, but not bad for a first try. Mia thinks so
- anyway. Her hand reaches back in the pocket and pulls out
- his Zippo lighter. She SLAPS the lighter against her leg,
- trying to light it fancy-style like Vince did. What do you
- know, she did it! Mia's one happy clam. She triumphantly
- brings the fat flame up to her fat smoke, lighting it up,
- then LOUDLY SNAPS the Zippo closed.
- The Mia-made cigarette is brought up to her lips, and she
- takes a long, cool drag. Her hand slides the Zippo back in
- the overcoat pocket. But wait, her fingers touch something
- else. Those fingers bring out a plastic bag with white powder
- inside, the madman that Vincent bought earlier from Lance.
- Wearing a big smile, Mia brings the bag of heroin up to her
- face.
- MIA
- (like you would say
- Bingo!)
- Disco! Vince, you little cola nut,
- you've been holding out on me.
- CUT TO:
- INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) – NIGHT
- Vincent stands at the sink, washing his hands, talking to
- himself in the mirror.
- VINCENT
- One drink and leave. Don't be rude,
- but drink your drink quickly, say
- goodbye, walk out the door, get in
- your car, and go down the road.
- LIVING ROOM
- Mia has the unbeknownst-to-her heroin cut up into big lines
- on her glass top coffee table. Taking her trusty hundred
- dollar bill like a human Dust-Buster, she quickly snorts the
- fat line.
- CLOSEUP – MIA
- Her head JERKS back. Her hands go to her nose (which feels
- like it's on fucking fire), something is terribly wrong.
- Then... the rush hits...
- BATHROOM
- Vincent dries his hands on a towel while he continues his
- dialogue with the mirror.
- VINCENT
- ...It's a moral test of yourself,
- whether or not you can maintain
- loyalty. Because when people are
- loyal to each other, that's very
- meaningful.
- LIVING ROOM
- Mia is on all fours trying to crawl to the bathroom, but
- it's like she's trying to crawl with the bones removed from
- her knees. Blood begins to drip from Mia's nose. Then her
- stomach gets into the act and she VOMITS.
- BATHROOM
- Vince continues.
- VINCENT
- So you're gonna go out there, drink
- your drink, say "Goodnight, I've had
- a very lovely evening," go home, and
- jack off. And that's all you're
- gonna do.
- Now that he's given himself a little pep talk, Vincent's
- ready for whatever's waiting for him on the other side of
- that door. So he goes through it.
- LIVING ROOM
- We follow behind Vincent as he walks from the bathroom to
- the living room, where he finds Mia lying on the floor like
- a rag doll. She's twisted on her back. Blood and puke are
- down her front. And her face is contorted. Not out of the
- tightness of pain, but just the opposite, the muscles in her
- face are so relaxed, she lies still with her mouth wide open.
- Slack-jawed.
- VINCENT
- Jesus Christ!
- Vincent moves like greased lightning to Mia's fallen body.
- Bending down where she lays, he puts his fingers on her neck
- to check her pulse. She slightly stirs.
- Mia is aware of Vincent over her, speaking to her.
- VINCENT
- (sounding weird)
- Mia! MIA! What the hell happened?
- But she's unable to communicate Mia makes a few lost mumbles,
- but they're not distinctive enough to be called words.
- Vincent props her eyelids open and sees the story.
- VINCENT
- (to himself)
- I'll be a son-of-a-bitch.
- (to Mia)
- Mia! MIA! What did you take? Answer
- me honey, what did you take?
- Mia is incapable of answering. He SLAPS her face hard.
- Vincent SPRINGS up and RUNS to his overcoat, hanging on the
- rack.
- He goes through the pockets FRANTICALLY. It's gone. Vincent
- makes a beeline to Mia. We follow.
- VINCENT
- (yelling to Mia)
- Okay honey, we're getting you on
- your feet.
- He reaches her and hoists the dead weight up in his arms.
- VINCENT
- We're on our feet now, and now we're
- gonna talk out to the car. Here we
- go, watch us walk.
- We follow behind as he hurriedly walks the practically-
- unconscious Mia through the house and out the front door.
- EXT. VINCENT'S HOT ROD (MOVING) – NIGHT
- INSERT SPEEDOMETER: red needle on a hundred.
- Vincent driving like a madman in a town without traffic laws,
- speeds the car into turns and up and over hills.
- INT.VINCENT'S HOT ROD (MOVING) – NIGHT
- Vincent, one hand firmly on the wheel, the other shifting
- like Robocop, both eyes staring straight ahead except when
- he glances over at Mia.
- Mia, slack-jawed expression, mouth gaping, posture of a bag
- of water.
- Vincent takes a cellular phone out of his pocket. He punches
- a number.
- INT. LANCE'S HOUSE – NIGHT
- At this late hour, LANCE has transformed from a bon vivant
- drug dealer to a bathrobe creature.
- He sits in a big comfy chair, ratty blue gym pants, a worn-
- out but comfortable tee-shirt that has, written on it, "TAFT,
- CALIFORNIA", and a moth-ridden terry cloth robe. In his hand
- is a bowl of Cap'n Crunch with Crunch Berries. In front of
- him on the coffee table is a jug of milk, the box the Cap'n
- Crunch with Crunch Berries came out of, and a hash pipe in
- an ashtray.
- On the big-screen TV in front of the table is the Three
- Stooges, and they're getting married.
- PREACHER (EMIL SIMKUS)
- (on TV)
- Hold hands, you love birds.
- The phone RINGS.
- Lance puts down his cereal and makes his way to the phone.
- It RINGS again.
- Jody, his wife, CALLS from the bedroom, obviously woken up.
- JODY (O.S.)
- Lance! The phone's ringing!
- LANCE
- (calling back)
- I can hear it!
- JODY (O.S.)
- I thought you told those fuckin'
- assholes never to call this late!
- LANCE
- (by the phone)
- I told 'em and that's what I'm gonna
- tell this fuckin' asshole right now!
- (he answers the phone)
- Hello, do you know how late it is?
- You're not supposed to be callin' me
- this fuckin' late.
- BACK TO:
- VINCENT IN THE MALIBU
- Vincent is still driving like a stripe-assed ape, clutching
- the phone to his ear. WE CUT BACK AND FORTH during the
- conversation.
- VINCENT
- Lance, this is Vincent, I'm in big
- fuckin' trouble man, I'm on my way
- to your place.
- LANCE
- Whoa, hold you horses man, what's
- the problem?
- VINCENT
- You still got an adrenaline shot?
- LANCE
- (dawning on him)
- Maybe.
- VINCENT
- I need it man, I got a chick she's
- fuckin' Doing on me.
- LANCE
- Don't bring her here! I'm not even
- fuckin' joking with you, don't you
- be bringing some fucked up pooh-butt
- to my house!
- VINCENT
- No choice.
- LANCE
- She's ODin'?
- VINCENT
- Yeah. She's dyin'.
- LANCE
- Then bite the fuckin' bullet, take
- 'er to a hospital and call a lawyer!
- VINCENT
- Negative.
- LANCE
- She ain't my fuckin' problem, you
- fucked her up, you deal with it –
- are you talkin' to me on a cellular
- phone?
- VINCENT
- Sorry.
- LANCE
- I don't know you, who is this, don't
- come here, I'm hangin' up.
- VINCENT
- Too late, I'm already here.
- At that moment inside Lance's house, WE HEAR VINCENT's Malibu
- coming up the street. Lance hangs up the phone, goes to his
- curtains and YANKS the cord. The curtains open with a WHOOSH
- in time to see Vincent's Malibu DRIVING UP on his front lawn
- and CRASHING into his house. The window Lance is looking out
- of SHATTERS from the impact.
- JODY (O.S.)
- What the hell was that?
- Lance CHARGES from the window, out the door to his front
- lawn.
- EXT. LANCE'S HOUSE – NIGHT
- Vincent is already out of the car, working on getting Mia
- out.
- LANCE
- Have you lost your mind?! You crashed
- your car in my fuckin' house! You
- talk about drug shit on a cellular
- fuckin' phone –
- VINCENT
- If you're through havin' your little
- hissy fit, this chick is dyin', get
- your needle and git it now!
- LANCE
- Are you deaf? You're not bringin'
- that fucked up bitch in my house!
- VINCENT
- This fucked up bitch is Marsellus
- Wallace's wife. Now if she fuckin'
- croaks on me, I'm a grease spot. But
- before he turns me into a bar soap,
- I'm gonna be forced to tell 'im about
- how you coulda saved her life, but
- instead you let her die on your front
- lawn.
- INT. LANCE'S HOUSE – NIGHT
- WE START in Lance's and Jody's bedroom.
- Jody, in bed, throws off the covers and stands up. She's
- wearing a long tee-shirt with a picture of Fred Flintstone
- on it.
- We follow HANDHELD behind her as she opens the door, walking
- through the hall into the living room.
- JODY
- It's only one-thirty in the goddamn
- mornin'! What the fuck's goin' on
- out here?
- As she walks in the living room, she sees Vincent and Lance
- standing over Mia, who's lying on the floor in the middle of
- the room.
- From here on in, everything in this scene is frantic, like a
- DOCUMENTARY in an emergency ward, with the big difference
- here being nobody knows what the fuck they're doing.
- JODY
- Who's she?
- Lance looks up at Jody.
- LANCE
- Get that black box in the bedroom I
- have with the adrenaline shot.
- JODY
- What's wrong with her?
- VINCENT
- She's ODing on us.
- JODY
- Well get her the hell outta here!
- LANCE AND VINCENT
- (in stereo)
- Get the fuckin' shot!
- JODY
- Don't yell and me!
- She angrily turns and disappears into the bedroom looking
- for the shot.
- WE MOVE into the room with the two men.
- VINCENT
- (to Lance)
- You two are a match made in heaven.
- LANCE
- Look, just keep talkin' to her, okay?
- While she's gettin' the shot, I gotta
- get a medical book.
- VINCENT
- What do you need a medical book for?
- LANCE
- To tell me how to do it. I've never
- given an adrenaline shot before.
- VINCENT
- You've had that thing for six years
- and you never used it?
- LANCE
- I never had to use it. I don't go
- joypoppin' with bubble-gummers, all
- of my friends can handle their highs!
- VINCENT
- Well then get it.
- LANCE
- I am, if you'll let me.
- VINCENT
- I'm not fuckin' stoppin' you.
- LANCE
- Stop talkin' to me, and start talkin'
- to her.
- WE FOLLOW Lance as he runs out of the living room into a...
- INT. SPARE ROOM
- With a bunch of junk in it. He frantically starts scanning
- the junk for the book he's looking for, repeating the words,
- "Come on," endlessly.
- From OFF SCREEN we hear:
- VINCENT (O.S.)
- Hurry up man! We're losin' her!
- LANCE
- (calling back)
- I'm looking as fast as I can!
- Lance continues his frenzied search.
- WE HEAR Jody in the living room now as she talks to Vincent.
- JODY (O.S.)
- What's he lookin' for?
- VINCENT (O.S.)
- I dunno, some medical book.
- Jody calls to LANCE.
- JODY (O.S.)
- What are you lookin' for?
- LANCE
- My black medical book!
- As he continues searching, flipping and knocking over shit,
- Jody appears in the doorway.
- JODY
- Whata're you looking for?
- LANCE
- My black fuckin' medical book. It's
- like a text book they give to nurses.
- JODY
- I never saw a medical book.
- LANCE
- Trust me, I have one.
- JODY
- Well if it's that important, why
- didn't you keep it with the shot?
- Lance spins toward her.
- LANCE
- I don't know! Stop bothering me!
- JODY
- While you're lookin' for it, that
- girl's gonna die on our carpet. You're
- never gonna find it in all this shit.
- For six months now, I've been telling
- you to clean this room –
- VINCENT (O.S.)
- – get your ass in here, fuck the
- book!
- Lance angrily knocks over a pile of shit and leaves the SHOT
- heading for the living room.
- LIVING ROOM
- Vincent is bent over Mia, talking softly to her, when Lance
- reenters the room.
- VINCENT
- Quit fuckin' around man and give her
- the shot!
- Lance bends down by the black case brought in by Jody. He
- opens it and begins preparing the needle for injection.
- LANCE
- While I'm doing this, take her shirt
- off and find her heart.
- Vince rips her blouse open.
- Jody stumbles back in the room, hanging back from the action.
- VINCENT
- Does it have to be exact?
- LANCE
- Yeah, it has to be exact! I'm giving
- her an injection in the heart, so I
- gotta exactly hit her in the heart.
- VINCENT
- Well, I don't know exactly where her
- heart is, I think it's here.
- Vince points to Mia's right breast. Lance glances over and
- nods.
- LANCE
- That's it.
- As Lance readies the injection, Vincent looks up at Jody.
- VINCENT
- I need a big fat magic marker, got
- one?
- JODY
- What?
- VINCENT
- I need a big fat magic marker, any
- felt pen'll do, but a magic marker
- would be great.
- JODY
- Hold on.
- Jody runs to the desk, opens the top drawer and, in her
- enthusiasm, she pulls the drawer out of the desk, the contents
- of which (bills, papers, pens) spill to the floor.
- The injection is ready. Lance hands Vincent the needle.
- LANCE
- It's ready, I'll tell you what to
- do.
- VINCENT
- You're gonna give her the shot.
- LANCE
- No, you're gonna give her the shot.
- VINCENT
- I've never does this before.
- LANCE
- I've never done this before either,
- and I ain't starting now. You brought
- 'er here, that means you give her
- the shot. The day I bring an ODing
- bitch to your place, then I gotta
- give her the shot.
- Jody hurriedly joins them in the huddle, a big fat red magic
- marker in her hand.
- JODY
- Got it.
- Vincent grabs the magic marker out of Jody's hand and makes
- a big red dot on Mia's body where her heart is.
- VINCENT
- Okay, what do I do?
- LANCE
- Well, you're giving her an injection
- of adrenaline straight to her heart.
- But she's got a breast plate in front
- of her heart, so you gotta pierce
- through that. So what you gotta do
- is bring the needle down in a stabbing
- motion.
- Lance demonstrates a stabbing motion, which looks like "The
- Shape" killing its victims in "HALLOWEEN".
- VINCENT
- I gotta stab her?
- LANCE
- If you want the needle to pierce
- through to her heart, you gotta stab
- her hard.
- Then once you do, push down on the plunger.
- VINCENT
- What happens after that?
- LANCE
- I'm curious about that myself.
- VINCENT
- This ain't a fuckin' joke man!
- LANCE
- She's supposed to come out of it
- like –
- (snaps his fingers)
- – that.
- Vincent lifts the needle up above his head in a stabbing
- motion.
- He looks down on Mia.
- Mia is fading fast. Soon nothing will help her.
- Vincent's eyes narrow, ready to do this.
- VINCENT
- Count to three.
- Lance, on this knees right beside Vincent, does not know
- what to expect.
- LANCE
- One...
- RED DOT on Mia's body.
- Needle raised ready to strike.
- LANCE (O.S.)
- ...two...
- Jody's face is alive with anticipation.
- NEEDLE in that air, poised like a rattler ready to strike.
- LANCE (O.S.)
