Ivana Chubbuck



P U L P F I C T I O Nwritten & directedbyQuentin TarantinostoriesbyQuentin Tarantino&Roger Roberts AveryTHREE STORIES...ABOUT ONE STORY...May 1993last draft------------------------------------------------------------------------------PULP (pulp) n. 1. A soft, moist, shapelessmass or matter.2. A magazine or book containing luridsubject matter and being characteristicallyprinted on rough, unfinished paper.American Heritage DictionaryNew College Edition------------------------------------------------------------------------------TABLE OF CONTENTS1. PROLOGUE2. VINCENT VEGA & MARSELLUS WALLACE'S WIFE3. THE GOLD WATCH4. JULES, VINCENT, JIMMIE & THE WOLF5. 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, munchingon bacon and eating eggs.Two of these people are a YOUNG MAN and a YOUNG WOMAN. TheYoung Man has a slight working-class English accent and, likehis fellow countryman, smokes cigarettes like they're goingout of style.It is impossible to tell where the Young Woman is from or howold she is; everything she does contradicts something she did.The boy and girl sit in a booth. Their dialogue is to be saidin a rapid-pace "HIS GIRL FRIDAY" fashion.YOUNG MANNo, forget it, it's too risky. I'mthrough doin' that shit.YOUNG WOMANYou always say that, the same thingevery time: never again, I'mthrough, too dangerous.YOUNG MANI know that's what I always say.I'm always right too, but --YOUNG WOMAN-- but you forget about it in a dayor two --YOUNG MAN-- yeah, well, the days of meforgittin' are over, and the daysof me rememberin' have just begun.YOUNG WOMANWhen you go on like this, you knowwhat you sound like?YOUNG MANI sound like a sensible fuckingman, is what I sound like.YOUNG WOMANYou sound like a duck.(imitates a duck)Quack, quack, quack, quack, quack,quack, quack...YOUNG MANWell take heart, 'cause you'renever gonna hafta hear it again.Because since I'm never gonna do itagain, you're never gonna haftahear me quack about how I'm nevergonna do it again.YOUNG WOMANAfter tonight.The boy and girl laugh, their laughter putting a pause inthere, back and forth.YOUNG MAN(with a smile)Correct. I got all tonight toquack.A WAITRESS comes by with a pot of coffee.WAITRESSCan I get anybody anymore coffee?YOUNG WOMANOh yes, thank you.The Waitress pours the Young Woman's coffee. The Young Manlights up another cigarette.YOUNG MANI'm doin' fine.The Waitress leaves. The Young Man takes a drag off of hissmoke. The Young Woman pours a ton of cream and sugar intoher coffee.The Young Man goes right back into it.YOUNG MANI mean the way it is now, you'retakin' the same fuckin' risk aswhen you rob a bank. You take moreof a risk. Banks are easier!Federal banks aren't supposed tostop you anyway, during a robbery.They're insured, why should theycare? You don't even need a gun ina federal bank.I heard about this guy, walked intoa federal bank with a portablephone, handed the phone to theteller, the guy on the other end ofthe phone said: "We got this guy'slittle girl, and if you don't givehim all your money, we're gonnakill 'er."YOUNG WOMANDid it work?YOUNG MANFuckin' A it worked, that's whatI'm talkin' about! Knuckleheadwalks in a bank with a telephone,not a pistol, not a shotgun, but afuckin' phone, cleans the placeout, and they don't lift a fuckin'finger.YOUNG WOMANDid they hurt the little girl?YOUNG MANI don't know. There probably neverwas a little girl -- the point ofthe story isn't the little girl.The point of the story is theyrobbed the bank with a telephone.YOUNG WOMANYou wanna rob banks?YOUNG MANI'm not sayin' I wanna rob banks,I'm just illustrating that if wedid, it would be easier than whatwe been doin'.YOUNG WOMANSo you don't want to be a bankrobber?YOUNG MANNaw, all those guys are goin' downthe same road, either dead orservin' twenty.YOUNG WOMANAnd no more liquor stores?YOUNG MANWhat have we been talking about?Yeah, no-more-liquor-stores.Besides, it ain't the giggle itusta be. Too many foreigners ownliquor stores. Vietnamese,Koreans, they can't fuckin' speakEnglish. You tell 'em: "Empty outthe register," and they don't knowwhat it fuckin' means. They makeit too personal. We keep on, oneof those gook motherfuckers' gonnamake us kill 'em.YOUNG WOMANI'm not gonna kill anybody.YOUNG MANI don't wanna kill anybody either.But they'll probably put us in asituation where it's us of them.And if it's not the gooks, it theseold Jews who've owned