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Pulp Fiction (1994)
by Quentin Tarantino.
Final script, May 1993.
More info about this movie on imdb.com
P U L P F I C T I O N
written & directed
by
Quentin Tarantino

stories
by
Quentin Tarantino
&
Roger Roberts Avery

------------------------------------------------------------------------------

THREE STORIES...
ABOUT ONE STORY...

PULP (pulp) n. 1. A soft, moist, shapeless
mass or matter.

2. A magazine or book containing lurid
subject matter and being characteristically
printed on rough, unfinished paper.

American Heritage Dictionary
New College Edition

------------------------------------------------------------------------------

TABLE OF CONTENTS

1. PROLOGUE

2. VINCENT VEGA & MARSELLUS WALLACE'S WIFE

3. THE GOLD WATCH

4. JULES, VINCENT, JIMMIE & THE WOLF

5. EPILOGUE

------------------------------------------------------------------------------

1. INT. COFFEE SHOP - MORNING 1.

A normal Denny's, Spires-like coffee shop in Los Angeles.
It's about 9:00 in the morning. While the place isn't jammed,
there's a healthy number of people drinking coffee, munching
on bacon and eating eggs.

Two of these people are a YOUNG MAN and a YOUNG WOMAN. The
Young Man has a slight working-class English accent and, like
his fellow countryman, smokes cigarettes like they're going
out of style.

It is impossible to tell where the Young Woman is from or how
old she is; everything she does contradicts something she did.
The boy and girl sit in a booth. Their dialogue is to be said
in a rapid-pace "HIS GIRL FRIDAY" fashion.

YOUNG MAN
No, forget it, it's too risky. I'm
through doin' that shit.

YOUNG WOMAN
You always say that, the same thing
every time: never again, I'm
through, too dangerous.

YOUNG MAN
I know that's what I always say.
I'm always right too, but --

YOUNG WOMAN
-- but you forget about it in a day
or two --

YOUNG MAN
-- yeah, well, the days of me
forgittin' are over, and the days
of me rememberin' have just begun.

YOUNG WOMAN
When you go on like this, you know
what you sound like?

YOUNG MAN
I sound like a sensible fucking
man, is what I sound like.

YOUNG WOMAN
You sound like a duck.
(imitates a duck)
Quack, quack, quack, quack, quack,
quack, quack...

YOUNG MAN
Well take heart, 'cause you're
never gonna hafta hear it again.
Because since I'm never gonna do it
again, you're never gonna hafta
hear me quack about how I'm never
gonna do it again.

YOUNG WOMAN
After tonight.

The boy and girl laugh, their laughter putting a pause in
there, back and forth.

YOUNG MAN
(with a smile)
Correct. I got all tonight to
quack.

A WAITRESS comes by with a pot of coffee.

WAITRESS
Can I get anybody anymore coffee?

YOUNG WOMAN
Oh yes, thank you.

The Waitress pours the Young Woman's coffee. The Young Man
lights up another cigarette.

YOUNG MAN
I'm doin' fine.

The Waitress leaves. The Young Man takes a drag off of his
smoke. The Young Woman pours a ton of cream and sugar into
her coffee.

The Young Man goes right back into it.

YOUNG MAN
I mean the way it is now, you're
takin' the same fuckin' risk as
when you rob a bank. You take more
of a risk. Banks are easier!
Federal banks aren't supposed to
stop you anyway, during a robbery.
They're insured, why should they
care? You don't even need a gun in
a federal bank.
I heard about this guy, walked into
a federal bank with a portable
phone, handed the phone to the
teller, the guy on the other end of
the phone said: "We got this guy's
little girl, and if you don't give
him all your money, we're gonna
kill 'er."

YOUNG WOMAN
Did it work?

YOUNG MAN
Fuckin' A it worked, that's what
I'm talkin' about! Knucklehead
walks in a bank with a telephone,
not a pistol, not a shotgun, but a
fuckin' phone, cleans the place
out, and they don't lift a fuckin'
finger.

YOUNG WOMAN
Did they hurt the little girl?

YOUNG MAN
I don't know. There probably never
was a little girl -- the point of
the story isn't the little girl.
The point of the story is they
robbed the bank with a telephone.

YOUNG WOMAN
You wanna rob banks?

YOUNG MAN
I'm not sayin' I wanna rob banks,
I'm just illustrating that if we
did, it would be easier than what
we been doin'.

YOUNG WOMAN
So you don't want to be a bank
robber?

YOUNG MAN
Naw, all those guys are goin' down
the same road, either dead or
servin' twenty.

YOUNG WOMAN
And no more liquor stores?

YOUNG MAN
What have we been talking about?
Yeah, no-more-liquor-stores.
Besides, it ain't the giggle it
usta be. Too many foreigners own
liquor stores. Vietnamese,
Koreans, they can't fuckin' speak
English. You tell 'em: "Empty out
the register," and they don't know
what it fuckin' means. They make
it too personal. We keep on, one
of those gook motherfuckers' gonna
make us kill 'em.

YOUNG WOMAN
I'm not gonna kill anybody.

YOUNG MAN
I don't wanna kill anybody either.
But they'll probably put us in a
situation where it's us of them.
And if it's not the gooks, it these
old Jews who've owned the store for
fifteen fuckin' generations. Ya
got Grandpa Irving sittin' behind
the counter with a fuckin' Magnum.
Try walkin' into one of those
stores with nothin' but a
telephone, see how far it gets you.
Fuck it, forget it, we're out of
it.

YOUNG WOMAN
Well, what else is there, day jobs?

YOUNG MAN
(laughing)
Not this life.

