"PULP FICTION"

                                            By

                             Quentin Tarantino & Roger Avary

                

               PULP [pulp] n.

               1. A soft, moist, shapeless mass or matter.

               2. A magazine or book containing lurid subject matter and 
               being characteristically printed on rough, unfinished paper.

               American Heritage Dictionary: New College Edition

               INT. COFFEE SHOP  MORNING

               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 
                         omelet, 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
                         Then you got the idea to take 
                         everybody's wallet.

                                     YOUNG WOMAN
                         Uh-huh.

                                     YOUNG MAN
                         That was a good idea.

                                     YOUNG WOMAN
                         Thanks.

                                     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 
               tired 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"

               INT. '74 CHEVY (MOVING)  MORNING

               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
                         Le Big Mac. 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:

               INT. CHEVY (TRUNK)  MORNING

               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:

               EXT. APARTMENT BUILDING COURTYARD  MORNING

               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.

               INT. RECEPTION AREA (APARTMENT BUILDING)  MORNING

               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.

               INT. ELEVATOR  MORNING

                                     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.

               INT. APARTMENT BUILDING HALLWAY  MORNING

               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 foot fuckin' 
                         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.

               INT. APARTMENT (ROOM 49)  MORNING

               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
                         How you boys doin'?

               No answer.

                                     JULES
                              (to Brett)
                         Am I trippin', or did I just ask you 
                         a question.

                                     BRETT
                         We're doin' okay.

               As Jules and Brett talk, Vincent moves behind the young Guys.

                                     JULES
                         Do you know who we are?

               Brett shakes his head: "No."

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

               No answer.

                                     JULES
                              (to Brett)
                         Now I'm gonna take a wild guess here: 
                         you're Brett, right?

                                     BRETT
                         I'm Brett.

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

                                     BRETT
                         I remember him.

                                     JULES
                         Good for you. Looks like me and 
                         Vincent caught you at breakfast, 
                         sorry 'bout that.  What'cha eatin'?

                                     BRETT
                         Hamburgers.

                                     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 bed.

               Vincent moves to the bed, 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 how sorry we 
                         are about how fucked up things got 
                         between us and Mr. Wallace. When we 
                         entered into this thing, we only had 
                         the best intentions 

               As Brett talks, Jules takes out his gun and SHOOTS Roger 
               three times in the chest, BLOWING him out of his chair.

               Vince smiles to himself. Jules has got style.

               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 that 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, let me retort. Would 
                         you describe for me what Marsellus 
                         Wallace looks like?

               Brett still can't speak.

               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 know! Do 
                         they speak English in "What?"

                                     BRETT
                              (near heart attack)
                         What?

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

                                     BRETT
                         Yes.

                                     JULES
                         Then you understand what I'm sayin'?

                                     BRETT
                         Yes.

                                     JULES
                         Now describe what Marsellus Wallace 
                         looks like!

                                     BRETT
                              (out of fear)
                         What?

               Jules takes his .45 and PRESSES the barrel HARD in Brett's 
               cheek.

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

               Brett is regressing on the spot.

                                     JULES
                         Now describe to me what Marsellus 
                         Wallace looks like!

               Brett does his best.

                                     BRETT
                         Well 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' eyes go to Vincent, Vincent smirks, Jules rolls his 
               eyes and SHOOT 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 ya did Brett. Ya tried ta fuck 
                         'im.  You ever read the Bible, Brett?

                                     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.

               AGAINST BLACK, TITLE CARD:

                       "VINCENT VEGA AND MARSELLUS WALLACE'S WIFE"

               FADE IN:

               MEDIUM SHOT  BUTCH COOLIDGE

               We FADE UP on BUTCH COOLIDGE, a white, 26-year-old 
               prizefighter.  Butch sits at a table wearing a red and blue 
               high school athletic jacket. Talking to him OFF SCREEN is 
               everybody's boss MARSELLUS WALLACE. The black man sounds 
               like a cross between a gangster and a king.

                                     MARSELLUS (O.S.)
                         I think you're gonna find  when all 
                         this shit is over and done  I think 
                         you're gonna find yourself one smilin' 
                         motherfucker. Thing is Butch, right 
                         now you got ability. But painful as 
                         it may be, ability don't last. Now 
                         that's a hard motherfuckin' fact of 
                         life, but it's a fact of life your 
                         ass is gonna hafta git realistic 
                         about. This business is filled to 
                         the brim with unrealistic 
                         motherfuckers who thought their ass 
                         aged like wine.  Besides, even if 
                         you went all the way, what would you 
                         be? Feather-weight champion of the 
                         world. Who gives a shit? I doubt you 
                         can even get a credit card based on 
                         that.

               A hand lays an envelope full of money on the table in front 
               of Butch. Butch picks it up.

                                     MARSELLUS (O.S.)
                         Now the night of the fight, you may 
                         fell a slight sting, that's pride 
                         fuckin' wit ya.  Fuck pride! Pride 
                         only hurts, it never helps. Fight 
                         through that shit. 'Cause a year 
                         from now, when you're kickin' it in 
                         the Caribbean you're gonna say, 
                         "Marsellus Wallace was right."

                                     BUTCH
                         I got no problem with that.

                                     MARSELLUS (O.S.)
                         In the fifth, your ass goes down.

               Butch nods his head: "yes."

                                     MARSELLUS (O.S.)
                         Say it!

                                     BUTCH
                         In the fifth, my ass goes down.

                                                                    CUT TO:

               INT. CAR (MOVING)  DAY

               Vincent Vega looks really cool behind the wheel of a 1964 
               cherry red Chevy Malibu convertible. From the car radio, 
               ROCKABILLY MUSIC PLAYS. The b.g. is a COLORFUL PROCESS SHOT.

               EXT. SALLY LEROY'S  DAY

               Sally LeRoy's is a large topless bar by LAX that Marsellus 
               owns.

               Vincent's classic Malibu WHIPS into the near empty parking 
               lot and parks next to a white Honda Civic.

               Vince knocks on the door. The front entrance is unlocked, 
               revealing the Dapper Dan fellow on the inside: ENGLISH DAVE. 
               Dave isn't really English, he's a young black man from Baldwin 
               Park, who has run a few clubs for Marsellus, including Sally 
               LeRoy's.

                                     ENGLISH DAVE
                         Vincent Vega, our man in Amsterdam, 
                         git your ass on in here.

               Vincent, carrying the black briefcase from the scene between 
               Vincent and Jules, steps inside. English Dave SLAMS the door 
               in our faces.

               INT. SALLY LEROY'S  DAY

               The spacious club is empty this time of day. English Dave 
               crosses to the bar, and Vince follows.

                                     VINCENT
                         Where's the big man?

                                     ENGLISH DAVE
                         He's over there, finishing up some 
                         business.

               VINCENT'S POV: Butch shakes hands with a huge figure with 
               his back to us. The huge figure is the infamous and as of 
               yet still UNSEEN Marsellus.

                                     ENGLISH DAVE (O.S.)
                         Hang back for a second or two, and 
                         when you see the white boy leave, go 
                         on over.  In the meanwhile, can I 
                         make you an espresso?

                                     VINCENT
                         How 'bout a cup of just plain lo' 
                         American?

                                     ENGLISH DAVE
                         Comin' up. I hear you're taking Mia 
                         out tomorrow?

                                     VINCENT
                         At Marsellus' request.

                                     ENGLISH DAVE
                         Have you met Mia?

                                     VINCENT
                         Not yet.

               English Dave smiles to himself.

                                     VINCENT
                         What's so funny?

                                     ENGLISH DAVE
                         Not a goddamn thing.

                                     VINCENT
                         Look, I'm not a idiot. She's the big 
                         man's fuckin' wife. I'm gonna sit 
                         across a table, chew my food with my 
                         mouth closed, laugh at her jokes and 
                         that's all I'm gonna do.

               English Dave puts Vince's coffee in front of him.

                                     ENGLISH DAVE
                         My name's Paul, and this is between 
                         y'all.

               Butch bellies up to the bar next to Vincent, drinking his 
               cup of "Plain ol' American."

                                     BUTCH
                              (to English Dave)
                         Can I get a pack'a Red Apples?

                                     ENGLISH DAVE
                         Filters?

                                     BUTCH
                         Non.

               While Butch waits for his smokes, Vincent just sips his 
               coffee, staring at him. Butch looks over at him.

                                     BUTCH
                         Lookin' at somethin', friend?

                                     VINCENT
                         I ain't your friend, palooka.

               Butch does a slow turn toward Vincent.

                                     BUTCH
                         What was that?

                                     VINCENT
                         I think ya heard me just fine, punchy.

               Butch turns his body to Vincent, when...

                                     MARSELLUS (O.S.)
                         Vincent Vega has entered the building, 
                         git your ass over here!

               Vincent walks forward OUT OF FRAME, never giving Butch another 
               glance. We DOLLY INTO CU on Butch, left alone in the FRAME, 
               looking like he's ready to go into the manners-teaching 
               business.

               BUTCH'S POV: Vincent hugging and kissing the obscured figure 
               that is Marsellus.

               Butch makes the wise decision that is this asshole's a friend 
               of Marsellus, he better let it go  for now.

                                     ENGLISH DAVE (O.S.)
                         Pack of Red Apples, dollar-forty.

               Butch is snapped out of his ass-kicking thoughts. He pays 
               English Dave and walks out of the SHOT.

                                                               DISSOLVE TO:

               INT. LANCE'S HOUSE (KITCHEN)  NIGHT

               CLOSEUP  JODY

               A woman who appears to have a fondness for earrings. Both of 
               her ears are pierced five times. She also sports rings in 
               her lips, eyebrows and nose.

                                     JODY
                         ...I'll lend it to you. It's a great 
                         book on body piercing.

               Jody, Vincent and a young woman named TRUDI sit at the kitchen 
               table of a suburban house in Echo Park. Even though Vince is 
               at the same table, he's not included in the conversation.

                                     TRUDI
                         You know how they use that gun when 
                         they pierce your ears? They don't 
                         use that when they pierce your 
                         nipples, do they?

                                     JODY
                         Forget that gun. That gun goes against 
                         the entire idea behind piercing. All 
                         of my piercing, sixteen places on my 
                         body, every one of 'em done with a 
                         needle. Five in each ear. One through 
                         the nipple on my left breast. One 
                         through my right nostril.  One through 
                         my left eyebrow. One through my lip. 
                         One in my clit. And I wear a stud in 
                         my tongue.

               Vince has been letting this conversation go through one ear 
               and out the other, until that last remark.

                                     VINCENT
                              (interrupting)
                         Excuse me, sorry to interrupt. I'm 
                         curious, why would you get a stud in 
                         your tongue?

               Jody looks at him and says as if it were the most obvious 
               thing in the world.

                                     JODY
                         It's a sex thing. It helps fellatio.

               That thought never occurred to Vincent, but he can't deny it 
               makes sense. Jody continues talking to Trudi, leaving Vincent 
               to ponder the truth of her statement.

                                     LANCE (O.S.)
                         Vince, you can come in now!

               INT. LANCE'S BEDROOM  NIGHT

               Lance, late 20s, is a young man with a wild and woolly 
               appearance that goes hand-in-hand with his wild and woolly 
               personality. LANCE has been selling drugs his entire adult 
               life. He's never had a day job, never filed a tax return and 
               has never been arrested. He wears a red flannel shirt over a 
               "Speed Racer" tee-shirt.

               Three bags of heroin lie on Lance's bed.

               Lance and Vincent stand at the foot of the bed.

                                     LANCE
                         Now this is Panda, from Mexico. Very 
                         good stuff. This is Bava, different, 
                         but equally good. And this is Choco 
                         from the Hartz Mountains of Germany. 
                         Now the first two are the same, forty-
                         five an ounce  those are friend 
                         prices  but this one...
                              (pointing to the Choco)
                         ...this one's a little more expensive.  
                         It's fifty-five. But when you shoot 
                         it, you'll know where that extra 
                         money went.  Nothing wrong with the 
                         first two. It's real, real, real, 
                         good shit. But this one's a fuckin' 
                         madman.

                                     VINCENT
                         Remember, I just got back from 
                         Amsterdam.

                                     LANCE
                         Am I a nigger? Are you in Inglewood? 
                         No.  You're in my house. White people 
                         who know the difference between good 
                         shit and bad shit, this is the house 
                         they come to. My shit, I'll take the 
                         Pepsi Challenge with Amsterdam shit 
                         any ol' day of the fuckin' week.

                                     VINCENT
                         That's a bold statement.

                                     LANCE
                         This ain't Amsterdam, Vince. This is 
                         a seller's market. Coke is fuckin' 
                         dead as disco. Heroin's comin' back 
                         in a big fuckin' way. It's this whole 
                         seventies retro. Bell bottoms, heroin, 
                         they're as hot as hell.

               Vincent takes out a roll of money that would choke a horse 
               to death.

                                     VINCENT
                         Give me three hundred worth of the 
                         madman.  If it's as good as you say, 
                         I'll be back for a thousand.

                                     LANCE
                         I just hope I still have it. Whaddya 
                         think of Trudi? She ain't got a 
                         boyfriend, wanna hand out an' get 
                         high?

                                     VINCENT
                         Which one's Trudi? The one with all 
                         the shit in her face?

                                     LANCE
                         No, that's Jody. That's my wife.

               Vincent and Lance giggle at the "faux pas."

                                     VINCENT
                         I'm on my way somewhere. I got a 
                         dinner engagement. Rain check?

                                     LANCE
                         No problem?

               Vincent takes out his case of the works (utensils for shooting 
               up).

                                     VINCENT
                         You don't mind if I shoot up here?

                                     LANCE
                         Me casa, su casa.

                                     VINCENT
                         Mucho gracias.

               Vincent takes his works out of his case and, as the two 
               continue to talk, Vince shoots up.

                                     LANCE
                         Still got your Malibu?

                                     VINCENT
                         You know what some fucker did to it 
                         the other day?

                                     LANCE
                         What?

                                     VINCENT
                         Fuckin' keyed it.

                                     LANCE
                         Oh man, that's fucked up.

                                     VINCENT
                         Tell me about it. I had the goddamn 
                         thing in storage three years. It's 
                         out five fuckin' days  five days, 
                         and some dickless piece of shit fucks 
                         with it.

                                     LANCE
                         They should be fuckin' killed. No 
                         trial, no jury, straight to execution.

               As he cooks his heroin...

                                     VINCENT
                         I just wish I caught 'em doin' it, 
                         ya know?  Oh man, I'd give anything 
                         to catch 'em doin' it. It'a been 
                         worth his doin' it, if I coulda just 
                         caught 'em, you know what I mean?

                                     LANCE
                         It's chicken shit. You don't fuck 
                         another man's vehicle.

               CLOSEUP  THE NEEDLE

               Going into Vincent's vein.

               CLOSEUP  BLOOD

               Spurting back into the syringe, mixing with the heroin.

               CLOSEUP  VINCENT'S THUMB

               Pushing down on the plunger.

                                                                    CUT TO:

               EXT. MARSELLUS WALLACE'S HOUSE  NIGHT

               Vincent walks toward the house and pulls a note off the door

               CLOSEUP  NOTE

               The Note reads:

               "Hi Vincent, I'm getting dressed. The door's open. Come inside 
               and make yourself a drink.  Mia"

                                     MIA (V.O.)
                         Hi, Vincent. I'm getting dressed. 
                         The door's open. Come inside and 
                         make yourself a drink.

                                                              FADE TO WHITE

               Music in.

                                                                   FADE TO:

               INT. MARCELLUS' HOUSE / LIVING ROOM  NIGHT

               Vincent enters on the background.

                                     VINCENT
                         Hello?

               INT. MARCELLUS' HOUSE / DRESSING ROOM  NIGHT

               MIA, Marcellus' beautiful young wife. Video screens are in 
               the background. Dusty Springfield is singing "SON OF A 
               PREACHER MAN".

               Mia's mouth comes toward a microphone.

