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56. EXT. APARTMENT COURTYARD - DAY 56.
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.
57. EXT. HONDA - DAY 57.Butch CRANKS the car into gear and drives away. The big wide
smile of a survivor breaks across his face.
58. EXT. APARTMENT BUILDING STREET - DAY 58.The Honda turns down the alley and slowly cruises by his
apartment building.
59. INT. HONDA - DAY 59.Butch looks out the window at his former home.
BUTCH
That's how you're gonna beat 'em,
Butch. They keep underestimatin'
ya.This makes the boxer laugh out loud. As he laughs, he flips a
tape in the cassette player. When the MUSIC starts, he SINGS
along with it.He drives by the apartment, but is stopped at the light on the
corner across from Teriyaki Donut.Butch is still chuckling, singing along with the song, as we
see:THROUGH THE WINDSHIELD
the big man himself, Marsellus Wallace, exit Teriyaki Donut,
carrying a box of a dozen donuts and two large styrofoam cups
of coffee. He steps off the curb, crossing the street in
front of Butch's car. This is the first time we see Marsellus
clearly.Laughing boy stops when he sees the big man directly in front
of him.When Marsellus is in front of Butch's car, he casually glances
to his left, sees Butch, continues walking...then STOPS!DOUBLE-TAKE: "Am I really seeing what I'm seeing?"
Butch doesn't wait for the big man to answer his own question.
He STOMPS on the gas pedal.The little Honda SLAMS into Marsellus, sending him, the donuts
and the coffee HITTING the pavement at thirty miles an hour.Butch CUTS into cross traffic and is BROAD-SIDED by a gold
Camaro Z-28, BREAKING all the windows in the Honda and sending
it up on the sidewalk.Butch sits dazed and confused in the crumpled mess of what at
one time was Fabian's Honda. Blood flows from his nostrils.
The still-functional tape player continues to play. A
PEDESTRIAN pokes his head inside.PEDESTRIAN
Jesus, are you okay?Butch look at him, spaced-out.
BUTCH
I guess.Marsellus Wallace lies sprawled out in the street. GAWKERS
gather around the body.GAWKER #1
(to the others)
He's dead! He's dead!This jerk's yelling makes Marsellus come to.
TWO PEDESTRIANS help the shaken Butch out of the wreckage.
The woozy Marsellus gets to his feet.
GAWKER #2
If you need a witness in court,
I'll be glad to help. He was a
drunken maniac. He hit you and
crashed into that car.MARSELLUS
(still incoherent)
Who?GAWKER #2
(pointing at Butch)
Him.Marsellus follows the Gawker's finger and sees Butch Coolidge
down the street, looking a shambles.MARSELLUS
Well, I'll be damned.The big man takes out a .45 Automatic and the Gawkers back
away. Marsellus starts moving toward Butch.Butch sees the fierce figure making a wobbly bee-line toward
him.BUTCH
Sacre bleu.Marsellus brings up his weapon and FIRES, but he's so hurt,
shaky and dazed that his arm goes wild.He HITS a LOOKY-LOO WOMAN in the hip. She falls to the
ground, screaming.LOOKY-LOO WOMAN
Oh my God, I've been shot!That's all Butch needs to see. He's outta here.
Marsellus RUNS after him.
The CROWD looks agape.
Butch is in a mad, limping RUN.
The big man's hot on his ass with a cockeyed wobbly run.
Butch cuts across traffic and dashes into a business with a
sign that reads "MASON-DIXIE PAWNSHOP."
60. INT. MASON-DIXIE PAWNSHOP - DAY 60.MAYNARD, a hillbilly-lookin' boy, stands behind the counter of
his pawnshop when, all of a sudden, chaos in the form of Butch
RACES into his world.MAYNARD
Can I help you wit' somethin'?BUTCH
Shut up!Butch quickly takes measure of the situation, than stands next
to the door.MAYNARD
Now you just wait one goddamn
minute --Before Maynard can finish his threat, Marsellus CHARGES in.
He doesn't get past the doorway because Butch LANDS his fist
in Marsellus' face.The gangster's feet go out from under him and the big man
FALLS FLAT on his back.Outside, two police cars with their SIRENS BLARING race by.
Butch POUNCES on the fallen body, PUNCHING him twice more in
the face.Butch takes the gun out of Marsellus' hand, than grabs ahold
of his middle finger.BUTCH
So you like chasing people, huh?He BREAKS the finger. Marsellus lets out a pain sound. Butch
then places the barrel of the .45 between his eyes, PULLS back
the hammer and places his open hand behind the gun to shield
the splatter.BUTCH
Well guess what, big man, you
caught me --MAYNARD (OS)
-- hold it right there, godammit!Butch and Marsellus look up at Maynard, who's brandishing a
pump-action shotgun, aimed at the two men.BUTCH
Look mister, this ain't any of your
business --MAYNARD
-- I'm makin' it my business! Now
toss that gun!Butch does.