- ...three!
- The needle leaves frame, THRUSTING down hard.
- Vincent brings the needle down hard, STABBING Mia in the
- chest.
- Mia's head is JOLTED from the impact.
- The syringe plunger is pushed down, PUMPING the adrenaline
- out through the needle.
- Mia's eyes POP WIDE OPEN and she lets out a HELLISH cry of
- the banshee. She BOLTS UP in a sitting position, needle stuck
- in her chest – SCREAMING.
- Vincent, Lance and Jody, who were in sitting positions in
- front of Mia, JUMP BACK, scared to death.
- Mia's scream runs out. She slowly starts taking breaths of
- air.
- The other three, now scooted halfway across the room, shaken
- to their bones, look to see if she's alright.
- LANCE
- If you're okay, say something.
- Mia, still breathing, not looking up at them, says in a
- relatively normal voice.
- MIA
- Something.
- Vincent and Lance collapse on their backs, exhausted and
- shaking from how close to death Mia came.
- JODY
- Anybody want a beer?
- CUT TO:
- INT. VINCENT'S MALIBU (MOVING) – NIGHT
- Vincent is behind the wheel driving Mia home. No one says
- anything, both are still too shaken.
- EXT. FRONT OF MARSELLUS WALLACE'S HOUSE – NIGHT
- The Malibu pulls up to the front. Mia gets out without saying
- a word (still in a daze) and begins walking down the walkway
- toward her front door.
- VINCENT (O.S.)
- Mia!
- She turns around.
- Vincent's out of the car, standing on the walkway, a big
- distance between the two.
- VINCENT
- What are your thoughts on how to
- handle this?
- MIA
- What's yours?
- VINCENT
- Well I'm of the opinion that Marsellus
- can live his whole live and never
- ever hear of this incident.
- Mia smiles.
- MIA
- Don't worry about it. If Marsellus
- ever heard of this, I'd be in as
- much trouble as you.
- VINCENT
- I seriously doubt that.
- MIA
- If you can keep a secret, so can I.
- VINCENT
- Let's shake on it.
- The two walk toward each other, holding out their hands to
- shake and shake they do.
- VINCENT
- Mum's the word.
- Mia lets go of Vincent's hand and silently makes the see-no-
- evil, hear-no-evil, and speak-no-evil sign with her hands.
- Vincent smiles.
- VINCENT
- If you'll excuse me, I gotta go home
- and have a heart attack.
- Mia giggles.
- Vincent turns to leave.
- MIA
- You still wanna hear my "FOX FORCE
- FIVE" joke?
- Vincent turns around.
- VINCENT
- Sure, but I think I'm still a little
- too petrified to laugh.
- MIA
- Uh-huh. You won't laugh because it's
- not funny. But if you still wanna
- hear it, I'll tell it.
- VINCENT
- I can't wait.
- MIA
- Three tomatoes are walking down the
- street, a poppa tomato, a momma
- tomato, and a little baby tomato.
- The baby tomato is lagging behind
- the poppa and momma tomato. The poppa
- tomato gets mad, goes over to the
- momma tomato and stamps on him –
- (stamps on the ground)
- – and says: catch up.
- They both smile, but neither laugh.
- MIA
- See ya 'round, Vince.
- Mia turns and walks inside her house.
- CLOSEUP – VINCENT
- After Mia walks inside. Vincent continues to look at where
- she was. He brings his hands to his lips and blows her a
- kiss. Then exits FRAME leaving it empty. WE HEAR his Malibu
- START UP and DRIVE AWAY.
- FADE TO BLACK
- FADE UP On the cartoon "SPEED RACER." Speed is giving a
- detailed description of all the features on his race car
- "The Mac-5," which he does at the beginning of every episode.
- OFF SCREEN we hear a WOMAN'S VOICE... .
- WOMAN'S VOICE (O.S.)
- Butch.
- DISSOLVE TO:
- BUTCH'S POV
- We're in the living room of a modest two bedroom house in
- Alhambra, California, in the year 1972. BUTCH'S MOTHER, 35ish,
- stands in the doorway leading into the living room. Next to
- her is a man dressed in the uniform of an American Air Force
- officer. The CAMERA is the perspective of a five-year old
- boy.
- MOTHER
- Butch, stop watching TV a second. We
- got a special visitor. Now do you
- remember when I told you your daddy
- dies in a P.O.W. camp?
- BUTCH (O.S.)
- Uh-huh.
- MOTHER
- Well this here is Capt. Koons. He
- was in the P.O.W. camp with Daddy.
- CAPT. KOONS steps inside the room toward the little boy and
- bends down on one knee to bring him even with the boy's
- eyeline. When Koons speaks, he speaks with a slight Texas
- accent.
- CAPT. KOONS
- Hello, little man. Boy I sure heard
- a bunch about you. See, I was a good
- friend of your Daddy's. We were in
- that Hanoi pit of hell over five
- years together. Hopefully, you'll
- never have to experience this
- yourself, but when two men are in a
- situation like me and your Daddy
- were, for as long as we were, you
- take on certain responsibilities of
- the other. If it had been me who had
- not made it, Major Coolidge would be
- talkin' right now to my son Jim. But
- the way it worked out is I'm talkin'
- to you, Butch. I got somethin' for
- ya.
- The Captain pulls a gold wrist watch out of his pocket.
- CAPT. KOONS
- This watch I got here was first
- purchased by your great-granddaddy.
- It was bought during the First World
- War in a little general store in
- Knoxville, Tennessee. It was bought
- by private Doughboy Ernie Coolidge
- the day he set sail for Paris. It
- was your great-granddaddy's war watch,
- made by the first company to ever
- make wrist watches. You see, up until
- then, people just carried pocket
- watches. Your great-granddaddy wore
- that watch every day he was in the
- war. Then when he had done his duty,
- he went home to your great-
- grandmother, took the watch off his
- wrist and put it in an ol' coffee
- can. And in that can it stayed 'til
- your grandfather Dane Coolidge was
- called upon by his country to go
- overseas and fight the Germans once
- again. This time they called it World
- War Two. Your great-granddaddy gave
- it to your granddad for good luck.
- Unfortunately, Dane's luck wasn't as
- good as his old man's. Your granddad
- was a Marine and he was killed with
- all the other Marines at the battle
- of Wake Island. Your granddad was
- facing death and he knew it. None of
- those boys had any illusions about
- ever leavin' that island alive. So
- three days before the Japanese took
- the island, your 22-year old
- grandfather asked a gunner on an Air
- Force transport named Winocki, a man
- he had never met before in his life,
- to deliver to his infant son, who he
- had never seen in the flesh, his
- gold watch. Three days later, your
- grandfather was dead. But Winocki
- kept his word. After the war was
- over, he paid a visit to your
- grandmother, delivering to your infant
- father, his Dad's gold watch. This
- watch. This watch was on your Daddy's
- wrist when he was shot down over
- Hanoi. He was captured and put in a
- Vietnamese prison camp. Now he knew
- if the gooks ever saw the watch it'd
- be confiscated. The way your Daddy
- looked at it, that watch was your
- birthright. And he'd be damned if
- and slopeheads were gonna put their
- greasy yella hands on his boy's
- birthright. So he hid it in the one
- place he knew he could hide somethin'.
- His ass. Five long years, he wore
- this watch up his ass. Then when he
- died of dysentery, he gave me the
- watch. I hid with uncomfortable hunk
- of metal up my ass for two years.
- Then, after seven years, I was sent
- home to my family. And now, little
- man, I give the watch to you.
- Capt. Koons hands the watch to Butch. A little hand comes
- into FRAME to accept it.
- CUT TO:
- INT. LOCKER ROOM – NIGHT
- The 27-year old Butch Coolidge is dressed in boxing regalia:
- trunks, shoes and gloves. He lies on a table catching a few
- zzzzzz's before his big fight. Almost as soon as WE CUT to
- him, he wakes up with a start. Shaken by the bizarre memory,
- he wipes his sweaty face with his boxing glove.
- His trainer KLONDIKE, an older fireplug, opens the door a
- little, sticking his head in the room. Pandemonium seems to
- be breaking out behind Klondike in the hallway.
- KLONDIKE
- It's time, Butch.
- BUTCH
- I'm ready.
- Klondike steps inside, closing the door on the WILD MOB
- outside.
- He goes to the long yellow robe hanging on a hook. Butch
- hops off the table and, without a word, Klondike helps him
- on with the robe, which says on the back: "BATTLING BUTCH
- COOLIDGE".
- The two men head for the door. Klondike opens the door for
- Butch.
- As Butch steps into the hallway, the Crowd goes apeshit.
- Klondike closes the door behind him, leaving us in the quiet,
- empty locker room.
- FADE TO BLACK
- TITLE CARD:
- "THE GOLD WATCH"
- We hear over the black and white title:
- SPORTSCASTER #1 (O.S.)
- – Well Dan, that had to be the
- bloodiest and, hands-down, the most
- brutal fight this city has ever seen.
- The SOUND of chaos in the b.g.
- FADE IN:
- EXT. ALLEY (RAINING) – NIGHT
- A taxi is parked in a dark alley next to an auditorium. The
- sky is PISSIN' DOWN RAIN. WE SLOWLY DOLLY toward the parked
- car. The SOUND of the CAR RADIO can be heard coming from
- inside.
- SPORTSCASTER #1 (O.S.)
- ...Coolidge was out of there faster
- than I've ever seen a victorious
- boxer vacate the ring. Do you think
- he knew Willis was dead?
- SPORTSCASTER #2 (O.S.)
- My guess would be yes, Richard. I
- could see from my position here, the
- frenzy in his eyes give way to the
- realization of what he was doing. I
- think any man would've left the ring
- that fast.
- DISSOLVE TO:
- INT. TAXI (PARKED/RAINING) – NIGHT
- Inside the taxi, behind the wheel, is a female cabbie named
- ESMARELDA VILLALOBOS. A young woman, with Spanish looks,
- sits parked, drinking a steaming hot cup of coffee out of a
- white styrofoam cup.
- The Sportscasters continue their coverage.
- SPORTSCASTER #1 (O.S.)
- Do you feel this ring death tragedy
- will have an effect on the world of
- boxing?
- SPORTSCASTER #2 (O.S.)
- Oh Dan, a tragedy like this can't
- help but shake the world of boxing
- to its very foundation. But it's of
- paramount importance that during the
- sad weeks ahead, the eyes of the
- W.B.A. remain firmly fixed on the –
- CLICK – Esmarelda shuts off the radio.
- She takes a sip of coffee, then hears a NOISE behind her in
- the alley. She sticks her head out of the car door to see:
- EXT. BOXING AUDITORIUM (RAINING) – NIGHT
- A window about three stories high opens on the auditorium-
- side of the alley. A gym bag is tossed out into a garbage
- dumpster below the window. Then, Butch Coolidge, still dressed
- in boxing trunks, shoes, gloves and yellow robe, LEAPS to
- the dumpster below.
- ESMARELDA'S REACTION takes in the strangeness of this sight.
- Gym bag in hand, Butch CLIMBS out of the dumpster and RUNS
- to the taxi. Before he climbs in, he takes off his robe and
- throws it to the ground.
- INT. TAXI (PARKED / RAINING) – NIGHT
- Butch, soaking wet, naked except for trunks, shoes and gloves,
- HOPS in the backseat, SLAMMING the door.
- Esmarelda, staring straight ahead, talks to Butch through
- the rearview mirror:
- ESMARELDA
- (Spanish accent)
- Are you the man I was supposed to
- pick up?
- BUTCH
- If you're the cab I called, I'm the
- guy you're supposed to pick up.
- ESMARELDA
- Where to?
- BUTCH
- Outta here.
- The ignition key is TWISTED. The engine ROARS to life.
- The meter is FLIPPED on.
- Esmarelda's bare foot STOMPS on the gas pedal.
- EXT. BOXING AUDITORIUM (RAINING) – NIGHT
- The cab WHIPS out of the alley, FISH-TAILING on the wet
- pavement in front of the auditorium at a rapid pace.
- INT. WILLIS LOCKER ROOM (AUDITORIUM) – NIGHT
- Locker room door opens, English Dave fights his way through
- the pandemonium which is going on outside in the hall,
- shutting the door on the madness. Once inside, English Dave
- takes time to adjust his suit and tie. Mia is standing by
- the door. She sees Vincent with English Dave.
- VINCENT
- Mia. How you doin'?
- MIA
- Great. I never thanked you for the
- dinner.
- In the room, black boxer FLOYD RAY WILLIS lies on a table –
- dead.
- His face looks like he went dunking for bees. His TRAINER is
- on his knees, head on Floyd's chest, crying over the body.
- The huge figure that is Marsellus Wallace stands at the table,
- hand on the Trainer's shoulder, lending emotional support.
- We still do not see Marsellus clearly, only that he is big.
- Mia sits in a chair at the far end of the room.
- Marsellus looks up, sees English Dave and walks over to him.
- MARSELLUS (O.S.)
- What'cha got?
- ENGLISH DAVE
- He booked.
- MARSELLUS (O.S.)
- I'm prepared to scour the earth for
- this motherfucker. If Butch goes to
- Indo China, I want a nigger hidin'
- in a bowl of rice, ready to pop a
- cap in his ass.
- ENGLISH DAVE
- I'll take care of it.
- INT. CAB (MOVING / RAINING) – NIGHT
- Butch gets one of his boxing gloves off.
- Esmeralda watches in the rearview mirror.
- He tries to roll down one of the backseat windows, but can't
- find the roll bar.
- BUTCH
- Hey, how do I open the window back
- here?
- ESMARELDA
- I have to do it.
- She presses a button and the back window moves down. Butch
- tosses his boxing glove out the window, then starts untying
- the other one.
- Esmeralda can't keep quiet anymore.
- ESMARELDA
- Hey, mister?
- BUTCH
- (still working on the
- glove)
- What?
- ESMARELDA
- You were in that fight? The fight on
- the radio – you're the fighter?
- As he tosses his other glove out the window.
- BUTCH
- Whatever gave you that idea?
- ESMARELDA
- No c'mon, you're him, I know you're
- him, tell me you're him.
- BUTCH
- (drying himself with
- a gym towel)
- I'm him.
- ESMARELDA
- You killed the other boxing man.
- BUTCH
- He's dead?
- ESMARELDA
- The radio said he was dead.
- He finished wiping himself down.
- BUTCH
- (to himself)
- Sorry 'bout that, Floyd.
- He tosses the towel out the window.
- Silence, as Butch digs in his bag for a t-shirt.
- ESMARELDA
- What does it feel like?
- BUTCH
- (finds his shirt)
- What does what feel like?
- ESMARELDA
- Killing a man. Beating another man
- to death with your bare hands.
- Butch pulls on his tee-shirt.
- BUTCH
- Are you some kinda weirdo?
- ESMARELDA
- No, it's a subject I have much
- interest in. You are the first person
- I ever met who has killed somebody.
- So, what was it like to kill a man?
- BUTCH
- Tell ya what, you give me one of
- them cigarettes, I'll give you an
- answer.
- Esmarelda bounces in her seat with excitement.
- ESMARELDA
- Deal!