                                     MIA
                              (into microphone)
                         Vincent.

               INT. MARCELLUS' HOUSE / LIVING ROOM  NIGHT

               Vincent turns.

                                     MIA
                              (over intercom)
                         Vincent. I'm on the intercom.

               INT. MARCELLUS' HOUSE / DRESSING ROOM  NIGHT

                                     MIA
                              (into microphone)
                         It's on the wall by the two African 
                         fellas.

               INT. MARCELLUS' HOUSE / LIVING ROOM  NIGHT

                                     MIA
                              (over intercom)
                         To your right.

               Vincent walks.

                                     MIA
                         ...warm. Warmer. Disco.

               Vincent finds the intercom on the wall.

                                     VINCENT
                         Hello.

                                     MIA
                              (over intercom)
                         Push the button if you want to talk.

                                     VINCENT
                              (into intercom)
                         Hello.

               INT. MARCELLUS' HOUSE / DRESSING ROOM  NIGHT

                                     MIA
                              (into microphone)
                         Go make yourself a drink., and I'll 
                         be down in two shakes of a lamb's 
                         tail.

               INT. MARCELLUS' HOUSE / LIVING ROOM  NIGHT

                                     MIA
                              (over intercom)
                         The bar's by the fireplace.

                                     VINCENT
                              (into intercom)
                         Okay.
                              (licks lips)

               INT. MARCELLUS' HOUSE / DRESSING ROOM  NIGHT

               A video screen with an image of Vincent, walking. The Dusty 
               Springfield song continues.

               Mia turns a knob which controls the movement of the video 
               camera in Marcellus' living room.

               INT. MARCELLUS' HOUSE / LIVING ROOM  NIGHT

               Vincent picks up a bottle of scotch. He sniffs the bottle, 
               and then pours it into a glass.

               INT. MARCELLUS' HOUSE / DRESSING ROOM  NIGHT

               A razor blade cuts cocaine on a mirror.

               INT. MARCELLUS' HOUSE / LIVING ROOM  NIGHT

               Vincent drinks a glass of scotch.

               INT. MARCELLUS' HOUSE / DRESSING ROOM  NIGHT

               Mia sniffs the cocaine.

               INT. MARCELLUS' HOUSE / LIVING ROOM  NIGHT

               Vincent sips the drink and looks at a portrait of Mia on the 
               wall.

               Mia walks into the room, and takes the needle off a record. 
               The Dusty Springfield song stops.

                                     MIA
                         Let's go.

               EXT. JACKRABBIT SLIM'S  NIGHT

               In the past six years, 50's diners have sprung up all over 
               L.A., giving Thai restaurants a run for their money. They're 
               all basically the same. Decor out of an "Archie" comic book, 
               Golden Oldies constantly emanating from a bubbly Wurlitzer, 
               saucy waitresses in bobby socks, menus with items like the 
               Fats Domino Cheeseburger, or the Wolfman Jack Omelet, and 
               over prices that pay for all this bullshit.

               But then there's JACKRABBIT SLIM'S, the big mama of 50's 
               diners.

               Either the best or the worst, depending on your point of 
               view.

               Vincent's Malibu pulls up to the restaurant. A big sign with 
               a neon figure of a cartoon surly cool cat jackrabbit in a 
               red windbreaker towers over the establishment. Underneath 
               the cartoon is the name: JACKRABBIT SLIM'S. Underneath that 
               is the slogan: "Next best thing to a time machine."

                                     VINCENT
                         What the fuck is this place?

                                     MIA
                         This is Jackrabbit Slim's. An Elvis 
                         man should love it.

                                     VINCENT
                         Come on, Mia, let's go get a steak.

                                     MIA
                         You can get a steak here, daddy-o. 
                         Don't be a...

               Mia draws a square with her hands. Dotted lines appear on 
               the screen, forming a sqaure. The lines disperse.

                                     VINCENT
                         After you, kitty-cat.

               INT. JACKRABBIT SLIM'S  NIGHT

               Compared to the interior, the exterior was that of a quaint 
               English pub. Posters from 50's A.I.P. movies are all over 
               the wall

               ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF 
               THE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths that 
               the patrons sit in are made out of the cut up bodies of 50s 
               cars.

               In the middle of the restaurant in a dance floor. A big sign 
               on the wall states, "No shoes allowed." Some wannabe beboppers 
               (actually Melrose-types), do the twist in their socks or 
               barefeet.

               The picture windows don't look out the street, but instead, 
               B & W movies of 50's street scenes play behind them. The 
               WAITRESSES and WAITERS are made up as replicas of 50's icons: 
               MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and 
               LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing 
               appropriate costumes.

               Vincent and Mia study the menu in a booth made out of a red 
               '59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting 
               a big button on his chest that says: "Hi I'm Buddy, pleasing 
               you please me."

                                     BUDDY
                         Hi, I'm Buddy, what can I get'cha?

                                     VINCENT
                         I'll have the Douglas Sirk steak.

                                     BUDDY
                         How d'ya want it, burnt to a crisp, 
                         or bloody as hell?

                                     VINCENT
                         Bloody as hell. And to drink, a 
                         vanilla coke.

                                     BUDDY
                         How 'bout you, Peggy Sue?

                                     MIA
                         I'll have the Durwood Kirby burger  
                         bloody  and a five-dollar shake.

                                     BUDDY
                         How d'ya want that shake, Martin and 
                         Lewis, or Amos and Andy?

                                     MIA
                         Martin and Lewis.

                                     VINCENT
                         Did you just order a five-dollar 
                         shake?

                                     MIA
                         Sure did.

                                     VINCENT
                         A shake? Milk and ice cream?

                                     MIA
                         Uh-huh.

                                     VINCENT
                         It costs five dollars?

                                     BUDDY
                         Yep.

                                     VINCENT
                         You don't put bourbon in it or 
                         anything?

                                     BUDDY
                         Nope.

                                     VINCENT
                         Just checking.

               Buddy exits.

               Vincent takes a look around the place. The YUPPIES are 
               dancing, the DINERS are biting into big, juicy hamburgers, 
               and the icons are playing their parts. Marilyn is squealing, 
               The Midget is paging Philip Morris, Donna Reed is making her 
               customers drink their milk, and Dean and Jerry are acting a 
               fool.

                                     MIA
                         Whaddya think?

                                     VINCENT
                         It's like a wax museum with a pulse 
                         rate.

               Vincent takes out his pouch of tobacco and begins rolling 
               himself a smoke.

               After a second of watching him 

                                     MIA
                         What are you doing?

                                     VINCENT
                         Rollin' a smoke.

                                     MIA
                         Here?

                                     VINCENT
                         It's just tobacco.

                                     MIA
                         Oh. Well in that case, will you roll 
                         me one, cowboy?

               As he finishes licking it 

                                     VINCENT
                         You can have this one, cowgirl.

               He hands her the rolled smoke. She takes it, putting it to 
               her lips. Out of nowhere appears a Zippo lighter in Vincent's 
               hand. He lights it.

                                     MIA
                         Thanks.

                                     VINCENT
                         Think nothing of it.

               He begins rolling one for himself.

               As this time, the SOUND of a subway car fills the diner, 
               making everything SHAKE and RATTLE. Marilyn Monroe runs to a 
               square vent in the floor. An imaginary subway train BLOWS 
               the skirt of her white dress around her ears as she lets out 
               a squeal. The entire restaurant applauds.

               Back to Mia and Vincent.

                                     MIA
                         Marsellus said you just got back 
                         from Amsterdam.

                                     VINCENT
                         Sure did. I heard you did a pilot.

                                     MIA
                         That was my fifteen minutes.

                                     VINCENT
                         What was it?

                                     MIA
                         It was show about a team of female 
                         secret agents called "Fox Force Five."

                                     VINCENT
                         What?

                                     MIA
                         "Fox Force Five." Fox, as in we're a 
                         bunch of foxy chicks. Force, as in 
                         we're a force to be reckoned with. 
                         Five, as in there's one... two ... 
                         three... four... five of us. There 
                         was a blonde one, Sommerset O'Neal 
                         from that show "Baton Rouge," she 
                         was the leader. A Japanese one, a 
                         black one, a French one and a brunette 
                         one, me.  We all had special skills. 
                         Sommerset had a photographic memory, 
                         the Japanese fox was a kung fu master, 
                         the black girl was a demolition 
                         expert, the French fox' specialty 
                         was sex...

                                     VINCENT
                         What was your specialty?

                                     MIA
                         Knives. The character I played, Raven 
                         McCoy, her background was she was 
                         raised by circus performers. So she 
                         grew up doing a knife act. According 
                         to the show, she was the deadliest 
                         woman in the world with a knife. But 
                         because she grew up in a circus, she 
                         was also something of an acrobat. 
                         She could do illusions, she was a 
                         trapeze artist  when you're keeping 
                         the world safe from evil, you never 
                         know when being a trapeze artist's 
                         gonna come in handy. And she knew a 
                         zillion old jokes her grandfather, 
                         an old vaudevillian, taught her. If 
                         we woulda got picked up, they woulda 
                         worked in a gimmick where every 
                         episode I woulda told and ol joke.

                                     VINCENT
                         Do you remember any of the jokes?

                                     MIA
                         Well I only got the chance to say 
                         one, 'cause we only did one show.

                                     VINCENT
                         Tell me.

                                     MIA
                         No. It's really corny.

                                     VINCENT
                         C'mon, don't be that way.

                                     MIA
                         No. You won't like it and I'll be 
                         embarrassed.

                                     VINCENT
                         You told it in front of fifty million 
                         people and you can't tell it to me? 
                         I promise I won't laugh.

                                     MIA
                              (laughing)
                         That's what I'm afraid of.

                                     VINCENT
                         That's not what I meant and you know 
                         it.

                                     MIA
                         You're quite the silver tongue devil, 
                         aren't you?

                                     VINCENT
                         I meant I wouldn't laugh at you.

                                     MIA
                         That's not what you said Vince. Well 
                         now I'm definitely not gonna tell 
                         ya, 'cause it's been built up too 
                         much.

                                     VINCENT
                         What a gyp.

               Buddy comes back with the drinks. Mia wraps her lips around 
               the straw of her shake.

                                     MIA
                         Yummy!

                                     VINCENT
                         Can I have a sip of that? I'd like 
                         to know what a five-dollar shake 
                         tastes like.

                                     MIA
                         Be my guest.

               She slides the shake over to him.

                                     MIA
                         You can use my straw, I don't have 
                         kooties.

               Vincent smiles.

                                     VINCENT
                         Yeah, but maybe I do.

                                     MIA
                         Kooties I can handle.

               He takes a sip.

                                     VINCENT
                         Goddamn! That's a pretty fuckin' 
                         good milk shake.

                                     MIA
                         Told ya.

                                     VINCENT
                         I don't know if it's worth five 
                         dollars, but it's pretty fuckin' 
                         good.

               He slides the shake back.

               Then the first of an uncomfortable silence happens.

                                     MIA
                         Don't you hate that?

                                     VINCENT
                         What?

                                     MIA
                         Uncomfortable silences. Why do we 
                         feel it's necessary to yak about 
                         bullshit in order to be comfortable?

                                     VINCENT
                         I don't know.

                                     MIA
                         That's when you know you found 
                         somebody special. When you can just 
                         shit the fuck up for a minute, and 
                         comfortably share silence.

                                     VINCENT
                         I don't think we're there yet. But 
                         don't feel bad, we just met each 
                         other.

                                     MIA
                         Well I'll tell you what, I'll go to 
                         the bathroom and powder my nose, 
                         while you sit here and think of 
                         something to say.

                                     VINCENT
                         I'll do that.

               INT. JACKRABBIT SLIM'S (LADIES ROOM)  NIGHT

               Mia powders her nose by doing a big line of coke off the 
               bathroom sink. Her head jerks up from the rush.

                                     MIA
                              (imitating Steppenwolf)
                         I said goddamn!

               INT. JACKRABBIT SLIM'S (DINING AREA)  NIGHT

               Vincent digs into his Douglas Sirk steak. As he chews, his 
               eyes scan the Hellsapopinish restaurant.

               Mia comes back to the table.

                                     MIA
                         Don't you love it when you go to the 
                         bathroom and you come back to find 
                         your food waiting for you?

                                     VINCENT
                         We're lucky we got it at all. Buddy 
                         Holly doesn't seem to be much of a 
                         waiter. We shoulda sat in Marilyn 
                         Monroe's section.

                                     MIA
                         Which one, there's two Marilyn 
                         Monroes.

                                     VINCENT
                         No there's not.

               Pointing at Marilyn in the white dress serving a table.

                                     VINCENT
                         That's Marilyn Monroe...

               Then, pointing at a BLONDE WAITRESS in a tight sweater and 
               capri pants, taking an order from a bunch of FILM GEEKS 

                                     VINCENT
                         ... and that's Mamie Van Doren. I 
                         don't see Jayne Mansfield, so it 
                         must be her night off.

                                     MIA
                         Pretty smart.

                                     VINCENT
                         I have moments.

                                     MIA
                         Did ya think of something to say?

                                     VINCENT
                         Actually, there's something I've 
                         wanted to ask you about, but you 
                         seem like a nice person, and I didn't 
                         want to offend you.

                                     MIA
                         Oooohhhh, this doesn't sound like 
                         mindless, boring, getting-to-know-
                         you chit-chat. This sounds like you 
                         actually have something to say.

                                     VINCENT
                         Only if you promise not to get 
                         offended.

                                     MIA
                         You can't promise something like 
                         that. I have no idea what you're 
                         gonna ask. You could ask me what 
                         you're gonna ask me, and my natural 
                         response could be to be offended. 
                         Then, through no fault of my own, I 
                         woulda broken my promise.

                                     VINCENT
                         Then let's just forget it.

                                     MIA
                         That is an impossibility. Trying to 
                         forget anything as intriguing as 
                         this would be an exercise in futility.

                                     VINCENT
                         Is that a fact?

               Mia nods her head: "Yes."

                                     MIA
                         Besides, it's more exciting when you 
                         don't have permission.

                                     VINCENT
                         What do you think about what happened 
                         to Antwan?

                                     MIA
                         Who's Antwan?

                                     VINCENT
                         Tony Rocky Horror.

                                     MIA
                         He fell out of a window.

                                     VINCENT
                         That's one way to say it. Another 
                         way is, he was thrown out. Another 
                         was is, he was thrown out by 
                         Marsellus. And even another way is, 
                         he was thrown out of a window by 
                         Marsellus because of you.

                                     MIA
                         Is that a fact?

                                     VINCENT
                         No it's not, it's just what I heard.

                                     MIA
                         Who told you this?

                                     VINCENT
                         They.

               Mia and Vincent smile.

                                     MIA
                         They talk a lot, don't they?

                                     VINCENT
                         They certainly do.

                                     MIA
                         Well don't by shy Vincent, what 
                         exactly did they say?

               Vincent is slow to answer.

                                     MIA
                         Let me help you Bashful, did it 
                         involve the F-word?

                                     VINCENT
                         No. They just said Rocky Horror gave 
                         you a foot massage.

                                     MIA
                         And...?

                                     VINCENT
                         No and, that's it.

                                     MIA
                         You heard Marsellus threw Rocky Horror 
                         out of a four-story window because 
                         he massaged my feet?

                                     VINCENT
                         Yeah.

                                     MIA
                         And you believed that?

                                     VINCENT
                         At the time I was told, it seemed 
                         reasonable.

                                     MIA
                         Marsellus throwing Tony out of a 
                         four story window for giving me a 
                         foot massage seemed reasonable?

                                     VINCENT
                         No, it seemed excessive. But that 
                         doesn't mean it didn't happen. I 
                         heard Marsellus is very protective 
                         of you.

                                     MIA
                         A husband being protective of his 
                         wife is one thing. A husband almost 
                         killing another man for touching his 
                         wife's feet is something else.

                                     VINCENT
                         But did it happen?