YOUNG WOMAN
Well what then?

He calls to the Waitress.

YOUNG MAN
Garcon! Coffee!

Then looks to his girl.

YOUNG MAN
This place.

The Waitress comes by, pouring him some more.

WAITRESS
(snotty)
"Garcon" means boy.

She splits.

YOUNG WOMAN
Here? It's a coffee shop.

YOUNG MAN
What's wrong with that? People
never rob restaurants, why not?
Bars, liquor stores, gas stations,
you get your head blown off
stickin' up one of them.
Restaurants, on the other hand, you
catch with their pants down.
They're not expecting to get
robbed, or not as expecting.

YOUNG WOMAN
(taking to idea)
I bet in places like this you could
cut down on the hero factor.

YOUNG MAN
Correct. Just like banks, these
places are insured. The managers
don't give a fuck, they're just
tryin' to get ya out the door
before you start pluggin' diners.
Waitresses, forget it, they ain't
takin' a bullet for the register.
Busboys, some wetback gettin' paid
a dollar fifty a hour gonna really
give a fuck you're stealin' from
the owner. Customers are sittin'
there with food in their mouths,
they don't know what's goin' on.
One minute they're havin' a Denver
omelette, next minute somebody's
stickin' a gun in their face.

The Young Woman visibly takes in the idea. The Young Man
continues in a low voice.

YOUNG MAN
See, I got the idea last liquor
store we stuck up. 'Member all
those customers kept comin' in?

YOUNG WOMAN
Yeah.

YOUNG MAN
They you got the idea to take
everybody's wallet.

YOUNG WOMAN
Uh-huh.

YOUNG MAN
That was a good idea.

YOUNG WOMAN
Thank you.

YOUNG MAN
We made more from the wallets then
we did the register.

YOUNG WOMAN
Yes we did.

YOUNG MAN
A lot of people go to restaurants.

YOUNG WOMAN
A lot of wallets.

YOUNG MAN
Pretty smart, huh?

The Young Woman scans the restaurant with this new
information. She sees all the PATRONS eating, lost in
conversations. The tires WAITRESS, taking orders. The
BUSBOYS going through the motions, collecting dishes. The
MANAGER complaining to the COOK about something. A smiles
breaks out on the Young Woman's face.

YOUNG WOMAN
Pretty smart.
(into it)
I'm ready, let's go, right here,
right now.

YOUNG MAN
Remember, same as before, you're
crowd control, I handle the
employees.

YOUNG WOMAN
Got it.

They both take out their .32-caliber pistols and lay them on
the table. He looks at her and she back at him.

YOUNG WOMAN
I love you, Pumpkin.

YOUNG MAN
I love you, Honey Bunny.

And with that, Pumpkin and Honey Bunny grab their weapons,
stand up and rob the restaurant. Pumpkin's robbery persona is
that of the in-control professional. Honey Bunny's is that of
the psychopathic, hair-triggered, loose cannon.

PUMPKIN
(yelling to all)
Everybody be cool this is a
robbery!

HONEY BUNNY
Any of you fuckin' pricks move and
I'll execute every one of you
motherfuckers! Got that?

CUT TO:

CREDIT SEQUENCE:

PULP FICTION


2. INT. '74 CHEVY (MOVING) - MORNING 2.

An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down
a homeless-ridden street in Hollywood. In the front seat are
two young fellas -- one white, one black -- both wearing cheap
black suits with thin black ties under long green dusters.
Their names are VINCENT VEGA (white) and JULES WINNFIELD
(black). Jules is behind the wheel.

JULES
-- okay now, tell me about the hash
bars?

VINCENT
What so you want to know?

JULES
Well, hash is legal there, right?

VINCENT
Yeah, it's legal, but is ain't a
hundred percent legal. I mean you
can't walk into a restaurant, roll
a joint, and start puffin' away.
You're only supposed to smoke in
your home or certain designated
places.

JULES
Those are hash bars?

VINCENT
Yeah, it breaks down like this:
it's legal to buy it, it's legal to
own it and, if you're the
proprietor of a hash bar, it's
legal to sell it. It's legal to
carry it, which doesn't really
matter 'cause -- get a load of this
-- if the cops stop you, it's
illegal for this to search you.
Searching you is a right that the
cops in Amsterdam don't have.

JULES
That did it, man -- I'm fuckin'
goin', that's all there is to it.

VINCENT
You'll dig it the most. But you
know what the funniest thing about
Europe is?

JULES
What?

VINCENT
It's the little differences. A
lotta the same shit we got here,
they got there, but there they're a
little different.

JULES
Examples?

VINCENT
Well, in Amsterdam, you can buy
beer in a movie theatre. And I
don't mean in a paper cup either.
They give you a glass of beer, like
in a bar. In Paris, you can buy
beer at MacDonald's. Also, you
know what they call a Quarter
Pounder with Cheese in Paris?

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

VINCENT
No, they got the metric system
there, they wouldn't know what the
fuck a Quarter Pounder is.

JULES
What'd they call it?

VINCENT
Royale with Cheese.

JULES
(repeating)
Royale with Cheese. What'd they
call a Big Mac?

VINCENT
Big Mac's a Big Mac, but they call
it Le Big Mac.

JULES
What do they call a Whopper?

VINCENT
I dunno, I didn't go into a Burger
King. But you know what they put
on french fries in Holland instead
of ketchup?

JULES
What?

VINCENT
Mayonnaise.

JULES
Goddamn!

VINCENT
I seen 'em do it. And I don't mean
a little bit on the side of the
plate, they fuckin' drown 'em in
it.