MAYNARD
Now you on top, stand up and come
to the counter.Butch slowly gets up and moves to the counter. As soon as he
gets there, Maynard HAULS OFF, HITTING him hard in the face
with the butt of the shotgun, knocking Butch down and out.After Butch goes down, Maynard calmly lays the shotgun on the
counter and moves to the telephone.Marsellus Wallace, from his position on the floor, groggily
watches the pawnshop owner dial a number. Maynard waits on
the line while the other end rings. Then it picks up.MAYNARD
Zed? It's Maynard. The spider
just caught a coupl'a flies.Marsellus passes out.
FADE TO BLACK
FADE UP:
61. INT. PAWNSHOP BACK ROOM - DAY 61.
TWO SHOT - BUTCH AND MARSELLUS
are tied up in two separate chairs. In their mouths are two
S&M-style ball gags (a belt goes around their heads and a
little red ball sticks in their mouths). Both men are
unconscious. Maynard steps in with a fire extinguisher and
SPRAYS both guys until they're wide awake and wet as otters.
The two prisoners look up at their captors.Maynard stands in front of them, fire extinguisher in one
hand, shotgun in the other, and Marsellus' .45 sticking in his
belt.MAYNARD
Nobody kills anybody in my place of
business except me or Zed.A BUZZER buzzes.
MAYNARD
That' Zed.Without saying another word, Maynard climbs up the stairs that
lead to red curtains and goes through them.WE HEAR, on the other side of the curtains, Maynard let Zed
inside the store.Butch and Marsellus look around the room. The basement of the
pawnshop has been converted into a dungeon. After taking in
their predicament, Butch and Marsellus look at each other, all
traces of hostility gone, replaced by a terror they both share
at what they've gotten themselves into.Maynard and ZED come through the curtains. Zed is an even
more intense version of Maynard, if such a thing is possible.
The two hillbillys are obviously brothers. Where Maynard is a
vicious pitbull, Zed is a deadly cobra. Zed walks in and
stands in front of the two captives. He inspects them for a
long time, then says:ZED
(to Maynard)
You said you waited for me?MAYNARD
I did.ZED
Then how come they're all beat up?MAYNARD
They did that to each other. They
was fightin' when they came in.
This one was gonna shoot that one.ZED
(to Butch)
You were gonna shoot him?Butch makes no reply.
ZED
Hey, is Grace gonna be okay in
front of this place?MAYNARD
Yeah, it ain't Tuesday is it?ZED
No, it's Thursday.MAYNARD
Then she'll be fine.ZED
Bring out The Gimp.MAYNARD
I think The Gimp's asleep.ZED
Well, I guess you'll just wake 'em
up then, won't you?Maynard opens a trap door in the floor.
MAYNARD
(yelling in the hole)
Wake up!Maynard reaches into the hole and comes back holding onto a
leash. He gives it a rough yank and, from below the floor,
rises THE GIMP.The Gimp is a man they keep dressed from head to toe in black
leather bondage gear. There are zippers, buckles and studs
here and there on the body. On his head is a black leather
mask with two eye holes and a zipper (closed) for a mouth.
They keep him in a hole in the floor big enough for a large
dog.Zed takes the chair, sits it in front of the two prisoners,
then lowers into it. Maynard hands The Gimp's leash to Zed,
then backs away.MAYNARD
(to The Gimp)
Down!
The Gimp gets on its knees.Maynard hangs back while Zed appraises the two men.
MAYNARD
Who's first?ZED
I ain't fer sure yet.Then with his little finger, Zed does a silent "Eenie, meany,
miney, moe..." just his mouth mouthing the words and his
finger going back and forth between the two.Butch are Marsellus are terrified.
Maynard looks back and forth at the victims.
The Gimps's eyes go from one to the other inside the mask.
Zed continues his silent sing-song with his finger moving left
to right, then it stops.TWO SHOT - BUTCH AND MARSELLUS
after a beat, THE CAMERA MOVES to the right, zeroing in on
Marsellus.Zed stands up.
ZED
Wanna do it here?MAYNARD
Naw, drag big boy to Russell's old
room.Zed grabs Marsellus' chair and DRAGS him into Russell's old
room. Russell, no doubt, was some other poor bastard that has
the misfortune of stumbling into the Mason-Dixie pawnshop.
