"PULP FICTION" -- by Quentin Tarantino & Roger Avary
"PULP FICTION"
By
Quentin Tarantino & Roger Avary
PULP [pulp] n.
1. A soft, moist, shapeless mass or matter.
2. A magazine or book containing lurid subject matter and
being characteristically printed on rough, unfinished paper.
American Heritage Dictionary: New College Edition
INT. COFFEE SHOP – MORNING
A normal Denny's, Spires-like coffee shop in Los Angeles.
It's about 9:00 in the morning. While the place isn't jammed,
there's a healthy number of people drinking coffee, munching
on bacon and eating eggs.
Two of these people are a YOUNG MAN and a YOUNG WOMAN. The
Young Man has a slight working-class English accent and,
like his fellow countryman, smokes cigarettes like they're
going out of style.
It is impossible to tell where the Young Woman is from or
how old she is; everything she does contradicts something
she did. The boy and girl sit in a booth. Their dialogue is
to be said in a rapid pace "HIS GIRL FRIDAY" fashion.
YOUNG MAN
No, forget it, it's too risky.
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 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!
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 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.
 You tell 'em:
"Empty out the register," and they
don't know what it fuckin' means.
They make it too personal.

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.
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?  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.  Waitresses, forget
it, they ain't takin' a bullet for
the register.  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!
 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.

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

JULES
What'd they call it?
VINCENT
Royale with Cheese.
JULES
(repeating)
Royale with Cheese. What'd they call
a 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.
VINCENT
I think I know who you mean, what
about him?
 And word around the campfire,
it was on account of Marsellus
Wallace's wife.
The elevator arrives, the men step inside.
INT.
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.  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.

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?

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.

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.
VINCENT
Not the same thing, the same ballpark.
JULES
It ain't no ballpark either.

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.

He starts walking down the hall. Vincent, smiling, walks a
little bit behind.
VINCENT
How many?

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

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.
 That ain't
right, man.
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.  That's
his fuckin' wife, man.
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?

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

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.

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.  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."

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?

 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.

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.
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!
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 spasm)
I didn't.
Now in a lower voice.
JULES
Yes ya did Brett.  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.  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 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.  The black man sounds
like a cross between a gangster and a king.
MARSELLUS (O.S.)
 Thing is Butch, right
now you got ability. But painful as
it may be, ability don't last.   Besides, even if
you went all the way, what would you
be? Feather-weight champion of the
world.  I doubt you
can even get a credit card based on
that.
 Butch picks it up.
MARSELLUS (O.S.)
  Pride
only hurts, it never helps.  '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.)

Butch nods his head: "yes."
MARSELLUS (O.S.)
Say it!

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.

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.
 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.

VINCENT
Not yet.
English Dave smiles to himself.
VINCENT
What's so funny?

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...

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.
 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.
 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.  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.
VINCENT
That's a bold statement.
LANCE
This ain't Amsterdam, Vince. This is
a seller's market.  Heroin's comin' back
in a big fuckin' way. It's this whole
seventies retro.
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?
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?

LANCE
What?
VINCENT
Fuckin' keyed it.

VINCENT
Tell me about 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?

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.
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."

MIA
This is Jackrabbit Slim's. An Elvis
man should love it.

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.  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.

 And to drink, a
vanilla coke.
BUDDY
How 'bout you, Peggy Sue?

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.
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.  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.
VINCENT
I don't know.
MIA
That's when you know you found
somebody special.
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.

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 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.
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.

MIA
(like you would say
Bingo!)
Disco!
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.
LIVING ROOM
Mia has the unbeknownst-to-her heroin cut up into big lines
on her glass top coffee table.
CLOSEUP – MIA
Her head JERKS back.
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.
 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.
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!
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.

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.)

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!
VINCENT
No choice.
LANCE
She's ODin'?
VINCENT
Yeah. She's dyin'.

VINCENT
Negative.

VINCENT
Sorry.

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.)

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?!
LANCE
Are you deaf?
 Now if she fuckin'
croaks on me, I'm a grease spot.
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.

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
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.

LANCE
Stop talkin' to me, and start talkin'
to her.
WE FOLLOW Lance as he runs out of the living room into a...
INT.  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?
 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!

LIVING ROOM
Vincent is bent over Mia, talking softly to her, when Lance
reenters the room.

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.

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.

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.

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.

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.

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.

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.

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.
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.  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'.
  Then when he
died of dysentery, he gave me the
watch.
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.

– 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.
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.  BOXING AUDITORIUM (RAINING) – NIGHT
A window about three stories high opens on the auditorium-
side of the alley.  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.

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.
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.

ESMARELDA
No, it's a subject I have much
interest in. You are the first person
I ever met who has killed somebody.

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."

ESMARELDA
Thank you. And what is your name?
BUTCH
Butch.
ESMARELDA
Butch. What does it mean?
 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.
 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.  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?
 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."

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.

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.
 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.

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

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 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.  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.

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?

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.

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 reminded you
about it, but I didn't illustrate
how personal the watch was to me.  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.

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.

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.  This is the first time we see
Marsellus clearly.

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.

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 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.
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
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.

Butch makes no reply.

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.

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.

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.

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.
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.
 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?!
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.

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?
 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.
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
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.
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.
 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.

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!
What just happened was a fuckin'
miracle!

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!
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
That's it for me.
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 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.

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

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.
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.  I ain't got any
other partners in 818.
(into phone)
Jimmie!  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.  Don't forget who's doin'
who a favor.
Vincent finishes, then dries his hands on a white towel.

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

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.
  Who
cares?
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...
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.
 Me an' Vincent woulda
been satisfied with freeze-dried
Tasters Choice.  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.  I buy
the gourmet expensive stuff 'cause
when I drink it, I wanna taste it.

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.
JULES
(playing along)
Naw man, I didn't.
JIMMIE
You know why you didn't see that
sign?
JULES
Why?

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.  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.
JULES
That's all we want.  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.  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.
MARSELLUS
I've grasped that, Jules. All I'm
doin' is contemplating the "ifs."
 I'm on the
motherfucker.

I'm on the motherfucker.
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.  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.
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.
 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.
 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.
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.  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.  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.  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.
 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.

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.

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

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.   We're tradin'.
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?

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.

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.

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.
JIMMIE
Dorks. They look like a couple of
dorks.
The Wolf and Jimmie laugh.
 They're your clothes,
motherfucker.
JIMMIE
I guess you just gotta know how to
wear them.

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
Unless you do it first.
 Can you
keep your spurs from jingling and
jangling?
VINCENT
I'm cool, Mr. Wolf. My gun just went
off, I dunno how.
 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 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.

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.
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?

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.  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.

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.

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.
 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.  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.

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.

JULES
I'll just be Jules, Vincent – no
more, no less.
  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.

JULES
If you find my answers frightening,
Vincent, you should cease askin'
scary questions.
 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!
 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!
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.

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!

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.

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.
 Give 'em what you got
and get 'em out of here.

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
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!

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?
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.

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.
But I'm afraid I can't give you the
case. It don't belong to me.
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!  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.

JULES
Nothin' I can't handle.
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