the store forfifteen fuckin' generations. Yagot Grandpa Irving sittin' behindthe counter with a fuckin' Magnum.Try walkin' into one of thosestores with nothin' but atelephone, see how far it gets you.Fuck it, forget it, we're out ofit.YOUNG WOMANWell, what else is there, day jobs?YOUNG MAN(laughing)Not this life.YOUNG WOMANWell what then?He calls to the Waitress.YOUNG MANGarcon! Coffee!Then looks to his girl.YOUNG MANThis place.The Waitress comes by, pouring him some more.WAITRESS(snotty)"Garcon" means boy.She splits.YOUNG WOMANHere? It's a coffee shop.YOUNG MANWhat's wrong with that? Peoplenever rob restaurants, why not?Bars, liquor stores, gas stations,you get your head blown offstickin' up one of them.Restaurants, on the other hand, youcatch with their pants down.They're not expecting to getrobbed, or not as expecting.YOUNG WOMAN(taking to idea)I bet in places like this you couldcut down on the hero factor.YOUNG MANCorrect. Just like banks, theseplaces are insured. The managersdon't give a fuck, they're justtryin' to get ya out the doorbefore you start pluggin' diners.Waitresses, forget it, they ain'ttakin' a bullet for the register.Busboys, some wetback gettin' paida dollar fifty a hour gonna reallygive a fuck you're stealin' fromthe owner. Customers are sittin'there with food in their mouths,they don't know what's goin' on.One minute they're havin' a Denveromelette, next minute somebody'sstickin' a gun in their face.The Young Woman visibly takes in the idea. The Young Mancontinues in a low voice.YOUNG MANSee, I got the idea last liquorstore we stuck up. 'Member allthose customers kept comin' in?YOUNG WOMANYeah.YOUNG MANThey you got the idea to takeeverybody's wallet.YOUNG WOMANUh-huh.YOUNG MANThat was a good idea.YOUNG WOMANThank you.YOUNG MANWe made more from the wallets thenwe did the register.YOUNG WOMANYes we did.YOUNG MANA lot of people go to restaurants.YOUNG WOMANA lot of wallets.YOUNG MANPretty smart, huh?The Young Woman scans the restaurant with this newinformation. She sees all the PATRONS eating, lost inconversations. The tires WAITRESS, taking orders. TheBUSBOYS going through the motions, collecting dishes. TheMANAGER complaining to the COOK about something. A smilesbreaks out on the Young Woman's face.YOUNG WOMANPretty smart.(into it)I'm ready, let's go, right here,right now.YOUNG MANRemember, same as before, you'recrowd control, I handle theemployees.YOUNG WOMANGot it.They both take out their .32-caliber pistols and lay them onthe table. He looks at her and she back at him.YOUNG WOMANI love you, Pumpkin.YOUNG MANI love you, Honey Bunny.And with that, Pumpkin and Honey Bunny grab their weapons,stand up and rob the restaurant. Pumpkin's robbery persona isthat of the in-control professional. Honey Bunny's is that ofthe psychopathic, hair-triggered, loose cannon.PUMPKIN(yelling to all)Everybody be cool this is arobbery!HONEY BUNNYAny of you fuckin' pricks move andI'll execute every one of youmotherfuckers! Got that?CUT TO:CREDIT SEQUENCE:PULP FICTION2. INT. '74 CHEVY (MOVING) - MORNING 2.An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS downa homeless-ridden street in Hollywood. In the front seat aretwo young fellas -- one white, one black -- both wearing cheapblack 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 hashbars?VINCENTWhat so you want to know?JULESWell, hash is legal there, right?VINCENTYeah, it's legal, but is ain't ahundred percent legal. I mean youcan't walk into a restaurant, rolla joint, and start puffin' away.You're only supposed to smoke inyour home or certain designatedplaces.JULESThose are hash bars?VINCENTYeah, it breaks down like this:it's legal to buy it, it's legal toown it and, if you're theproprietor of a hash bar, it'slegal to sell it. It's legal tocarry it, which doesn't reallymatter 'cause -- get a load of this-- if the cops stop you, it'sillegal for this to search you.Searching you is a right that thecops in Amsterdam don't have.JULESThat did it, man -- I'm fuckin'goin', that's all there is to it.VINCENTYou'll dig it the most. But youknow what the funniest thing aboutEurope is?JULESWhat?VINCENTIt's the little differences. Alotta the same shit we got here,they got there, but there they're alittle different.JULESExamples?VINCENTWell, in Amsterdam, you can buybeer in a movie theatre. And Idon't mean in a paper cup either.They give you a glass of beer, likein a bar. In