JULES
Uuccch!

CUT TO:

3. INT. CHEVY (TRUNK) - MORNING 3.

The trunk of the Chevy OPENS UP, Jules and Vincent reach
inside, taking out two .45 Automatics, loading and cocking
them.

JULES
We should have shotguns for this
kind of deal.

VINCENT
How many up there?

JULES
Three or four.

VINCENT
Counting our guy?

JULES
I'm not sure.

VINCENT
So there could be five guys up
there?

JULES
It's possible.

VINCENT
We should have fuckin' shotguns.

They CLOSE the trunk.

CUT TO:

4. EXT. APARTMENT BUILDING COURTYARD - MORNING 4.

Vincent and Jules, their long matching overcoats practically
dragging on the ground, walk through the courtyard of what
looks like a hacienda-style Hollywood apartment building.

We TRACK alongside.

VINCENT
What's her name?

JULES
Mia.

VINCENT
How did Marsellus and her meet?

JULES
I dunno, however people meet
people. She usta be an actress.

VINCENT
She ever do anything I woulda saw?

JULES
I think her biggest deal was she
starred in a pilot.

VINCENT
What's a pilot?

JULES
Well, you know the shows on TV?

VINCENT
I don't watch TV.

JULES
Yes, but you're aware that there's
an invention called television, and
on that invention they show shows?

VINCENT
Yeah.

JULES
Well, the way they pick the shows
on TV is they make one show, and
that show's called a pilot. And
they show that one show to the
people who pick the shows, and on
the strength of that one show, they
decide if they want to make more
shows. Some get accepted and
become TV programs, and some don't,
and become nothing. She starred in
one of the ones that became
nothing.

They enter the apartment building.


5. INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING 5.

Vincent and Jules walk through the reception area and wait for
the elevator.

JULES
You remember Antwan Rockamora?
Half-black, half-Samoan, usta call
him Tony Rocky Horror.

VINCENT
Yeah maybe, fat right?

JULES
I wouldn't go so far as to call the
brother fat. He's got a weight
problem. What's the nigger gonna
do, he's Samoan.

VINCENT
I think I know who you mean, what
about him?

JULES
Well, Marsellus fucked his ass up
good. And word around the
campfire, it was on account of
Marsellus Wallace's wife.

The elevator arrives, the men step inside.


6. INT. ELEVATOR - MORNING 6.

VINCENT
What'd he do, fuck her?

JULES
No no no no no no no, nothin' that
bad.

VINCENT
Well what then?

JULES
He gave her a foot massage.

VINCENT
A foot massage?

Jules nods his head: "Yes."

VINCENT
That's all?

Jules nods his head: "Yes."

VINCENT
What did Marsellus do?

JULES
Sent a couple of guys over to his
place. They took him out on the
patio of his apartment, threw his
ass over the balcony. Nigger fell
four stories. They had this garden
at the bottom, enclosed in glass,
like one of them greenhouses --
nigger fell through that. Since
then, he's kinda developed a speech
impediment.

The elevator doors open, Jules and Vincent exit.

VINCENT
That's a damn shame.


7. INT. APARTMENT BUILDING HALLWAY - MORNING 7.

STEADICAM in front of Jules and Vincent as they make a beeline
down the hall.

VINCENT
Still I hafta say, play with
matches, ya get burned.

JULES
Whaddya mean?

VINCENT
You don't be givin' Marsellus
Wallace's new bride a foot massage.

JULES
You don't think he overreacted?

VINCENT
Antwan probably didn't expect
Marsellus to react like he did, but
he had to expect a reaction.

JULES
It was a foot massage, a foot
massage is nothing, I give my
mother a foot massage.

VINCENT
It's laying hands on Marsellus
Wallace's new wife in a familiar
way. Is it as bad as eatin' her
out -- no, but you're in the same
fuckin' ballpark.

Jules stops Vincent.

JULES
Whoa...whoa...whoa...stop right
there. Eatin' a bitch out, and
givin' a bitch a foot massage ain't
even the same fuckin' thing.

VINCENT
Not the same thing, the same
ballpark.

JULES
It ain't no ballpark either. Look
maybe your method of massage
differs from mine, but touchin' his
lady's feet, and stickin' your
tongue in her holyiest of holyies,
ain't the same ballpark, ain't the
same league, ain't even the same
fuckin' sport. Foot massages don't
mean shit.

VINCENT
Have you ever given a foot massage?

JULES
Don't be tellin' me about foot
massages -- I'm the fuckin' foot
master.

VINCENT
Given a lot of 'em?

JULES
Shit yeah. I got my technique down
man, I don't tickle or nothin'.

VINCENT
Have you ever given a guy a foot
massage?

Jules looks at him a long moment -- he's been set up.

JULES
Fuck you.

He starts walking down the hall. Vincent, smiling, walks a
little bit behind.

VINCENT
How many?

JULES
Fuck you.

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

JULES
Man, you best back off, I'm gittin'
pissed -- this is the door.

The two men stand in front of the door numbered "49." They
whisper.

JULES
What time is it?

VINCENT
(checking his watch)
Seven-twenty-two in the morning.

JULES
It ain't quite time, let's hang
back.

They move a little away from the door, facing each other,
still whispering.

JULES
Look, just because I wouldn't give
no man a foot massage, don't make
it right for Marsellus to throw
Antwan off a building into a glass-
motherfuckin-house, fuckin' up the
way the nigger talks. That ain't
right, man. Motherfucker do that
to me, he better paralyze my ass,
'cause I'd kill'a motherfucker.