- Butch leans forward. Esmarelda, keeping her eyes on the road,
- passes a cigarette back to him. He takes it. Then, still not
- looking behind her, she brings up her hand, a lit match in
- it.
- Butch lights his smoke, then blows out the match.
- He takes a long drag.
- BUTCH
- So...
- He looks at her license.
- BUTCH
- ...Esmarelda Villalobos – is that
- Mexican?
- ESMARELDA
- The name is Spanish, but I'm
- Columbian.
- BUTCH
- It's a very pretty name.
- ESMARELDA
- It mean "Esmarelda of the wolves."
- BUTCH
- That's one hell of a name you got
- there, sister.
- ESMARELDA
- Thank you. And what is your name?
- BUTCH
- Butch.
- ESMARELDA
- Butch. What does it mean?
- BUTCH
- I'm an American, our names don't
- mean shit. Anyway, moving right along,
- what is it you wanna know, Esmarelda?
- ESMARELDA
- I want to know what it feels like to
- kill a man –
- BUTCH
- – I couldn't tell ya. I didn't know
- he was dead 'til you told me he was
- dead. Now I know he's dead, do you
- wanna know how I feel about it?
- Esmarelda nods her head: "yes."
- BUTCH
- I don't feel the least little bit
- bad.
- EXT. PHONE BOOTH (RAINING) – NIGHT
- We DOLLY around a phone booth as Butch talks inside.
- BUTCH
- (into phone)
- What'd I tell ya, soon as the word
- got out a fix was in, the odds would
- be outta control. Hey, if he was a
- better fighter he's be alive. If he
- never laced up his gloves in the
- first place, which he never shoulda
- done, he'd be alive. Enough about
- the poor unfortunate Mr. Floyd, let's
- talk about the rich and prosperous
- Mr. Butch. How many bookies you
- spread it around with?
- (PAUSE)
- Eight? How long to collect?
- (pause)
- So by tomorrow evening, you'll have
- it all?
- (pause)
- Good news Scotty, real good news – I
- understand a few stragglers aside.
- Me an' Fabienne're gonna leave in
- the morning. It should take us a
- couple days to get into Knoxville.
- Next time we see each other, it'll
- be on Tennessee time.
- Butch hangs up the phone. He looks at the cab waiting to
- take him wherever he wants to go.
- BUTCH
- (to himself in French
- with English subtitles)
- Fabienne my love, our adventure
- begins.
- CUT TO:
- EXT. MOTEL (STOPPED / RAINING) – NIGHT
- Esmeralda's taxi pulled into the motel parking lot. The rain
- has stopped, but the night is still soaked. Butch gets out,
- now fully dressed in tee-shirt, jeans and high school athletic
- jacket. He leans in the driver's side window.
- ESMARELDA
- Forty-five sixty.
- Handing her the money.
- BUTCH
- Merci beaucoup. And here's a little
- something for the effort.
- Butch holds up a hundred dollar bill.
- Esmarelda's eyes light up. She goes to take it. Butch holds
- it out of reach.
- BUTCH
- Now if anybody should ask you about
- who your fare was tonight, what're
- you gonna tell 'em?
- ESMARELDA
- The truth. Three well-dressed,
- slightly toasted, Mexicans.
- He gives her the bill.
- BUTCH
- Bon soir, Esmarelda.
- ESMARELDA
- (in Spanish)
- Sleep well, Butch.
- He tweaks her nose, she smiles, and he turns and walks away.
- She drives off.
- INT. MOTEL (ROOM SIX) – NIGHT
- Butch enters and turns on the light.
- Lying curled up on the bed, fully dressed, with her back to
- us is Butch's French girlfriend, FABIENNE.
- FABIENNE
- Keep the light off.
- Butch flicks the switch back, making the room dark again.
- BUTCH
- Is that better, sugar pop?
- FABIENNE
- Oui. Hard day at the office?
- BUTCH
- Pretty hard. I got into a fight.
- FABIENNE
- Poor baby. Can we make spoons?
- Butch climbs into bed, spooning Fabienne from behind.
- When Butch and Fabienne speak to each other, they speak in
- babytalk.
- FABIENNE
- I was looking at myself in the mirror.
- BUTCH
- Uh-huh?
- FABIENNE
- I wish I had a pot.
- BUTCH
- You were lookin' in the mirror and
- you wish you had some pot?
- FABIENNE
- A pot. A pot belly. Pot bellies are
- sexy.
- BUTCH
- Well you should be happy, 'cause you
- do.
- FABIENNE
- Shut up, Fatso! I don't have a pot!
- I have a bit of a tummy, like Madonna
- when she did "Lucky Star," it's not
- the same thing.
- BUTCH
- I didn't realize there was a
- difference between a tummy and a pot
- belly.
- FABIENNE
- The difference is huge.
- BUTCH
- You want me to have a pot?
- FABIENNE
- No. Pot bellies make a man look either
- oafish, or like a gorilla. But on a
- woman, a pot belly is very sexy. The
- rest of you is normal. Normal face,
- normal legs, normal hips, normal
- ass, but with a big, perfectly round
- pot belly. If I had one, I'd wear a
- tee-shirt two sizes too small to
- accentuate it.
- BUTCH
- You think guys would find that
- attractive?
- FABIENNE
- I don't give a damn what men find
- attractive. It's unfortunate what we
- find pleasing to the touch and
- pleasing to the eye is seldom the
- same.
- BUTCH
- If you a pot belly, I'd punch you in
- it.
- FABIENNE
- You'd punch me in my belly?
- BUTCH
- Right in the belly.
- FABIENNE
- I'd smother you. I'd drop it on your
- right on your face 'til you couldn't
- breathe.
- BUTCH
- You'd do that to me?
- FABIENNE
- Yes!
- BUTCH
- Did you get everything, sugar pop?
- FABIENNE
- Yes, I did.
- BUTCH
- Good job.
- FABIENNE
- Did everything go as planned?
- BUTCH
- You didn't listen to the radio?
- FABIENNE
- I never listen to your fights. Were
- you the winner?
- BUTCH
- I won alright.
- FABIENNE
- Are you still retiring?
- BUTCH
- Sure am.
- FABIENNE
- What about the man you fought?
- BUTCH
- Floyd retired too.
- FABIENNE
- (smiling)
- Really?! He won't be fighting no
- more?!
- BUTCH
- Not no more.
- FABIENNE
- So it all worked out in the finish?
- BUTCH
- We ain't at the finish, baby.
- Fabienne rolls over and Butch gets on top of her. They kiss.
- FABIENNE
- We're in a lot of danger, aren't we?
- Butch nods his head: "yes."
- FABIENNE
- If they find us, they'll kill us,
- won't they?
- Butch nods his head: "yes."
- FABIENNE
- But they won't find us, will they?
- Butch nods his head: "no."
- FABIENNE
- Do you still want me to go with you?
- Butch nods his head: "yes."
- FABIENNE
- I don't want to be a burden or a
- nuisance -
- Butch's hand goes out of frame and starts massaging her
- crotch.
- Fabienne reacts.
- FABIENNE
- Say it!
- BUTCH
- Fabienne, I want you to be with me.
- FABIENNE
- Forever?
- BUTCH
- ...and ever.
- Fabienne lies her head back.
- Butch continues to massage her crotch.
- FABIENNE
- Do you love me?
- BUTCH
- Oui.
- FABIENNE
- Butch? Will you give me oral pleasure?
- Butch kisses her on the mouth.
- BUTCH
- Will you kiss it?
- She nods her head: "yes."
- FABIENNE
- But you first.
- Butch's head goes down out of frame to carry out the oral
- pleasure. Fabienne's face is alone in the frame.
- FABIENNE
- (in French, with
- English subtitles)
- Butch my love, the adventure begins.
- FADE TO BLACK
- FADE UP:
- MOTEL ROOM
- Same motel room, except empty. WE HEAR THE SHOWER RUNNING in
- the bathroom. The CAMERA MOVES to the bathroom doorway. We
- see Fabienne in a white terry cloth robe that seems to swallow
- her up.
- She's drying her head with a towel. Butch is inside the shower
- washing up. We see the outline of his naked body through the
- smoky glass of the shower door. Steam fills the bathroom.
- Butch turns the shower off and opens the door, popping his
- head out.
- BUTCH
- I think I cracked a rib.
- FABIENNE
- Giving me oral pleasure?
- BUTCH
- No retard, from the fight.
- FABIENNE
- Don't call me retard.
- BUTCH
- (in a Mongoloid voice)
- My name is Fabby! My name is Fabby!
- FABIENNE
- Shut up fuck head! I hate that
- Mongoloid voice.
- BUTCH
- Okay, sorry, sorry, sorry, I take it
- back! Can I have a towel please,
- Miss Beautiful Tulip.
- FABIENNE
- Oh I like that, I like being called
- a tulip. Tulip is much better than
- Mongoloid.
- She finishes drying her hair and wraps the towel like a turban
- on her head.
- BUTCH
- I didn't call you a Mongoloid, I
- called you a retard, but I took it
- back.
- She hands him a towel.
- BUTCH
- Merci beaucoup.
- FABIENNE
- Butch?
- BUTCH
- (drying his head)
- Yes, lemon pie.
- FABIENNE
- Where are we going to go?
- BUTCH
- I'm not sure yet. Wherever you want.
- We're gonna get a lot of money from
- this. But it ain't gonna be so much,
- we can live like hogs in the fat
- house forever. I was thinking we
- could go somewhere in the South
- Pacific. The kinda money we'll have'll
- carry us a long way down there.
- FABIENNE
- So if we wanted, we could live in
- Bora Bora?
- BUTCH
- You betcha. And if after awhile you
- don't dig Bora Bora, then we can
- move over to Tahiti or Mexico.
- FABIENNE
- But I do not speak Spanish.
- BUTCH
- You don't speak Bora Boran either.
- Besides, Mexican is easy: Donde esta
- el zapataria?
- FABIENNE
- What does that mean?
- BUTCH
- Where's the shoe store?
- FABIENNE
- Donde esta el zapataria?
- BUTCH
- Excellent pronunciation. You'll be
- my little mama ceta in no time.
- Butch exits the bathroom. We stay on Fabienne as she brushes
- her teeth.
- Butch keeps on from the other room.
- BUTCH (O.S.)
- Que hora es?
- FABIENNE
- Que hora es?
- BUTCH (O.S.)
- What time is it?
- FABIENNE
- What time is it?
- BUTCH (O.S.)
- Time for bed. Sweet dream, jellybean.
- Fabienne brushes her teeth. We watch her for a moment or
- two, then she remember something.
- FABIENNE
- Butch.
- She walks out of the bathroom to ask Butch a question, only
- to find him sound asleep in bed.
- She looks at him for a moment.
- FABIENNE
- Forget it.
- She exits frame, going back in the bathroom. WE STAY on the
- WIDE SHOT of the unconscious Butch in bed.
- FADE TO BLACK
- FADE UP:
- MOTEL ROOM – MORNING
- SAME SHOT AS BEFORE, the next morning. We find Butch still
- asleep in bed.
- Fabienne brushes her teeth half in and half out of the
- bathroom so she can watch TV at the same time. She still
- wears the terry cloth robe from the night before.
- ON TV: WILLIAM SMITH and a BUNCH OF HELL'S ANGELS are taking
- on the entire Vietnamese army in the film "THE LOSERS".
- Butch wakes from his sleep, as if a scary monster was chasing
- him.
- His start startles Fabienne.
- FABIENNE
- Merde! You startled me. Did you have
- a bad dream?
- Butch squints down the front of the bed at her, trying to
- focus.
- Butch, still trying to chase the cobwebs away, sees on TV
- Hell's Angels tear-assin' through a Vietnamese prison camp.
- BUTCH
- What are you watching?
- FABIENNE
- A motorcycle movie, I'm not sure the
- name.
- BUTCH
- Are you watchin' it?
- Fabienne enters the room.
- FABIENNE
- In a way. Why? Would you like for me
- to switch it off?
- BUTCH
- Would you please?
- She reaches over and turns off the TV.
- BUTCH
- It's a little too early in the morning
- for explosions and war.
- FABIENNE
- What was it about?
- BUTCH
- How should I know, you were the one
- watchin' it.
- Fabienne laughs.
- FABIENNE
- No, imbecile, what was your dream
- about?
- BUTCH
- Oh, I... don't remember. It's really
- rare I remember a dream.
- FABIENNE
- You just woke up from it.
- BUTCH
- Fabienne, I'm not lying to you, I
- don't remember.
- FABIENNE
- Well, let's look at the grumpy man
- in the morning. I didn't say you
- were lying, it's just odd you don't
- remember your dreams. I always
- remember mine. Did you know you talk
- in your sleep?
- BUTCH
- I don't talk in my sleep, do I talk
- in my sleep?
- FABIENNE
- You did last night.
- BUTCH
- What did I say?
- Laying on top of him.
- FABIENNE
- I don't know. I couldn't understand
- you.
- She kisses Butch.
- FABIENNE
- Why don't you get up and we'll get
- some breakfast at that breakfast
- place with the pancakes.
- BUTCH
- One more kiss and I'll get up.
- Fabienne gives Butch a sweet long kiss.
- FABIENNE
- Satisfied?
- BUTCH
- Yep.
- FABIENNE
- Then get up, lazy bones.
- Butch climbs out of bed and starts pulling clothes out of
- the suitcase that Fabienne brought.
- BUTCH
- What time is it?
- FABIENNE
- Almost nine in the morning. What
- time does our train arrive?
- BUTCH
- Eleven.
- FABIENNE
- I'm gonna order a big plate of
- blueberry pancakes with maple syrup,
- eggs over easy, and five sausages.
- BUTCH
- (surprised at her
- potential appetite)
- Anything to drink with that?
- Butch is finished dressing.
- FABIENNE
- (referring to his
- clothes)
- Oh yes, that looks nice. To drink, a
- tall glass or orange juice and a
- black cup of coffee. After that, I'm
- going to have a slice of pie.
- As he goes through the suitcase.
- BUTCH
- Pie for breakfast?
- FABIENNE
- Any time of the day is a good time
- for pie. Blueberry pie to go with
- the pancakes. And on top, a thin
- slice of melted cheese –
- BUTCH
- – where's my watch?
- FABIENNE
- It's there.
- BUTCH
- No, it's not. It's not here.
- FABIENNE
- Have you looked?
- By now, Butch is frantically rummaging through the suitcase.
- BUTCH
- Yes I've fuckin' looked!!
- He's now throwing clothes.
- BUTCH
- What the fuck do you think I'm doing?!
- Are you sure you got it?
- Fabienne can hardly speak, she's never seen Butch this way.
- FABIENNE
- Uhhh... yes... beside the table drawer
- –
- BUTCH
- – on the little kangaroo.
- FABIENNE
- Yes, it was on your little kangaroo.
- BUTCH
- Well it's not here!
- FABIENNE
- (on the verge of tears)
- Well it should be!
- BUTCH
- Oh it most definitely should be here,
- but it's not. So where is it?
- Fabienne is crying and scared.
- Butch lowers his voice, which only serves to make him more
- menacing.
