Pulp Fiction

Stampa questo copione

                          

                           P U L P   F I C T I O N

                              written & directed

                                      by

                              Quentin Tarantino

                                    stories

                                      by

                              Quentin Tarantino

                                      &

                             Roger Roberts Avery

                THREE STORIES...

                        ABOUT ONE STORY...

                                                        May 1993

                                                        last draft

------------------------------------------------------------------------------

        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

------------------------------------------------------------------------------

        TABLE OF CONTENTS

        1. PROLOGUE

        2. VINCENT VEGA & MARSELLUS WALLACE'S WIFE

        3. THE GOLD WATCH

        4. JULES, VINCENT, JIMMIE & THE WOLF

        5. EPILOGUE

------------------------------------------------------------------------------

1.      INT. COFFEE SHOP - MORNING                                      1.

        A normal Denny's, Spires-like coffee shop in Los Angeles.

        It's about 9:00 in the morning.  While the place isn't jammed,

        there's a healthy number of people drinking coffee, munching

        on bacon and eating eggs.

        Two of these people are a YOUNG MAN and a YOUNG WOMAN.  The

        Young Man has a slight working-class English accent and, like

        his fellow countryman, smokes cigarettes like they're going

        out of style.

        It is impossible to tell where the Young Woman is from or how

        old she is; everything she does contradicts something she did.

        The boy and girl sit in a booth.  Their dialogue is to be said

        in a rapid-pace "HIS GIRL FRIDAY" fashion.

                                  YOUNG MAN

                       No, forget it, it's too risky.  I'm

                       through doin' that shit.

                                  YOUNG WOMAN

                       You always say that, the same thing

                       every time: never again, I'm

                       through, too dangerous.

                                   YOUNG MAN

                       I know that's what I always say.

                       I'm always right too, but --

                                  YOUNG WOMAN

                       -- but you forget about it in a day

                       or two --

                                  YOUNG MAN

                       -- yeah, well, the days of me

                       forgittin' are over, and the days

                       of me rememberin' have just begun.

                                  YOUNG WOMAN

                       When you go on like this, you know

                       what you sound like?

                                  YOUNG MAN

                       I sound like a sensible fucking

                       man, is what I sound like.

                                  YOUNG WOMAN

                       You sound like a duck.

                            (imitates a duck)

                       Quack, quack, quack, quack, quack,

                       quack, quack...

                                  YOUNG MAN

                       Well take heart, 'cause you're

                       never gonna hafta hear it again.

                       Because since I'm never gonna do it

                       again, you're never gonna hafta

                       hear me quack about how I'm never

                       gonna do it again.

                                  YOUNG WOMAN

                       After tonight.

        The boy and girl laugh, their laughter putting a pause in

        there, back and forth.

                                  YOUNG MAN

                            (with a smile)

                       Correct.  I got all tonight to

                       quack.

        A WAITRESS comes by with a pot of coffee.

                                  WAITRESS

                       Can I get anybody anymore coffee?

                                  YOUNG WOMAN

                       Oh yes, thank you.

        The Waitress pours the Young Woman's coffee.  The Young Man

        lights up another cigarette.

                                  YOUNG MAN

                       I'm doin' fine.

                     

        The Waitress leaves.  The Young Man takes a drag off of his

        smoke.  The Young Woman pours a ton of cream and sugar into

        her coffee.

        The Young Man goes right back into it.

                                  YOUNG MAN

                       I mean the way it is now, you're

                       takin' the same fuckin' risk as

                       when you rob a bank.  You take more

                       of a risk.  Banks are easier!

                       Federal banks aren't supposed to

                       stop you anyway, during a robbery.

                       They're insured, why should they

                       care?  You don't even need a gun in

                       a federal bank.

                       I heard about this guy, walked into

                       a federal bank with a portable

                       phone, handed the phone to the

                       teller, the guy on the other end of

                       the phone said: "We got this guy's

                       little girl, and if you don't give

                       him all your money, we're gonna

                       kill 'er."

                                  YOUNG WOMAN

                       Did it work?

                                  YOUNG MAN

                       Fuckin' A it worked, that's what

                       I'm talkin' about!  Knucklehead

                       walks in a bank with a telephone,

                       not a pistol, not a shotgun, but a

                       fuckin' phone, cleans the place

                       out, and they don't lift a fuckin'

                       finger.

                                  YOUNG WOMAN

                       Did they hurt the little girl?

                                  YOUNG MAN

                       I don't know.  There probably never

                       was a little girl -- the point of

                       the story isn't the little girl.

                       The point of the story is they

                       robbed the bank with a telephone.

                                  YOUNG WOMAN

                       You wanna rob banks?

                                  YOUNG MAN

                       I'm not sayin' I wanna rob banks,

                       I'm just illustrating that if we

                       did, it would be easier than what

                       we been doin'.

                                  YOUNG WOMAN

                       So you don't want to be a bank

                       robber?

                                  YOUNG MAN

                       Naw, all those guys are goin' down

                       the same road, either dead or

                       servin' twenty.

                                  YOUNG WOMAN

                       And no more liquor stores?

                                  YOUNG MAN

                       What have we been talking about?

                       Yeah, no-more-liquor-stores.

                       Besides, it ain't the giggle it

                       usta be.  Too many foreigners own

                       liquor stores.  Vietnamese,

                       Koreans, they can't fuckin' speak

                       English.  You tell 'em: "Empty out

                       the register," and they don't know

                       what it fuckin' means.  They make

                       it too personal.  We keep on, one

                       of those gook motherfuckers' gonna

                       make us kill 'em.

                                  YOUNG WOMAN

                       I'm not gonna kill anybody.

                                  YOUNG MAN

                       I don't wanna kill anybody either.

                       But they'll probably put us in a

                       situation where it's us of them.

                       And if it's not the gooks, it these

                       old Jews who've owned the store for

                       fifteen fuckin' generations.  Ya

                       got Grandpa Irving sittin' behind

                       the counter with a fuckin' Magnum.

                       Try walkin' into one of those

                       stores with nothin' but a

                       telephone, see how far it gets you.

                       Fuck it, forget it, we're out of

                       it.

                                  YOUNG WOMAN

                       Well, what else is there, day jobs?

                                  YOUNG MAN

                            (laughing)

                       Not this life.

                                  YOUNG WOMAN

                       Well what then?

        He calls to the Waitress.

                                  YOUNG MAN

                       Garcon!  Coffee!

        Then looks to his girl.

                                  YOUNG MAN

                       This place.

        The Waitress comes by, pouring him some more.

                                  WAITRESS

                            (snotty)

                       "Garcon" means boy.

        She splits.

                                  YOUNG WOMAN

                       Here?  It's a coffee shop.

                                  YOUNG MAN

                       What's wrong with that?  People

                       never rob restaurants, why not?

                       Bars, liquor stores, gas stations,

                       you get your head blown off

                       stickin' up one of them.

                       Restaurants, on the other hand, you

                       catch with their pants down.

                       They're not expecting to get

                       robbed, or not as expecting.

                                  YOUNG WOMAN

                            (taking to idea)

                       I bet in places like this you could

                       cut down on the hero factor.

                                  YOUNG MAN

                       Correct.  Just like banks, these

                       places are insured.  The managers

                       don't give a fuck, they're just

                       tryin' to get ya out the door

                       before you start pluggin' diners.

                       Waitresses, forget it, they ain't

                       takin' a bullet for the register.

                       Busboys, some wetback gettin' paid

                       a dollar fifty a hour gonna really

                       give a fuck you're stealin' from

                       the owner.  Customers are sittin'

                       there with food in their mouths,

                       they don't know what's goin' on.

                       One minute they're havin' a Denver

                       omelette, next minute somebody's

                       stickin' a gun in their face.

        The Young Woman visibly takes in the idea.  The Young Man

        continues in a low voice.

                                  YOUNG MAN

                       See, I got the idea last liquor

                       store we stuck up.  'Member all

                       those customers kept comin' in?

                                  YOUNG WOMAN

                       Yeah.

                                  YOUNG MAN

                       They you got the idea to take

                       everybody's wallet.

                                  YOUNG WOMAN

                       Uh-huh.

                                  YOUNG MAN

                       That was a good idea.

                                  YOUNG WOMAN

                       Thank you.

                                  YOUNG MAN

                       We made more from the wallets then

                       we did the register.

                                  YOUNG WOMAN

                       Yes we did.

                                  YOUNG MAN

                       A lot of people go to restaurants.

                                  YOUNG WOMAN

                       A lot of wallets.

                                  YOUNG MAN

                       Pretty smart, huh?

        The Young Woman scans the restaurant with this new

        information.  She sees all the PATRONS eating, lost in

        conversations.  The tires WAITRESS, taking orders.  The

        BUSBOYS going through the motions, collecting dishes.  The

        MANAGER complaining to the COOK about something.  A smiles

        breaks out on the Young Woman's face.

                                  YOUNG WOMAN

                       Pretty smart.