VINCENT
I'm not sayin' he was right, but
you're sayin' a foot massage don't
mean nothing, and I'm sayin' it
does. I've given a million ladies
a million foot massages and they
all meant somethin'. We act like
they don't, but they do. That's
what's so fuckin' cool about 'em.
This sensual thing's goin' on that
nobody's talkin about, but you know
it and she knows it, fuckin'
Marsellus knew it, and Antwan
shoulda known fuckin' better.
That's his fuckin' wife, man. He
ain't gonna have a sense of humor
about that shit.

JULES
That's an interesting point, but
let's get into character.

VINCENT
What's her name again?

JULES
Mia. Why you so interested in big
man's wife?

VINCENT
Well, Marsellus is leavin' for
Florida and when he's gone, he
wants me to take care of Mia.

JULES
Take care of her?

Making a gun out of his finger and placing it to his head.

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

JULES
You're gonna be takin' Mia Wallace
out on a date?

VINCENT
It ain't a date. It's like when
you and your buddy's wife go to a
movie or somethin'. It's just...
you know...good company.

Jules just looks at him.

VINCENT
It's not a date.

Jules just looks at him.

VINCENT
I'm not gonna be a bad boy.

Jules shakes his head and mumbles to himself.

JULES
Bitch gonna kill more niggers than
time.

VINCENT
What was that?

JULES
Nothin'. Let's get into character.

VINCENT
What'd you say?

JULES
I didn't say shit. Let's go to
work.

VINCENT
Don't play with me, you said
somethin', now what was it?

JULES
(referring to the job)
Do you wanna do this?

VINCENT
I want you to repeat what you said.

JULES
That door's gonna open in about
thirty seconds, so git yourself
together --

VINCENT
-- my self is together --

JULES
-- bullshit it is. Stop thinkin'
'bout that Ho, and get yourself
together like a qualified pro.


8. INT. APARTMENT (ROOM 49) - MORNING 8.

THREE YOUNG GUYS, obviously in over their heads, sit at a
table with hamburgers, french fries and soda pops laid out.

One of them flips the LOUD BOLT on the door, opening it to
REVEAL Jules and Vincent in the hallway.

JULES
Hey kids.

The two men stroll inside.

The three young caught-off-guard Guys are:

MARVIN
The black young man, who open the door, will, as the scene
progresses, back into the corner.

ROGER
A young blond-haired surfer kid with a "Flock of Seagulls"
haircut, who has yet to say a word, sits at the table with a
big sloppy hamburger in his hand.

BRETT
A white, preppy-looking sort with a blow-dry haircut.

Vincent and Jules take in the place, with their hands in their
pockets. Jules is the one who does the talking.

JULES
How you boys doin'?

No answer.

JULES
(to Brett)
Am I trippin', or did I just ask
you a question.

BRETT
We're doin' okay.

As Jules and Brett talk, Vincent moves behind the young Guys.

JULES
Do you know who we are?

Brett shakes his head: "No."

JULES
We're associates of your business
partner Marsellus Wallace, you
remember your business partner
dont'ya?

No answer.

JULES
(to Brett)
Now I'm gonna take a wild guess
here: you're Brett, right?

BRETT
I'm Brett.

JULES
I thought so. Well, you remember
your business partner Marsellus
Wallace, dont'ya Brett?

BRETT
I remember him.

JULES
Good for you. Looks like me and
Vincent caught you at breakfast,
sorry 'bout that. What'cha eatin'?

BRETT
Hamburgers.

JULES
Hamburgers. The cornerstone of any
nutritious breakfast. What kinda
hamburgers?

BRETT
Cheeseburgers.

JULES
No, I mean where did you get'em?
MacDonald's, Wendy's, Jack-in-the-
Box, where?

BRETT
Big Kahuna Burger.

JULES
Big Kahuna Burger. That's that
Hawaiian burger joint. I heard
they got some tasty burgers. I
ain't never had one myself, how are
they?

BRETT
They're good.

JULES
Mind if I try one of yours?

BRETT
No.

JULES
Yours is this one, right?

BRETT
Yeah.

Jules grabs the burger and take a bite of it.

JULES
Uuummmm, that's a tasty burger.
(to Vincent)
Vince, you ever try a Big Kahuna
Burger?

VINCENT
No.

Jules holds out the Big Kahuna.

JULES
You wanna bite, they're real good.

VINCENT
I ain't hungry.

JULES
Well, if you like hamburgers give
'em a try sometime. Me, I can't
usually eat 'em 'cause my
girlfriend's a vegetarian. Which
more or less makes me a vegetarian,
but I sure love the taste of a good
burger.
(to Brett)
You know what they call a Quarter
Pounder with Cheese in France?

BRETT
No.

JULES
Tell 'em, Vincent.

VINCENT
Royale with Cheese.

JULES
Royale with Cheese, you know why
they call it that?

BRETT
Because of the metric system?

JULES
Check out the big brain on Brett.
You'a smart motherfucker, that's
right. The metric system.
(he points to a fast
food drink cup)
What's in this?

BRETT
Sprite.

JULES
Sprite, good, mind if I have some
of your tasty beverage to wash this
down with?

BRETT
Sure.

Jules grabs the cup and takes a sip.

JULES
Uuuuummmm, hit's the spot!
(to Roger)
You, Flock of Seagulls, you know
what we're here for?

Roger nods his head: "Yes."

JULES
Then why don't you tell my boy here
Vince, where you got the shit hid.

MARVIN
It's under the be --

JULES
-- I don't remember askin' you a
goddamn thing.
(to Roger)
You were sayin'?