- BUTCH
- Fabienne, that was my father's fuckin'
- watch. You know what my father went
- through to git me that watch?... I
- don't wanna get into it right now...
- but he went through a lot. Now all
- this other shit, you coulda set on
- fire, but I specifically reminded
- you not to forget my father's watch.
- Now think, did you get it?
- FABIENNE
- I believe so...
- BUTCH
- You believe so? You either did, or
- you didn't, now which one is it?
- FABIENNE
- Then I did.
- BUTCH
- Are you sure?
- FABIENNE
- (shaking)
- No.
- Butch freaks out, he punches the air.
- Fabienne SCREAMS and backs into a corner, Butch picks up the
- motel TV and THROWS IT AGAINST the wall.
- Fabienne SCREAMS IN HORROR.
- Butch looks toward her, suddenly calm.
- BUTCH
- (to Fabienne)
- No! It's not your fault.
- (he approached her)
- You left it at the apartment.
- He bends down in front of the woman who has sunk to the floor.
- He touches her hand, she flinches.
- BUTCH
- If you did leave it at the apartment,
- it's not your fault. I had you bring
- a bunch of stuff. I reminded you
- about it, but I didn't illustrate
- how personal the watch was to me. If
- all I gave a fuck about was my watch,
- I should've told you. You ain't a
- mind reader.
- He kisses her hand. Then rises.
- Fabienne is still sniffling.
- Butch goes to the closet.
- FABIENNE
- I'm sorry.
- Butch puts on his high school jacket.
- BUTCH
- Don't be. It just means I won't be
- able to eat breakfast with you.
- FABIENNE
- Why does it mean that?
- BUTCH
- Because I'm going back to my apartment
- to get my watch.
- FABIENNE
- Won't the gangsters be looking for
- you there?
- BUTCH
- That's what I'm gonna find out. If
- they are, and I don't think I can
- handle it, I'll split.
- Rising from the floor.
- FABIENNE
- I was so dreadful. I saw your watch,
- I thought I brought it. I'm so sorry.
- Butch brings her close and puts his hands on her face.
- BUTCH
- Don't feel bad, sugar pop. Nothing
- you could ever do would make me
- permanently angry at you.
- (pause)
- I love you, remember?
- (he digs some money
- out of his wallet)
- Now here's some money, order those
- pancakes and have a great breakfast.
- FABIENNE
- Don't go.
- BUTCH
- I'll be back before you can say,
- blueberry pie.
- FABIENNE
- Blueberry pie.
- BUTCH
- Well maybe not that fast, but fast.
- Okay? Okay?
- FABIENNE
- Okay.
- He kisses her once more and heads for the door.
- BUTCH
- Bye-bye, sugar pop.
- FABIENNE
- Bye.
- BUTCH
- I'm gonna take your Honda.
- FABIENNE
- Okay.
- And with that, he's out the door.
- Fabienne sits on the bed and looks at the money he gave her.
- INT. HONDA (MOVING) – DAY
- Butch is beating the steering wheel and the dash with his
- fists as he drives down the street.
- BUTCH
- Of all the fuckin' things she coulda
- forgot, she forgets my father's watch.
- I specifically reminded her not to
- forget it. "Bedside table – on the
- kangaroo." I said the words: "Don't
- forget my father's watch."
- EXT. CITY STREET – DAY
- The little Honda races toward its destination as fast as is
- little engine will take it.
- CUT TO:
- A parking meter red flag rises up, then out, leaving the
- arrow pointing at one hour.
- EXT. RESIDENTIAL STREET CORNER – DAY
- Butch isn't completely reckless. He has parked his car a
- couple of blocks from his apartment to check things out before
- he goes boppin' through the front door.
- EXT. ALLEY – DAY
- Butch walks down the alley until he gets to another street,
- then he discreetly glances out.
- EXT. STREET – BUTCH'S APARTMENT – DAY
- Everything seems normal. More or less the right number of
- cars in the street. None of the parked cars appear out of
- place. None of them have a couple of goons sitting inside.
- Basically, it looks like normal morning activity in front of
- Butch's home.
- Butch peers around a wall, taking in the vital information.
- Butch walks out of the alley and is ready for anything. He
- crosses the street and enters his apartment courtyard.
- Across the street from Butch's building, on the corner, is a
- combination donut shop and Japanese restaurant. A big sign
- sticks up in the air, with the name "Teriyaki Donut" and a
- graphic of a donut sticking out of a bowl of rice.
- EXT. BUTCH'S APARTMENT COURTYARD – DAY
- Butch is in the courtyard of his North Hollywood apartment
- building. Once again, everything appears normal – the laundry
- room, the pool, his apartment door – nothing appears
- disturbed.
- Butch climbs the stairs leading to his apartment, number 12.
- He steps outside the door and listens inside. Nothing.
- Butch slowly inserts the key into the door, quietly opening
- it.
- INT. BUTCH'S APARTMENT – DAY
- His apartment hasn't been touched.
- He cautiously steps inside, shuts the door and takes a quick
- look around. Obviously, no one is there.
- Butch walks into his modest kitchen, and opens the
- refrigerator.
- He takes out a carton of milk and drinks from it.
- With carton in hard, Butch surveys the apartment. Then he
- goes to the bedroom.
- His bedroom is like the rest of the apartment – neat, clean
- and anonymous. The only things personal in his room are a
- few boxing trophies, an Olympic silver medal, a framed issue
- of "Ring Magazine" with Butch on the cover, and a poster of
- Jerry Quarry and one of George Chuvalo.
- Sure enough, there's the watch just like he said it was: On
- the bedside table, hanging on his little kangaroo statue.
- He walks through the apartment and back into the kitchen. He
- opens a cupboard and takes out a box of Pop Tarts. Putting
- down the milk, he opens the box, takes out two Pop Tarts and
- puts them in the toaster.
- Butch glances to his right, his eyes fall on something.
- What he sees is a small compact Czech M61 submachine gun
- with a huge silencer on it, lying on his kitchen counter.
- BUTCH
- (softly)
- Holy shit.
- He picks up the intimidating peace of weaponry and examines
- it.
- Then... a toilet FLUSHES.
- Butch looks up to the bathroom door, which is parallel to
- the kitchen. There is someone behind it.
- Like a rabbit caught in a radish patch, Butch freezes, not
- knowing what to do.
- The bathroom door opens and Vincent Vega steps out of the
- bathroom, tightening his belt. In his hand is the book
- "MODESTY BLAISE" by Peter O'Donnell.
- Vincent and Butch lock eyes.
- Vincent freezes.
- Butch doesn't move, except to point the M61 in Vincent's
- direction.
- Neither man opens his mouth.
- Then... the toaster LOUDLY kicks up the Pop Tarts.
- That's all the situation needed.
- Butch's finger HITS the trigger.
- MUFFLED FIRE SHOOTS out of the end of the gun.
- Vincent is seemingly WRACKED with twenty bullets
- SIMULTANEOUSLY – LIFTING him off his feet, PROPELLING him
- through the air and CRASHING through the glass shower door
- at the end of the bathroom.
- By the time Butch removes his finger from the trigger, Vincent
- is annihilated.
- Butch stands frozen, amazed at what just happened. His look
- goes from the grease spot in the bathroom that was once
- Vincent, down to the powerful piece of artillery in his grip.
- With the respect it deserves, Butch carefully places the M61
- back on the kitchen counter.
- Then he exits the apartment, quickly.
- EXT. APARTMENT COURTYARD – DAY
- Butch, not running, but walking very rapidly, crosses the
- courtyard...
- ...comes out of the apartment building, crosses the street...
- ...goes through the alley...
- ...and into his car in one STEADICAM SHOT.
- EXT. HONDA – DAY
- Butch CRANKS the car into gear and drives away. The big wide
- smile of a survivor breaks across his face.
- EXT. APARTMENT BUILDING STREET – DAY
- The Honda turns down the alley and slowly cruises by his
- apartment building.
- INT. HONDA – DAY
- Butch looks out the window at his former home.
- BUTCH
- That's how you're gonna beat 'em,
- Butch. They keep underestimatin'
- ya.
- This makes the boxer laugh out loud. As he laughs, he flips
- a tape in the cassette player. When the MUSIC starts, he
- SINGS along with it.
- He drives by the apartment, but is stopped at the light on
- the corner across from Teriyaki Donut.
- Butch is still chuckling, singing along with the song, as we
- see:
- THROUGH THE WINDSHIELD
- The big man himself, Marsellus Wallace, exit Teriyaki Donut,
- carrying a box of a dozen donuts and two large styrofoam
- cups of coffee. He steps off the curb, crossing the street
- in front of Butch's car. This is the first time we see
- Marsellus clearly.
- Laughing boy stops when he sees the big man directly in front
- of him.
- When Marsellus is in front of Butch's car, he casually glances
- to his left, sees Butch, continues walking... then STOPS!
- DOUBLE-TAKE: "Am I really seeing what I'm seeing?"
- Butch doesn't wait for the big man to answer his own question.
- He STOMPS on the gas pedal.
- The little Honda SLAMS into Marsellus, sending him, the donuts
- and the coffee HITTING the pavement at thirty miles an hour.
- Butch CUTS into cross traffic and is BROAD-SIDED by a gold
- Camaro Z-28, BREAKING all the windows in the Honda and sending
- it up on the sidewalk.
- Butch sits dazed and confused in the crumpled mess of what
- at one time was Fabienne's Honda. Blood flows from his
- nostrils. The still-functional tape player continues to play.
- A PEDESTRIAN pokes his head inside.
- PEDESTRIAN
- Jesus, are you okay?
- Butch look at him, spaced-out.
- BUTCH
- I guess.
- Marsellus Wallace lies sprawled out in the street. GAWKERS
- gather around the body.
- GAWKER #1
- (to the others)
- He's dead! He's dead!
- This jerk's yelling makes Marsellus come to.
- TWO PEDESTRIANS help the shaken Butch out of the wreckage.
- The woozy Marsellus gets to his feet.
- GAWKER #2
- If you need a witness in court, I'll
- be glad to help. He was a drunken
- maniac. He hit you and crashed into
- that car.
- MARSELLUS
- (still incoherent)
- Who?
- GAWKER #2
- (pointing at Butch)
- Him.
- Marsellus follows the Gawker's finger and sees Butch Coolidge
- down the street, looking a shambles.
- MARSELLUS
- Well, I'll be damned.
- The big man takes out a .45 Automatic and the Gawkers back
- away.
- Marsellus starts moving toward Butch.
- Butch sees the fierce figure making a wobbly bee-line toward
- him.
- BUTCH
- Sacre bleu.
- Marsellus brings up his weapon and FIRES, but he's so hurt,
- shaky and dazed that his arm goes wild.
- He HITS a LOOKY-LOO WOMAN in the hip. She falls to the ground,
- screaming.
- LOOKY-LOO WOMAN
- Oh my God, I've been shot!
- That's all Butch needs to see. He's outta here.
- Marsellus RUNS after him.
- The CROWD looks agape.
- Butch is in a mad, limping RUN.
- The big man's hot on his ass with a cockeyed wobbly run.
- Butch cuts across traffic and dashes into a business with a
- sign that reads "MASON-DIXIE PAWNSHOP".
- INT. MASON-DIXIE PAWNSHOP – DAY
- MAYNARD, a hillbilly-lookin' boy, stands behind the counter
- of his pawnshop when, all of a sudden, chaos in the form of
- Butch RACES into his world.
- MAYNARD
- Can I help you wit' somethin'?
- BUTCH
- Shut up!
- Butch quickly takes measure of the situation, than stands
- next to the door.
- MAYNARD
- Now you just wait one goddamn minute
- –
- Before Maynard can finish his threat, Marsellus CHARGES in.
- He doesn't get past the doorway because Butch LANDS his fist
- in Marsellus' face.
- The gangster's feet go out from under him and the big man
- FALLS FLAT on his back.
- Outside, two police cars with their SIRENS BLARING race by.
- Butch POUNCES on the fallen body, PUNCHING him twice more in
- the face.
- Butch takes the gun out of Marsellus' hand, than grabs ahold
- of his middle finger.
- BUTCH
- So you like chasing people, huh?
- He BREAKS the finger. Marsellus lets out a pain sound. Butch
- then places the barrel of the .45 between his eyes, PULLS
- back the hammer and places his open hand behind the gun to
- shield the splatter.
- BUTCH
- Well guess what, big man, you caught
- me –
- MAYNARD (O.S.)
- – hold it right there, godammit!
- Butch and Marsellus look up at Maynard, who's brandishing a
- pumpaction shotgun, aimed at the two men.
- BUTCH
- Look mister, this ain't any of your
- business –
- MAYNARD
- – I'm makin' it my business! Now
- toss that gun!
- Butch does.
- MAYNARD
- Now you on top, stand up and come to
- the counter.
- Butch slowly gets up and moves to the counter. As soon as he
- gets there, Maynard HAULS OFF, HITTING him hard in the face
- with the butt of the shotgun, knocking Butch down and out.
- After Butch goes down, Maynard calmly lays the shotgun on
- the counter and moves to the telephone.
- Marsellus Wallace, from his position on the floor, groggily
- watches the pawnshop owner dial a number. Maynard waits on
- the line while the other end rings. Then it picks up.
- MAYNARD
- Zed? It's Maynard. The spider just
- caught a coupl'a flies.
- Marsellus passes out.
- FADE TO BLACK
- FADE UP:
- INT. PAWNSHOP BACK ROOM – DAY
- TWO SHOT – BUTCH AND MARSELLUS
- They are tied up in two separate chairs. In their mouths are
- two S&M-style ball gags (a belt goes around their heads and
- a little red ball sticks in their mouths). Both men are
- unconscious.
- Maynard steps in with a fire extinguisher and SPRAYS both
- guys until they're wide awake and wet as otters. The two
- prisoners look up at their captors.
- Maynard stands in front of them, fire extinguisher in one
- hand, shotgun in the other, and Marsellus' .45 sticking in
- his belt.
- MAYNARD
- Nobody kills anybody in my place of
- business except me or Zed.
- A BUZZER buzzes.
- MAYNARD
- That's Zed.
- Without saying another word, Maynard climbs up the stairs
- that lead to red curtains and goes through them.
- WE HEAR, on the other side of the curtains, Maynard let Zed
- inside the store.
- Butch and Marsellus look around the room. The basement of
- the pawnshop has been converted into a dungeon. After taking
- in their predicament, Butch and Marsellus look at each other,
- all traces of hostility gone, replaced by a terror they both
- share at what they've gotten themselves into.
- Maynard and ZED come through the curtains. Zed is an even
- more intense version of Maynard, if such a thing is possible.
- The two hillbillys are obviously brothers. Where Maynard is
- a vicious pitbull, Zed is a deadly cobra. Zed walks in and
- stands in front of the two captives. He inspects them for a
- long time, then says:
- ZED
- (to Maynard)
- You said you waited for me?
- MAYNARD
- I did.
- ZED
- Then how come they're all beat up?
- MAYNARD
- They did that to each other. They
- was fightin' when they came in. This
- one was gonna shoot that one.
- ZED
- (to Butch)
- You were gonna shoot him?