                            (into it)

                       I'm ready, let's go, right here,

                       right now.

                                  YOUNG MAN

                       Remember, same as before, you're

                       crowd control, I handle the

                       employees.

                                  YOUNG WOMAN

                       Got it.

        They both take out their .32-caliber pistols and lay them on

        the table.  He looks at her and she back at him.

                                  YOUNG WOMAN

                       I love you, Pumpkin.

                                  YOUNG MAN

                       I love you, Honey Bunny.

        And with that, Pumpkin and Honey Bunny grab their weapons,

        stand up and rob the restaurant.  Pumpkin's robbery persona is

        that of the in-control professional.  Honey Bunny's is that of

        the psychopathic, hair-triggered, loose cannon.

                                  PUMPKIN

                            (yelling to all)

                       Everybody be cool this is a

                       robbery!

                                  HONEY BUNNY

                       Any of you fuckin' pricks move and

                       I'll execute every one of you

                       motherfuckers!  Got that?

                                                        CUT TO:

        CREDIT SEQUENCE:

                                PULP FICTION

2.      INT. '74 CHEVY (MOVING) - MORNING                               2.

        An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down

        a homeless-ridden street in Hollywood.  In the front seat are

        two young fellas -- one white, one black -- both wearing cheap

        black suits with thin black ties under long green dusters.

        Their names are VINCENT VEGA (white) and JULES WINNFIELD

        (black).  Jules is behind the wheel.

                                  JULES

                       -- okay now, tell me about the hash

                       bars?

                                  VINCENT

                       What so you want to know?

                                  JULES

                       Well, hash is legal there, right?

                                  VINCENT

                       Yeah, it's legal, but is ain't a

                       hundred percent legal.  I mean you

                       can't walk into a restaurant, roll

                       a joint, and start puffin' away.

                       You're only supposed to smoke in

                       your home or certain designated

                       places.

                                  JULES

                       Those are hash bars?

                                  VINCENT

                       Yeah, it breaks down like this:

                       it's legal to buy it, it's legal to

                       own it and, if you're the

                       proprietor of a hash bar, it's

                       legal to sell it.  It's legal to

                       carry it, which doesn't really

                       matter 'cause -- get a load of this

                       -- if the cops stop you, it's

                       illegal for this to search you.

                       Searching you is a right that the

                       cops in Amsterdam don't have.

                                  JULES

                       That did it, man -- I'm fuckin'

                       goin', that's all there is to it.

                                  VINCENT

                       You'll dig it the most.  But you

                       know what the funniest thing about

                       Europe is?

                                  JULES

                       What?

                                  VINCENT

                       It's the little differences.  A

                       lotta the same shit we got here,

                       they got there, but there they're a

                       little different.

                                  JULES

                       Examples?

                                  VINCENT

                       Well, in Amsterdam, you can buy

                       beer in a movie theatre.  And I

                       don't mean in a paper cup either.

                       They give you a glass of beer, like

                       in a bar.  In Paris, you can buy

                       beer at MacDonald's.  Also, you

                       know what they call a Quarter

                       Pounder with Cheese in Paris?

                                  JULES

                       They don't call it a Quarter

                       Pounder with Cheese?

                                  VINCENT

                       No, they got the metric system

                       there, they wouldn't know what the

                       fuck a Quarter Pounder is.

                                  JULES

                       What'd they call it?

                                  VINCENT

                       Royale with Cheese.

                                  JULES

                            (repeating)

                       Royale with Cheese.  What'd they

                       call a Big Mac?

                                  VINCENT

                       Big Mac's a Big Mac, but they call

                       it Le Big Mac.

                                  JULES

                       What do they call a Whopper?

                                  VINCENT

                       I dunno, I didn't go into a Burger

                       King.  But you know what they put

                       on french fries in Holland instead

                       of ketchup?

                                  JULES

                       What?

                                  VINCENT

                       Mayonnaise.

                                  JULES

                       Goddamn!

                                  VINCENT

                       I seen 'em do it.  And I don't mean

                       a little bit on the side of the

                       plate, they fuckin' drown 'em in

                       it.

                                  JULES

                       Uuccch!

                                                        CUT TO:

3.      INT. CHEVY (TRUNK) - MORNING                                    3.

        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:

4.      EXT. APARTMENT BUILDING COURTYARD - MORNING                     4.

        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.

5.      INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING              5.

        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.

6.      INT. ELEVATOR - MORNING                                         6.

                                  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.

7.      INT. APARTMENT BUILDING HALLWAY - MORNING                       7.

        STEADICAM in front of Jules and Vincent as they make a beeline

        down the hall.

                                  VINCENT

                       Still I hafta say, play with

                       matches, ya get burned.

                                  JULES

                       Whaddya mean?

                                  VINCENT

                       You don't be givin' Marsellus

                       Wallace's new bride a foot massage.

                                  JULES

                       You don't think he overreacted?

                                  VINCENT

                       Antwan probably didn't expect

                       Marsellus to react like he did, but

                       he had to expect a reaction.

                                  JULES

                       It was a foot massage, a foot

                       massage is nothing, I give my

                       mother a foot massage.

                                  VINCENT

                       It's laying hands on Marsellus

                       Wallace's new wife in a familiar

                       way.  Is it as bad as eatin' her

                       out -- no, but you're in the same

                       fuckin' ballpark.

        Jules stops Vincent.

                                  JULES

                       Whoa...whoa...whoa...stop right

                       there.  Eatin' a bitch out, and

                       givin' a bitch a foot massage ain't

                       even the same fuckin' thing.

                                  VINCENT

                       Not the same thing, the same

                       ballpark.

                                  JULES

                       It ain't no ballpark either.  Look

                       maybe your method of massage

                       differs from mine, but touchin' his

                       lady's feet, and stickin' your

                       tongue in her holyiest of holyies,

                       ain't the same ballpark, ain't the

                       same league, ain't even the same

                       fuckin' sport.  Foot massages don't

                       mean shit.

                                  VINCENT

                       Have you ever given a foot massage?

                                  JULES

                       Don't be tellin' me about foot

                       massages -- I'm the fuckin' foot

                       master.

                                  VINCENT

                       Given a lot of 'em?

                                  JULES

                       Shit yeah.  I got my technique down

                       man, I don't tickle or nothin'.

                                  VINCENT

                       Have you ever given a guy a foot

                       massage?

        Jules looks at him a long moment -- he's been set up.

                                  JULES

                       Fuck you.

        He starts walking down the hall.  Vincent, smiling, walks a

        little bit behind.

                                  VINCENT

                       How many?

                                  JULES

                       Fuck you.

                                  VINCENT

                       Would you give me a foot massage --

                       I'm kinda tired.

                                  JULES

                       Man, you best back off, I'm gittin'

                       pissed -- this is the door.

        The two men stand in front of the door numbered "49."  They

        whisper.

                                  JULES

                       What time is it?

                                  VINCENT

                            (checking his watch)

                       Seven-twenty-two in the morning.

                                  JULES

                       It ain't quite time, let's hang

                       back.

        They move a little away from the door, facing each other,

        still whispering.

                                  JULES

                       Look, just because I wouldn't give

                       no man a foot massage, don't make

                       it right for Marsellus to throw

                       Antwan off a building into a glass-

                       motherfuckin-house, fuckin' up the

                       way the nigger talks.  That ain't

                       right, man.  Motherfucker do that

                       to me, he better paralyze my ass,

                       'cause I'd kill'a motherfucker.

                                  VINCENT

                       I'm not sayin' he was right, but

                       you're sayin' a foot massage don't

                       mean nothing, and I'm sayin' it

                       does.  I've given a million ladies

                       a million foot massages and they

                       all meant somethin'.  We act like

                       they don't, but they do.  That's

                       what's so fuckin' cool about 'em.

                       This sensual thing's goin' on that

                       nobody's talkin about, but you know

                       it and she knows it, fuckin'

                       Marsellus knew it, and Antwan

                       shoulda known fuckin' better.

                       That's his fuckin' wife, man.  He

                       ain't gonna have a sense of humor

                       about that shit.

                                  JULES

                       That's an interesting point, but

                       let's get into character.

                                  VINCENT

                       What's her name again?

                                  JULES

                       Mia.  Why you so interested in big

                       man's wife?

                                  VINCENT

                       Well, Marsellus is leavin' for

                       Florida and when he's gone, he

                       wants me to take care of Mia.

                                  JULES

                       Take care of her?

        Making a gun out of his finger and placing it to his head.

                                  VINCENT

                       Not that!  Take her out.  Show her

                       a good time.  Don't let her get

                       lonely.

                                  JULES

                       You're gonna be takin' Mia Wallace

                       out on a date?

                                  VINCENT

                       It ain't a date.  It's like when

                       you and your buddy's wife go to a

                       movie or somethin'.  It's just...

                       you know...good company.

        Jules just looks at him.

                                  VINCENT

                       It's not a date.

        Jules just looks at him.

                                  VINCENT

                       I'm not gonna be a bad boy.