                                     MIA
                         The only thing Antwan ever touched 
                         of mine was my hand, when he shook 
                         it. I met Anwan once  at my wedding 
                          then never again.  The truth is, 
                         nobody knows why Marsellus tossed 
                         Tony Rocky Horror out of that window 
                         except Marsellus and Tony Rocky 
                         Horror. But when you scamps get 
                         together, you're worse than a sewing 
                         circle.

                                                                    CUT TO:

               ED SULLIVAN AND MARILYN MONROE STAND ON STAGE

                                     ED SULLIVAN
                              (into microphone)
                         Ladies and gentlemen, now the moment 
                         you've all been waiting for, the 
                         worldfamous Jackrabbit Slim's twist 
                         contest.

               Patrons cheer.

               Ed Sullivan is with Marilyn Monroe, who holds a trophy.

                                     ED SULLIVAN
                         ...One lucky couple will win this 
                         handsome trophy that Marilyn here is 
                         holding.

               Marilyn holds the trophy.

                                     ED SULLIVAN
                         ...Now, who will be our first 
                         contestants?

               Mia holds her hand.

                                     MIA
                         Right here.

               Vincent reacts.

                                     MIA
                         I wanna dance.

                                     VINCENT
                         No, no, no no, no, no, no, no.

                                     MIA
                              (overlapping)
                         No, no, no, no, no, no, no. I do 
                         believe Marsellus, my husband, your 
                         boss, told you to take me out and do 
                         whatever I wanted, Now, I want to 
                         dance. I want to win. I want that 
                         trophy.

                                     VINCENT
                              (sighs)
                         All right.

                                     MIA
                         So, dance good.

                                     VINCENT
                         All right, you asked for it.

               Vincent and Mia walk onto the dance floor, toward Ed Sullivan.

                                     ED SULLIVAN
                              (into microphone)
                         Let's hear it for our first 
                         contestants.

               Patrons cheer.

               Vincent and Mia walk up to the microphone.

                                     ED SULLIVAN
                         Now let's meet our first contestants 
                         here this evening. Young lady, what 
                         is your name?

                                     MIA
                              (into microphone)
                         Missus Mia Wallace.

                                     ED SULLIVAN
                              (into microphone)
                         And, uh, how 'bout your fella here?

                                     MIA
                              (into microphone)
                         Vincent Vega.

                                     ED SULLIVAN
                              (into microphone)
                         All right, let's see what you can 
                         do. Take it away!

               Mia and Vincent dance to Chuck Berry's "YOU NEVER CAN TELL". 
               They make hand movements as they dance.

               INT. MARSELLUS WALLACE'S HOME  NIGHT

               The front door FLINGS open, and Mia and Vincent dance tango-
               style into the house, singing a cappella the song from the 
               previous scene. They finish their little dance, laughing.

               Then...

               The two just stand face to face looking at each other.

                                     VINCENT
                         Was than an uncomfortable silence?

                                     MIA
                         I don't know what that was.
                              (pause)
                         Music and drinks!

               Mia moves away to attend to both. Vincent hangs up his 
               overcoat on a big bronze coat rack in the alcove.

                                     VINCENT
                         I'm gonna take a piss.

                                     MIA
                         That was a little bit more information 
                         than I needed to know, but go right 
                         ahead.

               Vincent shuffles off to the john.

               Mia moves to her CD player, thumbs through a stack of CDs 
               and selects one: k.d. lang. The speakers BLAST OUT a high 
               energy country number, which Mia plays air-guitar to. She 
               dances her way around the room and finds herself by Vincent's 
               overcoat hanging on the rack. She touches its sleeve. It 
               feels good.

               Her hand hoes in its pocket and pulls out his tobacco pouch. 
               Like a little girl playing cowboy, she spreads the tobacco 
               on some rolling paper. Imitating what he did earlier, licks 
               the paper and rolls it into a pretty good cigarette. Maybe a 
               little too fat, but not bad for a first try. Mia thinks so 
               anyway. Her hand reaches back in the pocket and pulls out 
               his Zippo lighter. She SLAPS the lighter against her leg, 
               trying to light it fancy-style like Vince did. What do you 
               know, she did it! Mia's one happy clam. She triumphantly 
               brings the fat flame up to her fat smoke, lighting it up, 
               then LOUDLY SNAPS the Zippo closed.

               The Mia-made cigarette is brought up to her lips, and she 
               takes a long, cool drag. Her hand slides the Zippo back in 
               the overcoat pocket. But wait, her fingers touch something 
               else. Those fingers bring out a plastic bag with white powder 
               inside, the madman that Vincent bought earlier from Lance. 
               Wearing a big smile, Mia brings the bag of heroin up to her 
               face.

                                     MIA
                              (like you would say 
                              Bingo!)
                         Disco! Vince, you little cola nut, 
                         you've been holding out on me.

                                                                    CUT TO:

               INT. BATHROOM (MARSELLUS WALLACE'S HOUSE)  NIGHT

               Vincent stands at the sink, washing his hands, talking to 
               himself in the mirror.

                                     VINCENT
                         One drink and leave. Don't be rude, 
                         but drink your drink quickly, say 
                         goodbye, walk out the door, get in 
                         your car, and go down the road.

               LIVING ROOM

               Mia has the unbeknownst-to-her heroin cut up into big lines 
               on her glass top coffee table. Taking her trusty hundred 
               dollar bill like a human Dust-Buster, she quickly snorts the 
               fat line.

               CLOSEUP  MIA

               Her head JERKS back. Her hands go to her nose (which feels 
               like it's on fucking fire), something is terribly wrong. 
               Then... the rush hits...

               BATHROOM

               Vincent dries his hands on a towel while he continues his 
               dialogue with the mirror.

                                     VINCENT
                         ...It's a moral test of yourself, 
                         whether or not you can maintain 
                         loyalty. Because when people are 
                         loyal to each other, that's very 
                         meaningful.

               LIVING ROOM

               Mia is on all fours trying to crawl to the bathroom, but 
               it's like she's trying to crawl with the bones removed from 
               her knees. Blood begins to drip from Mia's nose. Then her 
               stomach gets into the act and she VOMITS.

               BATHROOM

               Vince continues.

                                     VINCENT
                         So you're gonna go out there, drink 
                         your drink, say "Goodnight, I've had 
                         a very lovely evening," go home, and 
                         jack off.  And that's all you're 
                         gonna do.

               Now that he's given himself a little pep talk, Vincent's 
               ready for whatever's waiting for him on the other side of 
               that door. So he goes through it.

               LIVING ROOM

               We follow behind Vincent as he walks from the bathroom to 
               the living room, where he finds Mia lying on the floor like 
               a rag doll. She's twisted on her back. Blood and puke are 
               down her front. And her face is contorted. Not out of the 
               tightness of pain, but just the opposite, the muscles in her 
               face are so relaxed, she lies still with her mouth wide open. 
               Slack-jawed.

                                     VINCENT
                         Jesus Christ!

               Vincent moves like greased lightning to Mia's fallen body. 
               Bending down where she lays, he puts his fingers on her neck 
               to check her pulse. She slightly stirs.

               Mia is aware of Vincent over her, speaking to her.

                                     VINCENT
                              (sounding weird)
                         Mia! MIA! What the hell happened?

               But she's unable to communicate Mia makes a few lost mumbles, 
               but they're not distinctive enough to be called words.

               Vincent props her eyelids open and sees the story.

                                     VINCENT
                              (to himself)
                         I'll be a son-of-a-bitch.
                              (to Mia)
                         Mia! MIA! What did you take? Answer 
                         me honey, what did you take?

               Mia is incapable of answering. He SLAPS her face hard.

               Vincent SPRINGS up and RUNS to his overcoat, hanging on the 
               rack.

               He goes through the pockets FRANTICALLY. It's gone. Vincent 
               makes a beeline to Mia. We follow.

                                     VINCENT
                              (yelling to Mia)
                         Okay honey, we're getting you on 
                         your feet.

               He reaches her and hoists the dead weight up in his arms.

                                     VINCENT
                         We're on our feet now, and now we're 
                         gonna talk out to the car. Here we 
                         go, watch us walk.

               We follow behind as he hurriedly walks the practically-
               unconscious Mia through the house and out the front door.

               EXT. VINCENT'S HOT ROD (MOVING)  NIGHT

               INSERT SPEEDOMETER: red needle on a hundred.

               Vincent driving like a madman in a town without traffic laws, 
               speeds the car into turns and up and over hills.

               INT.VINCENT'S HOT ROD (MOVING)  NIGHT

               Vincent, one hand firmly on the wheel, the other shifting 
               like Robocop, both eyes staring straight ahead except when 
               he glances over at Mia.

               Mia, slack-jawed expression, mouth gaping, posture of a bag 
               of water.

               Vincent takes a cellular phone out of his pocket. He punches 
               a number.

               INT. LANCE'S HOUSE  NIGHT

               At this late hour, LANCE has transformed from a bon vivant 
               drug dealer to a bathrobe creature.

               He sits in a big comfy chair, ratty blue gym pants, a worn-
               out but comfortable tee-shirt that has, written on it, "TAFT, 
               CALIFORNIA", and a moth-ridden terry cloth robe. In his hand 
               is a bowl of Cap'n Crunch with Crunch Berries. In front of 
               him on the coffee table is a jug of milk, the box the Cap'n 
               Crunch with Crunch Berries came out of, and a hash pipe in 
               an ashtray.

               On the big-screen TV in front of the table is the Three 
               Stooges, and they're getting married.

                                     PREACHER (EMIL SIMKUS)
                              (on TV)
                         Hold hands, you love birds.

               The phone RINGS.

               Lance puts down his cereal and makes his way to the phone.

               It RINGS again.

               Jody, his wife, CALLS from the bedroom, obviously woken up.

                                     JODY (O.S.)
                         Lance! The phone's ringing!

                                     LANCE
                              (calling back)
                         I can hear it!

                                     JODY (O.S.)
                         I thought you told those fuckin' 
                         assholes never to call this late!

                                     LANCE
                              (by the phone)
                         I told 'em and that's what I'm gonna 
                         tell this fuckin' asshole right now!
                              (he answers the phone)
                         Hello, do you know how late it is? 
                         You're not supposed to be callin' me 
                         this fuckin' late.

                                                                   BACK TO:

               VINCENT IN THE MALIBU

               Vincent is still driving like a stripe-assed ape, clutching 
               the phone to his ear. WE CUT BACK AND FORTH during the 
               conversation.

                                     VINCENT
                         Lance, this is Vincent, I'm in big 
                         fuckin' trouble man, I'm on my way 
                         to your place.

                                     LANCE
                         Whoa, hold you horses man, what's 
                         the problem?

                                     VINCENT
                         You still got an adrenaline shot?

                                     LANCE
                              (dawning on him)
                         Maybe.

                                     VINCENT
                         I need it man, I got a chick she's 
                         fuckin'  Doing on me.

                                     LANCE
                         Don't bring her here!  I'm not even 
                         fuckin' joking with you, don't you 
                         be bringing some fucked up pooh-butt 
                         to my house!

                                     VINCENT
                         No choice.

                                     LANCE
                         She's ODin'?

                                     VINCENT
                         Yeah. She's dyin'.

                                     LANCE
                         Then bite the fuckin' bullet, take 
                         'er to a hospital and call a lawyer!

                                     VINCENT
                         Negative.

                                     LANCE
                         She ain't my fuckin' problem, you 
                         fucked her up, you deal with it  
                         are you talkin' to me on a cellular 
                         phone?

                                     VINCENT
                         Sorry.

                                     LANCE
                         I don't know you, who is this, don't 
                         come here, I'm hangin' up.

                                     VINCENT
                         Too late, I'm already here.

               At that moment inside Lance's house, WE HEAR VINCENT's Malibu 
               coming up the street. Lance hangs up the phone, goes to his 
               curtains and YANKS the cord. The curtains open with a WHOOSH 
               in time to see Vincent's Malibu DRIVING UP on his front lawn 
               and CRASHING into his house. The window Lance is looking out 
               of SHATTERS from the impact.

                                     JODY (O.S.)
                         What the hell was that?

               Lance CHARGES from the window, out the door to his front 
               lawn.

               EXT. LANCE'S HOUSE  NIGHT

               Vincent is already out of the car, working on getting Mia 
               out.

                                     LANCE
                         Have you lost your mind?! You crashed 
                         your car in my fuckin' house! You 
                         talk about drug shit on a cellular 
                         fuckin' phone 

                                     VINCENT
                         If you're through havin' your little 
                         hissy fit, this chick is dyin', get 
                         your needle and git it now!

                                     LANCE
                         Are you deaf? You're not bringin' 
                         that fucked up bitch in my house!

                                     VINCENT
                         This fucked up bitch is Marsellus 
                         Wallace's wife. Now if she fuckin' 
                         croaks on me, I'm a grease spot. But 
                         before he turns me into a bar soap, 
                         I'm gonna be forced to tell 'im about 
                         how you coulda saved her life, but 
                         instead you let her die on your front 
                         lawn.

               INT. LANCE'S HOUSE  NIGHT

               WE START in Lance's and Jody's bedroom.

               Jody, in bed, throws off the covers and stands up. She's 
               wearing a long tee-shirt with a picture of Fred Flintstone 
               on it.

               We follow HANDHELD behind her as she opens the door, walking 
               through the hall into the living room.

                                     JODY
                         It's only one-thirty in the goddamn 
                         mornin'! What the fuck's goin' on 
                         out here?

               As she walks in the living room, she sees Vincent and Lance 
               standing over Mia, who's lying on the floor in the middle of 
               the room.

               From here on in, everything in this scene is frantic, like a 
               DOCUMENTARY in an emergency ward, with the big difference 
               here being nobody knows what the fuck they're doing.

                                     JODY
                         Who's she?

               Lance looks up at Jody.

                                     LANCE
                         Get that black box in the bedroom I 
                         have with the adrenaline shot.

                                     JODY
                         What's wrong with her?

                                     VINCENT
                         She's ODing on us.

                                     JODY
                         Well get her the hell outta here!

                                     LANCE AND VINCENT
                              (in stereo)
                         Get the fuckin' shot!

                                     JODY
                         Don't yell and me!

               She angrily turns and disappears into the bedroom looking 
               for the shot.

               WE MOVE into the room with the two men.

                                     VINCENT
                              (to Lance)
                         You two are a match made in heaven.

                                     LANCE
                         Look, just keep talkin' to her, okay?
                         While she's gettin' the shot, I gotta 
                         get a medical book.

                                     VINCENT
                         What do you need a medical book for?

                                     LANCE
                         To tell me how to do it. I've never 
                         given an adrenaline shot before.

                                     VINCENT
                         You've had that thing for six years 
                         and you never used it?

                                     LANCE
                         I never had to use it. I don't go 
                         joypoppin' with bubble-gummers, all 
                         of my friends can handle their highs!

                                     VINCENT
                         Well then get it.

                                     LANCE
                         I am, if you'll let me.

                                     VINCENT
                         I'm not fuckin' stoppin' you.

                                     LANCE
                         Stop talkin' to me, and start talkin' 
                         to her.

               WE FOLLOW Lance as he runs out of the living room into a...

               INT. SPARE ROOM

               With a bunch of junk in it. He frantically starts scanning 
               the junk for the book he's looking for, repeating the words, 
               "Come on," endlessly.

               From OFF SCREEN we hear:

                                     VINCENT (O.S.)
                         Hurry up man! We're losin' her!

                                     LANCE
                              (calling back)
                         I'm looking as fast as I can!

               Lance continues his frenzied search.

               WE HEAR Jody in the living room now as she talks to Vincent.

                                     JODY (O.S.)
                         What's he lookin' for?

                                     VINCENT (O.S.)
                         I dunno, some medical book.

               Jody calls to LANCE.

                                     JODY (O.S.)
                         What are you lookin' for?

                                     LANCE
                         My black medical book!

               As he continues searching, flipping and knocking over shit, 
               Jody appears in the doorway.

