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Pulp Fiction (1994) movie script

by Quentin Tarantino.
Final script, May 1993.

More info about this movie on IMDb.com
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...

   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


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