ROGER
It's under the bed.

Vincent moves to the bed, reaches underneath it, pulling out a
black snap briefcase.

VINCENT
Got it.

Vincent flips the two locks, opening the case. We can't see
what's inside, but a small glow emits from the case. Vincent
just stares at it, transfixed.

JULES
We happy?

No answer from the transfixed Vincent.

JULES
Vincent!

Vincent looks up at Jules.

JULES
We happy?

Closing the case.

VINCENT
We're happy.

BRETT
(to Jules)
Look, what's your name? I got his
name's Vincent, but what's yours?

JULES
My name's Pitt, and you ain't
talkin' your ass outta this shit.

BRETT
I just want you to know how sorry
we are about how fucked up things
got between us and Mr. Wallace.
When we entered into this thing, we
only had the best intentions --

As Brett talks, Jules takes out his gun and SHOOTS Roger three
times in the chest, BLOWING him out of his chair.

Vince smiles to himself. Jules has got style.

Brett has just shit his pants. He's not crying or whimpering,
but he's so full of fear, it's as if his body is imploding.

JULES
(to Brett)
Oh, I'm sorry. Did that break your
concentration? I didn't mean to do
that. Please, continue. I believe
you were saying something about
"best intentions."

Brett can't say a word.

JULES
Whatsamatter? Oh, you were through
anyway. Well, let me retort.
Would you describe for me what
Marsellus Wallace looks like?

Brett still can't speak.

Jules SNAPS, SAVAGELY TIPPING the card table over, removing
the only barrier between himself and Brett. Brett now sits in
a lone chair before Jules like a political prisoner in front
of an interrogator.

JULES
What country you from!

BRETT
(petrified)
What?

JULES
"What" ain't no country I know! Do
they speak English in "What?"

BRETT
(near heart attack)
What?

JULES
English-motherfucker-can-you-speak-
it?

BRETT
Yes.

JULES
Then you understand what I'm
sayin'?

BRETT
Yes.

JULES
Now describe what Marsellus Wallace
looks like!

BRETT
(out of fear)
What?

Jules takes his .45 and PRESSES the barrel HARD in Brett's
cheek.

JULES
Say "What" again! C'mon, say
"What" again! I dare ya, I double
dare ya motherfucker, say "What"
one more goddamn time!

Brett is regressing on the spot.

JULES
Now describe to me what Marsellus
Wallace looks like!

Brett does his best.

BRETT
Well he's ...he's...black --

JULES
-- go on!

BRETT
...and he's...he's...tall --

JULES
-- does he look like a bitch?!

BRETT
(without thinking)
What?

Jules' eyes go to Vincent, Vincent smirks, Jules rolls his
eyes and SHOOT Brett in the shoulder.

Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in the
chair.

JULES
Does-he-look-like-a-bitch?!

BRETT
(in agony)
No.

JULES
Then why did you try to fuck 'im
like a bitch?!

BRETT
(in spasm)
I didn't.

Now in a lower voice.

JULES
Yes ya did Brett. Ya tried ta fuck
'im. You ever read the Bible,
Brett?

BRETT
(in spasm)
Yes.

JULES
There's a passage I got memorized,
seems appropriate for this
situation: Ezekiel 25:17. "The path
of the righteous man is beset on
all sides by the inequities of the
selfish and the tyranny of evil
men. Blessed is he who, in the
name of charity and good will,
shepherds the weak through the
valley of darkness, for he is truly
his brother's keeper and the finder
of lost children. And I will
strike down upon thee with great
vengeance and furious anger those
who attempt to poison and destroy
my brothers. And you will know my
name is the Lord when I lay my
vengeance upon you."

The two men EMPTY their guns at the same time on the sitting
Brett.

When they are finished, the bullet-ridden carcass just sits
there for a moment, then TOPPLES over.

All is quiet.

The only SOUND is Marvin MUTTERING in the corner.

MARVIN
...goddamn...goddamn...that was
fucked up...goddamn, that was cold-
blooded...

VINCENT
(pointing to Marvin)
Friend of yours?

JULES
Yeah, Marvin-Vincent-Vincent-
Marvin.

VINCENT
Tell 'em to shut up, he's gettin'
on my nerves.

JULES
Marvin, I'd knock that shit off if
I was you.

Then suddenly the bathroom door BURSTS OPEN, and a FOURTH MAN
(as young as the rest) comes CHARGING out, a silver Magnum in
his hand.

We DOLLY into a MEDIUM on him.

FOURTH MAN
Die...die...die...die...die...die!

The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in
the direction of Vincent and Jules. He SCREAMS a maniacal cry
of revenge until he's DRY FIRING.

Then...his face does a complete change of expression. It goes
from a "Vengeance is mine" expression, to a "What the fuck"
blank look.

FOURTH MAN
I don't understand --

The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by
bullets that TEAR HIM TO SHREDS.

He leaves the FRAME EMPTY.

FADE TO BLACK

Against black, TITLE CARD:

"VINCENT VEGA
AND
MARSELLUS WALLACE'S WIFE"

FADE IN:

9. MEDIUM SHOT - BUTCH COOLIDGE 9.
We FADE UP on Butch Coolidge, a white, 26-year-old
prizefighter. Butch sits at a table wearing a red and blue
high school athletic jacket. Talking to him OFF SCREEN is
everybody's boss MARSELLUS WALLACE. The black man sounds like
a cross between a gangster and a king.