Paris, you can buybeer at MacDonald's. Also, youknow what they call a QuarterPounder with Cheese in Paris?JULESThey don't call it a QuarterPounder with Cheese?VINCENTNo, they got the metric systemthere, they wouldn't know what thefuck a Quarter Pounder is.JULESWhat'd they call it?VINCENTRoyale with Cheese.JULES(repeating)Royale with Cheese. What'd theycall a Big Mac?VINCENTBig Mac's a Big Mac, but they callit Le Big Mac.JULESWhat do they call a Whopper?VINCENTI dunno, I didn't go into a BurgerKing. But you know what they puton french fries in Holland insteadof ketchup?JULESWhat?VINCENTMayonnaise.JULESGoddamn!VINCENTI seen 'em do it. And I don't meana little bit on the side of theplate, they fuckin' drown 'em init.JULESUuccch!CUT TO:3. INT. CHEVY (TRUNK) - MORNING 3.The trunk of the Chevy OPENS UP, Jules and Vincent reachinside, taking out two .45 Automatics, loading and cockingthem.JULESWe should have shotguns for thiskind of deal.VINCENTHow many up there?JULESThree or four.VINCENTCounting our guy?JULESI'm not sure.VINCENTSo there could be five guys upthere?JULESIt's possible.VINCENTWe should have fuckin' shotguns.They CLOSE the trunk.CUT TO:4. EXT. APARTMENT BUILDING COURTYARD - MORNING 4.Vincent and Jules, their long matching overcoats practicallydragging on the ground, walk through the courtyard of whatlooks like a hacienda-style Hollywood apartment building.We TRACK alongside.VINCENTWhat's her name?JULESMia.VINCENTHow did Marsellus and her meet?JULESI dunno, however people meetpeople. She usta be an actress.VINCENTShe ever do anything I woulda saw?JULESI think her biggest deal was shestarred in a pilot.VINCENTWhat's a pilot?JULESWell, you know the shows on TV?VINCENTI don't watch TV.JULESYes, but you're aware that there'san invention called television, andon that invention they show shows?VINCENTYeah.JULESWell, the way they pick the showson TV is they make one show, andthat show's called a pilot. Andthey show that one show to thepeople who pick the shows, and onthe strength of that one show, theydecide if they want to make moreshows. Some get accepted andbecome TV programs, and some don't,and become nothing. She starred inone of the ones that becamenothing.They enter the apartment building.5. INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING 5.Vincent and Jules walk through the reception area and wait forthe elevator.JULESYou remember Antwan Rockamora?Half-black, half-Samoan, usta callhim Tony Rocky Horror.VINCENTYeah maybe, fat right?JULESI wouldn't go so far as to call thebrother fat. He's got a weightproblem. What's the nigger gonnado, he's Samoan.VINCENTI think I know who you mean, whatabout him?JULESWell, Marsellus fucked his ass upgood. And word around thecampfire, it was on account ofMarsellus Wallace's wife.The elevator arrives, the men step inside.6. INT. ELEVATOR - MORNING 6.VINCENTWhat'd he do, fuck her?JULESNo no no no no no no, nothin' thatbad.VINCENTWell what then?JULESHe gave her a foot massage.VINCENTA foot massage?Jules nods his head: "Yes."VINCENTThat's all?Jules nods his head: "Yes."VINCENTWhat did Marsellus do?JULESSent a couple of guys over to hisplace. They took him out on thepatio of his apartment, threw hisass over the balcony. Nigger fellfour stories. They had this gardenat the bottom, enclosed in glass,like one of them greenhouses --nigger fell through that. Sincethen, he's kinda developed a speechimpediment.The elevator doors open, Jules and Vincent exit.VINCENTThat's a damn shame.7. INT. APARTMENT BUILDING HALLWAY - MORNING 7.STEADICAM in front of Jules and Vincent as they make a beelinedown the hall.VINCENTStill I hafta say, play withmatches, ya get burned.JULESWhaddya mean?VINCENTYou don't be givin' MarsellusWallace's new bride a foot massage.JULESYou don't think he overreacted?VINCENTAntwan probably didn't expectMarsellus to react like he did, buthe had to expect a reaction.JULESIt was a foot massage, a footmassage is nothing, I give mymother a foot massage.VINCENTIt's laying hands on MarsellusWallace's new wife in a familiarway. Is it as bad as eatin' herout -- no, but you're in the samefuckin' ballpark.Jules stops Vincent.JULESWhoa...whoa...whoa...stop rightthere. Eatin' a bitch out, andgivin' a bitch a foot massage ain'teven the same fuckin' thing.VINCENTNot the same thing, the sameballpark.JULESIt ain't no ballpark either. Lookmaybe your method of massagediffers from mine, but