        Jules shakes his head and mumbles to himself.

                                  JULES

                       Bitch gonna kill more niggers than

                       time.

                                  VINCENT

                       What was that?

                                  JULES

                       Nothin'.  Let's get into character.

                                  VINCENT

                       What'd you say?

                                  JULES

                       I didn't say shit.  Let's go to

                       work.

                                  VINCENT

                       Don't play with me, you said

                       somethin', now what was it?

                                  JULES

                            (referring to the job)

                       Do you wanna do this?

                                  VINCENT

                       I want you to repeat what you said.

                                  JULES

                       That door's gonna open in about

                       thirty seconds, so git yourself

                       together --

                                  VINCENT

                       -- my self is together --

                                  JULES

                       -- bullshit it is.  Stop thinkin'

                       'bout that Ho, and get yourself

                       together like a qualified pro.

8.      INT. APARTMENT (ROOM 49) - MORNING                              8.

        THREE YOUNG GUYS, obviously in over their heads, sit at a

        table with hamburgers, french fries and soda pops laid out.

        One of them flips the LOUD BOLT on the door, opening it to

        REVEAL Jules and Vincent in the hallway.

                                  JULES

                       Hey kids.

        The two men stroll inside.

        The three young caught-off-guard Guys are:

        MARVIN

        The black young man, who open the door, will, as the scene

        progresses, back into the corner.

        ROGER

        A young blond-haired surfer kid with a "Flock of Seagulls"

        haircut, who has yet to say a word, sits at the table with a

        big sloppy hamburger in his hand.

        BRETT

        A white, preppy-looking sort with a blow-dry haircut.

        Vincent and Jules take in the place, with their hands in their

        pockets.  Jules is the one who does the talking.

                                  JULES

                       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...tall --

                                  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.

        When they are finished, the bullet-ridden carcass just sits

        there for a moment, then TOPPLES over.

        All is quiet.

        The only SOUND is Marvin MUTTERING in the corner.

                                  MARVIN

                       ...goddamn...goddamn...that was

                       fucked up...goddamn, that was cold-

                       blooded...

                                  VINCENT

                            (pointing to Marvin)

                       Friend of yours?

                                  JULES

                       Yeah, Marvin-Vincent-Vincent-

                       Marvin.

                                  VINCENT

                       Tell 'em to shut up, he's gettin'

                       on my nerves.

                                  JULES

                       Marvin, I'd knock that shit off if

                       I was you.

        Then suddenly the bathroom door BURSTS OPEN, and a FOURTH MAN

        (as young as the rest) comes CHARGING out, a silver Magnum in

        his hand.

        We DOLLY into a MEDIUM on him.

                                  FOURTH MAN

                       Die...die...die...die...die...die!

        The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in

        the direction of Vincent and Jules.  He SCREAMS a maniacal cry

        of revenge until he's DRY FIRING.

        Then...his face does a complete change of expression.  It goes

        from a "Vengeance is mine" expression, to a "What the fuck"

        blank look.

                                  FOURTH MAN

                       I don't understand --

        The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by

        bullets that TEAR HIM TO SHREDS.

        He leaves the FRAME EMPTY.

                                                        FADE TO BLACK

        Against black, TITLE CARD:

                                "VINCENT VEGA

                                     AND

                           MARSELLUS WALLACE'S WIFE"

                                                        FADE IN:

9.      MEDIUM SHOT - BUTCH COOLIDGE                                    9.

        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 (OS)

                       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 (OS)

                       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 (OS)

                       In the fifth, your ass goes down.

        Butch nods his head: "yes."

                                  MARSELLUS (OS)

                       Say it!

                                  BUTCH

                       In the fifth, my ass goes down.

                                                        CUT TO:

10.     INT. CAR (MOVING) - DAY                                         10.

        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.

11.     EXT. SALLY LeROY'S - DAY                                        11.

        Sally LeRoy's is a large topless bat 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.

12.     INT. SALLY LeROY'S - DAY                                        12.

        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 (OS)

                       Hand 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 ol'

                       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 burn toward Vincent.

                                  BUTCH

                       What was that?

                                  VINCENT

                       I think ya heard me just fine,

                       punchy.

        Butch turns his body to Vincent, when...

                                  MARSELLUS (OS)

                       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 (OS)

                       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:

13.     INT. LANCE'S HOUSE (KITCHEN) - NIGHT                            13.

        CU 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 names 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 (OS)

                       Vince, you can come in now!

14.     INT. LANCE'S BEDROOM - NIGHT                                    14.

        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.

        CU - THE NEEDLE

        going into Vincent's vein.

        CU - BLOOD

        spurting back into the syringe, mixing with the heroin.

        CU OF VINCENT'S THUMB

        pushing down on the plunger.

                                                        CUT TO:

15.     EXT. MARSELLUS WALLACE'S HOUSE - NIGHT                          15.

        Vincent walks up to the driveway leading to Marsellus

        Wallace's front door.  When he gets to the door, he hears

        MUSIC on the other side, and a note in plain view taped to it.

        He rips it off.

        CU - NOTE

                        "Hi Vincent,

                        I'm getting dressed.  The door's

                        open.  Come inside and make

                        yourself a drink.

                                            Mia"

        Vincent neatly folds the note up, sticks it in his pocket,

        takes a here-goes-nothing breath and turns the knob.

16.     INT. MARSELLUS WALLACE'S HOUSE - NIGHT                          16.

        As Vincent steps inside, the MUSIC that was behind the door,

        SWELLS drastically.  Vincent, hands in pockets, strolls

        inside, checking out his boss' home.

                                  VINCENT

                            (yelling)

                       Hello!  I'm here!

        We hear a DOOR OPEN, Vincent turns in its direction.

17.     INT. DRESSING ROOM - NIGHT                                      17.

        We're inside the room where the MUSIC is PLAYING.  In the f.g.

        MIA WALLACE, naked with her back to us, talks to Vincent

        through a crack in the door.  The door shields the front of

        her body from Vincent.

                                  MIA

                       Vincent Vega?

                                  VINCENT

                       I'm Vincent, you Mia?

                                  MIA

                       That's me, pleased to meetcha.  I'm

                       still getting dressed.  To your

                       left, past the kitchen, is a bar.

                       Why don't you make yourself a

                       drink, have a seat in the living

                       room, and I'll be out within three

                       shakes of a lamb's tail.

                                  VINCENT

                       Take your time.

        Mia closes the door.  Before she can fully turn around and

        show us her face...

                                                        WE CUT:

        BACK TO VINCENT

        standing where he was, MUSIC beating, looking at the closed

        door.  We slowly ZOOM to the door.

        We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he

        contemplates what's on the other side of the door.  When we

        reach a CU, he walks OUT OF FRAME, breaking the spell.

        Vincent walks to the bar and pours himself a drink.

        WE JUXTAPOSE

        as the MUSIC plays.

        Mia's dress selection is taken out of the closet.

        Vincent, drink in hand, moves into the living room.

        Mia, her back to CAMERA, dressed in her pretty dress, checks

        herself in the mirror.  We DOLLY towards her.  Her face is

        still obscured.

        CU - PORTRAIT OF MIA

        hanging on the living room wall, showing Mia sensually

        reclining on a couch.

        HIGH ANGLE SHOT OF VINCENT

        looking up at the portrait.

        CU - Mia cutting a huge line of coke on her vanity table with

        a credit card.

        Vincent sits on a plush, comfy couch.

        CU - MIA'S NOSE

        snorting the line from a rolled up dollar bill.

        Vincent on the couch, drink in hand.  The SONG abruptly CUTS

        OFF.

        CU - CD PLAYER OPENING

        Mia's hand comes in and takes the CD out.

        The CAMERA follows behind Mia's bare feet as she walks out of

        the dressing room, through the dining room, through the

        kitchen and into the living room.

        SHOT THROUGH A VIDEO CAMERA

        Mia has a camcorder and is videotaping Vincent on the couch.

        He looks up and sees her.

                                  MIA (OS)

                       Smile, you're on Mia's camera!

                                  VINCENT

                       Ready to go?

                                  MIA (OS)

                       Not yet.  I'm going to interview you

                       first.  Are you any relation to

                       Suzanne Vega?

                                  VINCENT

                       Yeah, she's my cousin.

                                  MIA (OS)

                       Suzanne Vega the folk singer is

                       your cousin?

                                  VINCENT

                       Suzanne Vega's my cousin.  If she's

                       become a folk singer, I sure as

                       hell don't know nothin' about it.

                       But then I haven't been to too many

                       Thanksgivings lately.

                                  MIA (OS)

                       Now I'm gonna ask you a bunch of

                       quick questions I've come up with

                       that more of less tell me what kind

                       of person I'm having dinner with.

                       My theory is that when it comes to

                       important subjects, there's only

                       two ways a person can answer.  For

                       instance, there's two kinds of

                       people in this world, Elvis people

                       and Beatles people.  Now Beatles

                       people can like Elvis.  And Elvis

                       people can like the Beatles.  But

                       nobody likes them both equally.