MARSELLUS (OS)
I think you're gonna find -- when
all this shit is over and done -- I
think you're gonna find yourself
one smilin' motherfucker. Thing is
Butch, right now you got ability.
But painful as it may be, ability
don't last. Now that's a hard
motherfuckin' fact of life, but
it's a fact of life your ass is
gonna hafta git realistic about.
This business is filled to the brim
with unrealistic motherfuckers who
thought their ass aged like wine.
Besides, even if you went all the
way, what would you be? Feather-
weight champion of the world. Who
gives a shit? I doubt you can even
get a credit card based on that.

A hand lays an envelope full of money on the table in front of
Butch. Butch picks it up.

MARSELLUS (OS)
Now the night of the fight, you may
fell a slight sting, that's pride
fuckin' wit ya. Fuck pride! Pride
only hurts, it never helps. Fight
through that shit. 'Cause a year
from now, when you're kickin' it in
the Caribbean you're gonna say,
"Marsellus Wallace was right."

BUTCH
I got no problem with that.

MARSELLUS (OS)
In the fifth, your ass goes down.

Butch nods his head: "yes."

MARSELLUS (OS)
Say it!

BUTCH
In the fifth, my ass goes down.

CUT TO:

10. INT. CAR (MOVING) - DAY 10.

Vincent Vega looks really cool behind the wheel of a 1964
cherry-red Chevy Malibu convertible. From the car radio,
ROCKABILLY MUSIC PLAYS. The b.g. is a COLORFUL PROCESS SHOT.


11. EXT. SALLY LeROY'S - DAY 11.

Sally LeRoy's is a large topless bat by LAX that Marsellus
owns.

Vincent's classic Malibu WHIPS into the near empty parking lot
and parks next to a white Honda Civic.

Vince knocks on the door. The front entrance is unlocked,
revealing the Dapper Dan fellow on the inside: ENGLISH DAVE.
Dave isn't really English, he's a young black man from Baldwin
Park, who has run a few clubs for Marsellus, including Sally
LeRoy's.

ENGLISH DAVE
Vincent Vega, our man in Amsterdam,
git your ass on in here.

Vincent, carrying the black briefcase from the scene between
Vincent and Jules, steps inside. English Dave SLAMS the door
in our faces.


12. INT. SALLY LeROY'S - DAY 12.

The spacious club is empty this time of day. English Dave
crosses to the bar, and Vince follows.

VINCENT
Where's the big man?

ENGLISH DAVE
He's over there, finishing up some
business.

VINCENT'S POV:
Butch shakes hands with a huge figure with his back to us.
The huge figure is the infamous and as of yet still UNSEEN
Marsellus.

ENGLISH DAVE (OS)
Hand back for a second or two, and
when you see the white boy leave,
go on over. In the meanwhile, can
I make you an espresso?

VINCENT
How 'bout a cup of just plain ol'
American?

ENGLISH DAVE
Comin' up. I hear you're taking
Mia out tomorrow?

VINCENT
At Marsellus' request.

ENGLISH DAVE
Have you met Mia?

VINCENT
Not yet.

English Dave smiles to himself.

VINCENT
What's so funny?

ENGLISH DAVE
Not a goddamn thing.

VINCENT
Look, I'm not a idiot. She's the
big man's fuckin' wife. I'm gonna
sit across a table, chew my food
with my mouth closed, laugh at her
jokes and that's all I'm gonna do.

English Dave puts Vince's coffee in front of him.

ENGLISH DAVE
My name's Paul, and this is between
y'all.

Butch bellies up to the bar next to Vincent, drinking his cup
of "plain ol' American."

BUTCH
(to English Dave)
Can I get a pack'a Red Apples?

ENGLISH DAVE
Filters?

BUTCH
Non.

While Butch waits for his smokes, Vincent just sips his
coffee, staring at him. Butch looks over at him.

BUTCH
Lookin' at somethin', friend?

VINCENT
I ain't your friend, palooka.

Butch does a slow burn toward Vincent.

BUTCH
What was that?

VINCENT
I think ya heard me just fine,
punchy.

Butch turns his body to Vincent, when...

MARSELLUS (OS)
Vincent Vega has entered the
building, git your ass over here!

Vincent walks forward OUT OF FRAME, never giving Butch another
glance. We DOLLY INTO CU on Butch, left alone in the FRAME,
looking like he's ready to go into the manners-teaching
business.

BUTCH'S POV:
Vincent hugging and kissing the obscured figure that is
Marsellus.

Butch makes the wise decision that is this asshole's a friend
of Marsellus, he better let it go -- for now.

ENGLISH DAVE (OS)
Pack of Red Apples, dollar-forty.

Butch is snapped out of his ass-kicking thoughts. He pays
English Dave and walks out of the SHOT.

DISSOLVE TO:

13. INT. LANCE'S HOUSE (KITCHEN) - NIGHT 13.

CU JODY
a woman who appears to have a fondness for earrings. Both of
her ears are pierced five times. She also sports rings in her
lips, eyebrows and nose.

JODY
...I'll lend it to you. It's a
great book on body piercing.

Jody, Vincent and a young woman names TRUDI sit at the kitchen
table of a suburban house in Echo Park. Even though Vince is
at the same table, he's not included in the conversation.

TRUDI
You know how they use that gun when
they pierce your ears? They don't
use that when they pierce your
nipples, do they?

JODY
Forget that gun. That gun goes
against the entire idea behind
piercing. All of my piercing,
sixteen places on my body, every
one of 'em done with a needle.
Five in each ear. One through the
nipple on my left breast. One
through my right nostril. One
through my left eyebrow. One
through my lip. One in my clit.
And I wear a stud in my tongue.

Vince has been letting this conversation go through one ear
and out the other, until that last remark.