touchin' hislady's feet, and stickin' yourtongue in her holyiest of holyies,ain't the same ballpark, ain't thesame league, ain't even the samefuckin' sport. Foot massages don'tmean shit.VINCENTHave you ever given a foot massage?JULESDon't be tellin' me about footmassages -- I'm the fuckin' footmaster.VINCENTGiven a lot of 'em?JULESShit yeah. I got my technique downman, I don't tickle or nothin'.VINCENTHave you ever given a guy a footmassage?Jules looks at him a long moment -- he's been set up.JULESFuck you.He starts walking down the hall. Vincent, smiling, walks alittle bit behind.VINCENTHow many?JULESFuck you.VINCENTWould you give me a foot massage --I'm kinda tired.JULESMan, you best back off, I'm gittin'pissed -- this is the door.The two men stand in front of the door numbered "49." Theywhisper.JULESWhat time is it?VINCENT(checking his watch)Seven-twenty-two in the morning.JULESIt ain't quite time, let's hangback.They move a little away from the door, facing each other,still whispering.JULESLook, just because I wouldn't giveno man a foot massage, don't makeit right for Marsellus to throwAntwan off a building into a glass-motherfuckin-house, fuckin' up theway the nigger talks. That ain'tright, man. Motherfucker do thatto me, he better paralyze my ass,'cause I'd kill'a motherfucker.VINCENTI'm not sayin' he was right, butyou're sayin' a foot massage don'tmean nothing, and I'm sayin' itdoes. I've given a million ladiesa million foot massages and theyall meant somethin'. We act likethey don't, but they do. That'swhat's so fuckin' cool about 'em.This sensual thing's goin' on thatnobody's talkin about, but you knowit and she knows it, fuckin'Marsellus knew it, and Antwanshoulda known fuckin' better.That's his fuckin' wife, man. Heain't gonna have a sense of humorabout that shit.JULESThat's an interesting point, butlet's get into character.VINCENTWhat's her name again?JULESMia. Why you so interested in bigman's wife?VINCENTWell, Marsellus is leavin' forFlorida and when he's gone, hewants me to take care of Mia.JULESTake care of her?Making a gun out of his finger and placing it to his head.VINCENTNot that! Take her out. Show hera good time. Don't let her getlonely.JULESYou're gonna be takin' Mia Wallaceout on a date?VINCENTIt ain't a date. It's like whenyou and your buddy's wife go to amovie or somethin'. It's just...you know...good company.Jules just looks at him.VINCENTIt's not a date.Jules just looks at him.VINCENTI'm not gonna be a bad boy.Jules shakes his head and mumbles to himself.JULESBitch gonna kill more niggers thantime.VINCENTWhat was that?JULESNothin'. Let's get into character.VINCENTWhat'd you say?JULESI didn't say shit. Let's go towork.VINCENTDon't play with me, you saidsomethin', now what was it?JULES(referring to the job)Do you wanna do this?VINCENTI want you to repeat what you said.JULESThat door's gonna open in aboutthirty seconds, so git yourselftogether --VINCENT-- my self is together --JULES-- bullshit it is. Stop thinkin''bout that Ho, and get yourselftogether like a qualified pro.8. INT. APARTMENT (ROOM 49) - MORNING 8.THREE YOUNG GUYS, obviously in over their heads, sit at atable with hamburgers, french fries and soda pops laid out.One of them flips the LOUD BOLT on the door, opening it toREVEAL Jules and Vincent in the hallway.JULESHey kids.The two men stroll inside.The three young caught-off-guard Guys are:MARVINThe black young man, who open the door, will, as the sceneprogresses, back into the corner.ROGERA young blond-haired surfer kid with a "Flock of Seagulls"haircut, who has yet to say a word, sits at the table with abig sloppy hamburger in his hand.BRETTA white, preppy-looking sort with a blow-dry haircut.Vincent and Jules take in the place, with their hands in theirpockets. Jules is the one who does the talking.JULESHow you boys doin'?No answer.JULES(to Brett)Am I trippin', or did I just askyou a question.BRETTWe're doin' okay.As Jules and Brett talk, Vincent moves behind the young Guys.JULESDo you know who we are?Brett shakes his head: "No."JULESWe're associates of your businesspartner Marsellus Wallace, youremember your business partnerdont'ya?No answer.JULES(to Brett)Now I'm gonna take a wild guesshere: you're Brett, right?BRETTI'm Brett.JULESI thought so. Well, you rememberyour business partner MarsellusWallace, dont'ya Brett?BRETTI remember him.JULESGood for you. Looks like me andVincent caught you at breakfast,sorry 'bout that. What'cha eatin'?BRETTHamburgers.JULESHamburgers. The cornerstone of anynutritious breakfast. What kindahamburgers?BRETTCheeseburgers.JULESNo, I mean where did you get'em?MacDonald's, Wendy's, Jack-in-the-Box, where?BRETTBig Kahuna Burger.JULESBig Kahuna Burger. That's thatHawaiian burger joint. I heardthey got some tasty burgers. Iain't never had one myself, how arethey?BRETTThey're good.JULESMind if I try one of yours?BRETTNo.JULESYours is this one, right?BRETTYeah.Jules grabs the burger and take a bite of it.JULESUuummmm, that's a tasty burger.