Whatever happened to Russell is known only to Maynard and Zed
because his old room, a back room in the back of the back
room, is empty.As Marsellus is dragged away, he locks eyes with Butch before
he disappears behind the door of Russell's old room.MAYNARD
(to The Gimp)
Up!The Gimp rises. Maynard ties The Gimp's leash to a hook on
the ceiling.MAYNARD
Keep an eye on this one.The Gimp bows its head: "yes." Maynard disappears into
Russell's old room. There must be a stereo in there because
suddenly The Judds, singing in harmony, fills the air.Butch looks at The Gimp. The Gimp giggles from underneath the
mask as if this were the funniest moment in the history of
comedy.From behind the door we hear country MUSIC, struggling, and:
MAYNARD (OS)
Whoa, this boy's got a bit of fight
in 'em!We the HEAR Maynard and Zed beat on Marsellus.
ZED (OS)
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 (OS)
That's it...that's it boy, you're
goin' fine. Oooooooh, just like
that...that's good.
(grunting faster)
Stay still...stay still goddamn ya!
Zed goddammit, git over here and
hold 'em!Butch stops struggling and lifts up on his arms. Then, quite
easily, the padded chair back slides up and off as if it were
never connected by a bolt.The Gimp sees this and its eyes widen.
THE GIMP
Huhng?The Gimp FLAILS WILDLY, trying to get the leash off the hook.
He tries to yell, but all that comes out are excited gurgles
and grunts.Butch is out of his chair, quickly dispensing three BOXER'S
PUNCHES to its face. The punches knock The Gimp out, making
him fall to his knees, this HANGING HIMSELF by the leash
attached to the hook,Butch removes the ball gag, then silently makes his way
through the red curtains.
62. INT. PAWNSHOP - DAY 62.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 Ken-style, he
disappears through the red curtains to take care of business.
63. INT. PAWNSHOP BACK ROOM - DAY 63.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.
64. INT. RUSSELL'S OLD ROOM - DAY 64.Butch's hand comes into frame, pushing the door open. It
swings open silently, revealing the rapists, who have switched
positions. Zed is now bent over Marsellus, who is bent over a
wooden horse. Maynard watches. Both have their backs to
Butch.Maynard faces the CAMERA, grinning, while Butch comes up
behind him with the sword.Miserable, violated, and looking like a rag doll, Marsellus,
red ball gag still in mouth, opens his watery eyes to see
Butch coming up behind Maynard. His eyes widen.BUTCH
Hey hillbilly.Maynard turns and sees Butch holding the sword.
Butch SCREAMS...with one mighty SWING, SLASHES Maynard across
the front, moving past him, eyes and blade now locked on Zed.Maynard stands trembling, his front sliced open, in shock.
Butch, while never taking his eyes off Zed, THRUSTS the sword
behind him, SKEWERING Maynard, then EXTRACTS it, pointing the
blade toward Zed. Maynard COLLAPSES.Zed disengages from Marsellus in a hurry and his eyes go from
the tip of Butch's sword to Marsellus' .45 Automatic, which
lies within reach.Butch's eyes follow Zed's.
BUTCH
You want that gun, Zed? Pick it
up.Zed's hand inches toward the weapon.
Butch GRIPS the sword tighter.
Zed studies Butch,
Butch looks hard at Zed.
Then a VOICE says:
MARSELLUS (OS)
Step aside, Butch.Butch steps aside, REVEALING Marsellus standing behind him,
holding Maynard's pump-action shotgun.KABOOM!!!!
Zed is BLASTED in the groin. Down he goes, SCREAMING in
AGONY.Marsellus, looking down at his whimpering rapist, EJECTS the
used shotgun shell.Butch lowers the sword and hangs back. Not a word, until:
BUTCH
You okay?MARSELLUS
Naw man. I'm pretty fuckin' far
from okay!Long pause.
BUTCH
What now?MARSELLUS
What now? Well let me tell you
what now. I'm gonna call a couple
pipe-hittin' niggers, who'll go to
work on homes here with a pair of
pliers and a blow torch.
(to Zed)
Hear me talkin' hillbilly boy?! I
ain't through with you by a damn
sight. I'm gonna git Medieval on
your ass.BUTCH
I meant what now, between me and
you?MARSELLUS
Oh, that what now? Well, let me
tell ya what now between me an'
you. There is no me an' you. Not
no more.BUTCH
So we're cool?MARSELLUS
Yeah man, we're cool. One thing I
ask -- two things I ask: don't
tell nobody about this. This
shit's between me and you and the
soon-to-be-livin'-the-rest-of-his-
short-ass-life-in-agonizing-pain,
Mr. Rapist here. It ain't nobody
else's business. Two: leave town.