VINCENT
(interrupting)
Excuse me, sorry to interrupt. I'm
curious, why would you get a stud
in your tongue?

Jody looks at him and says as if it were the most obvious
thing in the world.

JODY
It's a sex thing. It helps
fellatio.

That thought never occurred to Vincent, but he can't deny it
makes sense. Jody continues talking to Trudi, leaving Vincent
to ponder the truth of her statement.

LANCE (OS)
Vince, you can come in now!


14. INT. LANCE'S BEDROOM - NIGHT 14.

Lance, late-20s, is a young man with a wild and woolly
appearance that goes hand-in-hand with his wild and woolly
personality. Lance has been selling drugs his entire adult
life. He's never had a day job, never filed a tax return and
has never been arrested. He wears a red flannel shirt over a
"Speed Racer" tee-shirt.

Three bags of heroin lie on Lance's bed.

Lance and Vincent stand at the foot of the bed.

LANCE
Now this is Panda, from Mexico.
Very good stuff. This is Bava,
different, but equally good. And
this is Choco from the Hartz
Mountains of Germany. Now the
first two are the same, forty-five
an ounce -- those are friend prices
-- but this one...
(pointing to the Choco)
...this one's a little more
expensive. It's fifty-five. But
when you shoot it, you'll know
where that extra money went.
Nothing wrong with the first two.
It's real, real, real, good shit.
But this one's a fuckin' madman.

VINCENT
Remember, I just got back from
Amsterdam.

LANCE
Am I a nigger? Are you in
Inglewood? No. You're in my
house. White people who know the
difference between good shit and
bad shit, this is the house they
come to. My shit, I'll take the
Pepsi Challenge with Amsterdam shit
any ol' day of the fuckin' week.

VINCENT
That's a bold statement.

LANCE
This ain't Amsterdam, Vince. This
is a seller's market. Coke is
fuckin' dead as disco. Heroin's
comin' back in a big fuckin' way.
It's this whole seventies retro.
Bell bottoms, heroin, they're as
hot as hell.

Vincent takes out a roll of money that would choke a horse to
death.

VINCENT
Give me three hundred worth of the
madman. If it's as good as you
say, I'll be back for a thousand.

LANCE
I just hope I still have it.
Whaddya think of Trudi? She ain't
got a boyfriend, wanna hand out an'
get high?

VINCENT
Which one's Trudi? The one with
all the shit in her face?

LANCE
No, that's Jody. That's my wife.

Vincent and Lance giggle at the "faux pas."

VINCENT
I'm on my way somewhere. I got a
dinner engagement. Rain check?

LANCE
No problem?

Vincent takes out his case of the works (utensils for shooting
up).

VINCENT
You don't mind if I shoot up here?

LANCE
Me casa, su casa.

VINCENT
Mucho gracias.

Vincent takes his works out of his case and, as the two
continue to talk, Vince shoots up.

LANCE
Still got your Malibu?

VINCENT
You know what some fucker did to it
the other day?

LANCE
What?

VINCENT
Fuckin' keyed it.

LANCE
Oh man, that's fucked up.

VINCENT
Tell me about it. I had the
goddamn thing in storage three
years. It's out five fuckin' days
-- five days, and some dickless
piece of shit fucks with it.

LANCE
They should be fuckin' killed. No
trial, no jury, straight to
execution.

As he cooks his heroin --

VINCENT
I just wish I caught 'em doin' it,
ya know? Oh man, I'd give anything
to catch 'em doin' it. It'a been
worth his doin' it, if I coulda
just caught 'em, you know what I
mean?

LANCE
It's chicken shit. You don't fuck
another man's vehicle.

CU - THE NEEDLE
going into Vincent's vein.

CU - BLOOD
spurting back into the syringe, mixing with the heroin.

CU OF VINCENT'S THUMB
pushing down on the plunger.

CUT TO:

15. EXT. MARSELLUS WALLACE'S HOUSE - NIGHT 15.

Vincent walks up to the driveway leading to Marsellus
Wallace's front door. When he gets to the door, he hears
MUSIC on the other side, and a note in plain view taped to it.
He rips it off.

CU - NOTE

"Hi Vincent,

I'm getting dressed. The door's
open. Come inside and make
yourself a drink.

Mia"

Vincent neatly folds the note up, sticks it in his pocket,
takes a here-goes-nothing breath and turns the knob.


16. INT. MARSELLUS WALLACE'S HOUSE - NIGHT 16.

As Vincent steps inside, the MUSIC that was behind the door,
SWELLS drastically. Vincent, hands in pockets, strolls
inside, checking out his boss' home.

VINCENT
(yelling)
Hello! I'm here!

We hear a DOOR OPEN, Vincent turns in its direction.


17. INT. DRESSING ROOM - NIGHT 17.

We're inside the room where the MUSIC is PLAYING. In the f.g.
MIA WALLACE, naked with her back to us, talks to Vincent
through a crack in the door. The door shields the front of
her body from Vincent.

MIA
Vincent Vega?

VINCENT
I'm Vincent, you Mia?

MIA
That's me, pleased to meetcha. I'm
still getting dressed. To your
left, past the kitchen, is a bar.
Why don't you make yourself a
drink, have a seat in the living
room, and I'll be out within three
shakes of a lamb's tail.

VINCENT
Take your time.

Mia closes the door. Before she can fully turn around and
show us her face...

WE CUT:

BACK TO VINCENT
standing where he was, MUSIC beating, looking at the closed
door. We slowly ZOOM to the door.

We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he
contemplates what's on the other side of the door. When we
reach a CU, he walks OUT OF FRAME, breaking the spell.