- Butch makes no reply.
- ZED
- Hey, is Grace gonna be okay in front
- of this place?
- MAYNARD
- Yeah, it ain't Tuesday is it?
- ZED
- No, it's Thursday.
- MAYNARD
- Then she'll be fine.
- ZED
- Bring out The Gimp.
- MAYNARD
- I think The Gimp's sleepin'.
- ZED
- Well, I guess you'll just wake 'em
- up then, won't you?
- Maynard opens a trap door in the floor.
- MAYNARD
- (yelling in the hole)
- Wake up!
- Maynard reaches into the hole and comes back holding onto a
- leash.
- He gives it a rough yank and, from below the floor, rises
- THE GIMP.
- The Gimp is a man they keep dressed from head to toe in black
- leather bondage gear. There are zippers, buckles and studs
- here and there on the body. On his head is a black leather
- mask with two eye holes and a zipper (closed) for a mouth.
- They keep him in a hole in the floor big enough for a large
- dog.
- Zed takes the chair, sits it in front of the two prisoners,
- then lowers into it. Maynard hands The Gimp's leash to Zed,
- then backs away.
- MAYNARD
- (to The Gimp)
- Down!
- The Gimp gets on its knees.
- Maynard hangs back while Zed appraises the two men.
- MAYNARD
- Who's first?
- ZED
- I ain't fer sure yet.
- Then with his little finger, Zed does a silent "Eenie, meany,
- miney, moe... " just his mouth mouthing the words and his
- finger going back and forth between the two.
- Butch are Marsellus are terrified.
- Maynard looks back and forth at the victims.
- The Gimps's eyes go from one to the other inside the mask.
- Zed continues his silent sing-song with his finger moving
- left to right, then it stops.
- TWO SHOT – BUTCH AND MARSELLUS
- After a beat, THE CAMERA MOVES to the right, zeroing in on
- Marsellus.
- Zed stands up.
- ZED
- Wanna do it here?
- MAYNARD
- Naw, drag big boy to Russell's old
- room.
- Zed grabs Marsellus' chair and DRAGS him into Russell's old
- room.
- Russell, no doubt, was some other poor bastard that has the
- misfortune of stumbling into the Mason-Dixie pawnshop.
- Whatever happened to Russell is known only to Maynard and
- Zed because his old room, a back room in the back of the
- back room, is empty.
- As Marsellus is dragged away, he locks eyes with Butch before
- he disappears behind the door of Russell's old room.
- MAYNARD
- (to The Gimp)
- Up!
- The Gimp rises. Maynard ties The Gimp's leash to a hook on
- the ceiling.
- MAYNARD
- Keep an eye on this one.
- The Gimp bows its head: "yes." Maynard disappears into
- Russell's old room. There must be a stereo in there because
- suddenly The Judds, singing in harmony, fills the air.
- Butch looks at The Gimp. The Gimp giggles from underneath
- the mask as if this were the funniest moment in the history
- of comedy.
- From behind the door we hear country MUSIC, struggling, and:
- MAYNARD (O.S.)
- Whoa, this boy's got a bit of fight
- in 'em!
- We the HEAR Maynard and Zed beat on Marsellus.
- ZED (O.S.)
- You wanna fight? You wanna fight?
- Good, I like to fight!
- Butch pauses, listens to the voices. Then, in a panic,
- hurriedly struggles to get free.
- The Gimp is laughing wildly.
- The ropes are on too tight and Butch can't break free.
- The Gimp slaps his knee laughing In the back room, we hear:
- MAYNARD (O.S.)
- That's it... that's it boy, you're
- goin' fine. Oooooooh, just like
- that... that's good.
- (grunting faster)
- Stay still... stay still goddamn ya!
- Zed goddammit, git over here and
- hold 'em!
- Butch stops struggling and lifts up on his arms. Then, quite
- easily, the padded chair back slides up and off as if it
- were never connected by a bolt.
- The Gimp sees this and its eyes widen.
- THE GIMP
- Huhng?
- The Gimp FLAILS WILDLY, trying to get the leash off the hook.
- He tries to yell, but all that comes out are excited gurgles
- and grunts.
- Butch is out of his chair, quickly dispensing three BOXER'S
- PUNCHES to its face. The punches knock The Gimp out, making
- him fall to his knees, this HANGING HIMSELF by the leash
- attached to the hook, Butch removes the ball gag, then
- silently makes his way through the red curtains.
- INT. PAWNSHOP – DAY
- Butch sneaks to the door.
- On the counter is a big set of keys with a large Z connected
- to the ring. Grabbing them, he's about to go out when he
- stops and listens to the hillbilly psychopaths having their
- way with Marsellus.
- Butch decides for the life of him, he can't leave anybody in
- a situation like that. Se he begins rooting around the
- pawnshop for a weapon to bash those hillbillies' heads in
- with.
- He picks up a big destructive-looking hammer, then discards
- it: Not destructive enough. He picks up a chainsaw, thinks
- about it for a moment, then puts it back. Next, a large
- Louisville slugger he tries on for size. But then he spots
- what he's been looking for:
- A Samurai sword.
- It hands in its hand-carved wood sheath from a nail on the
- wall, next to a neon "DAD'S OLD-FASHIONED ROOT BEER" sign.
- Butch takes the sword off the wall, removing it from its
- sheath. It's a magnificent piece of steel. It seems to glisten
- in the low-wattage light of the pawnshop. Butch touches his
- thumb to the blade to see if the sword is just for show. Not
- on your life. It's as sharp as it gets. This weapon seems
- made to order for the Brothers Grimm downstairs. Holding the
- sword pointed downward, Takakura Kenstyle, he disappears
- through the red curtains to take care of business.
- INT. PAWNSHOP BACK ROOM – DAY
- Butch quietly sneaks down the stairs leading to the dungeon.
- Sodomy and the Judds can still be heard going string behind
- the closed door that leads to Russell's old room.
- INT. RUSSELL'S OLD ROOM – DAY
- Butch's hand comes into frame, pushing the door open. It
- swings open silently, revealing the rapists, who have switched
- positions.
- Zed is now bent over Marsellus, who is bent over a wooden
- horse.
- Maynard watches. Both have their backs to Butch.
- Maynard faces the CAMERA, grinning, while Butch comes up
- behind him with the sword.
- Miserable, violated, and looking like a rag doll, Marsellus,
- red ball gag still in mouth, opens his watery eyes to see
- Butch coming up behind Maynard. His eyes widen.
- BUTCH
- Hey hillbilly.
- Maynard turns and sees Butch holding the sword.
- Butch SCREAMS... with one mighty SWING, SLASHES Maynard across
- the front, moving past him, eyes and blade now locked on
- Zed.
- Maynard stands trembling, his front sliced open, in shock.
- Butch, while never taking his eyes off Zed, THRUSTS the sword
- behind him, SKEWERING Maynard, then EXTRACTS it, pointing
- the blade toward Zed. Maynard COLLAPSES.
- Zed disengages from Marsellus in a hurry and his eyes go
- from the tip of Butch's sword to Marsellus' .45 Automatic,
- which lies within reach.
- Butch's eyes follow Zed's.
- BUTCH
- You want that gun, Zed? Pick it up.
- Zed's hand inches toward the weapon.
- Butch GRIPS the sword tighter.
- Zed studies Butch.
- Butch looks hard at Zed.
- Then a VOICE says:
- MARSELLUS (O.S.)
- Step aside, Butch.
- Butch steps aside, REVEALING Marsellus standing behind him,
- holding Maynard's pump-action shotgun.
- KABOOM!!!!
- Zed is BLASTED in the groin. Down he goes, SCREAMING in AGONY.
- Marsellus, looking down at his whimpering rapist, EJECTS the
- used shotgun shell.
- Butch lowers the sword and hangs back. Not a word, until:
- BUTCH
- You okay?
- MARSELLUS
- Naw man. I'm pretty fuckin' far from
- okay!
- Long pause.
- BUTCH
- What now?
- MARSELLUS
- What now? Well let me tell you what
- now. I'm gonna call a couple pipe-
- hittin' niggers, who'll go to work
- on homes here with a pair of pliers
- and a blow torch.
- (to Zed)
- Hear me talkin' hillbilly boy?! I
- ain't through with you by a damn
- sight. I'm gonna git Medieval on
- your ass.
- BUTCH
- I meant what now, between me and
- you?
- MARSELLUS
- Oh, that what now? Well, let me tell
- ya what now between me an' you. There
- is no me an' you. Not no more.
- BUTCH
- So we're cool?
- MARSELLUS
- Yeah man, we're cool. One thing I
- ask – two things I ask: Don't tell
- nobody about this. This shit's between
- me and you and the soon-to-be-livin'-
- the-rest-of-his-short-ass-life-in-
- agonizing-pain, Mr. Rapist here. It
- ain't nobody else's business. Two:
- leave town. Tonight. Right now. And
- when you're gone, stay gone. You've
- lost your Los Angeles privileges.
- Deal?
- BUTCH
- Deal.
- The two men shake hands, then hug one another.
- MARSELLUS
- Go on now, get your ass outta here.
- Butch leaves Russell's old room through the red curtains.
- Marsellus walks over to a phone, dialing a number.
- MARSELLUS
- (into the phone)
- Hello Mr. Wolf, it's Marsellus. Gotta
- bit of a situation.
- EXT. MASON-DIXIE PAWNSHOP – DAY
- Butch, still shaking in his boots, exits the pawnshop. He
- looks ahead and sees, parked in front of the establishment,
- Zed's Big Chrome Chopper with a teardrop gas tank that has
- the name "GRACE" on it. He climbs aboard, takes out the keys
- with the big Z on them and starts up the huge hog. It RUMBLES
- to life, making sounds like a rocket fighting for orbit.
- Butch twists the accelerator handle and SPEEDS off.
- WE CUT BACK AND FORTH BETWEEN...
- INT. BUTCH AND FABIENNE'S HOTEL ROOM – DAY
- Fabienne stands in front of a mirror wearing a "Frankie says,
- Relax" tee-shirt, singing along with MUSIC coming from a
- BOOM BOX.
- EXT. CITY STREET – CHOPPER (MOVING) – DAY
- Butch drives down the street, humping a hot hog named "GRACE."
- He checks his father's watch. It says: 10:30.
- The SONG in the motel room PLAYS OVER this.
- EXT. MOTEL ROOM – DAY
- Butch rides up on Grace. He hops off and runs inside the
- motel room, while we stay outside with the bike.
- FABIENNE (O.S.)
- Butch, I was so worried!
- BUTCH
- Honey, grab your radio and your purse
- and let's go!
- FABIENNE (O.S.)
- But what about all our bags?
- BUTCH
- Fuck the bags. We'll miss our train
- if we don't split now.
- FABIENNE (O.S.)
- Is everything well? Are we in danger?
- BUTCH
- We're cool. In fact, we're super-
- cool. But we gots to go. I'll wait
- for you outside.
- Butch runs out and hops back on the bike. Fabienne exits the
- motel room with the boom box and a large purse. When she
- sees Butch on the chopper, she stops dead.
- FABIENNE
- Where did you get this motorcycle?
- BUTCH
- (he kick-starts it)
- It's a chopper, baby, hop on.
- Fabienne slowly approaches the two-wheel demon.
- FABIENNE
- What happened to my Honda?
- BUTCH
- Sorry baby, I crashed the Honda.
- FABIENNE
- You're hurt?
- BUTCH
- I might've broke my nose, no biggie.
- Hop on.
- She doesn't move.
- Butch looks at her.
- BUTCH
- Honey, we gotta hit the fuckin' road!
- Fabienne starts to cry.
- Butch realizes that this is not the way to get her on the
- bike. He turns off the engine and reaches out, taking her
- hand.
- BUTCH
- I'm sorry, baby-love.
- FABIENNE
- (crying)
- You were gone so long, I started to
- think dreadful thoughts.
- BUTCH
- I'm sorry I worried you, sweetie.
- Everything's fine. Hey, how was
- breakfast?
- FABIENNE
- (waterworks drying a
- little)
- It was good –
- BUTCH
- – did you get the blueberry pancakes?
- FABIENNE
- No, they didn't have blueberry
- pancakes, I had to get buttermilk –
- are you sure you're okay?
- BUTCH
- Baby-love, from the moment I left
- you, this has been without a doubt
- the single weirdest day of my entire
- life. Climb on an' I'll tell ya about
- it.
- Fabienne does climb on. Butch STARTS her up.
- FABIENNE
- Butch, whose motorcycle is this?
- BUTCH
- It's a chopper.
- FABIENNE
- Whose chopper is this?
- BUTCH
- Zed's.
- FABIENNE
- Who's Zed?
- BUTCH
- Zed's dead, baby, Zed's dead.
- And with that, the two lovebirds PEEL AWAY on Grace, as the
- SONG on the BOOM BOX RISES.
- FADE TO BLACK
- TITLE CARD:
- "JULES VINCENT JIMMIE & THE WOLF"
- TITLE DISAPPEARS.
- Over black, we can HEAR in the distance, men talking.
- JULES (O.S.)
- You ever read the Bible, Brett?
- BRETT (O.S.)
- Yes!
- JULES (O.S.)
- There's a passage I got memorized,
- seems appropriate for this situation:
- Ezekiel 25:17. "The path of the
- righteous man is beset on all sides
- by the inequities of the selfish and
- the tyranny of evil men..."
- FADE UP:
- INT. BATHROOM – DAY
- We're in the bathroom of the Hollywood apartment we were in
- earlier. In fact, we're there at exactly the same time. Except
- this time, we're in the bathroom with the FOURTH MAN. The
- Fourth Man is pacing around the small room, listening hard
- to what's being said on the other side of the door, tightly
- CLUTCHING his huge silver .357 Magnum.
- JULES (O.S.)
- "...blessed is he who, in the name
- of charity and good will, shepherded
- the weak through the valley of
- darkness. And I will strike down
- upon thee with great vengeance and
- furious anger those who attempt to
- poison and destroy my brothers. And
- you will know I am the Lord when I
- lay my vengeance upon you."
- BANG! BANG! BOOM! POW! BAM BAM BAM BAM BAM!
- The Fourth Man freaks out. He THROWS himself against the
- back wall, gun outstretched in front of him, a look of yellow
- fear on his face, ready to blow in half anybody fool enough
- to stick their head through that door.
- Then he listens to them talk.
- VINCENT (O.S.)
- Friend of yours?
- JULES (O.S.)
- Yeah, Marvin-Vincent-Vincent-Marvin.
- Waiting for them isn't the smartest move. Bursting out the
- door and blowing them all away while they're fuckin' around
- is the way to go.
- INT. APARTMENT – DAY
- The bathroom door BURSTS OPEN and the Fourth Man CHARGES
- out, silver Magnum raised, FIRING SIX BOOMING SHOTS from his
- hand cannon.
- FOURTH MAN
- Die... die... die... die...!
- DOLLY INTO Fourth Man, same as before.
- He SCREAM until he's dry firing. Then a look of confusion
- crosses his face.
- TWO SHOT – JULES AND VINCENT
- Standing next to each other, unharmed. Amazing as it seems,
- none of the Fourth Man's shots appear to have hit anybody.