                                     JODY
                         Whata're you looking for?

                                     LANCE
                         My black fuckin' medical book. It's 
                         like a text book they give to nurses.

                                     JODY
                         I never saw a medical book.

                                     LANCE
                         Trust me, I have one.

                                     JODY
                         Well if it's that important, why 
                         didn't you keep it with the shot?

               Lance spins toward her.

                                     LANCE
                         I don't know! Stop bothering me!

                                     JODY
                         While you're lookin' for it, that 
                         girl's gonna die on our carpet. You're 
                         never gonna find it in all this shit.  
                         For six months now, I've been telling 
                         you to clean this room 

                                     VINCENT (O.S.)
                          get your ass in here, fuck the 
                         book!

               Lance angrily knocks over a pile of shit and leaves the SHOT 
               heading for the living room.

               LIVING ROOM

               Vincent is bent over Mia, talking softly to her, when Lance 
               reenters the room.

                                     VINCENT
                         Quit fuckin' around man and give her 
                         the shot!

               Lance bends down by the black case brought in by Jody. He 
               opens it and begins preparing the needle for injection.

                                     LANCE
                         While I'm doing this, take her shirt 
                         off and find her heart.

               Vince rips her blouse open.

               Jody stumbles back in the room, hanging back from the action.

                                     VINCENT
                         Does it have to be exact?

                                     LANCE
                         Yeah, it has to be exact! I'm giving 
                         her an injection in the heart, so I 
                         gotta exactly hit her in the heart.

                                     VINCENT
                         Well, I don't know exactly where her 
                         heart is, I think it's here.

               Vince points to Mia's right breast.  Lance glances over and 
               nods.

                                     LANCE
                         That's it.

               As Lance readies the injection, Vincent looks up at Jody.

                                     VINCENT
                         I need a big fat magic marker, got 
                         one?

                                     JODY
                         What?

                                     VINCENT
                         I need a big fat magic marker, any 
                         felt pen'll do, but a magic marker 
                         would be great.

                                     JODY
                         Hold on.

               Jody runs to the desk, opens the top drawer and, in her 
               enthusiasm, she pulls the drawer out of the desk, the contents 
               of which (bills, papers, pens) spill to the floor.

               The injection is ready. Lance hands Vincent the needle.

                                     LANCE
                         It's ready, I'll tell you what to 
                         do.

                                     VINCENT
                         You're gonna give her the shot.

                                     LANCE
                         No, you're gonna give her the shot.

                                     VINCENT
                         I've never does this before.

                                     LANCE
                         I've never done this before either, 
                         and I ain't starting now. You brought 
                         'er here, that means you give her 
                         the shot. The day I bring an ODing 
                         bitch to your place, then I gotta 
                         give her the shot.

               Jody hurriedly joins them in the huddle, a big fat red magic 
               marker in her hand.

                                     JODY
                         Got it.

               Vincent grabs the magic marker out of Jody's hand and makes 
               a big red dot on Mia's body where her heart is.

                                     VINCENT
                         Okay, what do I do?

                                     LANCE
                         Well, you're giving her an injection 
                         of adrenaline straight to her heart. 
                         But she's got a breast plate in front 
                         of her heart, so you gotta pierce 
                         through that. So what you gotta do 
                         is bring the needle down in a stabbing 
                         motion.

               Lance demonstrates a stabbing motion, which looks like "The 
               Shape" killing its victims in "HALLOWEEN".

                                     VINCENT
                         I gotta stab her?

                                     LANCE
                         If you want the needle to pierce 
                         through to her heart, you gotta stab 
                         her hard.

               Then once you do, push down on the plunger.

                                     VINCENT
                         What happens after that?

                                     LANCE
                         I'm curious about that myself.

                                     VINCENT
                         This ain't a fuckin' joke man!

                                     LANCE
                         She's supposed to come out of it 
                         like 
                              (snaps his fingers)
                          that.

               Vincent lifts the needle up above his head in a stabbing 
               motion.

               He looks down on Mia.

               Mia is fading fast. Soon nothing will help her.

               Vincent's eyes narrow, ready to do this.

                                     VINCENT
                         Count to three.

               Lance, on this knees right beside Vincent, does not know 
               what to expect.

                                     LANCE
                         One...

               RED DOT on Mia's body.

               Needle raised ready to strike.

                                     LANCE (O.S.)
                         ...two...

               Jody's face is alive with anticipation.

               NEEDLE in that air, poised like a rattler ready to strike.

                                     LANCE (O.S.)
                         ...three!

               The needle leaves frame, THRUSTING down hard.

               Vincent brings the needle down hard, STABBING Mia in the 
               chest.

               Mia's head is JOLTED from the impact.

               The syringe plunger is pushed down, PUMPING the adrenaline 
               out through the needle.

               Mia's eyes POP WIDE OPEN and she lets out a HELLISH cry of 
               the banshee. She BOLTS UP in a sitting position, needle stuck 
               in her chest  SCREAMING.

               Vincent, Lance and Jody, who were in sitting positions in 
               front of Mia, JUMP BACK, scared to death.

               Mia's scream runs out. She slowly starts taking breaths of 
               air.

               The other three, now scooted halfway across the room, shaken 
               to their bones, look to see if she's alright.

                                     LANCE
                         If you're okay, say something.

               Mia, still breathing, not looking up at them, says in a 
               relatively normal voice.

                                     MIA
                         Something.

               Vincent and Lance collapse on their backs, exhausted and 
               shaking from how close to death Mia came.

                                     JODY
                         Anybody want a beer?

                                                                    CUT TO:

               INT. VINCENT'S MALIBU (MOVING)  NIGHT

               Vincent is behind the wheel driving Mia home. No one says 
               anything, both are still too shaken.

               EXT. FRONT OF MARSELLUS WALLACE'S HOUSE  NIGHT

               The Malibu pulls up to the front. Mia gets out without saying 
               a word (still in a daze) and begins walking down the walkway 
               toward her front door.

                                     VINCENT (O.S.)
                         Mia!

               She turns around.

               Vincent's out of the car, standing on the walkway, a big 
               distance between the two.

                                     VINCENT
                         What are your thoughts on how to 
                         handle this?

                                     MIA
                         What's yours?

                                     VINCENT
                         Well I'm of the opinion that Marsellus 
                         can live his whole live and never 
                         ever hear of this incident.

               Mia smiles.

                                     MIA
                         Don't worry about it. If Marsellus 
                         ever heard of this, I'd be in as 
                         much trouble as you.

                                     VINCENT
                         I seriously doubt that.

                                     MIA
                         If you can keep a secret, so can I.

                                     VINCENT
                         Let's shake on it.

               The two walk toward each other, holding out their hands to 
               shake and shake they do.

                                     VINCENT
                         Mum's the word.

               Mia lets go of Vincent's hand and silently makes the see-no-
               evil, hear-no-evil, and speak-no-evil sign with her hands.

               Vincent smiles.

                                     VINCENT
                         If you'll excuse me, I gotta go home 
                         and have a heart attack.

               Mia giggles.

               Vincent turns to leave.

                                     MIA
                         You still wanna hear my "FOX FORCE 
                         FIVE" joke?

               Vincent turns around.

                                     VINCENT
                         Sure, but I think I'm still a little 
                         too petrified to laugh.

                                     MIA
                         Uh-huh. You won't laugh because it's 
                         not funny. But if you still wanna 
                         hear it, I'll tell it.

                                     VINCENT
                         I can't wait.

                                     MIA
                         Three tomatoes are walking down the 
                         street, a poppa tomato, a momma 
                         tomato, and a little baby tomato. 
                         The baby tomato is lagging behind 
                         the poppa and momma tomato. The poppa 
                         tomato gets mad, goes over to the 
                         momma tomato and stamps on him 
                              (stamps on the ground)
                          and says: catch up.

               They both smile, but neither laugh.

                                     MIA
                         See ya 'round, Vince.

               Mia turns and walks inside her house.

               CLOSEUP  VINCENT

               After Mia walks inside. Vincent continues to look at where 
               she was. He brings his hands to his lips and blows her a 
               kiss. Then exits FRAME leaving it empty. WE HEAR his Malibu 
               START UP and DRIVE AWAY.

                                                              FADE TO BLACK

               FADE UP On the cartoon "SPEED RACER."  Speed is giving a 
               detailed description of all the features on his race car 
               "The Mac-5," which he does at the beginning of every episode.

               OFF SCREEN we hear a WOMAN'S VOICE... .

                                     WOMAN'S VOICE (O.S.)
                         Butch.

                                                               DISSOLVE TO:

               BUTCH'S POV

               We're in the living room of a modest two bedroom house in 
               Alhambra, California, in the year 1972. BUTCH'S MOTHER, 35ish, 
               stands in the doorway leading into the living room. Next to 
               her is a man dressed in the uniform of an American Air Force 
               officer. The CAMERA is the perspective of a five-year old 
               boy.

                                     MOTHER
                         Butch, stop watching TV a second. We 
                         got a special visitor. Now do you 
                         remember when I told you your daddy 
                         dies in a P.O.W. camp?

                                     BUTCH (O.S.)
                         Uh-huh.

                                     MOTHER
                         Well this here is Capt. Koons. He 
                         was in the P.O.W. camp with Daddy.

               CAPT. KOONS steps inside the room toward the little boy and 
               bends down on one knee to bring him even with the boy's 
               eyeline. When Koons speaks, he speaks with a slight Texas 
               accent.

                                     CAPT. KOONS
                         Hello, little man. Boy I sure heard 
                         a bunch about you. See, I was a good 
                         friend of your Daddy's. We were in 
                         that Hanoi pit of hell over five 
                         years together.  Hopefully, you'll 
                         never have to experience this 
                         yourself, but when two men are in a 
                         situation like me and your Daddy 
                         were, for as long as we were, you 
                         take on certain responsibilities of 
                         the other. If it had been me who had 
                         not made it, Major Coolidge would be 
                         talkin' right now to my son Jim. But 
                         the way it worked out is I'm talkin' 
                         to you, Butch. I got somethin' for 
                         ya.

               The Captain pulls a gold wrist watch out of his pocket.

                                     CAPT. KOONS
                         This watch I got here was first 
                         purchased by your great-granddaddy. 
                         It was bought during the First World 
                         War in a little general store in 
                         Knoxville, Tennessee. It was bought 
                         by private Doughboy Ernie Coolidge 
                         the day he set sail for Paris. It 
                         was your great-granddaddy's war watch, 
                         made by the first company to ever 
                         make wrist watches. You see, up until 
                         then, people just carried pocket 
                         watches. Your great-granddaddy wore 
                         that watch every day he was in the 
                         war. Then when he had done his duty, 
                         he went home to your great-
                         grandmother, took the watch off his 
                         wrist and put it in an ol' coffee 
                         can. And in that can it stayed 'til 
                         your grandfather Dane Coolidge was 
                         called upon by his country to go 
                         overseas and fight the Germans once 
                         again. This time they called it World 
                         War Two. Your great-granddaddy gave 
                         it to your granddad for good luck.  
                         Unfortunately, Dane's luck wasn't as 
                         good as his old man's. Your granddad 
                         was a Marine and he was killed with 
                         all the other Marines at the battle 
                         of Wake Island. Your granddad was 
                         facing death and he knew it. None of 
                         those boys had any illusions about 
                         ever leavin' that island alive. So 
                         three days before the Japanese took 
                         the island, your 22-year old 
                         grandfather asked a gunner on an Air 
                         Force transport named Winocki, a man 
                         he had never met before in his life, 
                         to deliver to his infant son, who he 
                         had never seen in the flesh, his 
                         gold watch. Three days later, your 
                         grandfather was dead. But Winocki 
                         kept his word. After the war was 
                         over, he paid a visit to your 
                         grandmother, delivering to your infant 
                         father, his Dad's gold watch. This 
                         watch. This watch was on your Daddy's 
                         wrist when he was shot down over 
                         Hanoi. He was captured and put in a 
                         Vietnamese prison camp. Now he knew 
                         if the gooks ever saw the watch it'd 
                         be confiscated. The way your Daddy 
                         looked at it, that watch was your 
                         birthright. And he'd be damned if 
                         and slopeheads were gonna put their 
                         greasy yella hands on his boy's 
                         birthright. So he hid it in the one 
                         place he knew he could hide somethin'. 
                         His ass. Five long years, he wore 
                         this watch up his ass. Then when he 
                         died of dysentery, he gave me the 
                         watch. I hid with uncomfortable hunk 
                         of metal up my ass for two years. 
                         Then, after seven years, I was sent 
                         home to my family. And now, little 
                         man, I give the watch to you.

               Capt. Koons hands the watch to Butch. A little hand comes 
               into FRAME to accept it.

                                                                    CUT TO:

               INT. LOCKER ROOM  NIGHT

               The 27-year old Butch Coolidge is dressed in boxing regalia: 
               trunks, shoes and gloves. He lies on a table catching a few 
               zzzzzz's before his big fight. Almost as soon as WE CUT to 
               him, he wakes up with a start. Shaken by the bizarre memory, 
               he wipes his sweaty face with his boxing glove.

               His trainer KLONDIKE, an older fireplug, opens the door a 
               little, sticking his head in the room. Pandemonium seems to 
               be breaking out behind Klondike in the hallway.

                                     KLONDIKE
                         It's time, Butch.

                                     BUTCH
                         I'm ready.

               Klondike steps inside, closing the door on the WILD MOB 
               outside.

               He goes to the long yellow robe hanging on a hook. Butch 
               hops off the table and, without a word, Klondike helps him 
               on with the robe, which says on the back: "BATTLING BUTCH 
               COOLIDGE".

               The two men head for the door. Klondike opens the door for 
               Butch.

               As Butch steps into the hallway, the Crowd goes apeshit. 
               Klondike closes the door behind him, leaving us in the quiet, 
               empty locker room.

                                                              FADE TO BLACK

               TITLE CARD:

                                     "THE GOLD WATCH"

               We hear over the black and white title:

                                     SPORTSCASTER #1 (O.S.)
                          Well Dan, that had to be the 
                         bloodiest and, hands-down, the most 
                         brutal fight this city has ever seen.

               The SOUND of chaos in the b.g.

               FADE IN:

               EXT. ALLEY (RAINING)  NIGHT

               A taxi is parked in a dark alley next to an auditorium. The 
               sky is PISSIN' DOWN RAIN. WE SLOWLY DOLLY toward the parked 
               car. The SOUND of the CAR RADIO can be heard coming from 
               inside.

                                     SPORTSCASTER #1 (O.S.)
                         ...Coolidge was out of there faster 
                         than I've ever seen a victorious 
                         boxer vacate the ring. Do you think 
                         he knew Willis was dead?

                                     SPORTSCASTER #2 (O.S.)
                         My guess would be yes, Richard. I 
                         could see from my position here, the 
                         frenzy in his eyes give way to the 
                         realization of what he was doing. I 
                         think any man would've left the ring 
                         that fast.

                                                               DISSOLVE TO:

               INT. TAXI (PARKED/RAINING)  NIGHT

               Inside the taxi, behind the wheel, is a female cabbie named 
               ESMARELDA VILLALOBOS. A young woman, with Spanish looks, 
               sits parked, drinking a steaming hot cup of coffee out of a 
               white styrofoam cup.

               The Sportscasters continue their coverage.

                                     SPORTSCASTER #1 (O.S.)
                         Do you feel this ring death tragedy 
                         will have an effect on the world of 
                         boxing?

                                     SPORTSCASTER #2 (O.S.)
                         Oh Dan, a tragedy like this can't 
                         help but shake the world of boxing 
                         to its very foundation. But it's of 
                         paramount importance that during the 
                         sad weeks ahead, the eyes of the 
                         W.B.A. remain firmly fixed on the 

               CLICK  Esmarelda shuts off the radio.

