Jules, Vincent, Jimmie, and The Wolf
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 in' 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 hi , 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 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 in' dead right
now.
(pause)
Did you see that gun he fired at
us? It was bigger than him.
VINCENT
.357.
JULES
We should be in' dead!
VINCENT
Yeah, we were lucky.
Jules rises, moving toward Vincent.
JULES
That wasn't luck. That
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 in'
do that! Don't blow off!
What just happened was a in'
miracle!
VINCENT
Chill the out, Jules,
happens.
JULES
Wrong, wrong, 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 in' dead now, my
friend! We just witnessed a
miracle, and I want you to in'
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 in' open.
VINCENT
What the 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 in' 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 i in the upper chest, below the throat. He
GURGLES blood and SHAKES.
JULES
What the 's happening?
VINCENT
I just accidentally shot Marvin in
the throat.
JULES
Why the 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
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 mother in'
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 .
And I want you to know I think it's
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)
.
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, mother er! We gotta get
this car off the road. Cops tend
to notice like you're driving
a car drenched in in' 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
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 . 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
on a cellular in'
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
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 in' 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 . 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 , he can stick his
favor straight .
When Vincent is finished drying his hands, the towel is
stained with red.
JULES
What the 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 in' Maxie
pad. Look, it, alright. Who
cares? But it's 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 . Me an'
Vincent woulda been satisfied with
freeze-dried Tasters Choice. You
spring this gourmet in' 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 ' ood it is. When
Bonnie goes shoppin;, she buys
. 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
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
storage?"
Jules starts to "Jimmie" him --
JIMMIE
-- answer to question. Did you see
a sign out in front of my house
that said, "Dead 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 s ain't
my in' 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 -- in' divorced.
And I don't wanna get in'
divorced. The last time me an'
Bonnie talked about was
gonna be the last time me an'
Bonnie talked about . 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 in' 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 out of my
house.
JULES
That's all we want. We don't wanna
up , 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 in' 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 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 in' 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' 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
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
mother in' "ifs." What I wanna
hear from your ass is: "you ain't
got no problems, Jules. I'm on the
mother er. Go back in there,
chill them s out and wait for
the cavalry, which should be comin'
directly."
MARSELLUS
You ain't got no problems, Jules.
I'm on the mother er. Go back
in there, chill them s out
and wait for The Wolf, who should
be comin' directly.
JULES
You sendin' The Wolf?
MARSELLUS
Feel better?
JULES
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 RS 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 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
mother er's tip-top.
THE WOLF
Good enough, let's go back to the