                       Somewhere you have to make a

                       choice.  And that choice tells me

                       who you are.

                                  VINCENT

                       I can dig it.

                                  MIA (OS)

                       I knew you could.  First question,

                       Brady Bunch or the Partridge

                       Family?

                                  VINCENT

                       The Partridge Family all the way,

                       no comparison.

                                  MIA (OS)

                       On "Rich Man, Poor Man," who did

                       you like, Peter Strauss or Nick

                       Nolte?

                                  VINCENT

                       Nick Nolte, of course.

                                  MIA (OS)

                       Are you a "Bewitched" man, or a

                       "Jeannie" man?

                                  VINCENT

                       "Bewitched," all the way, though I

                       always dug how Jeannie always

                       called Larry Hagman "master."

                                  MIA (OS)

                       If you were "Archie," who would you

                       fuck first, Betty or Veronica?

                                  VINCENT

                       Betty.  I never understood Veronica

                       attraction.

                                  MIA (OS)

                       Have you ever fantasized about

                       being beaten up by a girl?

                                  VINCENT

                       Sure.

                                  MIA (OS)

                       Who?

                                  VINCENT

                       Emma Peel on "The Avengers."  That

                       tough girl who usta hang out with

                       Encyclopedia Brown.  And Arlene

                       Motika.

                                  MIA (OS)

                       Who's Arlene Motika?

                                  VINCENT

                       Girl from sixth grade, you don't

                       know her.

        CU - MIA

        lowers the camcorder from in front of her face and we get our

        first full-on look at her.  When we do, we get a pretty good

        idea why Marsellus feels the way he does.  She breaks out in a

        blinding smile.

                                  MIA

                       Cut.  Print.  Let's go eat.

18.     EXT. JACKRABBIT SLIM'S - NIGHT                                  18.

        In the past six years, 50's diners have sprung up all over LA,

        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 Omelette, 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."

19.     INT. JACKRABBIT SLIM'S - NIGHT                                  19.

        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."  So 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 his 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.

20.     INT. JACKRABBIT SLIM'S (LADIES ROOM) - NIGHT                    20.

        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!

21.     INT. JACKRABBIT SLIM'S (DINING AREA) - NIGHT                    21.

        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.

                                  VINCENT

                       Are you mad?

                                  MIA

                       Not at all.  Being the subject of

                       back-fence gossip goes with the

                       right, I guess.

        She takes a sip of her five-dollar shake, and says:

                                  MIA

                       Thanks.

                                  VINCENT

                       What for?

                                  MIA

                       Asking my side.

        At that moment, a great oldie-but-goodie BLASTS from the

        jukebox.

                                  MIA

                       I wanna dance.

                                  VINCENT

                       I'm not much of a dancer.

                                  MIA

                       Now I'm the one gettin' gyped.  I

                       do believe Marsellus told you to

                       take me out and do whatever I

                       wanted.  Well, now I want to dance.

        Vincent smiles and begins taking off his boots.  Mia

        triumphantly casts hers off.  He takes her hand, escorting her

        to the dance floor.  The two face each other for that brief

        moment before you begin to dance, than they both break into a

        devilish twist.  Mia's version of the twist is that of a sexy

        cat.  Vincent is pure Mr. Cool as he gets into a hip-

        swivelling rhythm that would make Mr. Checker proud.

        The OTHER DANCERS on the floor are trying to do the same

        thing, but Vincent and Mia seem to be strangely shaking their

        asses in sync.  The two definitely share a rhythm and share

        smiles as they SING ALONG with the last verse of the Golden

        Oldie.

                                                        CUT TO:

22.     INT. MARSELLUS WALLACE'S HOME - NIGHT                           22.

        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 for 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:

23.     INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) - NIGHT               23.

        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.

        CU - 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 sonofabitch.

                            (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.

24.     EXT. VINCENT'S HOT ROD (MOVING) - NIGHT                         24.

        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.

25.     INT. VINCENT'S HOT ROD (MOVING) - NIGHT                         25.

        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.

26.     INT. LANCE'S HOUSE - NIGHT                                      26.

        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 (OS)

                       Lance!  The phone's ringing!

                                  LANCE

                            (calling back)

                       I can hear it!

                                  JODY (OS)

                       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 adrenalin shot?

                                  LANCE

                            (dawning on him)

                       Maybe.

                                  VINCENT

                       I need it man, I got a chick she's

                       fuckin' O.D.ing 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 O.D.in'?

                                  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 (OS)

                       What the hell was that?

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

27.     EXT. LANCE'S HOUSE - NIGHT                                      27.

        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.

28.     INT. LANCE'S HOUSE - NIGHT                                      28.

        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 adrenalin shot.

                                  JODY

                       What's wrong with her?

                                  VINCENT

                       She's O.D.ing 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 adrenalin 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

                       joy-poppin' 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...

29.     SPARE ROOM                                                      29.

        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 (OS)

                       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 (OS)

                       What's he lookin' for?

                                  VINCENT (OS)

                       I dunno, some medical book.

        Jody calls to Lance.

                                  JODY (OS)

                       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 (OS)

                       -- 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.

30.     LIVING ROOM                                                     30.

        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 does 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 O.D.ing 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 in Mia's body where her heart is.

                                  VINCENT

                       Okay, what do I do?

                                  LANCE

                       Well, you're giving her an

                       injection of adrenalin 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 (OS)

                       ...two...

        Jody's face is alive with anticipation.

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

                                  LANCE (OS)

                       ...three!

        The needle leaves frame, THRUSTING down hard.

        Vincent brings the needle down hard, STABBING Mia in the

        chest.

        Mia's head if JOLTED from the impact.

        The syringe plunger is pushed down, PUMPING the adrenalin 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:

31.     INT. VINCENT'S MALIBU (MOVING) - NIGHT                          31.

        Vincent is behind the wheel driving Mia home.  No one says

        anything, both are still too shaken.

32.     EXT. FRONT OF MARSELLUS WALLACE'S HOUSE - NIGHT                 32.

        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 (OS)

                       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.

        CU - 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

33.     FADE UP:                                                        33.

        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 (OS)

                       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 (OS)

                       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's 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

                       disentary, 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:

34.     INT. LOCKER ROOM - NIGHT                                        34.

        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 TITLE:

                                  SPORTSCASTER #1 (OS)

                       -- 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:

35.     EXT. ALLEY (RAINING) - NIGHT                                    35.

        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 (OS)

                       ...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 (OS)

                       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:

36.     INT. TAXI (PARKED/RAINING) - NIGHT                              38.

        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 (OS)

                       Do you feel this ring death tragedy

                       will have an effect on the world of

                       boxing?

                                  SPORTSCASTER #2 (OS)

                       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:

37.     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.

38.     INT. TAXI (PARKED/RAINING) - NIGHT                              38.

        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.

39.     EXT. BOXING AUDITORIUM (RAINING) - NIGHT                        39.

        The cab WHIPS out of the alley, FISH-TAILING on the wet

        pavement in front of the auditorium at a rapid pace.

40.     INT. WILLIS LOCKER ROOM (AUDITORIUM) - NIGHT                    40.

        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.

        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 (OS)

                       What'cha got?

                                  ENGLISH DAVE

                       He booked.

                                  MARSELLUS (OS)

                       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.

41.     INT. CAB (MOVING/RAINING) - NIGHT                               41.

        Butch gets one of his boxing gloves off.

        Esmarelda 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.

        Esmarelda 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 tee-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 excitment.

                                  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.  You wanna know why,

                       Esmarelda?

        Esmarelda nods her head: "yes."

                                  BUTCH

                       'Cause I'm a boxer.  And after

                       you've said that, you've said

                       pretty much all there is to say

                       about me.  Now maybe that son-of-a-

                       bitch tonight was once at one time

                       a boxer.  If he was, then he was

                       dead before his ass ever stepped in

                       the ring.  I just put the poor

                       bastard outta his misery.  And if

                       he never was a boxer --

                            (Butch takes a drag)

                       That's what he gets for fuckin' up

                       my sport.

42.     EXT. PHONE BOOTH (RAINING) - NIGHT                              42.

        We DOLLY around a phone booth as Butch talks inside.

                                  BUTCH

                            (into phone)

                       What's 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' Fabian'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)

                       Fabian my love, our adventure

                       begins.

                                                        CUT TO:

43.     EXT. MOTEL (STOPPED RAINING) - NIGHT                            43.

        Esmarelda's tax 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.

44.     INT. MOTEL (ROOM SIX) - NIGHT                                   44.

        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, FABIAN.

                                  FABIAN

                       Keep the light off.

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

                                  BUTCH

                       Is that better, sugar pop?

                                  FABIAN

                       Oui.  Hard day at the office?

                                  BUTCH

                       Pretty hard.  I got into a fight.

                                  FABIAN

                       Poor baby.  Can we make spoons?

        Butch climbs into bed, spooning Fabian from behind.

        When Butch and Fabian speak to each other, they speak in baby-

        talk.