               She takes a sip of coffee, then hears a NOISE behind her in 
               the alley. She sticks her head out of the car door to see:

               EXT. BOXING AUDITORIUM (RAINING)  NIGHT

               A window about three stories high opens on the auditorium-
               side of the alley. A gym bag is tossed out into a garbage 
               dumpster below the window. Then, Butch Coolidge, still dressed 
               in boxing trunks, shoes, gloves and yellow robe, LEAPS to 
               the dumpster below.

               ESMARELDA'S REACTION takes in the strangeness of this sight.

               Gym bag in hand, Butch CLIMBS out of the dumpster and RUNS 
               to the taxi. Before he climbs in, he takes off his robe and 
               throws it to the ground.

               INT. TAXI (PARKED / RAINING)  NIGHT

               Butch, soaking wet, naked except for trunks, shoes and gloves, 
               HOPS in the backseat, SLAMMING the door.

               Esmarelda, staring straight ahead, talks to Butch through 
               the rearview mirror:

                                     ESMARELDA
                              (Spanish accent)
                         Are you the man I was supposed to 
                         pick up?

                                     BUTCH
                         If you're the cab I called, I'm the 
                         guy you're supposed to pick up.

                                     ESMARELDA
                         Where to?

                                     BUTCH
                         Outta here.

               The ignition key is TWISTED. The engine ROARS to life.

               The meter is FLIPPED on.

               Esmarelda's bare foot STOMPS on the gas pedal.

               EXT. BOXING AUDITORIUM (RAINING)  NIGHT

               The cab WHIPS out of the alley, FISH-TAILING on the wet 
               pavement in front of the auditorium at a rapid pace.

               INT. WILLIS LOCKER ROOM (AUDITORIUM)  NIGHT

               Locker room door opens, English Dave fights his way through 
               the pandemonium which is going on outside in the hall, 
               shutting the door on the madness. Once inside, English Dave 
               takes time to adjust his suit and tie. Mia is standing by 
               the door. She sees Vincent with English Dave.

                                     VINCENT
                         Mia. How you doin'?

                                     MIA
                         Great. I never thanked you for the 
                         dinner.

               In the room, black boxer FLOYD RAY WILLIS lies on a table  
               dead.

               His face looks like he went dunking for bees. His TRAINER is 
               on his knees, head on Floyd's chest, crying over the body.

               The huge figure that is Marsellus Wallace stands at the table, 
               hand on the Trainer's shoulder, lending emotional support. 
               We still do not see Marsellus clearly, only that he is big.

               Mia sits in a chair at the far end of the room.

               Marsellus looks up, sees English Dave and walks over to him.

                                     MARSELLUS (O.S.)
                         What'cha got?

                                     ENGLISH DAVE
                         He booked.

                                     MARSELLUS (O.S.)
                         I'm prepared to scour the earth for 
                         this motherfucker. If Butch goes to 
                         Indo China, I want a nigger hidin' 
                         in a bowl of rice, ready to pop a 
                         cap in his ass.

                                     ENGLISH DAVE
                         I'll take care of it.

               INT. CAB (MOVING / RAINING)  NIGHT

               Butch gets one of his boxing gloves off.

               Esmeralda watches in the rearview mirror.

               He tries to roll down one of the backseat windows, but can't 
               find the roll bar.

                                     BUTCH
                         Hey, how do I open the window back 
                         here?

                                     ESMARELDA
                         I have to do it.

               She presses a button and the back window moves down. Butch 
               tosses his boxing glove out the window, then starts untying 
               the other one.

               Esmeralda can't keep quiet anymore.

                                     ESMARELDA
                         Hey, mister?

                                     BUTCH
                              (still working on the 
                              glove)
                         What?

                                     ESMARELDA
                         You were in that fight? The fight on 
                         the radio  you're the fighter?

               As he tosses his other glove out the window.

                                     BUTCH
                         Whatever gave you that idea?

                                     ESMARELDA
                         No c'mon, you're him, I know you're 
                         him, tell me you're him.

                                     BUTCH
                              (drying himself with 
                              a gym towel)
                         I'm him.

                                     ESMARELDA
                         You killed the other boxing man.

                                     BUTCH
                         He's dead?

                                     ESMARELDA
                         The radio said he was dead.

               He finished wiping himself down.

                                     BUTCH
                              (to himself)
                         Sorry 'bout that, Floyd.

               He tosses the towel out the window.

               Silence, as Butch digs in his bag for a t-shirt.

                                     ESMARELDA
                         What does it feel like?

                                     BUTCH
                              (finds his shirt)
                         What does what feel like?

                                     ESMARELDA
                         Killing a man. Beating another man 
                         to death with your bare hands.

               Butch pulls on his tee-shirt.

                                     BUTCH
                         Are you some kinda weirdo?

                                     ESMARELDA
                         No, it's a subject I have much 
                         interest in. You are the first person 
                         I ever met who has killed somebody. 
                         So, what was it like to kill a man?

                                     BUTCH
                         Tell ya what, you give me one of 
                         them cigarettes, I'll give you an 
                         answer.

               Esmarelda bounces in her seat with excitement.

                                     ESMARELDA
                         Deal!

               Butch leans forward. Esmarelda, keeping her eyes on the road, 
               passes a cigarette back to him. He takes it. Then, still not 
               looking behind her, she brings up her hand, a lit match in 
               it.

               Butch lights his smoke, then blows out the match.

               He takes a long drag.

                                     BUTCH
                         So...

               He looks at her license.

                                     BUTCH
                         ...Esmarelda Villalobos  is that 
                         Mexican?

                                     ESMARELDA
                         The name is Spanish, but I'm 
                         Columbian.

                                     BUTCH
                         It's a very pretty name.

                                     ESMARELDA
                         It mean "Esmarelda of the wolves."

                                     BUTCH
                         That's one hell of a name you got 
                         there, sister.

                                     ESMARELDA
                         Thank you. And what is your name?

                                     BUTCH
                         Butch.

                                     ESMARELDA
                         Butch. What does it mean?

                                     BUTCH
                         I'm an American, our names don't 
                         mean shit. Anyway, moving right along, 
                         what is it you wanna know, Esmarelda?

                                     ESMARELDA
                         I want to know what it feels like to 
                         kill a man 

                                     BUTCH
                          I couldn't tell ya. I didn't know 
                         he was dead 'til you told me he was 
                         dead. Now I know he's dead, do you 
                         wanna know how I feel about it?

               Esmarelda nods her head: "yes."

                                     BUTCH
                         I don't feel the least little bit 
                         bad.

               EXT. PHONE BOOTH (RAINING)  NIGHT

               We DOLLY around a phone booth as Butch talks inside.

                                     BUTCH
                              (into phone)
                         What'd I tell ya, soon as the word 
                         got out a fix was in, the odds would 
                         be outta control. Hey, if he was a 
                         better fighter he's be alive. If he 
                         never laced up his gloves in the 
                         first place, which he never shoulda 
                         done, he'd be alive. Enough about 
                         the poor unfortunate Mr. Floyd, let's 
                         talk about the rich and prosperous 
                         Mr. Butch.  How many bookies you 
                         spread it around with?

                                     (PAUSE)
                         Eight? How long to collect?
                              (pause)
                         So by tomorrow evening, you'll have 
                         it all?
                              (pause)
                         Good news Scotty, real good news  I 
                         understand a few stragglers aside. 
                         Me an'  Fabienne're gonna leave in 
                         the morning. It should take us a 
                         couple days to get into Knoxville. 
                         Next time we see each other, it'll 
                         be on Tennessee time.

               Butch hangs up the phone. He looks at the cab waiting to 
               take him wherever he wants to go.

                                     BUTCH
                              (to himself in French 
                              with English subtitles)
                         Fabienne my love, our adventure 
                         begins.

                                                                    CUT TO:

               EXT. MOTEL (STOPPED / RAINING)  NIGHT

               Esmeralda's taxi pulled into the motel parking lot. The rain 
               has stopped, but the night is still soaked. Butch gets out, 
               now fully dressed in tee-shirt, jeans and high school athletic 
               jacket. He leans in the driver's side window.

                                     ESMARELDA
                         Forty-five sixty.

               Handing her the money.

                                     BUTCH
                         Merci beaucoup. And here's a little 
                         something for the effort.

               Butch holds up a hundred dollar bill.

               Esmarelda's eyes light up. She goes to take it. Butch holds 
               it out of reach.

                                     BUTCH
                         Now if anybody should ask you about 
                         who your fare was tonight, what're 
                         you gonna tell 'em?

                                     ESMARELDA
                         The truth. Three well-dressed, 
                         slightly toasted, Mexicans.

               He gives her the bill.

                                     BUTCH
                         Bon soir, Esmarelda.

                                     ESMARELDA
                              (in Spanish)
                         Sleep well, Butch.

               He tweaks her nose, she smiles, and he turns and walks away. 
               She drives off.

               INT. MOTEL (ROOM SIX)  NIGHT

               Butch enters and turns on the light.

               Lying curled up on the bed, fully dressed, with her back to 
               us is Butch's French girlfriend, FABIENNE.

                                     FABIENNE
                         Keep the light off.

               Butch flicks the switch back, making the room dark again.

                                     BUTCH
                         Is that better, sugar pop?

                                     FABIENNE
                         Oui. Hard day at the office?

                                     BUTCH
                         Pretty hard. I got into a fight.

                                     FABIENNE
                         Poor baby. Can we make spoons?

               Butch climbs into bed, spooning Fabienne from behind.

               When Butch and Fabienne speak to each other, they speak in 
               babytalk.

                                     FABIENNE
                         I was looking at myself in the mirror.

                                     BUTCH
                         Uh-huh?

                                     FABIENNE
                         I wish I had a pot.

                                     BUTCH
                         You were lookin' in the mirror and 
                         you wish you had some pot?

                                     FABIENNE
                         A pot. A pot belly. Pot bellies are 
                         sexy.

                                     BUTCH
                         Well you should be happy, 'cause you 
                         do.

                                     FABIENNE
                         Shut up, Fatso! I don't have a pot! 
                         I have a bit of a tummy, like Madonna 
                         when she did "Lucky Star," it's not 
                         the same thing.

                                     BUTCH
                         I didn't realize there was a 
                         difference between a tummy and a pot 
                         belly.

                                     FABIENNE
                         The difference is huge.

                                     BUTCH
                         You want me to have a pot?

                                     FABIENNE
                         No. Pot bellies make a man look either 
                         oafish, or like a gorilla. But on a 
                         woman, a pot belly is very sexy. The 
                         rest of you is normal. Normal face, 
                         normal legs, normal hips, normal 
                         ass, but with a big, perfectly round 
                         pot belly. If I had one, I'd wear a 
                         tee-shirt two sizes too small to 
                         accentuate it.

                                     BUTCH
                         You think guys would find that 
                         attractive?

                                     FABIENNE
                         I don't give a damn what men find 
                         attractive. It's unfortunate what we 
                         find pleasing to the touch and 
                         pleasing to the eye is seldom the 
                         same.

                                     BUTCH
                         If you a pot belly, I'd punch you in 
                         it.

                                     FABIENNE
                         You'd punch me in my belly?

                                     BUTCH
                         Right in the belly.

                                     FABIENNE
                         I'd smother you. I'd drop it on your 
                         right on your face 'til you couldn't 
                         breathe.

                                     BUTCH
                         You'd do that to me?

                                     FABIENNE
                         Yes!

                                     BUTCH
                         Did you get everything, sugar pop?

                                     FABIENNE
                         Yes, I did.

                                     BUTCH
                         Good job.

                                     FABIENNE
                         Did everything go as planned?

                                     BUTCH
                         You didn't listen to the radio?

                                     FABIENNE
                         I never listen to your fights. Were 
                         you the winner?

                                     BUTCH
                         I won alright.

                                     FABIENNE
                         Are you still retiring?

                                     BUTCH
                         Sure am.

                                     FABIENNE
                         What about the man you fought?

                                     BUTCH
                         Floyd retired too.

                                     FABIENNE
                              (smiling)
                         Really?! He won't be fighting no 
                         more?!

                                     BUTCH
                         Not no more.

                                     FABIENNE
                         So it all worked out in the finish?

                                     BUTCH
                         We ain't at the finish, baby.

               Fabienne rolls over and Butch gets on top of her. They kiss.

                                     FABIENNE
                         We're in a lot of danger, aren't we?

               Butch nods his head: "yes."

                                     FABIENNE
                         If they find us, they'll kill us, 
                         won't they?

               Butch nods his head: "yes."

                                     FABIENNE
                         But they won't find us, will they?

               Butch nods his head: "no."

                                     FABIENNE
                         Do you still want me to go with you?

               Butch nods his head: "yes."

                                     FABIENNE
                         I don't want to be a burden or a 
                         nuisance -

               Butch's hand goes out of frame and starts massaging her 
               crotch.

               Fabienne reacts.

                                     FABIENNE
                         Say it!

                                     BUTCH
                         Fabienne, I want you to be with me.

                                     FABIENNE
                         Forever?

                                     BUTCH
                         ...and ever.

               Fabienne lies her head back.

               Butch continues to massage her crotch.

                                     FABIENNE
                         Do you love me?

                                     BUTCH
                         Oui.

                                     FABIENNE
                         Butch? Will you give me oral pleasure?

               Butch kisses her on the mouth.

                                     BUTCH
                         Will you kiss it?

               She nods her head: "yes."

                                     FABIENNE
                         But you first.

               Butch's head goes down out of frame to carry out the oral 
               pleasure. Fabienne's face is alone in the frame.

                                     FABIENNE
                              (in French, with 
                              English subtitles)
                         Butch my love, the adventure begins.

                                                              FADE TO BLACK

               FADE UP:

               MOTEL ROOM

               Same motel room, except empty. WE HEAR THE SHOWER RUNNING in 
               the bathroom. The CAMERA MOVES to the bathroom doorway. We 
               see Fabienne in a white terry cloth robe that seems to swallow 
               her up.

               She's drying her head with a towel. Butch is inside the shower 
               washing up. We see the outline of his naked body through the 
               smoky glass of the shower door. Steam fills the bathroom. 
               Butch turns the shower off and opens the door, popping his 
               head out.

                                     BUTCH
                         I think I cracked a rib.

                                     FABIENNE
                         Giving me oral pleasure?

                                     BUTCH
                         No retard, from the fight.

                                     FABIENNE
                         Don't call me retard.

                                     BUTCH
                              (in a Mongoloid voice)
                         My name is Fabby! My name is Fabby!

                                     FABIENNE
                         Shut up fuck head! I hate that 
                         Mongoloid voice.

                                     BUTCH
                         Okay, sorry, sorry, sorry, I take it 
                         back!  Can I have a towel please, 
                         Miss Beautiful Tulip.

                                     FABIENNE
                         Oh I like that, I like being called 
                         a tulip. Tulip is much better than 
                         Mongoloid.

               She finishes drying her hair and wraps the towel like a turban 
               on her head.

                                     BUTCH
                         I didn't call you a Mongoloid, I 
                         called you a retard, but I took it 
                         back.

               She hands him a towel.

                                     BUTCH
                         Merci beaucoup.

                                     FABIENNE
                         Butch?

                                     BUTCH
                              (drying his head)
                         Yes, lemon pie.

                                     FABIENNE
                         Where are we going to go?

                                     BUTCH
                         I'm not sure yet. Wherever you want. 
                         We're gonna get a lot of money from 
                         this. But it ain't gonna be so much, 
                         we can live like hogs in the fat 
                         house forever. I was thinking we 
                         could go somewhere in the South 
                         Pacific. The kinda money we'll have'll 
                         carry us a long way down there.

                                     FABIENNE
                         So if we wanted, we could live in 
                         Bora Bora?

                                     BUTCH
                         You betcha. And if after awhile you 
                         don't dig Bora Bora, then we can 
                         move over to Tahiti or Mexico.

                                     FABIENNE
                         But I do not speak Spanish.

                                     BUTCH
                         You don't speak Bora Boran either.
                         Besides, Mexican is easy: Donde esta 
                         el zapataria?