Tonight. Right now. And when
you're gone, stay gone. You've
lost your Los Angeles privileges.
Deal?BUTCH
Deal.The two men shake hands, then hug one another.
MARSELLUS
Go on now, get your ass outta here.Butch leaves Russell's old room through the red curtains.
Marsellus walks over to a phone, dialing a number.MARSELLUS
(into the phone)
Hello Mr. Wolf, it's Marsellus.
Gotta bit of a situation.
65. EXT. MASON-DIXIE PAWNSHOP - DAY 65.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...
66. INT. BUTCH AND FABIAN'S HOTEL ROOM - DAY 66.Fabian stands in front of a mirror wearing a "Frankie says,
Relax" tee-shirt, singing along with MUSIC coming from a BOOM
BOX.
67. EXT. CITY STREET - CHOPPER (MOVING) - DAY 67.Butch drives down the street, humping a hot dog names "GRACE."
He checks his father's watch. It says: 10:30.The SONG in the motel room PLAYS OVER this.
68. EXT. MOTEL ROOM - DAY 68.Butch rides up on Grace. He hops off and runs inside the
motel room, while we stay outside with the bike.FABIAN (OS)
Butch, I was so worried!BUTCH
Honey, grab your radio and your
purse and let's go!FABIAN (OS)
But what about all our bags?BUTCH
Fuck the bags. We'll miss our
train if we don't split now.FABIAN (OS)
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. Fabian exits the
motel room with the boom box and a large purse. When she sees
Butch on the chopper, she stops dead.FABIAN
Where did you get this motorcycle?BUTCH
(he KICK-STARTS it)
It's a chopper, baby, hop on.Fabian slowly approaches the two-wheel demon.
FABIAN
What happened to my Honda?BUTCH
Sorry baby, I crashed the Honda.FABIAN
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!Fabian 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.FABIAN
(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?FABIAN
(waterworks drying a
little)
It was good --BUTCH
-- did you get the blueberry
pancakes?FABIAN
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.Fabian does climb on. Butch STARTS her up.
FABIAN
Butch, whose motorcycle is this?BUTCH
It's a chopper.FABIAN
Whose chopper is this?BUTCH
Zed's.FABIAN
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 (OS)
You ever read the Bible, Brett?BRETT (OS)
Yes!JULES (OS)
There's a passage I got memorized,
seems appropriate for this
situation: Ezekiel 25:17. "The
path of the righteous man is beset
on all sides by the inequities of
the selfish and the tyranny of evil
men...."
FADE UP:69. INT. BATHROOM - DAY 69.
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 (OS)
"...blessed is he who, in the name
of charity and good will, shephered
the weak through the valley of
darkness. And I will strike down
upon thee with great vengeance and
furious anger those who attempt to
poison and destroy my brothers.
And you will know I am the Lord
when I lay my vengeance upon you."BANG! BANG! BOOM! POW! BAM BAM BAM BAM BAM!
The Fourth Man freaks out. He THROWS himself against the back
wall, gun outstretched in front of him, a look of yellow fear
on his face, ready to blow in half anybody fool enough to
stick their head through that door.Then he listens to them talk.
VINCENT (OS)
Friend of yours?JULES (OS)
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.
70. INT. APARTMENT - DAY 70.The bathroom door BURSTS OPEN and the Fourth Man CHARGES out,
silver Magnum raised, FIRING SIX BOOMING SHOTS from his hand
cannon.FOURTH MAN
Die...die...die...die...!DOLLY INTO Fourth Man, same as before.
He SCREAM until he's dry firing. Then a look of confusion
crosses his face.TWO SHOT - JULES AND VINCENT
standing next to each other, unharmed. Amazing as it seems,
none of the Fourth Man's shots appear to have hit anybody.
Jules and Vincent exchange looks like, "Are we hit?" They're
as confused at the shooter. After looking at each other, they
bring their looks up to the Fourth Man.FOURTH MAN
I don't understand --The Fourth Man is taken out of the scenario by the two men's
bullets who, unlike his, HIT their marks. He drops DEAD.The two men lower their guns. Jules, obviously shaken, sits
down in a chair. Vincent, after a moment of respect, shrugs
it off. Then heads toward Marvin in the corner.
VINCENT
Why the fuck didn't you tell us
about that guy in the bathroom?
Slip your mind? Forget he was in
there with a goddamn hand cannon?JULES
(to himself)
We should be fuckin' dead right
now.