                                  FABIAN

                       I was looking at myself in the

                       mirror.

                                  BUTCH

                       Uh-huh?

                                  FABIAN

                       I wish I had a pot.

                                  BUTCH

                       You were lookin' in the mirror and

                       you wish you had some pot?

                                  FABIAN

                       A pot.  A pot belly.  Pot bellies

                       are sexy.

                                  BUTCH

                       Well you should be happy, 'cause

                       you do.

                                  FABIAN

                       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.

                                  FABIAN

                       The difference is huge.

                                  BUTCH

                       You want me to have a pot?

                                  FABIAN

                       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?

                                  FABIAN

                       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 I had a pot belly, I'd punch you

                       in it.

                                  FABIAN

                       You'd punch me in my belly?

                                  BUTCH

                       Right in the belly.

                                  FABIAN

                       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?

                                  FABIAN

                       Yes!

                                  BUTCH

                       Did you get everything, sugar pop?

                                  FABIAN

                       Yes, I did.

                                  BUTCH

                       Good job.

                                  FABIAN

                       Did everything go as planned?

                                  BUTCH

                       You didn't listen to the radio?

                                  FABIAN

                       I never listen to your fights.

                       Were you the winner?

                                  BUTCH

                       I won alright.

                                  FABIAN

                       Are you still retiring?

                                  BUTCH

                       Sure am.

                                  FABIAN

                       What about the man you fought?

                                  BUTCH

                       Floyd retired too.

                                  FABIAN

                            (smiling)

                       Really?!  He won't be fighting no

                       more?!

                                  BUTCH

                       Not no more.

                                  FABIAN

                       So it all worked out in the finish?

                                  BUTCH

                       We ain't at the finish, baby.

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

                                  FABIAN

                       We're in a lot of danger, aren't

                       we?

        Butch nods his head: "yes."

                                  FABIAN

                       If they find us, they'll kill us,

                       won't they?

        Butch nods his head: "yes."

                                  FABIAN

                       But they won't find us, will they?

        Butch nods his head: "no."

                                  FABIAN

                       Do you still want me to go with

                       you?

        Butch nods his head: "yes."

                                  FABIAN

                       I don't want to be a burden or a

                       nuisance --

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

        crotch.

        Fabian reacts.

                                  FABIAN

                       Say it!

                                  BUTCH

                       Fabian, I want you to be with me.

                                  FABIAN

                       Forever?

                                  BUTCH

                       ...and ever.

        Fabian lies her head back.

        Butch continues to massage her crotch.

                                  FABIAN

                       Do you love me?

                                  BUTCH

                       Oui.

                                  FABIAN

                       Butch?  Will you give me oral

                       pleasure?

        Butch kisses her on the mouth.

                                  BUTCH

                       Will you kiss it?

        She nods her head: "yes."

                                  FABIAN

                       But you first.

        Butch's head goes down out of frame to carry out the oral

        pleasure.  Fabian's face is alone in the frame.

                                  FABIAN

                            (in French, with

                              English subtitles)

                       Butch my love, the adventure

                       begins

                                                        FADE TO BLACK

        FADE UP:

45.     MOTEL ROOM                                                      45.

        Same motel room, except empty.  WE HEAR THE SHOWER RUNNING in

        the bathroom.  The CAMERA MOVES to the bathroom doorway.  We

        see Fabian 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.

                                  FABIAN

                       Giving me oral pleasure?

                                  BUTCH

                       No retard, from the fight.

                                  FABIAN

                       Don't call me retard.

                                  BUTCH

                            (in a Mongoloid voice)

                       My name is Fabby!  My name is

                       Fabby!

                                  FABIAN

                       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.

                                  FABIAN

                       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.

                                  FABIAN

                       Butch?

                                  BUTCH

                            (drying his head)

                       Yes, lemon pie.

                                  FABIAN

                       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.

                                  FABIAN

                       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.

                      

                                  FABIAN

                       But I do not speak Spanish.

                                  BUTCH

                       You don't speak Bora Boran either.

                       Besides, Mexican is easy: Donde

                       esta el zapataria?

                                  FABIAN

                       What does that mean?

                                  BUTCH

                       Where's the shoe store?

                                  FABIAN

                       Donde esta el zapataria?

                                  BUTCH

                       Excellent pronunciation.  You'll be

                       my little mama ceta in no time.

        Butch exits the bathroom.  We stay on FAbian as she brushes

        her teeth.

        Butch keeps on from the other room.

                                  BUTCH (OS)

                       Que hora es?

                                  FABIAN

                       Que hora es?

                                  BUTCH (OS)

                       What time is it?

                                  FABIAN

                       What time is it?

                                  BUTCH (OS)

                       Time for bed.  Sweet dream,

                       jellybean.

        Fabian brushes her teeth.  We watch her for a moment or two,

        then she remember something.

                                  FABIAN

                       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.

                                  FABIAN

                       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:

46.     MOTEL ROOM - MORNING                                            46.

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

        asleep in bed.

        Fabian 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 Fabian.

                                  FABIAN

                       Merde!  You startled me.  Did you

                       have a bad dream?

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

        focus.

                                  BUTCH

                       ...yeah...are you still brushing

                       your teeth?

                                  FABIAN

                       This is me.  I brush my teeth all

                       night long and into the early

                       morning.  Do you think I have a

                       problem?

        Fabian goes back into the bathroom to spit.

        If that was supposed to be sarcasm, it was lost on Butch at

        this early hour.

        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?

                                  FABIAN

                       A motorcycle movie, I'm not sure

                       the name.

                                  BUTCH

                       Are you watchin' it?

        Fabian enters the room.

                                  FABIAN

                       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.

                                  FABIAN

                       What was it about?

                                  BUTCH

                       How should I know, you were the one

                       watchin' it.

        Fabian laughs.

                                  FABIAN

                       No, imbecile, what was your dream

                       about?

                                  BUTCH

                       Oh, I...don't remember.  It's

                       really rare I remember a dream.

                                  FABIAN

                       You just woke up from it.

                                  BUTCH

                       Fabian, I'm not lying to you, I

                       don't remember.

                                  FABIAN

                       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?

                                  FABIAN

                       You did last night.

                                  BUTCH

                       What did I say?

        Laying on top of him.

                                  FABIAN

                       I don't know.  I couldn't

                       understand you.

        She kisses Butch.

                                  FABIAN

                       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.

        Fabian gives Butch a sweet long kiss.

                                  FABIAN

                       Satisfied?

                                  BUTCH

                       Yep.

                                  FABIAN

                       Then get up, lazy bones.

        Butch climbs out of bed and starts pulling clothes out of the

        suitcase that Fabian brought.

                                  BUTCH

                       What time is it?

                                  FABIAN

                       Almost nine in the morning.  What

                       time does our train arrive?

                                  BUTCH

                       Eleven.

        Seeing him looking at a pair of pants.

                                  FABIAN

                       Those pants are very nice.  Can you

                       wear those with that nice blue

                       shirt you have?

        He pulls a blue shirt of the suitcase.

                                  BUTCH

                       This one?

                                  FABIAN

                       That's the one.  That matches.

                                  BUTCH

                       Okay.

        He puts the cloths on.

                                  FABIAN

                       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.

                                  FABIAN

                            (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?

                                  FABIAN

                       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?

                                  FABIAN

                       It's there.

                                  BUTCH

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

                                  FABIAN

                       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?

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

                                  FABIAN

                       Uhhh...yes...beside the table

                       drawer --

                                  BUTCH

                       -- on the little kangaroo.

                                  FABIAN

                       Yes, it was on your little

                       kangaroo.

                                  BUTCH

                       Well it's not here!

                                  FABIAN

                            (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?

        Fabian is crying and scared.

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

        menacing.

                                  BUTCH

                       Fabian, 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?

                                  FABIAN

                       I believe so....

                                  BUTCH

                       You believe so?  You either did, or

                       you didn't, now which one is it?

                                  FABIAN

                       Then I did.

                                  BUTCH

                       Are you sure?

                                  FABIAN

                            (shaking)

                       No.

        Butch freaks out, he punches the air.

        Fabian SCREAMS and backs into a corner,

        Butch picks up the motel TV and THROWS IT AGAINST the wall.

        Fabian SCREAMS IN HORROR.

        Butch looks toward her, suddenly calm.

                                  BUTCH

                            (to Fabian)

                       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.

        Fabian is still sniffling.

        Butch goes to the closet.

                                  FABIAN

                       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.

                                  FABIAN

                       Why does it mean that?

                                  BUTCH

                       Because I'm going back to my

                       apartment to get my watch.

                                  FABIAN

                       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.

                                  FABIAN

                       My darling, I don't want you to be

                       murdered over a silly watch.

                                  BUTCH

                       One, it's not a silly watch.  Two,

                       I'm not gonna be murdered.  And

                       three, don't be scared.  I won't

                       let anything get in the way of us

                       living a happy life together.

        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.

                                  FABIAN

                       Don't go.