(to Vincent)Vince, you ever try a Big KahunaBurger?VINCENTNo.Jules holds out the Big Kahuna.JULESYou wanna bite, they're real good.VINCENTI ain't hungry.JULESWell, if you like hamburgers give'em a try sometime. Me, I can'tusually eat 'em 'cause mygirlfriend's a vegetarian. Whichmore or less makes me a vegetarian,but I sure love the taste of a goodburger.(to Brett)You know what they call a QuarterPounder with Cheese in France?BRETTNo.JULESTell 'em, Vincent.VINCENTRoyale with Cheese.JULESRoyale with Cheese, you know whythey call it that?BRETTBecause of the metric system?JULESCheck out the big brain on Brett.You'a smart motherfucker, that'sright. The metric system.(he points to a fastfood drink cup)What's in this?BRETTSprite.JULESSprite, good, mind if I have someof your tasty beverage to wash thisdown with?BRETTSure.Jules grabs the cup and takes a sip.JULESUuuuummmm, hit's the spot!(to Roger)You, Flock of Seagulls, you knowwhat we're here for?Roger nods his head: "Yes."JULESThen why don't you tell my boy hereVince, where you got the shit hid.MARVINIt's under the be --JULES-- I don't remember askin' you agoddamn thing.(to Roger)You were sayin'?ROGERIt's under the bed.Vincent moves to the bed, reaches underneath it, pulling out ablack snap briefcase.VINCENTGot it.Vincent flips the two locks, opening the case. We can't seewhat's inside, but a small glow emits from the case. Vincentjust stares at it, transfixed.JULESWe happy?No answer from the transfixed Vincent.JULESVincent!Vincent looks up at Jules.JULESWe happy?Closing the case.VINCENTWe're happy.BRETT(to Jules)Look, what's your name? I got hisname's Vincent, but what's yours?JULESMy name's Pitt, and you ain'ttalkin' your ass outta this shit.BRETTI just want you to know how sorrywe are about how fucked up thingsgot between us and Mr. Wallace.When we entered into this thing, weonly had the best intentions --As Brett talks, Jules takes out his gun and SHOOTS Roger threetimes 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 yourconcentration? I didn't mean to dothat. Please, continue. I believeyou were saying something about"best intentions."Brett can't say a word.JULESWhatsamatter? Oh, you were throughanyway. Well, let me retort.Would you describe for me whatMarsellus Wallace looks like?Brett still can't speak.Jules SNAPS, SAVAGELY TIPPING the card table over, removingthe only barrier between himself and Brett. Brett now sits ina lone chair before Jules like a political prisoner in frontof an interrogator.JULESWhat country you from!BRETT(petrified)What?JULES"What" ain't no country I know! Dothey speak English in "What?"BRETT(near heart attack)What?JULESEnglish-motherfucker-can-you-speak-it?BRETTYes.JULESThen you understand what I'msayin'?BRETTYes.JULESNow describe what Marsellus Wallacelooks like!BRETT(out of fear)What?Jules takes his .45 and PRESSES the barrel HARD in Brett'scheek.JULESSay "What" again! C'mon, say"What" again! I dare ya, I doubledare ya motherfucker, say "What"one more goddamn time!Brett is regressing on the spot.JULESNow describe to me what MarsellusWallace looks like!Brett does his best.BRETTWell 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 hiseyes and SHOOT Brett in the shoulder.Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in thechair.JULESDoes-he-look-like-a-bitch?!BRETT(in agony)No.JULESThen why did you try to fuck 'imlike a bitch?!BRETT(in spasm)I didn't.Now in a lower voice.JULESYes ya did Brett. Ya tried ta fuck'im. You ever read the Bible,Brett?BRETT(in spasm)Yes.JULESThere's a passage I got memorized,seems appropriate for thissituation: Ezekiel 25:17. "The pathof the righteous man is beset onall sides by the inequities of theselfish and the tyranny of evilmen. Blessed is he who, in thename of charity and good will,shepherds the weak through thevalley of darkness, for he is trulyhis brother's keeper and the finderof lost children. And I willstrike down upon thee with greatvengeance and furious anger thosewho attempt to poison and destroymy brothers. And you will know myname is the Lord when I lay myvengeance upon you."The two men EMPTY their guns at the same time on the sittingBrett.When they are finished, the bullet-ridden carcass just sitsthere for a moment, then TOPPLES over.All is quiet.The only SOUND is Marvin MUTTERING in the corner.MARVIN...goddamn...goddamn...that wasfucked up...goddamn, that was cold-blooded...VINCENT(pointing to Marvin)Friend of yours?JULESYeah, Marvin-Vincent-Vincent-Marvin.VINCENTTell 'em to shut up, he's gettin'on my nerves.JULESMarvin, I'd knock that shit off ifI was you.Then suddenly the bathroom door BURSTS OPEN, and a FOURTH MAN(as young as the rest) comes CHARGING out, a silver Magnum inhis hand.We DOLLY into a MEDIUM on him.FOURTH MANDie...die...die...die...die...die!The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon inthe direction of Vincent and Jules. He SCREAMS a maniacal cryof revenge until he's DRY FIRING.Then...his face does a complete change of expression. It goesfrom a "Vengeance is mine" expression, to a "What the fuck"blank look.FOURTH MANI don't understand --The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME bybullets that TEAR HIM TO SHREDS.He leaves the FRAME EMPTY.FADE TO BLACKAgainst black, TITLE CARD:"VINCENT VEGAANDMARSELLUS WALLACE'S WIFE"FADE IN:9. MEDIUM SHOT - BUTCH COOLIDGE 9.We FADE UP on Butch Coolidge, a white, 26-year-oldprizefighter. Butch sits at a table wearing a red and bluehigh school athletic jacket. Talking to him OFF SCREEN iseverybody's boss MARSELLUS WALLACE. The black man sounds likea cross between a gangster and a king.MARSELLUS (OS)I think you're gonna find -- whenall this shit is over and done -- Ithink you're gonna find yourselfone smilin' motherfucker. Thing isButch, right now you got ability.But painful as it may be, abilitydon't last. Now that's a hardmotherfuckin' fact of life, butit's a fact of life your ass isgonna hafta git realistic about.This business is filled to the brimwith unrealistic motherfuckers whothought their ass aged like wine.Besides, even if you went all theway, what would you be? Feather-weight champion of the world. Whogives a shit? I doubt you can evenget a credit card based on that.A hand lays an envelope full of money on the table in front ofButch. Butch picks it up.MARSELLUS (OS)Now the night of the fight, you mayfell a slight sting, that's pridefuckin' wit ya. Fuck pride! Prideonly hurts, it never helps. Fightthrough that shit. 'Cause a yearfrom now, when you're kickin' it inthe Caribbean you're gonna say,"Marsellus Wallace was right."BUTCHI got no problem with that.MARSELLUS (OS)In the fifth, your ass goes down.Butch nods his head: "yes."MARSELLUS (OS)Say it!BUTCHIn the fifth, my ass goes down.CUT TO:10. INT. CAR (MOVING) - DAY 10.Vincent Vega looks really cool behind the wheel of a 1964cherry-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 Marsellusowns.Vincent's classic Malibu WHIPS into the near empty parking lotand 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 BaldwinPark, who has run a few clubs for Marsellus, including SallyLeRoy's.ENGLISH DAVEVincent Vega, our man in Amsterdam,git your ass on in here.Vincent, carrying the black briefcase from the scene betweenVincent and Jules, steps inside. English Dave SLAMS the doorin our faces.12. INT. SALLY LeROY'S - DAY 12.The spacious club is empty this time of day. English Davecrosses to the bar, and Vince follows.VINCENTWhere's the big man?ENGLISH DAVEHe's over there, finishing up somebusiness.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 UNSEENMarsellus.ENGLISH DAVE (OS)Hand back for a second or two, andwhen you see the white boy leave,go on over. In the meanwhile, canI make you an espresso?VINCENTHow 'bout a cup of just plain ol'American?ENGLISH DAVEComin' up. I hear you're takingMia out tomorrow?VINCENTAt Marsellus' request.ENGLISH DAVEHave you met Mia?VINCENTNot yet.English Dave smiles to himself.VINCENTWhat's so funny?ENGLISH DAVENot a goddamn thing.VINCENTLook, I'm not a idiot. She's thebig man's fuckin' wife. I'm gonnasit across a table, chew my foodwith my mouth closed, laugh at herjokes and that's all I'm gonna do.English Dave puts Vince's coffee in front of him.ENGLISH