                                     FABIENNE
                         What does that mean?

                                     BUTCH
                         Where's the shoe store?

                                     FABIENNE
                         Donde esta el zapataria?

                                     BUTCH
                         Excellent pronunciation. You'll be 
                         my little mama ceta in no time.

               Butch exits the bathroom. We stay on Fabienne as she brushes 
               her teeth.

               Butch keeps on from the other room.

                                     BUTCH (O.S.)
                         Que hora es?

                                     FABIENNE
                         Que hora es?

                                     BUTCH (O.S.)
                         What time is it?

                                     FABIENNE
                         What time is it?

                                     BUTCH (O.S.)
                         Time for bed. Sweet dream, jellybean.

               Fabienne brushes her teeth. We watch her for a moment or 
               two, then she remember something.

                                     FABIENNE
                         Butch.

               She walks out of the bathroom to ask Butch a question, only 
               to find him sound asleep in bed.

               She looks at him for a moment.

                                     FABIENNE
                         Forget it.

               She exits frame, going back in the bathroom. WE STAY on the 
               WIDE SHOT of the unconscious Butch in bed.

                                                              FADE TO BLACK

               FADE UP:

               MOTEL ROOM  MORNING

               SAME SHOT AS BEFORE, the next morning. We find Butch still 
               asleep in bed.

               Fabienne brushes her teeth half in and half out of the 
               bathroom so she can watch TV at the same time. She still 
               wears the terry cloth robe from the night before.

               ON TV: WILLIAM SMITH and a BUNCH OF HELL'S ANGELS are taking 
               on the entire Vietnamese army in the film "THE LOSERS".

               Butch wakes from his sleep, as if a scary monster was chasing 
               him.

               His start startles Fabienne.

                                     FABIENNE
                         Merde! You startled me. Did you have 
                         a bad dream?

               Butch squints down the front of the bed at her, trying to 
               focus.

               Butch, still trying to chase the cobwebs away, sees on TV 
               Hell's Angels tear-assin' through a Vietnamese prison camp.

                                     BUTCH
                         What are you watching?

                                     FABIENNE
                         A motorcycle movie, I'm not sure the 
                         name.

                                     BUTCH
                         Are you watchin' it?

               Fabienne enters the room.

                                     FABIENNE
                         In a way. Why? Would you like for me 
                         to switch it off?

                                     BUTCH
                         Would you please?

               She reaches over and turns off the TV.

                                     BUTCH
                         It's a little too early in the morning 
                         for explosions and war.

                                     FABIENNE
                         What was it about?

                                     BUTCH
                         How should I know, you were the one 
                         watchin' it.

               Fabienne laughs.

                                     FABIENNE
                         No, imbecile, what was your dream 
                         about?

                                     BUTCH
                         Oh, I... don't remember. It's really 
                         rare I remember a dream.

                                     FABIENNE
                         You just woke up from it.

                                     BUTCH
                         Fabienne, I'm not lying to you, I 
                         don't remember.

                                     FABIENNE
                         Well, let's look at the grumpy man 
                         in the morning. I didn't say you 
                         were lying, it's just odd you don't 
                         remember your dreams. I always 
                         remember mine. Did you know you talk 
                         in your sleep?

                                     BUTCH
                         I don't talk in my sleep, do I talk 
                         in my sleep?

                                     FABIENNE
                         You did last night.

                                     BUTCH
                         What did I say?

               Laying on top of him.

                                     FABIENNE
                         I don't know. I couldn't understand 
                         you.

               She kisses Butch.

                                     FABIENNE
                         Why don't you get up and we'll get 
                         some breakfast at that breakfast 
                         place with the pancakes.

                                     BUTCH
                         One more kiss and I'll get up.

               Fabienne gives Butch a sweet long kiss.

                                     FABIENNE
                         Satisfied?

                                     BUTCH
                         Yep.

                                     FABIENNE
                         Then get up, lazy bones.

               Butch climbs out of bed and starts pulling clothes out of 
               the suitcase that Fabienne brought.

                                     BUTCH
                         What time is it?

                                     FABIENNE
                         Almost nine in the morning. What 
                         time does our train arrive?

                                     BUTCH
                         Eleven.

                                     FABIENNE
                         I'm gonna order a big plate of 
                         blueberry pancakes with maple syrup, 
                         eggs over easy, and five sausages.

                                     BUTCH
                              (surprised at her 
                              potential appetite)
                         Anything to drink with that?

               Butch is finished dressing.

                                     FABIENNE
                              (referring to his 
                              clothes)
                         Oh yes, that looks nice. To drink, a 
                         tall glass or orange juice and a 
                         black cup of coffee. After that, I'm 
                         going to have a slice of pie.

               As he goes through the suitcase.

                                     BUTCH
                         Pie for breakfast?

                                     FABIENNE
                         Any time of the day is a good time 
                         for pie. Blueberry pie to go with 
                         the pancakes. And on top, a thin 
                         slice of melted cheese 

                                     BUTCH
                          where's my watch?

                                     FABIENNE
                         It's there.

                                     BUTCH
                         No, it's not. It's not here.

                                     FABIENNE
                         Have you looked?

               By now, Butch is frantically rummaging through the suitcase.

                                     BUTCH
                         Yes I've fuckin' looked!!

               He's now throwing clothes.

                                     BUTCH
                         What the fuck do you think I'm doing?! 
                         Are you sure you got it?

               Fabienne can hardly speak, she's never seen Butch this way.

                                     FABIENNE
                         Uhhh... yes... beside the table drawer 
                         

                                     BUTCH
                          on the little kangaroo.

                                     FABIENNE
                         Yes, it was on your little kangaroo.

                                     BUTCH
                         Well it's not here!

                                     FABIENNE
                              (on the verge of tears)
                         Well it should be!

                                     BUTCH
                         Oh it most definitely should be here, 
                         but it's not. So where is it?

               Fabienne is crying and scared.

               Butch lowers his voice, which only serves to make him more 
               menacing.

                                     BUTCH
                         Fabienne, that was my father's fuckin' 
                         watch. You know what my father went 
                         through to git me that watch?... I 
                         don't wanna get into it right now... 
                         but he went through a lot. Now all 
                         this other shit, you coulda set on 
                         fire, but I specifically reminded 
                         you not to forget my father's watch. 
                         Now think, did you get it?

                                     FABIENNE
                         I believe so...

                                     BUTCH
                         You believe so? You either did, or 
                         you didn't, now which one is it?

                                     FABIENNE
                         Then I did.

                                     BUTCH
                         Are you sure?

                                     FABIENNE
                              (shaking)
                         No.

               Butch freaks out, he punches the air.

               Fabienne SCREAMS and backs into a corner, Butch picks up the 
               motel TV and THROWS IT AGAINST the wall.

               Fabienne SCREAMS IN HORROR.

               Butch looks toward her, suddenly calm.

                                     BUTCH
                              (to Fabienne)
                         No! It's not your fault.
                              (he approached her)
                         You left it at the apartment.

               He bends down in front of the woman who has sunk to the floor.

               He touches her hand, she flinches.

                                     BUTCH
                         If you did leave it at the apartment, 
                         it's not your fault. I had you bring 
                         a bunch of stuff. I reminded you 
                         about it, but I didn't illustrate 
                         how personal the watch was to me. If 
                         all I gave a fuck about was my watch, 
                         I should've told you. You ain't a 
                         mind reader.

               He kisses her hand. Then rises.

               Fabienne is still sniffling.

               Butch goes to the closet.

                                     FABIENNE
                         I'm sorry.

               Butch puts on his high school jacket.

                                     BUTCH
                         Don't be. It just means I won't be 
                         able to eat breakfast with you.

                                     FABIENNE
                         Why does it mean that?

                                     BUTCH
                         Because I'm going back to my apartment 
                         to get my watch.

                                     FABIENNE
                         Won't the gangsters be looking for 
                         you there?

                                     BUTCH
                         That's what I'm gonna find out. If 
                         they are, and I don't think I can 
                         handle it, I'll split.

               Rising from the floor.

                                     FABIENNE
                         I was so dreadful. I saw your watch, 
                         I thought I brought it. I'm so sorry.

               Butch brings her close and puts his hands on her face.

                                     BUTCH
                         Don't feel bad, sugar pop. Nothing 
                         you could ever do would make me 
                         permanently angry at you.
                              (pause)
                         I love you, remember?
                              (he digs some money 
                              out of his wallet)
                         Now here's some money, order those 
                         pancakes and have a great breakfast.

                                     FABIENNE
                         Don't go.

                                     BUTCH
                         I'll be back before you can say, 
                         blueberry pie.

                                     FABIENNE
                         Blueberry pie.

                                     BUTCH
                         Well maybe not that fast, but fast. 
                         Okay?  Okay?

                                     FABIENNE
                         Okay.

               He kisses her once more and heads for the door.

                                     BUTCH
                         Bye-bye, sugar pop.

                                     FABIENNE
                         Bye.

                                     BUTCH
                         I'm gonna take your Honda.

                                     FABIENNE
                         Okay.

               And with that, he's out the door.

               Fabienne sits on the bed and looks at the money he gave her.

               INT. HONDA (MOVING)  DAY

               Butch is beating the steering wheel and the dash with his 
               fists as he drives down the street.

                                     BUTCH
                         Of all the fuckin' things she coulda 
                         forgot, she forgets my father's watch. 
                         I specifically reminded her not to 
                         forget it. "Bedside table  on the 
                         kangaroo." I said the words: "Don't 
                         forget my father's watch."

               EXT. CITY STREET  DAY

               The little Honda races toward its destination as fast as is 
               little engine will take it.

                                                                    CUT TO:

               A parking meter red flag rises up, then out, leaving the 
               arrow pointing at one hour.

               EXT. RESIDENTIAL STREET CORNER  DAY

               Butch isn't completely reckless. He has parked his car a 
               couple of blocks from his apartment to check things out before 
               he goes boppin' through the front door.

               EXT. ALLEY  DAY

               Butch walks down the alley until he gets to another street, 
               then he discreetly glances out.

               EXT. STREET  BUTCH'S APARTMENT  DAY

               Everything seems normal. More or less the right number of 
               cars in the street. None of the parked cars appear out of 
               place. None of them have a couple of goons sitting inside.  
               Basically, it looks like normal morning activity in front of 
               Butch's home.

               Butch peers around a wall, taking in the vital information.

               Butch walks out of the alley and is ready for anything. He 
               crosses the street and enters his apartment courtyard.

               Across the street from Butch's building, on the corner, is a 
               combination donut shop and Japanese restaurant. A big sign 
               sticks up in the air, with the name "Teriyaki Donut" and a 
               graphic of a donut sticking out of a bowl of rice.

               EXT. BUTCH'S APARTMENT COURTYARD  DAY

               Butch is in the courtyard of his North Hollywood apartment 
               building. Once again, everything appears normal  the laundry 
               room, the pool, his apartment door  nothing appears 
               disturbed.

               Butch climbs the stairs leading to his apartment, number 12. 
               He steps outside the door and listens inside. Nothing.

               Butch slowly inserts the key into the door, quietly opening 
               it.

               INT. BUTCH'S APARTMENT  DAY

               His apartment hasn't been touched.

               He cautiously steps inside, shuts the door and takes a quick 
               look around. Obviously, no one is there.

               Butch walks into his modest kitchen, and opens the 
               refrigerator.

               He takes out a carton of milk and drinks from it.

               With carton in hard, Butch surveys the apartment. Then he 
               goes to the bedroom.

               His bedroom is like the rest of the apartment  neat, clean 
               and anonymous. The only things personal in his room are a 
               few boxing trophies, an Olympic silver medal, a framed issue 
               of "Ring Magazine" with Butch on the cover, and a poster of 
               Jerry Quarry and one of George Chuvalo.

               Sure enough, there's the watch just like he said it was: On 
               the bedside table, hanging on his little kangaroo statue.

               He walks through the apartment and back into the kitchen. He 
               opens a cupboard and takes out a box of Pop Tarts. Putting 
               down the milk, he opens the box, takes out two Pop Tarts and 
               puts them in the toaster.

               Butch glances to his right, his eyes fall on something.

               What he sees is a small compact Czech M61 submachine gun 
               with a huge silencer on it, lying on his kitchen counter.

                                     BUTCH
                              (softly)
                         Holy shit.

               He picks up the intimidating peace of weaponry and examines 
               it.

               Then... a toilet FLUSHES.

               Butch looks up to the bathroom door, which is parallel to 
               the kitchen. There is someone behind it.

               Like a rabbit caught in a radish patch, Butch freezes, not 
               knowing what to do.

               The bathroom door opens and Vincent Vega steps out of the 
               bathroom, tightening his belt. In his hand is the book 
               "MODESTY BLAISE" by Peter O'Donnell.

               Vincent and Butch lock eyes.

               Vincent freezes.

               Butch doesn't move, except to point the M61 in Vincent's 
               direction.

               Neither man opens his mouth.

               Then... the toaster LOUDLY kicks up the Pop Tarts.

               That's all the situation needed.

               Butch's finger HITS the trigger.

               MUFFLED FIRE SHOOTS out of the end of the gun.

               Vincent is seemingly WRACKED with twenty bullets 
               SIMULTANEOUSLY  LIFTING him off his feet, PROPELLING him 
               through the air and CRASHING through the glass shower door 
               at the end of the bathroom.

               By the time Butch removes his finger from the trigger, Vincent 
               is annihilated.

               Butch stands frozen, amazed at what just happened. His look 
               goes from the grease spot in the bathroom that was once 
               Vincent, down to the powerful piece of artillery in his grip.

               With the respect it deserves, Butch carefully places the M61 
               back on the kitchen counter.

               Then he exits the apartment, quickly.

               EXT. APARTMENT COURTYARD  DAY

               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.

               EXT. HONDA  DAY

               Butch CRANKS the car into gear and drives away. The big wide 
               smile of a survivor breaks across his face.

               EXT. APARTMENT BUILDING STREET  DAY

               The Honda turns down the alley and slowly cruises by his 
               apartment building.

               INT. HONDA  DAY

               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 Fabienne'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".

               INT. MASON-DIXIE PAWNSHOP  DAY

               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 (O.S.)
                          hold it right there, godammit!

               Butch and Marsellus look up at Maynard, who's brandishing a 
               pumpaction 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:

               INT. PAWNSHOP BACK ROOM  DAY

               TWO SHOT  BUTCH AND MARSELLUS

               They 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's 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 sleepin'.

                                     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 (O.S.)
                         Whoa, this boy's got a bit of fight 
                         in 'em!

               We the HEAR Maynard and Zed beat on Marsellus.

                                     ZED (O.S.)
                         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 (O.S.)
                         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.

               INT. PAWNSHOP  DAY

               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 Kenstyle, he disappears 
               through the red curtains to take care of business.

               INT. PAWNSHOP BACK ROOM  DAY

               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.

               INT. RUSSELL'S OLD ROOM  DAY

               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 (O.S.)
                         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.

               EXT. MASON-DIXIE PAWNSHOP  DAY

               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...

               INT. BUTCH AND FABIENNE'S HOTEL ROOM  DAY

               Fabienne stands in front of a mirror wearing a "Frankie says, 
               Relax" tee-shirt, singing along with MUSIC coming from a 
               BOOM BOX.

               EXT. CITY STREET  CHOPPER (MOVING)  DAY

               Butch drives down the street, humping a hot hog named "GRACE." 
               He checks his father's watch. It says: 10:30.

               The SONG in the motel room PLAYS OVER this.

               EXT. MOTEL ROOM  DAY

               Butch rides up on Grace. He hops off and runs inside the 
               motel room, while we stay outside with the bike.

                                     FABIENNE (O.S.)
                         Butch, I was so worried!

                                     BUTCH
                         Honey, grab your radio and your purse 
                         and let's go!

                                     FABIENNE (O.S.)
                         But what about all our bags?

                                     BUTCH
                         Fuck the bags. We'll miss our train 
                         if we don't split now.