                                  BUTCH

                       I'll be back before you can say,

                       blueberry pie.

                                  FABIAN

                       Blueberry pie.

                                  BUTCH

                       Well maybe not that fast, but fast.

                       Okay?  Okay?

                                  FABIAN

                       Okay.

        He kisses her once more and heads for the door.

                                  BUTCH

                       Bye-bye, sugar pop.

                                  FABIAN

                       Bye.

                                  BUTCH

                       I'm gonna take your Honda.

                                  FABIAN

                       Okay.

        And with that, he's out the door.

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

47.     INT. HONDA (MOVING) - DAY                                       47.

        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."

48.     EXT. CITY STREET - DAY                                          48.

        The little Honda races toward its destination as fast as its

        little engine will take it.

49.     INT. HONDA (MOVING) - DAY                                       49.

        Butch continues:

                                  BUTCH

                       What the fuck am I doin'?  Have I

                       taken one too many hits to the

                       head?  That's gotta be it.  Brain

                       damage is the only excuse for this

                       dumb a move.  Stop the car, Butch.

                            (he keeps on driving)

                       Stop the car, Butch.

                            (he pays no attention

                              to himself)

                       Butch, I'm talkin' to you.  Put-

                       your-foot-on-the-break!

        Butch's foot SLAMS down hard on the break.

50.     EXT. CITY STREET - DAY                                          50.

        The little Honda SKIDS to a stop in the middle of the street.

        Butch HOPS out of the car like it was on fire.

        Butch begins PACING back and forth, talking to himself,

        oblivious to PASSERSBY and traffic.

                                  BUTCH

                       I ain't gonna do this.  This is a

                       punchy move and I ain't punchy!

                       Daddy would totally fuckin'

                       understand.  If he was here right

                       now, he'd say, "Butch, git a grip.

                       It's a fuckin' watch, man.  You

                       lose one, ya git another.  This is

                       your life you're fuckin' around

                       with, which you shouldn't be doin'

                       'cause you only got one.

        Butch continues to pace, but now he's silent.  Then....

                                  BUTCH

                       This is my war.  You see, Butch,

                       what you're forgettin' is this

                       watch isn't just a device that

                       enables you to keep track of time.

                       This watch is a symbol.  It's a

                       symbol of how your father, and his

                       father before him, and his father

                       before him, distinguished

                       themselves in war.  And when I took

                       Marsellus Wallace's money, I

                       started a war.  This is my World

                       War Two.  That apartment in North

                       Hollywood, that's my Wake Island.

                        In fact, if you look at it that

                       way, it's almost kismet that Fabian

                       left it behind.  And using that

                       perspective, going back for it

                       isn't stupid.  It may be dangerous,

                       but it's not stupid.  Because there

                       are certain things in this world

                       that are worth going back for.

        That's it, Butch has talked himself into it again.  He HOPS in

        the car, starts it up and TAKES OFF.

                                                        CUT TO:

        A parking meter red flag rises up, then out, leaving the arrow

        pointing at one hour.

51.     EXT. RESIDENTIAL STREET CORNER - DAY                            51.

        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.

52.     EXT. ALLEY - DAY                                                52.

        Butch walks down the alley until he gets to another street,

        then he discreetly glances out.

53.     EXT. STREET - BUTCH'S APARTMENT - DAY                           53.

        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

                            (to himself)

                       Everything looks hunky dorie.

                       Looks can be deceiving, but this

                       time I don't think they are.  Why

                       waste the manpower to stake out my

                       place.  I'd have to be a fuckin'

                       idiot to come back here.  That's

                       how you're gonna beat 'em Butch,

                       they keep underestimating you.

        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.

54.     EXT. BUTCH'S APARTMENT COURTYARD - DAY                          54.

        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.

55.     INT. BUTCH'S APARTMENT - DAY                                    55.

        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 weaponary 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.

56.     EXT. APARTMENT COURTYARD - DAY                                  56.

        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.

57.     EXT. HONDA - DAY                                                57.

        Butch CRANKS the car into gear and drives away.  The big wide

        smile of a survivor breaks across his face.

58.     EXT. APARTMENT BUILDING STREET - DAY                            58.

        The Honda turns down the alley and slowly cruises by his

        apartment building.

59.     INT. HONDA - DAY                                                59.

        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 Fabian'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."

60.     INT. MASON-DIXIE PAWNSHOP - DAY                                 60.

        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 (OS)

                       -- hold it right there, godammit!

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

        pump-action 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:

61.     INT. PAWNSHOP BACK ROOM - DAY                                   61.

        TWO SHOT - BUTCH AND MARSELLUS

        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' 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 asleep.

                                  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 (OS)

                       Whoa, this boy's got a bit of fight

                       in 'em!

        We the HEAR Maynard and Zed beat on Marsellus.

                                  ZED (OS)

                       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 (OS)

                       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.

62.     INT. PAWNSHOP - DAY                                             62.

        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 Ken-style, he

        disappears through the red curtains to take care of business.

63.     INT. PAWNSHOP BACK ROOM - DAY                                   63.

        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.

64.     INT. RUSSELL'S OLD ROOM - DAY                                   64.

        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 (OS)

                       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.

65.     EXT. MASON-DIXIE PAWNSHOP - DAY                                 65.

        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...

66.     INT. BUTCH AND FABIAN'S HOTEL ROOM - DAY                        66.

        Fabian stands in front of a mirror wearing a "Frankie says,

        Relax" tee-shirt, singing along with MUSIC coming from a BOOM

        BOX.

67.     EXT. CITY STREET - CHOPPER (MOVING) - DAY                       67.

        Butch drives down the street, humping a hot dog names "GRACE."

        He checks his father's watch.  It says: 10:30.

        The SONG in the motel room PLAYS OVER this.

68.     EXT. MOTEL ROOM - DAY                                           68.

        Butch rides up on Grace.  He hops off and runs inside the

        motel room, while we stay outside with the bike.

                                  FABIAN (OS)

                       Butch, I was so worried!

                                  BUTCH

                       Honey, grab your radio and your

                       purse and let's go!

                                  FABIAN (OS)

                       But what about all our bags?

                                  BUTCH

                       Fuck the bags.  We'll miss our

                       train if we don't split now.

                                  FABIAN (OS)

                       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.  Fabian exits the

        motel room with the boom box and a large purse.  When she sees

        Butch on the chopper, she stops dead.

                                  FABIAN

                       Where did you get this motorcycle?

                                  BUTCH

                            (he KICK-STARTS it)

                       It's a chopper, baby, hop on.

        Fabian slowly approaches the two-wheel demon.

                                  FABIAN

                       What happened to my Honda?

                                  BUTCH

                       Sorry baby, I crashed the Honda.

                                  FABIAN

                       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!

        Fabian 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.

                                  FABIAN

                            (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?

                                  FABIAN

                            (waterworks drying a

                              little)

                       It was good --

                                  BUTCH

                       -- did you get the blueberry

                       pancakes?

                                  FABIAN

                       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.

        Fabian does climb on.  Butch STARTS her up.

                                  FABIAN

                       Butch, whose motorcycle is this?

                                  BUTCH

                       It's a chopper.

                                  FABIAN

                       Whose chopper is this?

                                  BUTCH

                       Zed's.

                                  FABIAN

                       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 (OS)

                       You ever read the Bible, Brett?

                                  BRETT (OS)

                       Yes!

                                  JULES (OS)

                       There's a passage I got memorized,

                       seems appropriate for this

                       situation: Ezekiel 25:17. "The

                       path of the righteous man is beset

                       on all sides by the inequities of

                       the selfish and the tyranny of evil

                       men...." 

                      

        FADE UP:

69.     INT. BATHROOM - DAY                                             69.

        We're in the bathroom of the Hollywood apartment we were in

        earlier.  In fact, we're there at exactly the same time.

        Except this time, we're in the bathroom with the FOURTH MAN.

        The Fourth Man is pacing around the small room, listening hard

        to what's being said on the other side of the door, tightly

        CLUTCHING his huge silver ,357 Magnum.

                                  JULES (OS)

                       "...blessed is he who, in the name

                       of charity and good will, shephered

                       the weak through the valley of

                       darkness.  And I will strike down

                       upon thee with great vengeance and

                       furious anger those who attempt to

                       poison and destroy my brothers.

                       And you will know I am the Lord

                       when I lay my vengeance upon you."

        BANG!  BANG!  BOOM!  POW!  BAM BAM BAM BAM BAM!

        The Fourth Man freaks out.  He THROWS himself against the back

        wall, gun outstretched in front of him, a look of yellow fear

        on his face, ready to blow in half anybody fool enough to

        stick their head through that door.

        Then he listens to them talk.

                                  VINCENT (OS)

                       Friend of yours?

                                  JULES (OS)

                       Yeah, Marvin-Vincent-Vincent-

                       Marvin.

        Waiting for them isn't the smartest move.  Bursting out the

        door and blowing them all away while they're fuckin' around is

        the way to go.