DAVEMy name's Paul, and this is betweeny'all.Butch bellies up to the bar next to Vincent, drinking his cupof "plain ol' American."BUTCH(to English Dave)Can I get a pack'a Red Apples?ENGLISH DAVEFilters?BUTCHNon.While Butch waits for his smokes, Vincent just sips hiscoffee, staring at him. Butch looks over at him.BUTCHLookin' at somethin', friend?VINCENTI ain't your friend, palooka.Butch does a slow burn toward Vincent.BUTCHWhat was that?VINCENTI think ya heard me just fine,punchy.Butch turns his body to Vincent, when...MARSELLUS (OS)Vincent Vega has entered thebuilding, git your ass over here!Vincent walks forward OUT OF FRAME, never giving Butch anotherglance. We DOLLY INTO CU on Butch, left alone in the FRAME,looking like he's ready to go into the manners-teachingbusiness.BUTCH'S POV:Vincent hugging and kissing the obscured figure that isMarsellus.Butch makes the wise decision that is this asshole's a friendof 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 paysEnglish Dave and walks out of the SHOT.DISSOLVE TO:13. INT. LANCE'S HOUSE (KITCHEN) - NIGHT 13.CU JODYa woman who appears to have a fondness for earrings. Both ofher ears are pierced five times. She also sports rings in herlips, eyebrows and nose.JODY...I'll lend it to you. It's agreat book on body piercing.Jody, Vincent and a young woman names TRUDI sit at the kitchentable of a suburban house in Echo Park. Even though Vince isat the same table, he's not included in the conversation.TRUDIYou know how they use that gun whenthey pierce your ears? They don'tuse that when they pierce yournipples, do they?JODYForget that gun. That gun goesagainst the entire idea behindpiercing. All of my piercing,sixteen places on my body, everyone of 'em done with a needle.Five in each ear. One through thenipple on my left breast. Onethrough my right nostril. Onethrough my left eyebrow. Onethrough my lip. One in my clit.And I wear a stud in my tongue.Vince has been letting this conversation go through one earand out the other, until that last remark.VINCENT(interrupting)Excuse me, sorry to interrupt. I'mcurious, why would you get a studin your tongue?Jody looks at him and says as if it were the most obviousthing in the world.JODYIt's a sex thing. It helpsfellatio.That thought never occurred to Vincent, but he can't deny itmakes sense. Jody continues talking to Trudi, leaving Vincentto 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 woollyappearance that goes hand-in-hand with his wild and woollypersonality. Lance has been selling drugs his entire adultlife. He's never had a day job, never filed a tax return andhas 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.LANCENow this is Panda, from Mexico.Very good stuff. This is Bava,different, but equally good. Andthis is Choco from the HartzMountains of Germany. Now thefirst two are the same, forty-fivean ounce -- those are friend prices-- but this one...(pointing to the Choco)...this one's a little moreexpensive. It's fifty-five. Butwhen you shoot it, you'll knowwhere that extra money went.Nothing wrong with the first two.It's real, real, real, good shit.But this one's a fuckin' madman.VINCENTRemember, I just got back fromAmsterdam.LANCEAm I a nigger? Are you inInglewood? No. You're in myhouse. White people who know thedifference between good shit andbad shit, this is the house theycome to. My shit, I'll take thePepsi Challenge with Amsterdam shitany ol' day of the fuckin' week.VINCENTThat's a bold statement.LANCEThis ain't Amsterdam, Vince. Thisis a seller's market. Coke isfuckin' dead as disco. Heroin'scomin' back in a big fuckin' way.It's this whole seventies retro.Bell bottoms, heroin, they're ashot as hell.Vincent takes out a roll of money that would choke a horse todeath.VINCENTGive me three hundred worth of themadman. If it's as good as yousay, I'll be back for a thousand.LANCEI just hope I still have it.Whaddya think of Trudi? She ain'tgot a boyfriend, wanna hand out an'get high?VINCENTWhich one's Trudi? The one withall the shit in her face?LANCENo, that's Jody. That's my wife.Vincent and Lance giggle at the "faux pas."VINCENTI'm on my way somewhere. I got adinner engagement. Rain check?LANCENo problem?Vincent takes out his case of the works (utensils for shootingup).VINCENTYou don't mind if I shoot up here?LANCEMe casa, su casa.VINCENTMucho gracias.Vincent takes his works out of his case and, as the twocontinue