- Jules and Vincent exchange looks like, "Are we hit?" They're
- as confused at the shooter. After looking at each other,
- they bring their looks up to the Fourth Man.
- FOURTH MAN
- I don't understand –
- The Fourth Man is taken out of the scenario by the two men's
- bullets who, unlike his, HIT their marks. He drops DEAD.
- The two men lower their guns. Jules, obviously shaken, sits
- down in a chair. Vincent, after a moment of respect, shrugs
- it off.
- Then heads toward Marvin in the corner.
- VINCENT
- Why the fuck didn't you tell us about
- that guy in the bathroom? Slip your
- mind? Forget he was in there with a
- goddamn hand cannon?
- JULES
- (to himself)
- We should be fuckin' dead right now.
- (pause)
- Did you see that gun he fired at us?
- It was bigger than him.
- VINCENT
- .357.
- JULES
- We should be fuckin' dead!
- VINCENT
- Yeah, we were lucky.
- Jules rises, moving toward Vincent.
- JULES
- That shit wasn't luck. That shit was
- somethin' else.
- Vincent prepares to leave.
- VINCENT
- Yeah, maybe.
- JULES
- That was... divine intervention. You
- know what divine intervention is?
- VINCENT
- Yeah, I think so. That means God
- came down from Heaven and stopped
- the bullets.
- JULES
- Yeah, man, that's what is means.
- That's exactly what it means! God
- came down from Heaven and stopped
- the bullets.
- VINCENT
- I think we should be going now.
- JULES
- Don't do that! Don't you fuckin' do
- that! Don't blow this shit off!
- What just happened was a fuckin'
- miracle!
- VINCENT
- Chill the fuck out, Jules, this shit
- happens.
- JULES
- Wrong, wrong, this shit doesn't just
- happen.
- VINCENT
- Do you wanna continue this theological
- discussion in the car, or at the
- jailhouse with the cops?
- JULES
- We should be fuckin' dead now, my
- friend! We just witnessed a miracle,
- and I want you to fuckin' acknowledge
- it!
- VINCENT
- Okay man, it was a miracle, can we
- leave now?
- EXT. HOLLYWOOD APARTMENT BUILDING – MORNING
- The Chevy Nova PROPELS itself into traffic.
- INT. NOVA (MOVING) – MORNING
- Jules is behind the wheel,Vincent in the passenger seat and
- Marvin in the back.
- VINCENT
- ...Ever seen that show "COPS?" I
- was watchin' it once and this cop
- was on it who was talkin' about this
- time he got into this gun fight with
- a guy in a hallway. He unloads on
- this guy and he doesn't hit anything.
- And these guys were in a hallway.
- It's a freak, but it happens.
- JULES
- If you wanna play blind man, then go
- walk with a Shepherd. But me, my
- eyes are wide fuckin' open.
- VINCENT
- What the fuck does that mean?
- JULES
- That's it for me. For here on in,
- you can consider my ass retired.
- VINCENT
- Jesus Christ!
- JULES
- Don't blaspheme!
- VINCENT
- Goddammit, Jules –
- JULES
- – I said don't do that –
- VINCENT
- – you're fuckin' freakin' out!
- JULES
- I'm tellin' Marsellus today I'm
- through.
- VINCENT
- While you're at it, be sure to tell
- 'im why.
- JULES
- Don't worry, I will.
- VINCENT
- I'll bet ya ten thousand dollars, he
- laughs his ass off.
- JULES
- I don't give a damn if he does.
- Vincent turns to the backseat with the .45 casually in his
- grip.
- VINCENT
- Marvin, what do you make of all this?
- MARVIN
- I don't even have an opinion.
- VINCENT
- C'mon, Marvin. Do you think God came
- down from Heaven and stopped the
- bullets?
- Vincent's .45 goes BANG!
- Marvin is hit in the upper chest, below the throat. He GURGLES
- blood and SHAKES.
- JULES
- What the fuck's happening?
- VINCENT
- I just accidentally shot Marvin in
- the throat.
- JULES
- Why the fuck did you do that?
- VINCENT
- I didn't mean to do it. I said it
- was an accident.
- JULES
- I've seen a lot of crazy-ass shit in
- my time –
- VINCENT
- – chill out, man, it was an accident,
- okay? You hit a bump or somethin'
- and the gun went off.
- JULES
- The car didn't hit no motherfuckin'
- bump!
- VINCENT
- Look! I didn't mean to shoot this
- son-ofa-bitch, the gun just went
- off, don't ask me how!
- JULES
- Look at this mess! We're drivin'
- around on a city street in broad
- daylight –
- VINCENT
- – I know, I know, I wasn't thinkin'
- about the splatter.
- JULES
- Well you better be thinkin' about it
- now, motherfucker! We gotta get this
- car off the road. Cops tend to notice
- shit like you're driving a car
- drenched in fuckin' blood.
- VINCENT
- Can't we just take it to a friendly
- place?
- JULES
- This is the Valley, Vincent. Marsellus
- don't got no friendly places in the
- Valley.
- VINCENT
- Well, don't look at me, this is your
- town, Jules.
- Jules takes out a cellular phone and starts punching digits.
- VINCENT
- Who ya callin'?
- JULES
- A buddy of mine in Toluca Lake.
- VINCENT
- Where's Toluca Lake.
- JULES
- On the other side of the hill, by
- Burbank Studios. If Jimmie's ass
- ain't home, I don't know what the
- fuck we're gonna go. I ain't got any
- other partners in 818.
- (into phone)
- Jimmie! How you doin' man, it's Jules.
- (pause)
- Listen up man, me an' my homeboy are
- in some serious shit. We're in a car
- we gotta get off the road, pronto! I
- need to use your garage for a couple
- hours.
- INT. JIMMIE'S BATHROOM – DAY
- Jules is bent over a sink, washing his bloody hands while
- Vincent stands behind him.
- JULES
- We gotta be real fuckin' delicate
- with this Jimmie's situation. He's
- one remark away from kickin' our
- asses out the door.
- VINCENT
- If he kicks us out, whadda we do?
- JULES
- Well, we ain't leavin' 'til we made
- a couple phone calls. But I never
- want it to reach that pitch. Jimmie's
- my friend and you don't bust in your
- friend's house and start tellin' 'im
- what's what.
- Jules rises and dries his hands. Vincent takes his place at
- the sink.
- VINCENT
- Just tell 'im not to be abusive. He
- kinda freaked out back there when he
- saw Marvin.
- JULES
- Put yourself in his position. It's
- eight o'clock in the morning. He
- just woke up, he wasn't prepared for
- this shit. Don't forget who's doin'
- who a favor.
- Vincent finishes, then dries his hands on a white towel.
- VINCENT
- If the price of that favor is I gotta
- take shit, he can stick his favor
- straight up his ass.
- When Vincent is finished drying his hands, the towel is
- stained with red.
- JULES
- What the fuck did you just do to his
- towel?
- VINCENT
- I was just dryin' my hands.
- JULES
- You're supposed to wash 'em first.
- VINCENT
- You watched me wash 'em.
- JULES
- I watched you get 'em wet.
- VINCENT
- I washed 'em. Blood's real hard to
- get off. Maybe if he had some Lava,
- I coulda done a better job.
- JULES
- I used the same soap you did and
- when I dried my hands, the towel
- didn't look like a fuckin' Maxie
- pad. Look, fuck it, alright. Who
- cares? But it's shit like this that's
- gonna bring this situation to a boil.
- If he were to come in here and see
- that towel like that... I'm tellin'
- you Vincent, you best be cool. 'Cause
- if I gotta get in to it with Jimmie
- on account of you... Look, I ain't
- threatenin' you, I respect you an'
- all, just don't put me in that
- position.
- JULES
- Jules, you ask me nice like that, no
- problem. He's your friend, you handle
- him.
- INT. JIMMIE'S KITCHEN – MORNING
- Three men are standing in Jimmie's kitchen, each with a mug
- of coffee. Jules, Vincent and JIMMIE DIMMICK, a young man in
- his late 20s dressed in a bathrobe.
- JULES
- Goddamn Jimmie, this is some serious
- gourmet shit. Me an' Vincent woulda
- been satisfied with freeze-dried
- Tasters Choice. You spring this
- gourmet fuckin' shit on us. What
- flavor is this?
- JIMMIE
- Knock it off, Julie.
- JULES
- What?
- JIMMIE
- I'm not a cobb or corn, so you can
- stop butterin' me up. I don't need
- you to tell me how good my coffee
- is. I'm the one who buys it, I know
- how fuckin' good it is. When Bonnie
- goes shoppin;, she buys shit. I buy
- the gourmet expensive stuff 'cause
- when I drink it, I wanna taste it.
- But what's on my mind at this moment
- isn't the coffee in my kitchen, it's
- the dead nigger in my garage.
- JULES
- Jimmie –
- JIMMIE
- – I'm talkin'. Now let me ask you a
- question, Jules. When you drove in
- here, did you notice a sign out front
- that said, "Dead nigger storage?"
- Jules starts to "Jimmie" him –
- JIMMIE
- – answer to question. Did you see a
- sign out in front of my house that
- said, "Dead nigger storage?"
- JULES
- (playing along)
- Naw man, I didn't.
- JIMMIE
- You know why you didn't see that
- sign?
- JULES
- Why?
- JIMMIE
- 'Cause storin' dead niggers ain't my
- fuckin' business!
- Jules starts to "Jimmie" him.
- JIMMIE
- – I ain't through! Now don't you
- understand that if Bonnie comes home
- and finds a dead body in her house,
- I'm gonna get divorced. No marriage
- counselor, no trial separation –
- fuckin' divorced. And I don't wanna
- get fuckin' divorced. The last time
- me an' Bonnie talked about this shit
- was gonna be the last time me an'
- Bonnie talked about this shit. Now I
- wanna help ya out Julie, I really
- do. But I ain't gonna lose my wife
- doin' it.
- JULES
- Jimmie –
- JIMMIE
- – don't fuckin' Jimmie me, man, I
- can't be Jimmied. There's nothin'
- you can say that's gonna make me
- forget I love my wife. Now she's
- workin' the graveyard shift at the
- hospital. She'll be comin' home in
- less than an hour and a half. Make
- your phone calls, talk to your people,
- than get the fuck out of my house.
- JULES
- That's all we want. We don't wanna
- fuck up your shit. We just need to
- call our people to bring us in.
- JIMMIE
- Then I suggest you get to it. Phone's
- in my bedroom.
- INT. MARSELLUS WALLACE'S DINING ROOM – MORNING
- Marsellus Wallace sits at his dining table in a big comfy
- robe, eating his large breakfast, while talking on the phone.
- MARSELLUS
- ...well, say she comes home. Whaddya
- think she'll do?
- (pause)
- No fuckin' shit she'll freak. That
- ain't no kinda answer. You know 'er,
- I don't. How bad, a lot or a little?
- INT. JIMMIE'S BEDROOM – MORNING
- Jules paces around in Jimmie's bedroom on the phone.
- JULES
- You got to appreciate what an
- explosive element this Bonnie
- situation is. If she comes home from
- a hard day's work and finds a bunch
- of gangsters doin' a bunch of gangsta'
- shit in her kitchen, ain't no tellin'
- what she's apt to do.
- MARSELLUS
- I've grasped that, Jules. All I'm
- doin' is contemplating the "ifs."
- JULES
- I don't wanna hear about no
- motherfuckin' "ifs."What I wanna
- hear from your ass is: "you ain't
- got no problems, Jules. I'm on the
- motherfucker. Go back in there, chill
- them niggers out and wait for the
- cavalry, which should be comin'
- directly."
- MARSELLUS
- You ain't got no problems, Jules.
- I'm on the motherfucker. Go back in
- there, chill them niggers out and
- wait for The Wolf, who should be
- comin' directly.
- JULES
- You sendin' The Wolf?
- MARSELLUS
- Feel better?
- JULES
- Shit Negro, that's all you had to
- say.
- INT. HOTEL SUITE – MORNING
- The CAMERA looks through the bedroom doorway of a hotel suite
- into the main area. We SEE a crap game being played on a
- fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in
- fancy evening gowns. The CAMERA PANS to the right revealing:
- Sitting on a bed, phone in hand with his back to us, the
- tuxedo-clad WINSTON WOLF aka "THE WOLF". We also see The
- Wolf has a small notepad that he jots details in.
- THE WOLF
- (into phone)
- Is she the hysterical type?
- (pause)
- When she due?
- (jotting down)
- Give me the principals' names again?
- (jots down)
- Jules...
- We SEE his book. The page has written on it:
- "1265 Riverside Drive Toluca Lake 1 body (no head)
- Bloody shot-up car Jules (black)"
- THE WOLF
- ...Vincent... Jimmie... Bonnie...
- HE WRITES:
- "Vincent (Dean Martin) Jimmie (house) Bonnie (9:30)"
- THE WOLF
- Expect a call around 10:30. It's
- about thirty minutes away. I'll be
- there in ten.
- He hangs up. We never see his face.
- CUT TO:
- TITLE CARD OVER BLACK:
- "NINE MINUTES AND THIRTY-SEVEN SECONDS LATER"
- CUT TO:
- EXT. JIMMIE'S STREET – MORNING
- A silver Porsche WHIPS the corner leading to Jimmie's home,
- in HYPER DRIVE. Easily doing 135 mph, the Porsche stops on a
- dime in front of Jimmie's house.
- A ringed finger touches the doorbell: DING DONG.
- INT. JIMMIE'S HOUSE – MORNING
- Jimmie opens the door. We see, standing in the doorway, the
- tuxedo-clad man. He looks down to his notebook, then up at
- Jimmie.
- THE WOLF
- You're Jimmie, right? This is your
- house?
- JIMMIE
- Yeah.
- THE WOLF
- (stick his hand out)
- I'm Winston Wolf, I solve problems.
- JIMMIE
- Good, 'cause we got one.
- THE WOLF
- So I heard. May I come in?
- JIMMIE
- Please do.
- In the dining room, Jules and Vincent stand up.
- THE WOLF
- You must be Jules, which would make
- you Vincent. Let's get down to brass
- tacks, gentlemen. If I was informed
- correctly, the clock is ticking, is
- that right, Jimmie?
- JIMMIE
- 100%.
- THE WOLF
- Your wife, Bonnie...
- (refers to his pad)
- ...comes home at 9:30 in the AM, is
- that correct?
- JIMMIE
- Uh-huh.
- THE WOLF
- I was led to believe if she comes
- home and finds us here, she wouldn't
- appreciate it none too much.
- JIMMIE
- She won't at that.
- THE WOLF
- That gives us forty minutes to get
- the fuck outta Dodge, which, if you
- do what I say when I say it, should
- by plenty. Now you got a corpse in a
- car, minus a head, in a garage. Take
- me to it.
- INT. JIMMIE'S GARAGE – MORNING
- The three men hang back as The Wolf examines the car. He
- studies the car in silence, opening the door, looking inside,
- circling it.
- THE WOLF
- Jimmie?
- JIMMIE
- Yes.
- THE WOLF
- Do me a favor, will ya? Thought I
- smelled some coffee in there. Would
- you make me a cup?