Vincent walks to the bar and pours himself a drink.

WE JUXTAPOSE
as the MUSIC plays.

Mia's dress selection is taken out of the closet.

Vincent, drink in hand, moves into the living room.

Mia, her back to CAMERA, dressed in her pretty dress, checks
herself in the mirror. We DOLLY towards her. Her face is
still obscured.

CU - PORTRAIT OF MIA
hanging on the living room wall, showing Mia sensually
reclining on a couch.

HIGH ANGLE SHOT OF VINCENT
looking up at the portrait.

CU - Mia cutting a huge line of coke on her vanity table with
a credit card.

Vincent sits on a plush, comfy couch.

CU - MIA'S NOSE
snorting the line from a rolled up dollar bill.

Vincent on the couch, drink in hand. The SONG abruptly CUTS
OFF.

CU - CD PLAYER OPENING
Mia's hand comes in and takes the CD out.

The CAMERA follows behind Mia's bare feet as she walks out of
the dressing room, through the dining room, through the
kitchen and into the living room.

SHOT THROUGH A VIDEO CAMERA
Mia has a camcorder and is videotaping Vincent on the couch.
He looks up and sees her.

MIA (OS)
Smile, you're on Mia's camera!

VINCENT
Ready to go?

MIA (OS)
Not yet. I'm going to interview you
first. Are you any relation to
Suzanne Vega?

VINCENT
Yeah, she's my cousin.

MIA (OS)
Suzanne Vega the folk singer is
your cousin?

VINCENT
Suzanne Vega's my cousin. If she's
become a folk singer, I sure as
hell don't know nothin' about it.
But then I haven't been to too many
Thanksgivings lately.

MIA (OS)
Now I'm gonna ask you a bunch of
quick questions I've come up with
that more of less tell me what kind
of person I'm having dinner with.
My theory is that when it comes to
important subjects, there's only
two ways a person can answer. For
instance, there's two kinds of
people in this world, Elvis people
and Beatles people. Now Beatles
people can like Elvis. And Elvis
people can like the Beatles. But
nobody likes them both equally.
Somewhere you have to make a
choice. And that choice tells me
who you are.

VINCENT
I can dig it.

MIA (OS)
I knew you could. First question,
Brady Bunch or the Partridge
Family?

VINCENT
The Partridge Family all the way,
no comparison.

MIA (OS)
On "Rich Man, Poor Man," who did
you like, Peter Strauss or Nick
Nolte?

VINCENT
Nick Nolte, of course.

MIA (OS)
Are you a "Bewitched" man, or a
"Jeannie" man?

VINCENT
"Bewitched," all the way, though I
always dug how Jeannie always
called Larry Hagman "master."

MIA (OS)
If you were "Archie," who would you
fuck first, Betty or Veronica?

VINCENT
Betty. I never understood Veronica
attraction.

MIA (OS)
Have you ever fantasized about
being beaten up by a girl?

VINCENT
Sure.

MIA (OS)
Who?

VINCENT
Emma Peel on "The Avengers." That
tough girl who usta hang out with
Encyclopedia Brown. And Arlene
Motika.

MIA (OS)
Who's Arlene Motika?

VINCENT
Girl from sixth grade, you don't
know her.

CU - MIA
lowers the camcorder from in front of her face and we get our
first full-on look at her. When we do, we get a pretty good
idea why Marsellus feels the way he does. She breaks out in a
blinding smile.

MIA
Cut. Print. Let's go eat.


18. EXT. JACKRABBIT SLIM'S - NIGHT 18.

In the past six years, 50's diners have sprung up all over LA,
giving Thai restaurants a run for their money. They're all
basically the same. Decor out of an "Archie" comic book,
Golden Oldies constantly emanating from a bubbly Wurlitzer,
saucy waitresses in bobby socks, menus with items like the
Fats Domino Cheeseburger, or the Wolfman Jack Omelette, and
over prices that pay for all this bullshit.

But then there's JACKRABBIT SLIM'S, the big mama of 50's
diners. Either the best or the worst, depending on your point
of view.

Vincent's Malibu pulls up to the restaurant. A big sign with
a neon figure of a cartoon surly cool cat jackrabbit in a red
windbreaker towers over the establishment. Underneath the
cartoon is the name: JACKRABBIT SLIM'S. Underneath that is
the slogan: "Next best thing to a time machine."


19. INT. JACKRABBIT SLIM'S - NIGHT 19.

Compared to the interior, the exterior was that of a quaint
English pub. Posters from 50's A.I.P. movies are all over the
wall ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF
THE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths that
the patrons sit in are made out of the cut up bodies of 50s
cars.

In the middle of the restaurant in a dance floor. A big sign
on the wall states, "No shoes allowed." So wannabe beboppers
(actually Melrose-types), do the twist in their socks or
barefeet.

The picture windows don't look out the street, but instead,
B & W movies of 50's street scenes play behind them. The
WAITRESSES and WAITERS are made up as replicas of 50's icons:
MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and
LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing
appropriate costumes.

Vincent and Mia study the menu in a booth made out of a red
'59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting a
big button on his chest that says: "Hi I'm Buddy, pleasing
you please me."

BUDDY
Hi I'm Buddy, what can I get'cha?

VINCENT
I'll have the Douglas Sirk steak.

BUDDY
How d'ya want it, burnt to a crisp,
or bloody as hell?

VINCENT
Bloody as hell. And to drink, a
vanilla coke.

BUDDY
How 'bout you, Peggy Sue?

MIA
I'll have the Durwood Kirby burge

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