SCRIPT

SCENE ONE
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:


SCENE TWO
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
Hey kids. How you boys doin'?

ROGER begins to get up. VINCENT puts a hand forward to stop him.

JULES
Hey, keep chillin.
VINCENT follows him all the way down with his hand. ROGER looks frightened. VINCENT gives him an “OK” sign.
JULES
Do you know who we are?

Brett shakes his head: "No.", almost inperceptibly.

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

No answer.

JULES
(to Brett)
Now let me take a wild guess
here: you're Brett, right?

BRETT
(nods)

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

BRETT
(mumbles) I remember him.

JULES
Looks like me and
Vincent caught you at breakfast,
sorry 'bout that. What'cha havin’?
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 couch.

Vincent moves to the couch, 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
(stands up, is waved down by JULES)
how sorry
we are about how fucked up things
got between us and Mr. Wallace.
We got into this thing with the best
Intentions--

As Brett talks, Jules takes out his gun and SHOOTS Roger in the stomach. ROGER slumps backwards and falls off the couch.

Vince smiles to himself.

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 I 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, allow me retort.
What does
Marsellus Wallace look like?

BRETT
(petrified)
What?
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 ever heard of!
They speak English in "What?"

BRETT
(near heart attack)
What?

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

BRETT
Yes.

JULES
Then you understand what I'm
sayin'?

BRETT
Yes.

JULES
Then describe what Marsellus Wallace
looks like!

BRETT
(out of fear)
What?

Jules takes his .45 and AIMS it at BRETT’S chest

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

Brett is regressing on the spot.

BRETT
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 SHOOTS 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 you did! Yes you did Brett. Ya tried ta fuck
'im. And Marsellus Wallace don’t like to be fucked
By anybody except MRS. WALLACE. You read the bible,
Bret?

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.