- JIMMIE
- Sure, how do you take it?
- THE WOLF
- Lotsa cream, lotsa sugar.
- Jimmie exists. The Wolf continues his examination.
- THE WOLF
- About the car, is there anything I
- need to know? Does it stall, does it
- make a lot of noise, does it smoke,
- is there gas in it, anything?
- JULES
- Aside from how it looks, the car's
- cool.
- THE WOLF
- Positive? Don't get me out on the
- road and I find out the brake lights
- don't work.
- JULES
- Hey man, as far as I know, the
- motherfucker's tip-top.
- THE WOLF
- Good enough, let's go back to the
- kitchen.
- INT. KITCHEN – MORNING
- Jimmie hands The Wolf a cup of coffee.
- THE WOLF
- Thank you, Jimmie.
- He takes a sip, then, pacing as he thinks, lays out for the
- three men the plan of action.
- THE WOLF
- Okay first thing, you two.
- (meaning Jules and
- Vincent)
- Take the body, stick it in the trunk.
- Now Jimmie, this looks to be a pretty
- domesticated house. That would lead
- me to believe that in the garage or
- under the sink, you got a bunch of
- cleansers and cleaners and shit like
- that, am I correct?
- JIMMIE
- Yeah. Exactly. Under the sink.
- THE WOLF
- Good. What I need you two fellas to
- do is take those cleaning products
- and clean the inside of the car. And
- I'm talkin' fast, fast, fast. You
- need to go in the backseat, scoop up
- all those little pieces of brain and
- skull. Get it out of there. Wipe
- down the upholstery – now when it
- comes to upholstery, it don't need
- to be spic and span, you don't need
- to eat off it. Give it a good once
- over. What you need to take care of
- are the really messy parts. The pools
- of blood that have collected, you
- gotta soak that shit up. But the
- windows are a different story. Them
- you really clean. Get the Windex, do
- a good job. Now Jimmie, we need to
- raid your linen closet. I need
- blankets, I need comforters, I need
- quilts, I need bedspreads. The thicker
- the better, the darker the better.
- No whites, can't use 'em. We need to
- camouflage the interior of the car.
- We're gonna line the front seat and
- the backseat and the floor boards
- with quilts and blankets. If a cop
- stops us and starts stickin' his big
- snout in the car, the subterfuge
- won't last. But at a glance, the car
- will appear to be normal. Jimmie –
- lead the way, boys – get to work.
- The Wolf and Jimmie turn, heading for the bedroom, leaving
- Vincent and Jules standing in the kitchen.
- VINCENT
- (calling after him)
- A "please" would be nice.
- The Wolf stops and turns around.
- THE WOLF
- Come again?
- VINCENT
- I said a "please" would be nice.
- The Wolf takes a step toward him.
- THE WOLF
- Set is straight, Buster. I'm not
- here to say "please."I'm here to
- tell you want to do. And if self-
- preservation is an instinct you
- possess, you better fuckin' do it
- and do it quick. I'm here to help.
- If my help's not appreciated, lotsa
- luck gentlemen.
- JULES
- It ain't that way, Mr. Wolf. Your
- help is definitely appreciated.
- VINCENT
- I don't mean any disrespect. I just
- don't like people barkin' orders at
- me.
- THE WOLF
- If I'm curt with you, it's because
- time is a factor. I think fast, I
- talk fast, and I need you guys to
- act fast if you want to get out of
- this. So pretty please, with sugar
- on top, clean the fuckin' car.
- INT. JIMMIE'S BEDROOM – MORNING
- Jimmie's gathering all the bedspreads, quilts and linen he
- has.
- The Wolf is on the phone.
- THE WOLF
- (into phone)
- It's a 1974 Chevy Nova.
- (pause)
- White.
- (pause)
- Nothin', except for the mess inside.
- (pause)
- About twenty minutes.
- (pause)
- Nobody who'll be missed.
- (pause)
- You're a good man, Joe. See ya soon.
- (he looks at Jimmie)
- How we comin', Jimmie?
- Jimmie comes over with a handful of linen.
- JIMMIE
- Mr. Wolf, you gotta understand
- somethin' –
- THE WOLF
- – Winston, Jimmie – please, Winston.
- JIMMIE
- You gotta understand something,
- Winston. I want to help you guys out
- and all, but that's my best linen.
- It was a wedding present from my
- Uncle Conrad and Aunt Ginny, and
- they ain't with us anymore –
- THE WOLF
- – let me ask you a question, if you
- don't mind?
- JIMMIE
- Sure.
- THE WOLF
- Were you Uncle Conrad and Aunt Ginny
- millionaires?
- JIMMIE
- No.
- THE WOLF
- Well, your Uncle Marsellus is. And
- I'm positive if Uncle Conrad and
- Aunt Ginny were millionaires, they
- would've furnished you with a whole
- bedroom set, which your Uncle
- Marsellus is more than happy to do.
- (takes out a roll of
- bills)
- I like oak myself, that's what's in
- my bedroom. How 'bout you Jimmie,
- you an oak man?
- JIMMIE
- Oak's nice.
- INT. GARAGE – MORNING
- Both Jules and Vincent are inside the car cleaning it up.
- Vincent is in the front seat washing windows, while Jules is
- in the backseat, picking up little pieces of skull and gobs
- of brain.
- Both are twice as bloody as they were before.
- JULES
- I will never forgive your ass for
- this shit. This is some fucked-up
- repugnant shit!
- VINCENT
- Did you ever hear the philosophy
- that once a man admits he's wrong,
- he's immediately forgiven for all
- wrong-doings?
- JULES
- Man, get outta my face with that
- shit! The motherfucker who said that
- never had to pick up itty-bitty pieces
- of skull with his fingers on account
- of your dumb ass.
- VINCENT
- I got a threshold, Jules. I got a
- threshold for the abuse I'll take.
- And you're crossin' it. I'm a race
- car and you got me in the red. Redline
- 7000, that's where you are. Just
- know, it's fuckin' dangerous to be
- drivin' a race car when it's in the
- red. It could blow.
- JULES
- You're gettin' ready to blow? I'm a
- mushroom-cloud-layin' motherfucker!
- Every time my fingers touch brain
- I'm "SUPERFLY T.N.T," I'm the "GUNS
- OF NAVARONE." I'm what Jimmie Walker
- usta talk about. In fact, what the
- fuck am I doin' in the back? You're
- the motherfucker should be on brain
- detail. We're tradin'. I'm washin'
- windows and you're pickin' up this
- nigger's skull.
- INT. CHEVY NOVA – MORNING
- The interior of the car has been cleaned and lined with
- bedspreads and quilts. Believe it or not, what looked like a
- portable slaughterhouse can actually pass for a non-descript
- vehicle.
- The Wolf circles the car examining it.
- Jules and Vincent stand aside, their clothes are literally a
- bloody mess, but they do have a sense of pride in what a
- good job they've done.
- THE WOLF
- Fine job, gentlemen. We may get out
- of this yet.
- JIMMIE
- I can't believe that's the same car.
- THE WOLF
- Well, let's not start suckin' each
- other's dicks quite yet. Phase one
- is complete, clean the car, which
- moves us right along to phase two,
- clean you two.
- EXT. JIMMIE'S BACKYARD – MORNING
- Jules and Vincent stand side by side in their black suits,
- covered in blood, in Jimmie's backyard. Jimmie holds a plastic
- Hefty trash bag, while The Wolf holds a garden hose with one
- of those guns nozzles attached.
- THE WOLF
- Strip.
- VINCENT
- All the way?
- THE WOLF
- To your bare ass.
- As they follow directions, The Wolf enjoys a smoke.
- THE WOLF
- Quickly gentlemen, we got about
- fifteen minutes before Jimmie's better-
- half comes pulling into the driveway.
- JULES
- This morning air is some chilly shit.
- VINCENT
- Are you sure this is absolutely
- necessary?
- THE WOLF
- You know what you two look like?
- VINCENT
- What?
- THE WOLF
- Like a couple of guys who just blew
- off somebody's head. Yes, strippin'
- off those bloody rags is absolutely
- necessary. Toss the clothes in Jim's
- garbage bag.
- JULES
- Now Jimmie, don't do nothin' stupid
- like puttin' that out in front of
- your house for Elmo the garbage man
- to take away.
- THE WOLF
- Don't worry, we're takin' it with
- us. Jim, the soap.
- He hands the now-naked men a bar of soap.
- THE WOLF
- Okay gentlemen, you're both been to
- County before, I'm sure. Here it
- comes.
- He hits the trigger, water SHOOTS OUT, SMACKING both men.
- JULES
- Goddamn, that water's fuckin' cold!
- THE WOLF
- Better you than me, gentlemen.
- The two men, trembling, scrub themselves.
- THE WOLF
- Don't be afraid of the soap, spread
- it around.
- The Wolf stops the hose, tossing it on the ground.
- THE WOLF
- Towel 'em.
- Jimmie tosses them each a towel, which they rub furiously
- across their bodies.
- THE WOLF
- You're dry enough, give 'em their
- clothes.
- FADE UP ON:
- JULES AND VINCENT In their tee-shirts and swim trunks. They
- look a million miles away from the black-suited, bad-asses
- we first met.
- THE WOLF
- Perfect. Perfect. We couldn't've
- planned this better. You guys look
- like... what do they look like,
- Jimmie?
- JIMMIE
- Dorks. They look like a couple of
- dorks.
- The Wolf and Jimmie laugh.
- JULES
- Ha ha ha. They're your clothes,
- motherfucker.
- JIMMIE
- I guess you just gotta know how to
- wear them.
- JULES
- Yeah, well, our asses ain't the expert
- on wearin' dorky shit that your is.
- THE WOLF
- C'mon, gentlemen, we're laughin' and
- jokin' our way into prison. Don't
- make me beg.
- INT. JIMMIE'S GARAGE – MORNING
- The garbage bag is tossed in the car trunk on top of Marvin.
- The Wolf SLAMS is closed.
- THE WOLF
- Gentlemen, let's get our rules of
- the road straight. We're going to a
- place called Monster Joe's Truck and
- Tow. Monster Joe and his daughter
- Raquel are sympathetic to out dilemma.
- The place is North Hollywood, so a
- few twist and turns aside, we'll be
- goin' up Hollywood Way. Now I'll
- drive the tainted car. Jules, you
- ride with me. Vincent, you follow
- in my Porsche. Now if we cross the
- path of any John Q. Laws, nobody
- does a fuckin' thing 'til I do
- something.
- (TO JULES)
- What did I say?
- JULES
- Don't do shit unless –
- THE WOLF
- – unless what?
- JULES
- Unless you do it first.
- THE WOLF
- Spoken like a true prodigy.
- (to Vincent)
- How 'bout you, Lash Larue? Can you
- keep your spurs from jingling and
- jangling?
- VINCENT
- I'm cool, Mr. Wolf. My gun just went
- off, I dunno how.
- THE WOLF
- Fair enough.
- (he throws Vince his
- car keys)
- I drive real fuckin' fast, so keep
- up. If I get my car back any different
- than I gave it, Monster Joe's gonna
- be disposing of two bodies.
- EXT. MONSTER JOE'S TRUCK AND TOW – MORNING
- Jules and Vincent wait by Winston's Porsche.
- JULES
- We cool?
- WINSTON
- Like it never happened.
- Jules and Vincent bump fists.
- WINSTON
- Boys, this is Raquel. Someday, all
- this will be hers.
- RAQUEL
- (to the boys)
- Hi. You know, if they ever do "I
- SPY: THE MOTION PICTURE," you guys,
- I'd be great. What's with the
- outfits. You guys going to a
- volleyball game?
- Winston laughs, the boys groan.
- WINSTON
- I'm takin' m'lady out to breakfast.
- Maybe I can drop you two off. Where
- do you live?
- VINCENT
- Redondo Beach.
- JULES
- Inglewood.
- Winston grabs Jules' wrist and pantomimes like he's in a
- "DEAD ZONE" trance.
- WINSTON
- (painfully)
- It's your future: I see... a cab
- ride.
- (dropping the act)
- Sorry guys, move out of the sticks.
- (to Raquel)
- Say goodbye, Raquel.
- RAQUEL
- Goodbye, Raquel.
- WINSTON
- I'll see you two around, and stay
- outta trouble, you crazy kids.
- Winston turns to leave.
- JULES
- Mr. Wolf.
- He turns around.
- JULES
- I was a pleasure watchin' you work.
- The Wolf smiles.
- WINSTON
- Call me Winston.
- He turns and banters with Raquel as they get in the Porsche.
- WINSTON
- You hear that, young lady? Respect.
- You could lean a lot from those two
- fine specimens. Respect for one's
- elders shows character.
- RAQUEL
- I have character.
- WINSTON
- Just because you are a character
- doesn't mean you have character.
- RAQUEL
- Oh you're so funny, oh you're so
- funny.
- The Porsche SHOOTS OFF down the road.
- The two men left alone look at each other.
- JULES
- Wanna share a cab?
- VINCENT
- You know I could go for some
- breakfast. Want to have breakfast
- with me?
- JULES
- Sure.
- INT. COFFEE SHOP – MORNING
- Jules and Vincent sit at a booth. In front of Vincent is a
- big stack of pancakes and sausages, which he eats with gusto.
- Jules, on the other hand, just has a cup of coffee and a
- muffin. He seems far away in thought. The Waitress pours a
- refill for both men,
- VINCENT
- Thanks a bunch.
- (to Jules, who's
- nursing his coffee)
- Want a sausage?
- JULES
- Naw, I don't eat pork.
- VINCENT
- Are you Jewish?
- JULES
- I ain't Jewish man, I just don't dig
- on swine.
- VINCENT
- Why not?
- JULES
- They're filthy animals. I don't eat
- filthy animals.
- VINCENT
- Sausages taste good. Pork chops taste
- good.
- JULES
- A sewer rat may taste like pumpkin
- pie. I'll never know 'cause even if
- it did, I wouldn't eat the filthy
- motherfucker. Pigs sleep and root in
- shit. That's a filthy animal. I don't
- wanna eat nothin' that ain't got
- enough sense to disregard its own
- feces.
- VINCENT
- How about dogs? Dogs eat their own
- feces.
- JULES
- I don't eat dog either.
- VINCENT
- Yes, but do you consider a dog to be
- a filthy animal?
- JULES
- I wouldn't go so far as to call a
- dog filthy, but they're definitely
- dirty. But a dog's got personality.
- And personality goes a long way.
- VINCENT
- So by that rationale, if a pig had a
- better personality, he's cease to be
- a filthy animal?
- JULES
- We'd have to be talkin' 'bout one
- motherfuckin' charmin' pig. It'd
- have to be the Cary Grant of pigs.
- The two men laugh.
- VINCENT
- Good for you. Lighten up a little.
- You been sittin' there all quiet.
- JULES
- I just been sittin' here thinkin'.
- VINCENT
- (mouthful of food)
- About what?
- JULES
- The miracle we witnessed.
- VINCENT
- The miracle you witnessed. I witnessed
- a freak occurrence.
- JULES
- Do you know that a miracle is?