(pause)
Did you see that gun he fired at
us? It was bigger than him.VINCENT
.357.JULES
We should be fuckin' dead!VINCENT
Yeah, we were lucky.Jules rises, moving toward Vincent.
JULES
That shit wasn't luck. That shit
was somethin' else.Vincent prepares to leave.
VINCENT
Yeah, maybe.JULES
That was...divine intervention.
You know what divine intervention
is?VINCENT
Yeah, I think so. That means God
came down from Heaven and stopped
the bullets.JULES
Yeah, man, that's what is means.
That's exactly what it means! God
came down from Heaven and stopped
the bullets.VINCENT
I think we should be going now.JULES
Don't do that! Don't you fuckin'
do that! Don't blow this shit off!
What just happened was a fuckin'
miracle!VINCENT
Chill the fuck out, Jules, this
shit happens.JULES
Wrong, wrong, this shit doesn't
just happen.VINCENT
Do you wanna continue this
theological discussion in the car,
or at the jailhouse with the cops?JULES
We should be fuckin' dead now, my
friend! We just witnessed a
miracle, and I want you to fuckin'
acknowledge it!VINCENT
Okay man, it was a miracle, can we
leave now?
71. EXT. HOLLYWOOD APARTMENT BUILDING - MORNING 71.The Chevy Nova PROPELS itself into traffic.
72. INT. NOVA (MOVING) - MORNING 72.Jules is behind the wheel, Vincent in the passenger seat and
Marvin in the back.VINCENT
...ever seen that show "COPS?" I
was watchin' it once and this cop
was on it who was talkin' about
this time he got into this gun
fight with a guy in a hallway. He
unloads on this guy and he doesn't
hit anything. And these guys were
in a hallway. It's a freak, but it
happens.JULES
If you wanna play blind man, then
go walk with a Shepherd. But me,
my eyes are wide fuckin' open.VINCENT
What the fuck does that mean?JULES
That's it for me. For here on in,
you can consider my ass retired.VINCENT
Jesus Christ!JULES
Don't blaspheme!VINCENT
Goddammit, Jules --JULES
-- I said don't do that --VINCENT
-- you're fuckin' freakin' out!JULES
I'm tellin' Marsellus today I'm
through.VINCENT
While you're at it, be sure to tell
'im why.JULES
Don't worry, I will.VINCENT
I'll bet ya ten thousand dollars,
he laughs his ass off.JULES
I don't give a damn if he does.Vincent turns to the backseat with the .45 casually in his
grip.VINCENT
Marvin, what do you make of all
this?MARVIN
I don't even have an opinion.VINCENT
C'mon, Marvin. Do you think God
came down from Heaven and stopped
the bullets?Vincent's .45 goes BANG!
Marvin is hit in the upper chest, below the throat. He
GURGLES blood and SHAKES.JULES
What the fuck's happening?VINCENT
I just accidentally shot Marvin in
the throat.JULES
Why the fuck did you do that?VINCENT
I didn't mean to do it. I said it
was an accident.JULES
I've seen a lot of crazy-ass shit
in my time --VINCENT
-- chill out, man, it was an
accident, okay? You hit a bump or
somethin' and the gun went off.JULES
The car didn't hit no motherfuckin'
bump!VINCENT
Look! I didn't mean to shoot this
son-of-a-bitch, the gun just went
off, don't ask me how! Now I think
the humane thing to do is put him
out of his misery.JULES
(can't believe it)
You wanna shoot 'im again?VINCENT
The guy's sufferin'. It's the
right thing to do.Marvin, suffering though he is, is listening to this debate,
not believing what he's hearing.JULES
This is really uncool.Vincent turns to the backseat, places the barrel of the .45
against Marvin's forehead. Marvin's eyes are as big as
saucers. He tries to talk Vince out of this, but when he
opens his mouth, only GURGLES come out.JULES
Marvin, I just wanna apologize. I
got nothin' to do with this shit.
And I want you to know I think it's
fucked up.VINCENT
Okay, Pontius Pilot, when I count
three, honk your horn. One...
two...CU of the steering wheel.
VINCENT (OS)
...three.Jules presses down hard on the horn: HONK and BANG!
When we CUT BACK to the two men, the car is completely covered
in blood. It's all over everything, including Jules and
Vincent.JULES
Jesus Christ Almighty!VINCENT
(to himself)
Fuck.JULES
Look at this mess! We're drivin'
around on a city street in broad
daylight --VINCENT
-- I know, I know, I wasn't
thinkin' about the splatter.JULES
Well you better be thinkin' about
it now, motherfucker! We gotta get
this car off the road. Cops tend
to notice shit like you're driving
a car drenched in fuckin' blood.VINCENT
Can't we just take it to a friendly
place?JULES
This is the Valley, Vincent.