                                     FABIENNE (O.S.)
                         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. Fabienne exits the 
               motel room with the boom box and a large purse. When she 
               sees Butch on the chopper, she stops dead.

                                     FABIENNE
                         Where did you get this motorcycle?

                                     BUTCH
                              (he kick-starts it)
                         It's a chopper, baby, hop on.

               Fabienne slowly approaches the two-wheel demon.

                                     FABIENNE
                         What happened to my Honda?

                                     BUTCH
                         Sorry baby, I crashed the Honda.

                                     FABIENNE
                         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!

               Fabienne 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.

                                     FABIENNE
                              (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?

                                     FABIENNE
                              (waterworks drying a 
                              little)
                         It was good 

                                     BUTCH
                          did you get the blueberry pancakes?

                                     FABIENNE
                         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.

               Fabienne does climb on. Butch STARTS her up.

                                     FABIENNE
                         Butch, whose motorcycle is this?

                                     BUTCH
                         It's a chopper.

                                     FABIENNE
                         Whose chopper is this?

                                     BUTCH
                         Zed's.

                                     FABIENNE
                         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 (O.S.)
                         You ever read the Bible, Brett?

                                     BRETT (O.S.)
                         Yes!

                                     JULES (O.S.)
                         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:

               INT. BATHROOM  DAY

               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 (O.S.)
                         "...blessed is he who, in the name 
                         of charity and good will, shepherded 
                         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 (O.S.)
                         Friend of yours?

                                     JULES (O.S.)
                         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.

               INT. APARTMENT  DAY

               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?

               EXT. HOLLYWOOD APARTMENT BUILDING  MORNING

               The Chevy Nova PROPELS itself into traffic.

               INT. NOVA (MOVING)  MORNING

               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-ofa-bitch, the gun just went 
                         off, don't ask me how!

                                     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.

               INT. JIMMIE'S BATHROOM  DAY

               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.

               INT. JIMMIE'S KITCHEN  MORNING

               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.

               INT. MARSELLUS WALLACE'S DINING ROOM  MORNING

               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?

               INT. JIMMIE'S BEDROOM  MORNING

               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
                         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.

               INT. HOTEL SUITE  MORNING

               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:

               EXT. JIMMIE'S STREET  MORNING

               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.

               INT. JIMMIE'S HOUSE  MORNING

               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.

               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.

                                     JIMMIE
                         She won't at that.

                                     THE WOLF
                         That gives us 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.

               INT. JIMMIE'S GARAGE  MORNING

               The three men hang 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.

               INT. KITCHEN  MORNING

               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 
                         cleansers 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 it. 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.

               INT. JIMMIE'S BEDROOM  MORNING

               Jimmie's gathering all the bedspreads, quilts and linen he 
               has.

               The Wolf is on the phone.

                                     THE WOLF
                              (into phone)
                         It's a 1974 Chevy Nova.
                              (pause)
                         White.
                              (pause)
                         Nothin', except for the mess inside.
                              (pause)
                         About twenty minutes.
                              (pause)
                         Nobody who'll be missed.
                              (pause)
                         You're a good man, Joe. See ya soon.
                              (he looks at Jimmie)
                         How we comin', Jimmie?

               Jimmie comes over with a handful of linen.

                                     JIMMIE
                         Mr. Wolf, you gotta understand 
                         somethin' 

                                     THE WOLF
                          Winston, Jimmie  please, Winston.

                                     JIMMIE
                         You gotta understand something, 
                         Winston. I want to help you guys out 
                         and all, but that's my best linen. 
                         It was a wedding present from my 
                         Uncle Conrad and Aunt Ginny, and 
                         they ain't with us anymore 

                                     THE WOLF
                          let me ask you a question, if you 
                         don't mind?

                                     JIMMIE
                         Sure.

                                     THE WOLF
                         Were you Uncle Conrad and Aunt Ginny 
                         millionaires?

                                     JIMMIE
                         No.

                                     THE WOLF
                         Well, your Uncle Marsellus is. And 
                         I'm positive if Uncle Conrad and 
                         Aunt Ginny were millionaires, they 
                         would've furnished you with a whole 
                         bedroom set, which your Uncle 
                         Marsellus is more than happy to do.
                              (takes out a roll of 
                              bills)
                         I like oak myself, that's what's in 
                         my bedroom. How 'bout you Jimmie, 
                         you an oak man?

                                     JIMMIE
                         Oak's nice.

               INT. GARAGE  MORNING

               Both Jules and Vincent are inside the car cleaning it up. 
               Vincent is in the front seat washing windows, while Jules is 
               in the backseat, picking up little pieces of skull and gobs 
               of brain.

               Both are twice as bloody as they were before.

                                     JULES
                         I will never forgive your ass for 
                         this shit. This is some fucked-up 
                         repugnant shit!

                                     VINCENT
                         Did you ever hear the philosophy 
                         that once a man admits he's wrong, 
                         he's immediately forgiven for all 
                         wrong-doings?

                                     JULES
                         Man, get outta my face with that 
                         shit! The motherfucker who said that 
                         never had to pick up itty-bitty pieces 
                         of skull with his fingers on account 
                         of your dumb ass.

                                     VINCENT
                         I got a threshold, Jules. I got a 
                         threshold for the abuse I'll take. 
                         And you're crossin' it. I'm a race 
                         car and you got me in the red. Redline 
                         7000, that's where you are. Just 
                         know, it's fuckin' dangerous to be 
                         drivin' a race car when it's in the 
                         red. It could blow.

                                     JULES
                         You're gettin' ready to blow? I'm a 
                         mushroom-cloud-layin' motherfucker!  
                         Every time my fingers touch brain 
                         I'm "SUPERFLY T.N.T," I'm the "GUNS 
                         OF NAVARONE." I'm what Jimmie Walker 
                         usta talk about. In fact, what the 
                         fuck am I doin' in the back?  You're 
                         the motherfucker should be on brain 
                         detail. We're tradin'. I'm washin' 
                         windows and you're pickin' up this 
                         nigger's skull.

               INT. CHEVY NOVA  MORNING

               The interior of the car has been cleaned and lined with 
               bedspreads and quilts. Believe it or not, what looked like a 
               portable slaughterhouse can actually pass for a non-descript 
               vehicle.

               The Wolf circles the car examining it.

               Jules and Vincent stand aside, their clothes are literally a 
               bloody mess, but they do have a sense of pride in what a 
               good job they've done.

                                     THE WOLF
                         Fine job, gentlemen. We may get out 
                         of this yet.

                                     JIMMIE
                         I can't believe that's the same car.

                                     THE WOLF
                         Well, let's not start suckin' each 
                         other's dicks quite yet. Phase one 
                         is complete, clean the car, which 
                         moves us right along to phase two, 
                         clean you two.

               EXT. JIMMIE'S BACKYARD  MORNING

               Jules and Vincent stand side by side in their black suits, 
               covered in blood, in Jimmie's backyard. Jimmie holds a plastic 
               Hefty trash bag, while The Wolf holds a garden hose with one 
               of those guns nozzles attached.

                                     THE WOLF
                         Strip.

                                     VINCENT
                         All the way?

                                     THE WOLF
                         To your bare ass.

               As they follow directions, The Wolf enjoys a smoke.

                                     THE WOLF
                         Quickly gentlemen, we got about 
                         fifteen minutes before Jimmie's better-
                         half comes pulling into the driveway.

                                     JULES
                         This morning air is some chilly shit.

                                     VINCENT
                         Are you sure this is absolutely 
                         necessary?

                                     THE WOLF
                         You know what you two look like?

                                     VINCENT
                         What?

                                     THE WOLF
                         Like a couple of guys who just blew 
                         off somebody's head. Yes, strippin' 
                         off those bloody rags is absolutely 
                         necessary. Toss the clothes in Jim's 
                         garbage bag.

                                     JULES
                         Now Jimmie, don't do nothin' stupid 
                         like puttin' that out in front of 
                         your house for Elmo the garbage man 
                         to take away.

                                     THE WOLF
                         Don't worry, we're takin' it with 
                         us. Jim, the soap.

               He hands the now-naked men a bar of soap.

                                     THE WOLF
                         Okay gentlemen, you're both been to 
                         County before, I'm sure. Here it 
                         comes.

               He hits the trigger, water SHOOTS OUT, SMACKING both men.

                                     JULES
                         Goddamn, that water's fuckin' cold!

                                     THE WOLF
                         Better you than me, gentlemen.

               The two men, trembling, scrub themselves.

                                     THE WOLF
                         Don't be afraid of the soap, spread 
                         it around.

               The Wolf stops the hose, tossing it on the ground.

                                     THE WOLF
                         Towel 'em.

               Jimmie tosses them each a towel, which they rub furiously 
               across their bodies.

                                     THE WOLF
                         You're dry enough, give 'em their 
                         clothes.

               FADE UP ON:

               JULES AND VINCENT In their tee-shirts and swim trunks. They 
               look a million miles away from the black-suited, bad-asses 
               we first met.

                                     THE WOLF
                         Perfect. Perfect. We couldn't've 
                         planned this better. You guys look 
                         like... what do they look like, 
                         Jimmie?

                                     JIMMIE
                         Dorks. They look like a couple of 
                         dorks.

               The Wolf and Jimmie laugh.

                                     JULES
                         Ha ha ha. They're your clothes, 
                         motherfucker.

                                     JIMMIE
                         I guess you just gotta know how to 
                         wear them.

                                     JULES
                         Yeah, well, our asses ain't the expert 
                         on wearin' dorky shit that your is.

                                     THE WOLF
                         C'mon, gentlemen, we're laughin' and 
                         jokin' our way into prison. Don't 
                         make me beg.

               INT. JIMMIE'S GARAGE  MORNING

               The garbage bag is tossed in the car trunk on top of Marvin. 
               The Wolf SLAMS is closed.

                                     THE WOLF
                         Gentlemen, let's get our rules of 
                         the road straight. We're going to a 
                         place called Monster Joe's Truck and 
                         Tow. Monster Joe and his daughter 
                         Raquel are sympathetic to out dilemma.  
                         The place is North Hollywood, so a 
                         few twist and turns aside, we'll be 
                         goin' up Hollywood Way. Now I'll 
                         drive the tainted car. Jules, you 
                         ride with me.  Vincent, you follow 
                         in my Porsche. Now if we cross the 
                         path of any John Q. Laws, nobody 
                         does a fuckin' thing 'til I do 
                         something.

                                     (TO JULES)
                         What did I say?

                                     JULES
                         Don't do shit unless 

                                     THE WOLF
                          unless what?

                                     JULES
                         Unless you do it first.

                                     THE WOLF
                         Spoken like a true prodigy.
                              (to Vincent)
                         How 'bout you, Lash Larue?  Can you 
                         keep your spurs from jingling and 
                         jangling?

                                     VINCENT
                         I'm cool, Mr. Wolf. My gun just went 
                         off, I dunno how.

                                     THE WOLF
                         Fair enough.
                              (he throws Vince his 
                              car keys)
                         I drive real fuckin' fast, so keep 
                         up. If I get my car back any different 
                         than I gave it, Monster Joe's gonna 
                         be disposing of two bodies.

               EXT. MONSTER JOE'S TRUCK AND TOW  MORNING

               Jules and Vincent wait by Winston's Porsche.

                                     JULES
                         We cool?

                                     WINSTON
                         Like it never happened.

               Jules and Vincent bump fists.

                                     WINSTON
                         Boys, this is Raquel. Someday, all 
                         this will be hers.

                                     RAQUEL
                              (to the boys)
                         Hi. You know, if they ever do "I 
                         SPY: THE MOTION PICTURE," you guys, 
                         I'd be great.  What's with the 
                         outfits. You guys going to a 
                         volleyball game?

               Winston laughs, the boys groan.

                                     WINSTON
                         I'm takin' m'lady out to breakfast. 
                         Maybe I can drop you two off. Where 
                         do you live?

                                     VINCENT
                         Redondo Beach.

                                     JULES
                         Inglewood.

               Winston grabs Jules' wrist and pantomimes like he's in a 
               "DEAD ZONE" trance.

                                     WINSTON
                              (painfully)
                         It's your future: I see... a cab 
                         ride.
                              (dropping the act)
                         Sorry guys, move out of the sticks.
                              (to Raquel)
                         Say goodbye, Raquel.

                                     RAQUEL
                         Goodbye, Raquel.

                                     WINSTON
                         I'll see you two around, and stay 
                         outta trouble, you crazy kids.

               Winston turns to leave.

                                     JULES
                         Mr. Wolf.

               He turns around.

                                     JULES
                         I was a pleasure watchin' you work.

               The Wolf smiles.

                                     WINSTON
                         Call me Winston.

               He turns and banters with Raquel as they get in the Porsche.

                                     WINSTON
                         You hear that, young lady? Respect. 
                         You could lean a lot from those two 
                         fine specimens. Respect for one's 
                         elders shows character.

                                     RAQUEL
                         I have character.

                                     WINSTON
                         Just because you are a character 
                         doesn't mean you have character.

                                     RAQUEL
                         Oh you're so funny, oh you're so 
                         funny.

               The Porsche SHOOTS OFF down the road.

               The two men left alone look at each other.

                                     JULES
                         Wanna share a cab?

                                     VINCENT
                         You know I could go for some 
                         breakfast.  Want to have breakfast 
                         with me?

                                     JULES
                         Sure.

               INT. COFFEE SHOP  MORNING

               Jules and Vincent sit at a booth. In front of Vincent is a 
               big stack of pancakes and sausages, which he eats with gusto. 
               Jules, on the other hand, just has a cup of coffee and a 
               muffin. He seems far away in thought. The Waitress pours a 
               refill for both men,

                                     VINCENT
                         Thanks a bunch.
                              (to Jules, who's 
                              nursing his coffee)
                         Want a sausage?

                                     JULES
                         Naw, I don't eat pork.

                                     VINCENT
                         Are you Jewish?

                                     JULES
                         I ain't Jewish man, I just don't dig 
                         on swine.

                                     VINCENT
                         Why not?

                                     JULES
                         They're filthy animals. I don't eat 
                         filthy animals.

                                     VINCENT
                         Sausages taste good. Pork chops taste 
                         good.

                                     JULES
                         A sewer rat may taste like pumpkin 
                         pie.  I'll never know 'cause even if 
                         it did, I wouldn't eat the filthy 
                         motherfucker. Pigs sleep and root in 
                         shit. That's a filthy animal. I don't 
                         wanna eat nothin' that ain't got 
                         enough sense to disregard its own 
                         feces.

                                     VINCENT
                         How about dogs? Dogs eat their own 
                         feces.

                                     JULES
                         I don't eat dog either.

                                     VINCENT
                         Yes, but do you consider a dog to be 
                         a filthy animal?

                                     JULES
                         I wouldn't go so far as to call a 
                         dog filthy, but they're definitely 
                         dirty. But a dog's got personality. 
                         And personality goes a long way.

                                     VINCENT
                         So by that rationale, if a pig had a 
                         better personality, he's cease to be 
                         a filthy animal?

                                     JULES
                         We'd have to be talkin' 'bout one 
                         motherfuckin' charmin' pig. It'd 
                         have to be the Cary Grant of pigs.

               The two men laugh.

                                     VINCENT
                         Good for you. Lighten up a little. 
                         You been sittin' there all quiet.

                                     JULES
                         I just been sittin' here thinkin'.

                                     VINCENT
                              (mouthful of food)
                         About what?

                                     JULES
                         The miracle we witnessed.

                                     VINCENT
                         The miracle you witnessed. I witnessed 
                         a freak occurrence.

                                     JULES
                         Do you know that a miracle is?

                                     VINCENT
                         An act of God.

                                     JULES
                         What's an act of God?

                                     VINCENT
                         I guess it's when God makes the 
                         impossible possible. And I'm sorry 
                         Jules, but I don't think what happened 
                         this morning qualifies.