- VINCENT
- An act of God.
- JULES
- What's an act of God?
- VINCENT
- I guess it's when God makes the
- impossible possible. And I'm sorry
- Jules, but I don't think what happened
- this morning qualifies.
- JULES
- Don't you see, Vince, that shit don't
- matter. You're judging this thing
- the wrong way. It's not about what.
- It could be God stopped the bullets,
- he changed Coke into Pepsi, he found
- my fuckin' car keys. You don't judge
- shit like this based on merit. Whether
- or not what we experienced was an
- according-to-Hoyle miracle is
- insignificant. What is significant
- is I felt God's touch, God got
- involved.
- VINCENT
- But why?
- JULES
- That's what's fuckin' wit' me! I
- don't know why. But I can't go back
- to sleep.
- VINCENT
- So you're serious, you're really
- gonna quit?
- JULES
- The life, most definitely.
- Vincent takes a bite of food. Jules takes a sip of coffee In
- the b.g., we see a PATRON call the Waitress.
- PATRON
- Garcon! Coffee!
- We recognize the patron to be Pumpkin from the first scene
- of Pumpkin and Honey Bunny.
- VINCENT
- So if you're quitting the life,
- what'll you do?
- JULES
- That's what I've been sitting here
- contemplating. First, I'm gonna
- deliver this case to Marsellus. Then,
- basically, I'm gonna walk the earth.
- VINCENT
- What do you mean, walk the earth?
- JULES
- You know, like Caine in "KUNG FU."
- Just walk from town to town, meet
- people, get in adventures.
- VINCENT
- How long do you intend to walk the
- earth?
- JULES
- Until God puts me where he want me
- to be.
- VINCENT
- What if he never does?
- JULES
- If it takes forever, I'll wait
- forever.
- VINCENT
- So you decided to be a bum?
- JULES
- I'll just be Jules, Vincent – no
- more, no less.
- VINCENT
- No Jules, you're gonna be like those
- pieces of shit out there who beg for
- change. They walk around like a bunch
- of fuckin' zombies, they sleep in
- garbage bins, they eat what I throw
- away, and dogs piss on 'em. They got
- a word for 'em, they're called bums.
- And without a job, residence, or
- legal tender, that's what you're
- gonna be – a fuckin' bum!
- JULES
- Look my friend, this is just where
- me and you differ –
- VINCENT
- – what happened was peculiar – no
- doubt about it – but it wasn't water
- into wine.
- JULES
- All shapes and sizes, Vince.
- VINCENT
- Stop fuckin' talkin' like that!
- JULES
- If you find my answers frightening,
- Vincent, you should cease askin'
- scary questions.
- VINCENT
- I gotta take a shit. To be continued.
- Vincent exits for the restroom.
- Jules, alone, takes a mouthful of muffin, then... Pumpkin
- and Honey Bunny rise with guns raised.
- PUMPKIN
- Everybody be cool, this is a robbery!
- HONEY BUNNY
- Any of you fuckin' pricks move and
- I'll execute every one of you
- motherfuckers! Got that?!
- Jules looks up, not believing what he's seeing. Under the
- table, Jules' hand goes to his .45 Automatic. He pulls it
- out, COCKING IT.
- PUMPKIN
- Customers stay seated, waitresses on
- the floor.
- HONEY BUNNY
- Now mean fuckin' now! Do it or die,
- do it or fucking die!
- Like lightning, Pumpkin moves over to the kitchen. While
- Honey Bunny SCREAMS out threats to the PATRONS, keeping them
- terrified.
- PUMPKIN
- You Mexicans in the kitchen, get out
- here! Asta luego!
- Three COOKS and two BUSBOYS come out of the kitchen.
- PUMPKIN
- On the floor or I'll cook you ass,
- comprende?
- They comprende. The portly MANAGER speaks up.
- MANAGER
- I'm the manager here, there's no
- problem, no problem at all –
- Pumpkin heads his way.
- PUMPKIN
- You're gonna give me a problem?
- He reaches him and sticks the barrel of his gun hard in the
- Manager's neck.
- PUMPKIN
- What? You said you're gonna give me
- a problem?
- MANAGER
- No, I'm not. I'm not gonna give you
- any problem!
- PUMPKIN
- I don't know, Honey Bunny. He looks
- like the hero type to me!
- HONEY BUNNY
- Don't take any chances. Execute him!
- The Patrons SCREAM. Jules watches all this silently, his
- hand tightly gripping the .45 Automatic under the table.
- MANAGER
- Please don't! I'm not a hero. I'm
- just a coffee shop manager. Take
- anything you want.
- PUMPKIN
- Tell everyone to cooperate and it'll
- be all over.
- MANAGER
- Everybody just be calm and cooperate
- with them and this will be all over
- soon!
- PUMPKIN
- Well done, now git your fuckin' ass
- on the ground.
- INT. COFFEE SHOP BATHROOM – MORNING
- Vincent, on the toilet, oblivious to the pandemonium outside,
- reads his "MODESTY BLAISE" book.
- INT. COFFEE SHOP – MORNING
- Cash register drawer opens. Pumpkin stuffs the money from
- the till in his pocket. Then walks from behind the counter
- with a trash bag in his hand.
- PUMPKIN
- Okay people, I'm going to go 'round
- and collect your wallets. Don't talk,
- just toss 'em in the bag. We clear?
- Pumpkin goes around collecting wallets. Jules sits with his
- .45 ready to spit under the table.
- Pumpkin sees Jules sitting in his booth, holding his wallet,
- briefcase next to him. Pumpkin crosses to him, his tone more
- respectful, him manner more on guard.
- PUMPKIN
- In the bag.
- Jules DROPS his wallet in the bag. Using his gun as a pointer,
- Pumpkin points to the briefcase.
- PUMPKIN
- What's in that?
- JULES
- My boss' dirty laundry.
- PUMPKIN
- You boss makes you do his laundry?
- JULES
- When he wants it clean.
- PUMPKIN
- Sounds like a shit job.
- JULES
- Funny, I've been thinkin' the same
- thing.
- PUMPKIN
- Open it up.
- Jules' free hand lays palm flat on the briefcase.
- JULES
- 'Fraid I can't do that.
- Pumpkin is definitely surprised by his answer. He aims the
- gun right in the middle of Jules' face and pulls back the
- hammer.
- PUMPKIN
- I didn't hear you.
- JULES
- Yes, you did.
- This exchange has been kind of quiet, not everybody heard
- it, but Honey Bunny senses something's wrong.
- HONEY BUNNY
- What's goin' on?
- PUMPKIN
- Looks like we got a vigilante in our
- midst.
- HONEY BUNNY
- Shoot 'em in the face!
- JULES
- I don't mean to shatter your ego,
- but this ain't the first time I've
- had gun pointed at me.
- PUMPKIN
- You don't open up that case, it's
- gonna be the last.
- MANAGER
- (on the ground)
- Quit causing problems, you'll get us
- all killed! Give 'em what you got
- and get 'em out of here.
- JULES
- Keep your fuckin' mouth closed, fat
- man, this ain't any of your goddamn
- business!
- PUMPKIN
- I'm countin' to three, and if your
- hand ain't off that case, I'm gonna
- unload right in your fuckin' face.
- Clear? One...
- PUMPKIN
- ...two... three.
- JULES
- You win.
- Jules raises his hand off the briefcase.
- JULES
- It's all yours, Ringo.
- PUMPKIN
- Open it.
- Jules flips the locks and opens the case, revealing it to
- Pumpkin but not to us. The same light SHINES from the case.
- Pumpkin's expression goes to amazement. Honey Bunny, across
- the room, can't see shit.
- HONEY BUNNY
- What is it? What is it?
- PUMPKIN
- (softly)
- Is that what I think it is?
- Jules nods his head: "yes."
- PUMPKIN
- It's beautiful.
- Jules nods his head: "yes."
- HONEY BUNNY
- Goddammit, what is it?
- Jules SLAMS the case closed, then sits back, as if offering
- the case to Pumpkin. Pumpkin, one big smile, bends over to
- pick up the case.
- Like a rattlesnake, Jules' free hand GRABS the wrist of
- Pumpkin's gun hand, SLAMMING it on the table. His other hand
- comes from under the table and STICKS the barrel of his .45
- hand under Pumpkin's chin.
- Honey Bunny freaks out, waving her gun in Jules' direction.
- HONEY BUNNY
- Let him go! Let him go! I'll blow
- your fuckin' head off! I'll kill ya!
- I'll kill ya! You're gonna die, you're
- gonna fuckin' die bad!
- JULES
- (to Pumpkin)
- Tell that bitch to be cool! Say,
- bitch be cool! Say, bitch be cool!
- PUMPKIN
- Chill out, honey!
- HONEY BUNNY
- Let him go!
- JULES
- (softly)
- Tell her it's gonna be okay.
- PUMPKIN
- I'm gonna be okay.
- JULES
- Promise her.
- PUMPKIN
- I promise.
- JULES
- Tell her to chill.
- PUMPKIN
- Just chill out.
- JULES
- What's her name?
- PUMPKIN
- Yolanda.
- Whenever Jules talks to Yolanda, he never looks at her, only
- at Pumpkin.
- JULES
- (to Yolanda)
- So, we cool Yolanda? We ain't gonna
- do anything stupid, are we?
- YOLANDA
- (crying)
- Don't you hurt him.
- JULES
- Nobody's gonna hurt anybody. We're
- gonna be like three Fonzies. And
- what' Fonzie like?
- No answer.
- JULES
- C'mon Yolanda, what's Fonzie like?
- YOLANDA
- (through tears, unsure)
- He's cool?
- JULES
- Correct-amundo! And that's what we're
- gonna be, we're gonna be cool.
- (to Pumpkin)
- Now Ringo, I'm gonna count to three
- and I want you to let go your gun
- and lay your palms flat on the table.
- But when you do it, do it cool. Ready?
- Pumpkin looks at him.
- JULES
- One... two... three.
- Pumpkin lets go of his gun and places both hands on the table.
- Yolanda can't stand it anymore.
- YOLANDA
- Okay, now let him go!
- JULES
- Yolanda, I thought you were gonna be
- cool. When you yell at me, it makes
- me nervous. When I get nervous, I
- get scared. And when motherfuckers
- get scared, that's when motherfuckers
- get accidentally shot.
- YOLANDA
- (more conversational)
- Just know: you hurt him, you die.
- JULES
- That seems to be the situation. Now
- I don't want that and you don't want
- that and Ringo here don't want that.
- So let's see what we can do.
- (to Ringo)
- Now this is the situation. Normally
- both of your asses would be dead as
- fuckin' fried chicken. But you
- happened to pull this shit while I'm
- in a transitional period. I don't
- wanna kill ya, I want to help ya.
- But I'm afraid I can't give you the
- case. It don't belong to me. Besides,
- I went through too much shit this
- morning on account of this case to
- just hand it over to your ass.
- VINCENT (O.S.)
- What the fuck's goin' on here?
- Yolanda WHIPS her gun toward the stranger.
- Vincent, by the bathroom, has his gun out, dead-aimed at
- Yolanda.
- JULES
- It's cool, Vincent! It's cool! Don't
- do a goddamn thing. Yolanda, it's
- cool baby, nothin's changed. We're
- still just talkin'.
- (to Pumpkin)
- Tell her we're still cool.
- PUMPKIN
- It's cool, Honey Bunny, we're still
- cool.
- VINCENT
- (gun raised)
- What the hell's goin' on, Jules?
- JULES
- Nothin' I can't handle. I want you
- to just hang back and don't do shit
- unless it's absolutely necessary.
- VINCENT
- Check.
- JULES
- Yolanda, how we doin, baby?
- YOLANDA
- I gotta go pee! I want to go home.
- JULES
- Just hang in there, baby, you're
- doing' great, Ringo's proud of you
- and so am I. It's almost over.
- (to Pumpkin)
- Now I want you to go in that bag and
- find my wallet.
- PUMPKIN
- Which one is it?
- JULES
- It's the one that says Bad
- Motherfucker on it.
- Pumpkin looks in the bag and – sure enough – there's a wallet
- with "Bad Motherfucker" embroidered on it.
- JULES
- That's my bad motherfucker. Now open
- it up and take out the cash. How
- much is there?
- PUMPKIN
- About fifteen hundred dollars.
- JULES
- Put it in your pocket, it's yours.
- Now with the rest of them wallets
- and the register, that makes this a
- pretty successful little score.
- VINCENT
- Jules, if you give this nimrod fifteen
- hundred buck, I'm gonna shoot 'em on
- general principle.
- JULES
- You ain't gonna do a goddamn thing,
- now hang back and shut the fuck up.
- Besides, I ain't givin' it to him.
- I'm buyin' somethin' for my money.
- Wanna know what I'm buyin' Ringo?
- PUMPKIN
- What?
- JULES
- Your life. I'm givin' you that money
- so I don't hafta kill your ass. You
- read the Bible?
- PUMPKIN
- Not regularly.
- JULES
- There's a passage I got memorized.
- Ezekiel 25:17. "The path of the
- righteous man is beset on all sides
- by the inequities of the selfish and
- the tyranny of evil men. Blessed is
- he who, in the name of charity and
- good will, shepherds the weak through
- the valley of the darkness. For he
- is truly his brother's keeper and
- the finder of lost children. And I
- will strike down upon thee with great
- vengeance and furious anger those
- who attempt to poison and destroy my
- brothers. And you will know I am the
- Lord when I lay my vengeance upon
- you." I been sayin' that shit for
- years. And if you ever heard it, it
- meant your ass. I never really
- questioned what it meant. I thought
- it was just a coldblooded thing to
- say to a motherfucker 'fore you popped
- a cap in his ass. But I saw some
- shit this mornin' made me think twice.
- Now I'm thinkin', it could mean you're
- the evil man. And I'm the righteous
- man. And Mr. .45 here, he's the
- shepherd protecting my righteous ass
- in the valley of darkness. Or is
- could by you're the righteous man
- and I'm the shepherd and it's the
- world that's evil and selfish. I'd
- like that. But that shit ain't the
- truth. The truth is you're the weak.
- And I'm the tyranny of evil men. But
- I'm tryin'. I'm tryin' real hard to
- be a shepherd.
- Jules lowers his gun, lying it on the table.
- Pumpkin looks at him, to the money in his hand, then to
- Yolanda.
- She looks back.
- Grabbing the trash bag full of wallets, the two RUN out the
- door.
- Jules, who was never risen from his seat the whole time,
- takes a sip of coffee.
- JULES
- (to himself)
- It's cold.
- He pushes it aside.
- Vincent appears next to Jules.
- VINCENT
- I think we oughta leave now.
- JULES
- That's probably a good idea.
- Vincent throws some money on the table and Jules grabs the
- briefcase.
- Then, to the amazement of the Patrons, the Waitresses, the
- Cooks, the Bus Boys, and the Manager, these two bad-ass dudes
- – wearing UC Santa Cruz and "I'm with Stupid" tee-shirts,
- swim trunks, thongs and packing .45 Automatics – walk out of
- the coffee shop together without saying a word.
- FADE OUT
- THE END
Add Comment
Please, Sign In to add comment