Marsellus don't got no friendly
places in the Valley.VINCENT
Well, don't look at me, this is
your town, Jules.Jules takes out a cellular phone and starts punching digits.
VINCENT
Who ya callin'?JULES
A buddy of mine in Toluca Lake.VINCENT
Where's Toluca Lake.JULES
On the other side of the hill, by
Burbank Studios. If Jimmie's ass
ain't home, I don't know what the
fuck we're gonna go. I ain't got
any other partners in 818.
(into phone)
Jimmie! How you doin' man, it's
Jules.
(pause)
Listen up man, me an' my homeboy
are in some serious shit. We're in
a car we gotta get off the road,
pronto! I need to use your garage
for a couple hours.
(pause)
Jimmie, you know I can't get into
this shit on a cellular fuckin'
phone. But what I can say is my
ass is out in the cold and I'm
askin' you for some sanctuary 'til
our people can bring us in.
(pause)
I appreciate this, man --
(pause)
We'll be gone by then.
(pause)
-- Jimmie, I'm aware of your
situation. I ain't gonna fuck
things up for you. I give you my
word, partner, she'll never know we
were there.
(pause)
Five minutes. Later.He folds up the phone, turns to Vincent.
JULES
We're set. But his wife come home
from work in an hour and a half and
we gotta be outta there by then,
73. EXT. JIMMIE'S HOUSE - MORNING 73.The Nova pulls into the garage of a two-bedroom suburban
house.
74. INT. JIMMIE'S BATHROOM - DAY 74.Jules is bent over a sink, washing his bloody hands while
Vincent stands behind him.JULES
We gotta be real fuckin' delicate
with this Jimmie's situation. He's
one remark away from kickin' our
asses out the door.VINCENT
If he kicks us out, whadda we do?JULES
Well, we ain't leavin' 'til we made
a couple phone calls. But I never
want it to reach that pitch.
Jimmie's my friend and you don't
bust in your friend's house and
start tellin' 'im what's what.Jules rises and dries his hands. Vincent takes his place at
the sink.VINCENT
Just tell 'im not to be abusive.
He kinda freaked out back there
when he saw Marvin.JULES
Put yourself in his position. It's
eight o'clock in the morning. He
just woke up, he wasn't prepared
for this shit. Don't forget who's
doin' who a favor.Vincent finishes, then dries his hands on a white towel.
VINCENT
If the price of that favor is I
gotta take shit, he can stick his
favor straight up his ass.When Vincent is finished drying his hands, the towel is
stained with red.JULES
What the fuck did you just do to
his towel?VINCENT
I was just dryin' my hands.JULES
You're supposed to wash 'em first.VINCENT
You watched me wash 'em.JULES
I watched you get 'em wet.VINCENT
I washed 'em. Blood's real hard to
get off. Maybe if he had some
Lava, I coulda done a better job.JULES
I used the same soap you did and
when I dried my hands, the towel
didn't look like a fuckin' Maxie
pad. Look, fuck it, alright. Who
cares? But it's shit like this
that's gonna bring this situation
to a boil. If he were to come in
here and see that towel like
that...I'm tellin' you Vincent, you
best be cool. 'Cause if I gotta
get in to it with Jimmie on account
of you....Look, I ain't threatenin'
you, I respect you an' all, just
don't put me in that position.JULES
Jules, you ask me nice like that,
no problem. He's your friend, you
handle him.
75. INT. JIMMIE'S KITCHEN - MORNING 75.Three men are standing in Jimmie's kitchen, each with a mug of
coffee. Jules, Vincent and JIMMIE DIMMICK, a young man in his
late-20s dressed in a bathrobe.JULES
Goddamn Jimmie, this is some
serious gourmet shit. Me an'
Vincent woulda been satisfied with
freeze-dried Tasters Choice. You
spring this gourmet fuckin' shit on
us. What flavor is this?JIMMIE
Knock it off, Julie.JULES
What?JIMMIE
I'm not a cobb or corn, so you can
stop butterin' me up. I don't need
you to tell me how good my coffee
is. I'm the one who buys it, I
know how fuckin' good it is. When
Bonnie goes shoppin;, she buys
shit. I buy the gourmet expensive
stuff 'cause when I drink it, I
wanna taste it. But what's on my
mind at this moment isn't the
coffee in my kitchen, it's the dead
nigger in my garage.JULES
Jimmie --JIMMIE
-- I'm talkin'. Now let me ask you
a question, Jules. When you drove
in here, did you notice a sign out
front that said, "Dead nigger
storage?"Jules starts to "Jimmie" him --
JIMMIE
-- answer to question. Did you see
a sign out in front of my house
that said, "Dead nigger storage?"JULES
(playing along)
Naw man, I didn't.JIMMIE
You know why you didn't see that
sign?JULES
Why?JIMMIE
'Cause storin' dead niggers ain't
my fuckin' business!Jules starts to "Jimmie" him.
