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Vincent Vega and Marsellus Wallace's Wife

In a virtually empty cocktail lounge, aging prizefighter Butch Coolidge (Bruce Willis) accepts a large sum of money from Marsellus (Ving Rhames), agreeing to take a dive in his upcoming match. Butch and Vincent briefly cross paths as Vincent and Jules—now inexplicably dressed in T-shirts and shorts—arrive to deliver the briefcase. The next day, Vincent drops by the house of Lance (Eric Stoltz) and Jody (Rosanna Arquette) to score some high-grade heroin. He shoots up before driving over to meet Mrs. Mia Wallace (Uma Thurman) and take her out. They head to Jack Rabbit Slim's, a 1950s-themed restaurant staffed by lookalikes of the decade's pop icons. Mia recounts her experience as an actress in a failed television pilot, "Fox Force Five."

After participating in a twist contest, they return to the Wallace house with the trophy. While Vincent is in the bathroom convincing himself not to act on his growing attraction to his boss's wife, Mia finds Vincent's stash of heroin in the pocket of his coat. Mistaking it for cocaine, she snorts it and overdoses. Vincent finds her and fearfully rushes her to Lance's house for help. Together, they administer an adrenaline shot to Mia's heart, reviving her. Before parting ways, Mia and Vincent agree not to tell Marsellus of the incident, fearing what he might do to them.

Television time for young Butch (Chandler Lindauer) is interrupted by the arrival of Vietnam veteran Captain Koons (Christopher Walken). Koons explains that he has brought a gold watch, passed down through generations of Coolidge men since World War I. Butch's father died in a POW camp of dysentery, and at his dying request Koons hid the watch in his rectum for two years in order to deliver it to Butch. A bell rings, startling the adult Butch out of this reverie. He is in his boxing colors—it is time for the fight he has been paid to throw.

Jules's Bible passage

Jules ritually recites what he describes as a biblical passage, Ezekiel 25:17, before he executes someone. We hear the passage three times—in the introductory sequence in which Jules and Vincent reclaim Marsellus's briefcase from the doomed Brett; that same recitation a second time, at the beginning of "The Bonnie Situation", which overlaps the end of the earlier sequence; and in the epilogue at the diner. The first version of the passage is as follows:

“

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 goodwill 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 thee.

”

The second version, from the diner scene, is identical except for the final line: "And you will know I am the Lord when I lay my vengeance upon you."

While the final two sentences of Jules's speech are similar to the actual cited passage, the first two are fabricated from various biblical phrases.[164] The text of Ezekiel 25 preceding verse 17 indicates that God's wrath is retribution for the hostility of the Philistines. In the King James version from which Jules's speech is adapted, Ezekiel 25:17 reads in its entirety, "And I will execute great vengeance upon them with furious rebukes; and they shall know that I am the LORD, when I shall lay my vengeance upon them."[165] Tarantino's primary inspiration for the speech was the work of Japanese martial arts star Sonny Chiba. Its text derives from an almost identical creed used in either or both the Chiba movies Bodigaado Kiba (Bodyguard Kiba or The Bodyguard; 1973) and Karate Kiba (The Bodyguard; 1976).[166] In the 1980s television series Kage no Gundan (Shadow Warriors), Chiba's character would lecture the villain-of-the-week about how the world must be rid of evil before killing him.[167] A killer delivers a similar biblical rant in Modesty Blaise, the hardback but pulp-style novel Vincent is shown with in two scenes.[168]

Two critics who have analyzed the role of the speech find different ties between Jules's transformation and the issue of postmodernity. Gormley argues that unlike the film's other major characters—Marsellus aside—Jules is

linked to a "thing" beyond postmodern simulation.... [T]his is perhaps most marked when he moves on from being a simulation of a Baptist preacher, spouting Ezekiel because it was "just a cool thing to say...." In his conversion, Jules is shown to be cognizant of a place beyond this simulation, which, in this case, the film constructs as God.[169]

Adele Reinhartz writes that the "depth of Jules's transformation" is indicated by the difference in his two deliveries of the passage: "In the first, he is a majestic and awe-inspiring figure, proclaiming the prophecy with fury and self-righteousness.... In the second...he appears to be a different sort of man altogether.... [I]n true postmodern fashion, [he] reflects on the meaning of his speech and provides several different ways that it might pertain to his current situation."[170] Similar to Gormley, Conard argues that as Jules reflects on the passage, it dawns on him "that it refers to an objective framework of value and meaning that is absent from his life"; to Conard, this contrasts with the film's prevalent representation of a nihilistic culture.[171] Rosenbaum finds much less in Jules's revelation: "[T]he spiritual awakening at the end of Pulp Fiction, which Jackson performs beautifully, is a piece of jive avowedly inspired by kung-fu movies. It may make you feel good, but it certainly doesn't leave you any wiser."[172]

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