70.     INT. APARTMENT - DAY                                            70.

        The bathroom door BURSTS OPEN and the Fourth Man CHARGES out,

        silver Magnum raised, FIRING SIX BOOMING SHOTS from his hand

        cannon.

                                  FOURTH MAN

                       Die...die...die...die...!

        DOLLY INTO Fourth Man, same as before.

        He SCREAM until he's dry firing.  Then a look of confusion

        crosses his face.

        TWO SHOT - JULES AND VINCENT

        standing next to each other, unharmed.  Amazing as it seems,

        none of the Fourth Man's shots appear to have hit anybody.

        Jules and Vincent exchange looks like, "Are we hit?"  They're

        as confused at the shooter.  After looking at each other, they

        bring their looks up to the Fourth Man.

                                  FOURTH MAN

                       I don't understand --

        The Fourth Man is taken out of the scenario by the two men's

        bullets who, unlike 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?

71.     EXT. HOLLYWOOD APARTMENT BUILDING - MORNING                     71.

        The Chevy Nova PROPELS itself into traffic.

72.     INT. NOVA (MOVING) - MORNING                                    72.

        Jules is behind the wheel, Vincent in the passenger seat and

        Marvin in the back.

                                  VINCENT

                       ...ever seen that show "COPS?"  I

                       was watchin' it once and this cop

                       was on it who was talkin' about

                       this time he got into this gun

                       fight with a guy in a hallway.  He

                       unloads on this guy and he doesn't

                       hit anything.  And these guys were

                       in a hallway.  It's a freak, but it

                       happens.

                                  JULES

                       If you wanna play blind man, then

                       go walk with a Shepherd.  But me,

                       my eyes are wide 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-of-a-bitch, the gun just went

                       off, don't ask me how!  Now I think

                       the humane thing to do is put him

                       out of his misery.

                                  JULES

                            (can't believe it)

                       You wanna shoot 'im again?

                                  VINCENT

                       The guy's sufferin'.  It's the

                       right thing to do.

        Marvin, suffering though he is, is listening to this debate,

        not believing what he's hearing.

                                  JULES

                       This is really uncool.

        Vincent turns to the backseat, places the barrel of the .45

        against Marvin's forehead.  Marvin's eyes are as big as

        saucers.  He tries to talk Vince out of this, but when he

        opens his mouth, only GURGLES come out.

                                  JULES

                       Marvin, I just wanna apologize.  I

                       got nothin' to do with this shit.

                       And I want you to know I think it's

                       fucked up.

                                  VINCENT

                       Okay, Pontius Pilot, when I count

                       three, honk your horn.  One...

                       two...

        CU of the steering wheel.

                                  VINCENT (OS)

                       ...three.

        Jules presses down hard on the horn:  HONK and BANG!

        When we CUT BACK to the two men, the car is completely covered

        in blood.  It's all over everything, including Jules and

        Vincent.

                                  JULES

                       Jesus Christ Almighty!

                                  VINCENT

                            (to himself)

                       Fuck.

                                  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.

                            (pause)

                       Jimmie, you know I can't get into

                       this shit on a cellular fuckin'

                       phone.  But what I can say is my

                       ass is out in the cold and I'm

                       askin' you for some sanctuary 'til

                       our people can bring us in.

                            (pause)

                       I appreciate this, man --

                            (pause)

                       We'll be gone by then.

                            (pause)

                       -- Jimmie, I'm aware of your

                       situation.  I ain't gonna fuck

                       things up for you.  I give you my

                       word, partner, she'll never know we

                       were there.

                            (pause)

                       Five minutes.  Later.

        He folds up the phone, turns to Vincent.

                                  JULES

                       We're set.  But his wife come home

                       from work in an hour and a half and

                       we gotta be outta there by then,

73.     EXT. JIMMIE'S HOUSE - MORNING                                   73.

        The Nova pulls into the garage of a two-bedroom suburban

        house.

74.     INT. JIMMIE'S BATHROOM - DAY                                    74.

        Jules is bent over a sink, washing his bloody hands while

        Vincent stands behind him.

                                  JULES

                       We gotta be real 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.

75.     INT. JIMMIE'S KITCHEN - MORNING                                 75.

        Three men are standing in Jimmie's kitchen, each with a mug of

        coffee.  Jules, Vincent and JIMMIE DIMMICK, a young man in his

        late-20s dressed in a bathrobe.

                                  JULES

                       Goddamn Jimmie, this is some

                       serious gourmet 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.

        As Jules crosses the room, exiting.

                                  JULES

                            (calling behind him)

                       You're a friend, Jimmie, you're a

                       good fuckin' friend!

                                  JIMMIE

                            (to himself)

                       Yeah, yeah, yeah, yeah, yeah.  I'm

                       a real good friend.  Good friend,

                       bad husband, soon to be ex-husband.

                            (look up and sees

                              Vincent)

                       Who the fuck are you?

                                  VINCENT

                       I'm Vincent.  And Jimmie, thank a

                       bunch,

        The two men laugh.

                                  JIMMIE

                       Don't mention it.

76.     INT. MARSELLUS WALLACE'S DINING ROOM - MORNING                  76.

        Marsellus Wallace sits at his dining table in a big comfy

        robe, eating his large breakfast, while talking on the phone.

                                  MARSELLUS

                       ...well, say she comes home.

                       Whaddya think she'll do?

                            (pause)

                       No fuckin' shit she'll freak.  That

                       ain't no kinda answer.  You know

                       'er, I don't.  How bad, a lot or a

                       little?

77.     INT. JIMMIE'S BEDROOM - MORNING                                 77.

        Jules paces around in Jimmie's bedroom on the phone.

                                  JULES

                       You got to appreciate what an

                       explosive element this Bonnie

                       situation is.  If she comes home

                       from a hard day's work and finds a

                       bunch of gangsters doin' a bunch of

                       gangsta' shit in her kitchen, ain't

                       no tellin' what she's apt to do.

                                  MARSELLUS

                       Let us speak of the unspeakable.

                                  JULES

                       Possibility exists, but unlikely.

                                  MARSELLUS

                       Why possible but unlikely?

                                  JULES

                       'Cause if push met shove, you know

                       I'll take care of business.  But

                       push ain't never gonna meet shove.

                       Because You're gonna solve this

                       shit for us.  You're gonna take our

                       asses outta the cold and bring it

                       inside where it's warm.  'Cause if

                       I gotta get into it with my friend

                       about his wife over your boy

                       Vincent, I'm gonna have bad

                       feelings.

                                  MARSELLUS

                       I've grasped that, Jules.  All I'm

                       doin' is contemplating the "ifs."

                                  JULES

                       I don't wanna hear about no

                       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.

78.     INT. HOTEL SUITE - MORNING                                      78.

        The CAMERA looks through the bedroom doorway of a hotel suite

        into the main area.  We SEE a crap game being played on a

        fancy crap table by 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:

79.     EXT. JIMMIE'S STREET - MORNING                                  79.

        A silver Porsche WHIPS the corner leading to Jimmie's home, in

        HYPER DRIVE.  Easily doing 135 mph, the Porsche stops on a

        dime in front of Jimmie's house.

        A ringed finger touches the doorbell:  DING DONG.

80.     INT. JIMMIE'S HOUSE - MORNING                                   80.

        Jimmie opens the door.  We see, standing in the doorway, the

        tuxedo-clad man.  He looks down to his notebook, then up at

        Jimmie.

                                  THE WOLF

                       You're Jimmie, right?  This is your

                       house?

                                  JIMMIE

                       Yeah.

                                  THE WOLF

                            (stick his hand out)

                       I'm Winston Wolf, I solve problems.

                                  JIMMIE

                       Good, 'cause we got one.

                                  THE WOLF

                       So I heard.  May I come in?

                                  JIMMIE

                       Please do.

        The two men walk to the dining room.

                                  THE WOLF

                       I want to convey Mr. Wallace's

                       gratitude with the help you're

                       providing on this matter.  Let me

                       assure you Jimmie, Mr. Wallace's

                       gratitude is worth having.

        In the dining room, Jules and Vincent stand up.

                                  THE WOLF

                       You must be Jules, which would make

                       you Vincent.  Let's get down to

                       brass tacks, gentlemen.  If I was

                       informed correctly, the clock is

                       ticking, is that right, Jimmie?

                                  JIMMIE

                       100%.

                                  THE WOLF

                       Your wife, Bonnie...

                            (refers to his pad)

                       ...comes home at 9:30 in the AM, is

                       that correct?

                                  JIMMIE

                       Uh-huh.

                                  THE WOLF

                       I was led to believe if she comes

                       home and finds us here, she

                       wouldn't appreciate it none too

                       much.

                                  JIMMMIE

                       She won't at that.

                                  THE WOLF

                       That give use forty minutes to get

                       the 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.

81.     INT. JIMMIE'S GARAGE - MORNING                                  82.

        The three men hand back as The Wolf examines the car.  He

        studies the car in silence, opening the door, looking inside,

        circling it.