JIMMIE
-- I ain't through! Now don't you
understand that if Bonnie comes
home and finds a dead body in her
house, I'm gonna get divorced. No
marriage counselor, no trial
separation -- fuckin' divorced.
And I don't wanna get fuckin'
divorced. The last time me an'
Bonnie talked about this shit was
gonna be the last time me an'
Bonnie talked about this shit. Now
I wanna help ya out Julie, I really
do. But I ain't gonna lose my wife
doin' it.JULES
Jimmie --JIMMIE
-- don't fuckin' Jimmie me, man, I
can't be Jimmied. There's nothin'
you can say that's gonna make me
forget I love my wife. Now she's
workin' the graveyard shift at the
hospital. She'll be comin' home in
less than an hour and a half. Make
your phone calls, talk to your
people, than get the fuck out of my
house.JULES
That's all we want. We don't wanna
fuck up your shit, We just need to
call our people to bring us in.JIMMIE
Then I suggest you get to it.
Phone's in my bedroom.As Jules crosses the room, exiting.
JULES
(calling behind him)
You're a friend, Jimmie, you're a
good fuckin' friend!JIMMIE
(to himself)
Yeah, yeah, yeah, yeah, yeah. I'm
a real good friend. Good friend,
bad husband, soon to be ex-husband.
(look up and sees
Vincent)
Who the fuck are you?VINCENT
I'm Vincent. And Jimmie, thank a
bunch,The two men laugh.
JIMMIE
Don't mention it.
76. INT. MARSELLUS WALLACE'S DINING ROOM - MORNING 76.Marsellus Wallace sits at his dining table in a big comfy
robe, eating his large breakfast, while talking on the phone.MARSELLUS
...well, say she comes home.
Whaddya think she'll do?
(pause)
No fuckin' shit she'll freak. That
ain't no kinda answer. You know
'er, I don't. How bad, a lot or a
little?
77. INT. JIMMIE'S BEDROOM - MORNING 77.Jules paces around in Jimmie's bedroom on the phone.
JULES
You got to appreciate what an
explosive element this Bonnie
situation is. If she comes home
from a hard day's work and finds a
bunch of gangsters doin' a bunch of
gangsta' shit in her kitchen, ain't
no tellin' what she's apt to do.MARSELLUS
Let us speak of the unspeakable.JULES
Possibility exists, but unlikely.MARSELLUS
Why possible but unlikely?JULES
'Cause if push met shove, you know
I'll take care of business. But
push ain't never gonna meet shove.
Because You're gonna solve this
shit for us. You're gonna take our
asses outta the cold and bring it
inside where it's warm. 'Cause if
I gotta get into it with my friend
about his wife over your boy
Vincent, I'm gonna have bad
feelings.MARSELLUS
I've grasped that, Jules. All I'm
doin' is contemplating the "ifs."JULES
I don't wanna hear about no
motherfuckin' "ifs." What I wanna
hear from your ass is: "you ain't
got no problems, Jules. I'm on the
motherfucker. Go back in there,
chill them niggers out and wait for
the cavalry, which should be comin'
directly."MARSELLUS
You ain't got no problems, Jules.
I'm on the motherfucker. Go back
in there, chill them niggers out
and wait for The Wolf, who should
be comin' directly.JULES
You sendin' The Wolf?MARSELLUS
Feel better?JULES
Shit Negro, that's all you had to
say.
78. INT. HOTEL SUITE - MORNING 78.The CAMERA looks through the bedroom doorway of a hotel suite
into the main area. We SEE a crap game being played on a
fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in
fancy evening gowns. The CAMERA PANS to the right revealing:
sitting on a bed, phone in hand with his back to us, the
tuxedo-clad WINSTON WOLF aka "THE WOLF."We also see The Wolf has a small notepad that he jots details
in.THE WOLF
(into phone)
Is she the hysterical type?
(pause)
When she due?
(jotting down)
Give me the principals' names
again?
(jots down)
Jules....We SEE his book. The page has written on it:
1265 Riverside Drive
Toluca Lake
1 body (no head)
Bloody shot-up car
Jules (black)THE WOLF
...Vincent...Jimmie...Bonnie....He writes:
Vincent (Dean Martin)
Jimmie (house)
Bonnie (9:30)THE WOLF
Expect a call around 10:30. It's
about thirty minutes away. I'll be
there in ten.He hangs up. We never see his face.
