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

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:

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:

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.

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.

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.

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.