                                  THE WOLF

                       Jimmie?

                                  JIMMIE

                       Yes.

                                  THE WOLF

                       Do me a favor, will ya?  Thought I

                       smelled some coffee in there.

                       Would you make me a cup?

                                  JIMMIE

                       Sure, how do you take it?

                                  THE WOLF

                       Lotsa cream, lotsa sugar.

        Jimmie exists.  The Wolf continues his examination.

                                  THE WOLF

                       About the car, is there anything I

                       need to know?  Does it stall, does

                       it make a lot of noise, does it

                       smoke, is there gas in it,

                       anything?

                                  JULES

                       Aside from how it looks, the car's

                       cool.

                                  THE WOLF

                       Positive?  Don't get me out on the

                       road and I find out the brake

                       lights don't work.

                                  JULES

                       Hey man, as far as I know, the

                       motherfucker's tip-top.

                                  THE WOLF

                       Good enough, let's go back to the

                       kitchen.

82.     INT. KITCHEN - MORNING                                          82.

        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 cleaners 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 in.  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.

83.     INT. JIMMIE'S BEDROOM - MORNING                                 83.

        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.

84.     INT. GARAGE - MORNING                                           84.

        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.

85.     INT. CHEVY NOVA - MORNING                                       85.

        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.

86.     EXT. JIMMIE'S BACKYARD - MORNING                                86.

        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 nossles 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.

                                  JIMMIE

                       Okay fellas, in the one-size-fits-

                       all category, we got swim trunks,

                       one red -- one white.  And two

                       extra-large tee-shirts.  A UC Santa

                       Cruz shirt and an "I'm with Stupid"

                       shirt.

                                  JULES

                       I get the "I'm with Stupid" shirt.

        FADE UP ON:

87.     JULES AND VINCENT                                               87.

        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, out 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.

        They start walking through the house to the garage.

                                  JIMMIE

                       Wait a minute, before you guys

                       split, I wanna get a picture of

                       this.

                                  JULES

                       Jimmie, have you forgotten about

                       your wife comin' home?

                                  JIMMIE

                       It won't take a second.

                                  VINCENT

                       I don't like this photograph shit.

                                  JIMMIE

                       Sorry -- my house, my rules.

88.     INT. JIMMIE'S GARAGE - MORNING                                  88.

        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.

                                  JULES

                       Why do you drive fast?

                                  THE WOLF

                       Because it's a lot of fun.

        Jules and Vincent laugh.

                                  THE WOLF

                       Let's move.

        Jimmie comes through the door, camera in hand.

                                  JIMMIE

                       Wait a minute, I wanna take a

                       picture.

                                  JULES

                       We ain't got time, man.

                                  JIMMIE

                       We got time for one picture.  You

                       and Vincent get together.

        Jules and Vincent stand next to each other.

                                  JIMMIE

                       Okay, you guys put your arms around

                       each other.

        The two men look at each other and, after a long beat, a smile

        breaks out.  They put their arms around each other.

                                  JIMMIE

                       Okay Winston, get in there.

                                  THE WOLF

                       I ain't no model.

                                  JIMMIE

                       After what a cool guy I've been, I

                       can't believe you do me like this.

                       It's the only thing I asked.

                                  JULES & VINCENT

                       C'mon, Mr. Wolf....

                                  THE WOLF

                       Okay, one photo and we go.

        SLOW DOLLY TOWARD A LONE CAMERA

                                  JIMMIE (OS)

                       Everybody say Pepsi.

                                  JULES (OS)

                       I ain't fuckin' sayin' Pepsi.

                                  JIMMIE (OS)

                       Smile, Winston.

                                  THE WOLF

                       I don't smile in pictures.

        The camera goes off, FLASHING THE SCREEN WHITE.

        THE PHOTO FADES UP OVER WHITE.

        it's Jules and Vincent, their arms around each other, next to

        Jimmie' whose arm is around The Wolf.  Everyone is smiling

        except you-know-who.

89.     INT. MONSTER JOE'S TRUCK AND TOW - MORNING                      89.

        Winston is counting out three thousand dollars to an older man

        in a dirty tee-shirt, MONSTER JOE.  We're in Joe's office,

        which looks like the office of every tow yard on the planet.

        A filthy, disarrayed mess.

                                  MONSTER JOE

                       I've said it before, I'll say it

                       again, your business is always

                       welcome.

                                  WINSTON

                       I would think by now I've earned

                       the equivalent of Frequent Flyer

                       miles.

                                  MONSTER JOE

                       I'll tell ya what, if you ever need

                       it, I'll dispose of a body part for

                       free.

                                  WINSTON

                       How 'bout an upgrade, you dispose a

                       whole body for the price of a body

                       part.

        The two men laugh.

                                  MONSTER JOE

                       That one I need to speak with my

                       accountant on.

                                  WINSTON

                       Where's that reprobate daughter of

                       yours?

                                  MONSTER JOE

                       Out in the yard, up to no good.

90.     EXT. MONSTER JOE'S TRUCK AND TOW - MORNING                      90.

        Winston steps outside and is joined by Monster Joe's daughter,

        RAQUEL.  They walk in step across the yard with their arms

        around each other's waists.

                                  RAQUEL

                       Hello, Boyfriend!

                                  WINSTON

                       Hello, Girlfriend.  I swear,

                       heartbreaker, Joe should change the

                       name of this place to Beauty and

                       the Beast Truck and Tow.

                                  RAQUEL

                       You're prejudiced because you love

                       me.

                                  WINSTON

                       Guilty.

                                  RAQUEL

                       Now business is done, it's time for

                       pleasure.

                                  WINSTON

                       The time it is, is time for bed.

                                  RAQUEL

                       Contre senior Lobo.

                                  WINSTON

                       Do you have a different idea?

                                  RAQUEL

                       Most definitely.

                                  WINSTON

                       What do you think?

                                  RAQUEL

                       I think you're taking me out to

                       breakfast.

                                  WINSTON

                       Well, you thought wrong.

                                  RAQUEL

                       That's no fair!  I never get to see

                       you.

                                  WINSTON

                       Raquel, I been up all night.  I

                       need sleep.  You understand the

                       concept of sleep?

                                  RAQUEL

                       Yes, sleep is what you do after

                       you've taken me to breakfast.  Just

                       get used to the idea, indulging me

                       is the price of doing business at

                       Monster Joe's Truck and Tow.

                                  WINSTON

                       Raquel --

                                  RAQUEL

                       I haven't seen you in a long time.

                       I miss you, we're going to

                       breakfast.  So it is written, so

                       shall it be done.

        They exit the tow yard.  Jules and Vincent wait by Winston's

        Porsche.

                                  JULES

                       We cool?

                                  WINSTON

                       Like it never happened.

        Jules and Vincent bump fists.

                                  JULES

                       I apologize for bein' in your shit

                       like I was.

                                  VINCENT

                       You had every right, I fucked up.

                                  RAQUEL

                            (to Winston)

                       Are they having a moment?

                                  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.  What to have breakfast

                       with me?

                                  JULES

                       Sure.

91.     INT. COFFEE SHOP - MORNING                                      91.

        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

                       When did you make this decision --

                       while you were sitting there eatin'

                       your muffin?

                                  JULES

                       Yeah.  I was just sitting here

                       drinking my coffee, eating my

                       muffin, playin' the incident in my

                       head, when I had what alcoholics

                       refer to as a "moment of clarity."

                                  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 head 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.

92.     INT. COFFEE SHOP BATHROOM - MORNING                             92.

        Vincent, on the toilet, oblivious to the pandemonium outside,

        reads his "MODESTY BLAISE" book.

93.     INT. COFFEE SHOP - MORNING                                      93.

        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...

        Jules closes his eyes.

                                  PUMPKIN

                       ...two...

        Jules SHOOTS Pumpkin twice, up through the table, sending him

        to the floor.  While still in the booth, he SWINGS around to

        Honey Bunny, who has aimed at Jules, but slowed down by the

        shock of Pumpkin getting shot.  He FIRES three times.

        Honey Bunny takes all three HITS in the chest.  As she FALLS

        SCREAMING, she FIRES wildly, HITTING a SURFER PATRON.

                                  SURFER

                       She shot me!  I'm dying!  Sally!

                       Sally!

        Jules now brings the gun down to Pumpkin's face.  Pumpkin lies

        shot on the floor at Jules' feet.  Pumpkin looks up at the big

        gun.

                                  JULES

                       Wrong guy, Ringo.

        Jules FIRES straight at the CAMERA, BLINDING UP with his

        FLASH.

        Jules' eyes, still closed, suddenly open.

        Pumpkin still stands, holding the gun on him.

                                  PUMPKIN

                       ...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 his 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 (OS)

                       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 cold-blooded 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.

                                  THE END

    Questo copione è stato visto
  • 0 volte nelle ultime 48 ore
  • 0 volte nell' ultima settimana
  • 4 volte nell' ultimo mese
  • 26 volte nell' arco di un'anno