CUT TO:
TITLE CARD OVER BLACK:
"NINE MINUTES AND THIRTY-SEVEN SECONDS LATER"
CUT TO:
79. EXT. JIMMIE'S STREET - MORNING 79.
A silver Porsche WHIPS the corner leading to Jimmie's home, in
HYPER DRIVE. Easily doing 135 mph, the Porsche stops on a
dime in front of Jimmie's house.A ringed finger touches the doorbell: DING DONG.
80. INT. JIMMIE'S HOUSE - MORNING 80.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.The two men walk to the dining room.
THE WOLF
I want to convey Mr. Wallace's
gratitude with the help you're
providing on this matter. Let me
assure you Jimmie, Mr. Wallace's
gratitude is worth having.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.JIMMMIE
She won't at that.THE WOLF
That give use forty minutes to get
the fuck outta Dodge, which, if you
do what I say when I say it, should
by plenty. Now you got a corpse in
a car, minus a head, in a garage.
Take me to it.
81. INT. JIMMIE'S GARAGE - MORNING 82.The three men hand back as The Wolf examines the car. He
studies the car in silence, opening the door, looking inside,
circling it.THE WOLF
Jimmie?JIMMIE
Yes.THE WOLF
Do me a favor, will ya? Thought I
smelled some coffee in there.
Would you make me a cup?JIMMIE
Sure, how do you take it?THE WOLF
Lotsa cream, lotsa sugar.Jimmie exists. The Wolf continues his examination.
THE WOLF
About the car, is there anything I
need to know? Does it stall, does
it make a lot of noise, does it
smoke, is there gas in it,
anything?JULES
Aside from how it looks, the car's
cool.THE WOLF
Positive? Don't get me out on the
road and I find out the brake
lights don't work.JULES
Hey man, as far as I know, the
motherfucker's tip-top.THE WOLF
Good enough, let's go back to the
kitchen.
82. INT. KITCHEN - MORNING 82.Jimmie hands The Wolf a cup of coffee.
THE WOLF
Thank you, Jimmie.He takes a sip, then, pacing as he thinks, lays out for the
three men the plan of action.THE WOLF
Okay first thing, you two.
(meaning Jules and
Vincent)
Take the body, stick it in the
trunk. Now Jimmie, this looks to
be a pretty domesticated house.
That would lead me to believe that
in the garage or under the sink,
you got a bunch of cleaners and
cleaners and shit like that, am I
correct?JIMMIE
Yeah. Exactly. Under the sink.THE WOLF
Good. What I need you two fellas
to do is take those cleaning
products and clean the inside of
the car. And I'm talkin' fast,
fast, fast. You need to go in the
backseat, scoop up all those little
pieces of brain and skull. Get it
out of there. Wipe down the
upholstery -- now when it comes to
upholstery, it don't need to be
spic and span, you don't need to
eat off in. Give it a good once
over. What you need to take care
of are the really messy parts. The
pools of blood that have collected,
you gotta soak that shit up. But
the windows are a different story.
Them you really clean. Get the
Windex, do a good job. Now Jimmie,
we need to raid your linen closet.
I need blankets, I need comforters,
I need quilts, I need bedspreads.
The thicker the better, the darker
the better. No whites, can't use
'em. We need to camouflage the
interior of the car. We're gonna
line the front seat and the
backseat and the floor boards with
quilts and blankets. If a cop
stops us and starts stickin' his
big snout in the car, the
subterfuge won't last. But at a
glance, the car will appear to be
normal. Jimmie -- lead the way,
boys -- get to work.The Wolf and Jimmie turn, heading for the bedroom, leaving
Vincent and Jules standing in the kitchen.VINCENT
(calling after him)
A "please" would be nice.The Wolf stops and turns around.
THE WOLF
Come again?VINCENT
I said a "please" would be nice.The Wolf takes a step toward him.
THE WOLF
Set is straight, Buster. I'm not
here to say "please." I'm here to
tell you want to do. And if self-
preservation is an instinct you
possess, you better fuckin' do it
and do it quick. I'm here to help.
If my help's not appreciated, lotsa
luck gentlemen.JULES
It ain't that way, Mr. Wolf. Your
help is definitely appreciated.VINCENT
I don't mean any disrespect. I
just don't like people barkin'
orders at me.THE WOLF
If I'm curt with you, it's because
time is a factor. I think fast, I
talk fast, and I need you guys to
act fast if you want to get out of
this. So pretty please, with sugar
on top, clean the fuckin' car.
...