                                     JULES
                         Don't you see, Vince, that shit don't 
                         matter. You're judging this thing 
                         the wrong way. It's not about what. 
                         It could be God stopped the bullets, 
                         he changed Coke into Pepsi, he found 
                         my fuckin' car keys. You don't judge 
                         shit like this based on merit. Whether 
                         or not what we experienced was an 
                         according-to-Hoyle miracle is 
                         insignificant. What is significant 
                         is I felt God's touch, God got 
                         involved.

                                     VINCENT
                         But why?

                                     JULES
                         That's what's fuckin' wit' me! I 
                         don't know why. But I can't go back 
                         to sleep.

                                     VINCENT
                         So you're serious, you're really 
                         gonna quit?

                                     JULES
                         The life, most definitely.

               Vincent takes a bite of food. Jules takes a sip of coffee In 
               the b.g., we see a PATRON call the Waitress.

                                     PATRON
                         Garcon! Coffee!

               We recognize the patron to be Pumpkin from the first scene 
               of Pumpkin and Honey Bunny.

                                     VINCENT
                         So if you're quitting the life, 
                         what'll you do?

                                     JULES
                         That's what I've been sitting here 
                         contemplating. First, I'm gonna 
                         deliver this case to Marsellus. Then, 
                         basically, I'm gonna walk the earth.

                                     VINCENT
                         What do you mean, walk the earth?

                                     JULES
                         You know, like Caine in "KUNG FU." 
                         Just walk from town to town, meet 
                         people, get in adventures.

                                     VINCENT
                         How long do you intend to walk the 
                         earth?

                                     JULES
                         Until God puts me where he want me 
                         to be.

                                     VINCENT
                         What if he never does?

                                     JULES
                         If it takes forever, I'll wait 
                         forever.

                                     VINCENT
                         So you decided to be a bum?

                                     JULES
                         I'll just be Jules, Vincent  no 
                         more, no less.

                                     VINCENT
                         No Jules, you're gonna be like those 
                         pieces of shit out there who beg for 
                         change. They walk around like a bunch 
                         of fuckin' zombies, they sleep in 
                         garbage bins, they eat what I throw 
                         away, and dogs piss on 'em. They got 
                         a word for 'em, they're called bums. 
                         And without a job, residence, or 
                         legal tender, that's what you're 
                         gonna be  a fuckin' bum!

                                     JULES
                         Look my friend, this is just where 
                         me and you differ 

                                     VINCENT
                          what happened was peculiar  no 
                         doubt about it  but it wasn't water 
                         into wine.

                                     JULES
                         All shapes and sizes, Vince.

                                     VINCENT
                         Stop fuckin' talkin' like that!

                                     JULES
                         If you find my answers frightening, 
                         Vincent, you should cease askin' 
                         scary questions.

                                     VINCENT
                         I gotta take a shit. To be continued.

               Vincent exits for the restroom.

               Jules, alone, takes a mouthful of muffin, then... Pumpkin 
               and Honey Bunny rise with guns raised.

                                     PUMPKIN
                         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?!

               Jules looks up, not believing what he's seeing. Under the 
               table, Jules' hand goes to his .45 Automatic. He pulls it 
               out, COCKING IT.

                                     PUMPKIN
                         Customers stay seated, waitresses on 
                         the floor.

                                     HONEY BUNNY
                         Now mean fuckin' now! Do it or die, 
                         do it or fucking die!

               Like lightning, Pumpkin moves over to the kitchen. While 
               Honey Bunny SCREAMS out threats to the PATRONS, keeping them 
               terrified.

                                     PUMPKIN
                         You Mexicans in the kitchen, get out 
                         here!  Asta luego!

               Three COOKS and two BUSBOYS come out of the kitchen.

                                     PUMPKIN
                         On the floor or I'll cook you ass, 
                         comprende?

               They comprende. The portly MANAGER speaks up.

                                     MANAGER
                         I'm the manager here, there's no 
                         problem, no problem at all 

               Pumpkin heads his way.

                                     PUMPKIN
                         You're gonna give me a problem?

               He reaches him and sticks the barrel of his gun hard in the 
               Manager's neck.

                                     PUMPKIN
                         What? You said you're gonna give me 
                         a problem?

                                     MANAGER
                         No, I'm not. I'm not gonna give you 
                         any problem!

                                     PUMPKIN
                         I don't know, Honey Bunny. He looks 
                         like the hero type to me!

                                     HONEY BUNNY
                         Don't take any chances. Execute him!

               The Patrons SCREAM. Jules watches all this silently, his 
               hand tightly gripping the .45 Automatic under the table.

                                     MANAGER
                         Please don't! I'm not a hero. I'm 
                         just a coffee shop manager. Take 
                         anything you want.

                                     PUMPKIN
                         Tell everyone to cooperate and it'll 
                         be all over.

                                     MANAGER
                         Everybody just be calm and cooperate 
                         with them and this will be all over 
                         soon!

                                     PUMPKIN
                         Well done, now git your fuckin' ass 
                         on the ground.

               INT. COFFEE SHOP BATHROOM  MORNING

               Vincent, on the toilet, oblivious to the pandemonium outside, 
               reads his "MODESTY BLAISE" book.

               INT. COFFEE SHOP  MORNING

               Cash register drawer opens. Pumpkin stuffs the money from 
               the till in his pocket. Then walks from behind the counter 
               with a trash bag in his hand.

                                     PUMPKIN
                         Okay people, I'm going to go 'round 
                         and collect your wallets. Don't talk, 
                         just toss 'em in the bag. We clear?

               Pumpkin goes around collecting wallets. Jules sits with his 
               .45 ready to spit under the table.

               Pumpkin sees Jules sitting in his booth, holding his wallet, 
               briefcase next to him. Pumpkin crosses to him, his tone more 
               respectful, him manner more on guard.

                                     PUMPKIN
                         In the bag.

               Jules DROPS his wallet in the bag. Using his gun as a pointer, 
               Pumpkin points to the briefcase.

                                     PUMPKIN
                         What's in that?

                                     JULES
                         My boss' dirty laundry.

                                     PUMPKIN
                         You boss makes you do his laundry?

                                     JULES
                         When he wants it clean.

                                     PUMPKIN
                         Sounds like a shit job.

                                     JULES
                         Funny, I've been thinkin' the same 
                         thing.

                                     PUMPKIN
                         Open it up.

               Jules' free hand lays palm flat on the briefcase.

                                     JULES
                         'Fraid I can't do that.

               Pumpkin is definitely surprised by his answer. He aims the 
               gun right in the middle of Jules' face and pulls back the 
               hammer.

                                     PUMPKIN
                         I didn't hear you.

                                     JULES
                         Yes, you did.

               This exchange has been kind of quiet, not everybody heard 
               it, but Honey Bunny senses something's wrong.

                                     HONEY BUNNY
                         What's goin' on?

                                     PUMPKIN
                         Looks like we got a vigilante in our 
                         midst.

                                     HONEY BUNNY
                         Shoot 'em in the face!

                                     JULES
                         I don't mean to shatter your ego, 
                         but this ain't the first time I've 
                         had gun pointed at me.

                                     PUMPKIN
                         You don't open up that case, it's 
                         gonna be the last.

                                     MANAGER
                              (on the ground)
                         Quit causing problems, you'll get us 
                         all killed! Give 'em what you got 
                         and get 'em out of here.

                                     JULES
                         Keep your fuckin' mouth closed, fat 
                         man, this ain't any of your goddamn 
                         business!

                                     PUMPKIN
                         I'm countin' to three, and if your 
                         hand ain't off that case, I'm gonna 
                         unload right in your fuckin' face. 
                         Clear? One...

                                     PUMPKIN
                         ...two... three.

                                     JULES
                         You win.

               Jules raises his hand off the briefcase.

                                     JULES
                         It's all yours, Ringo.

                                     PUMPKIN
                         Open it.

               Jules flips the locks and opens the case, revealing it to 
               Pumpkin but not to us. The same light SHINES from the case. 
               Pumpkin's expression goes to amazement. Honey Bunny, across 
               the room, can't see shit.

                                     HONEY BUNNY
                         What is it? What is it?

                                     PUMPKIN
                              (softly)
                         Is that what I think it is?

               Jules nods his head: "yes."

                                     PUMPKIN
                         It's beautiful.

               Jules nods his head: "yes."

                                     HONEY BUNNY
                         Goddammit, what is it?

               Jules SLAMS the case closed, then sits back, as if offering 
               the case to Pumpkin. Pumpkin, one big smile, bends over to 
               pick up the case.

               Like a rattlesnake, Jules' free hand GRABS the wrist of 
               Pumpkin's gun hand, SLAMMING it on the table. His other hand 
               comes from under the table and STICKS the barrel of his .45 
               hand under Pumpkin's chin.

               Honey Bunny freaks out, waving her gun in Jules' direction.

                                     HONEY BUNNY
                         Let him go! Let him go! I'll blow 
                         your fuckin' head off! I'll kill ya! 
                         I'll kill ya! You're gonna die, you're 
                         gonna fuckin' die bad!

                                     JULES
                              (to Pumpkin)
                         Tell that bitch to be cool! Say, 
                         bitch be cool! Say, bitch be cool!

                                     PUMPKIN
                         Chill out, honey!

                                     HONEY BUNNY
                         Let him go!

                                     JULES
                              (softly)
                         Tell her it's gonna be okay.

                                     PUMPKIN
                         I'm gonna be okay.

                                     JULES
                         Promise her.

                                     PUMPKIN
                         I promise.

                                     JULES
                         Tell her to chill.

                                     PUMPKIN
                         Just chill out.

                                     JULES
                         What's her name?

                                     PUMPKIN
                         Yolanda.

               Whenever Jules talks to Yolanda, he never looks at her, only 
               at Pumpkin.

                                     JULES
                              (to Yolanda)
                         So, we cool Yolanda? We ain't gonna 
                         do anything stupid, are we?

                                     YOLANDA
                              (crying)
                         Don't you hurt him.

                                     JULES
                         Nobody's gonna hurt anybody. We're 
                         gonna be like three Fonzies. And 
                         what' Fonzie like?

               No answer.

                                     JULES
                         C'mon Yolanda, what's Fonzie like?

                                     YOLANDA
                              (through tears, unsure)
                         He's cool?

                                     JULES
                         Correct-amundo! And that's what we're 
                         gonna be, we're gonna be cool.
                              (to Pumpkin)
                         Now Ringo, I'm gonna count to three 
                         and I want you to let go your gun 
                         and lay your palms flat on the table. 
                         But when you do it, do it cool. Ready?

               Pumpkin looks at him.

                                     JULES
                         One... two... three.

               Pumpkin lets go of his gun and places both hands on the table.

               Yolanda can't stand it anymore.

                                     YOLANDA
                         Okay, now let him go!

                                     JULES
                         Yolanda, I thought you were gonna be 
                         cool.  When you yell at me, it makes 
                         me nervous.  When I get nervous, I 
                         get scared. And when motherfuckers 
                         get scared, that's when motherfuckers 
                         get accidentally shot.

                                     YOLANDA
                              (more conversational)
                         Just know: you hurt him, you die.

                                     JULES
                         That seems to be the situation. Now 
                         I don't want that and you don't want 
                         that and Ringo here don't want that. 
                         So let's see what we can do.
                              (to Ringo)
                         Now this is the situation. Normally 
                         both of your asses would be dead as 
                         fuckin' fried chicken. But you 
                         happened to pull this shit while I'm 
                         in a transitional period. I don't 
                         wanna kill ya, I want to help ya. 
                         But I'm afraid I can't give you the 
                         case. It don't belong to me. Besides, 
                         I went through too much shit this 
                         morning on account of this case to 
                         just hand it over to your ass.

                                     VINCENT (O.S.)
                         What the fuck's goin' on here?

               Yolanda WHIPS her gun toward the stranger.

               Vincent, by the bathroom, has his gun out, dead-aimed at 
               Yolanda.

                                     JULES
                         It's cool, Vincent! It's cool! Don't 
                         do a goddamn thing. Yolanda, it's 
                         cool baby, nothin's changed. We're 
                         still just talkin'.
                              (to Pumpkin)
                         Tell her we're still cool.

                                     PUMPKIN
                         It's cool, Honey Bunny, we're still 
                         cool.

                                     VINCENT
                              (gun raised)
                         What the hell's goin' on, Jules?

                                     JULES
                         Nothin' I can't handle. I want you 
                         to just hang back and don't do shit 
                         unless it's absolutely necessary.

                                     VINCENT
                         Check.

                                     JULES
                         Yolanda, how we doin, baby?

                                     YOLANDA
                         I gotta go pee! I want to go home.

                                     JULES
                         Just hang in there, baby, you're 
                         doing' great, Ringo's proud of you 
                         and so am I.  It's almost over.
                              (to Pumpkin)
                         Now I want you to go in that bag and 
                         find my wallet.

                                     PUMPKIN
                         Which one is it?

                                     JULES
                         It's the one that says Bad 
                         Motherfucker on it.

               Pumpkin looks in the bag and  sure enough  there's a wallet 
               with "Bad Motherfucker" embroidered on it.

                                     JULES
                         That's my bad motherfucker. Now open 
                         it up and take out the cash. How 
                         much is there?

                                     PUMPKIN
                         About fifteen hundred dollars.

                                     JULES
                         Put it in your pocket, it's yours. 
                         Now with the rest of them wallets 
                         and the register, that makes this a 
                         pretty successful little score.

                                     VINCENT
                         Jules, if you give this nimrod fifteen 
                         hundred buck, I'm gonna shoot 'em on 
                         general principle.

                                     JULES
                         You ain't gonna do a goddamn thing, 
                         now hang back and shut the fuck up. 
                         Besides, I ain't givin' it to him. 
                         I'm buyin' somethin' for my money. 
                         Wanna know what I'm buyin' Ringo?

                                     PUMPKIN
                         What?

                                     JULES
                         Your life. I'm givin' you that money 
                         so I don't hafta kill your ass. You 
                         read the Bible?

                                     PUMPKIN
                         Not regularly.

                                     JULES
                         There's a passage I got memorized. 
                         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 the 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 I am the 
                         Lord when I lay my vengeance upon 
                         you." I been sayin' that shit for 
                         years.  And if you ever heard it, it 
                         meant your ass. I never really 
                         questioned what it meant. I thought 
                         it was just a coldblooded thing to 
                         say to a motherfucker 'fore you popped 
                         a cap in his ass. But I saw some 
                         shit this mornin' made me think twice. 
                         Now I'm thinkin', it could mean you're 
                         the evil man. And I'm the righteous 
                         man.  And Mr. .45 here, he's the 
                         shepherd protecting my righteous ass 
                         in the valley of darkness. Or is 
                         could by you're the righteous man 
                         and I'm the shepherd and it's the 
                         world that's evil and selfish.  I'd 
                         like that. But that shit ain't the 
                         truth. The truth is you're the weak. 
                         And I'm the tyranny of evil men. But 
                         I'm tryin'. I'm tryin' real hard to 
                         be a shepherd.

               Jules lowers his gun, lying it on the table.

               Pumpkin looks at him, to the money in his hand, then to 
               Yolanda.

               She looks back.

               Grabbing the trash bag full of wallets, the two RUN out the 
               door.

               Jules, who was never risen from his seat the whole time, 
               takes a sip of coffee.

                                     JULES
                              (to himself)
                         It's cold.

               He pushes it aside.

               Vincent appears next to Jules.

                                     VINCENT
                         I think we oughta leave now.

                                     JULES
                         That's probably a good idea.

               Vincent throws some money on the table and Jules grabs the 
               briefcase.

               Then, to the amazement of the Patrons, the Waitresses, the 
               Cooks, the Bus Boys, and the Manager, these two bad-ass dudes 
                wearing UC Santa Cruz and "I'm with Stupid" tee-shirts, 
               swim trunks, thongs and packing .45 Automatics  walk out of 
               the coffee shop together without saying a word.

                                                                   FADE OUT

                                         THE END