to talk, Vince shoots up.LANCEStill got your Malibu?VINCENTYou know what some fucker did to itthe other day?LANCEWhat?VINCENTFuckin' keyed it.LANCEOh man, that's fucked up.VINCENTTell me about it. I had thegoddamn thing in storage threeyears. It's out five fuckin' days-- five days, and some dicklesspiece of shit fucks with it.LANCEThey should be fuckin' killed. Notrial, no jury, straight toexecution.As he cooks his heroin --VINCENTI just wish I caught 'em doin' it,ya know? Oh man, I'd give anythingto catch 'em doin' it. It'a beenworth his doin' it, if I couldajust caught 'em, you know what Imean?LANCEIt's chicken shit. You don't fuckanother man's vehicle.CU - THE NEEDLEgoing into Vincent's vein.CU - BLOODspurting back into the syringe, mixing with the heroin.CU OF VINCENT'S THUMBpushing down on the plunger.CUT TO:15. EXT. MARSELLUS WALLACE'S HOUSE - NIGHT 15.Vincent walks up to the driveway leading to MarsellusWallace's front door. When he gets to the door, he hearsMUSIC 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'sopen. Come inside and makeyourself 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, strollsinside, 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 Vincentthrough a crack in the door. The door shields the front ofher body from Vincent.MIAVincent Vega?VINCENTI'm Vincent, you Mia?MIAThat's me, pleased to meetcha. I'mstill getting dressed. To yourleft, past the kitchen, is a bar.Why don't you make yourself adrink, have a seat in the livingroom, and I'll be out within threeshakes of a lamb's tail.VINCENTTake your time.Mia closes the door. Before she can fully turn around andshow us her face...WE CUT:BACK TO VINCENTstanding where he was, MUSIC beating, looking at the closeddoor. We slowly ZOOM to the door.We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as hecontemplates what's on the other side of the door. When wereach a CU, he walks OUT OF FRAME, breaking the spell.Vincent walks to the bar and pours himself a drink.WE JUXTAPOSEas 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, checksherself in the mirror. We DOLLY towards her. Her face isstill obscured.CU - PORTRAIT OF MIAhanging on the living room wall, showing Mia sensuallyreclining on a couch.HIGH ANGLE SHOT OF VINCENTlooking up at the portrait.CU - Mia cutting a huge line of coke on her vanity table witha credit card.Vincent sits on a plush, comfy couch.CU - MIA'S NOSEsnorting the line from a rolled up dollar bill.Vincent on the couch, drink in hand. The SONG abruptly CUTSOFF.CU - CD PLAYER OPENINGMia's hand comes in and takes the CD out.The CAMERA follows behind Mia's bare feet as she walks out ofthe dressing room, through the dining room, through thekitchen and into the living room.SHOT THROUGH A VIDEO CAMERAMia 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!VINCENTReady to go?MIA (OS)Not yet. I'm going to interview youfirst. Are you any relation toSuzanne Vega?VINCENTYeah, she's my cousin.MIA (OS)Suzanne Vega the folk singer isyour cousin?VINCENTSuzanne Vega's my cousin. If she'sbecome a folk singer, I sure ashell don't know nothin' about it.But then I haven't been to too manyThanksgivings lately.MIA (OS)Now I'm gonna ask you a bunch ofquick questions I've come up withthat more of less tell me what kindof person I'm having dinner with.My theory is that when it comes toimportant subjects, there's onlytwo ways a person can answer. Forinstance, there's two kinds ofpeople in this world, Elvis peopleand Beatles people. Now Beatlespeople can like Elvis. And Elvispeople can like the Beatles. Butnobody likes them both equally.Somewhere you have to make achoice. And that choice tells mewho you are.VINCENTI can dig it.MIA (OS)I knew you could. First question,Brady Bunch or the PartridgeFamily?VINCENTThe Partridge Family all the way,no comparison.MIA (OS)On "Rich Man, Poor Man," who didyou like, Peter Strauss or NickNolte?VINCENTNick Nolte, of course.MIA (OS)Are you a "Bewitched" man, or a"Jeannie" man?VINCENT"Bewitched," all the way, though Ialways dug how Jeannie alwayscalled Larry Hagman "master."MIA (OS)If you were "Archie," who would youfuck first, Betty or Veronica?VINCENTBetty. I never understood Veronicaattraction.MIA (OS)Have you ever fantasized aboutbeing beaten up by a girl?VINCENTSure.MIA (OS)Who?VINCENTEmma Peel on "The Avengers." Thattough girl who usta hang out withEncyclopedia Brown. And ArleneMotika.MIA (OS)Who's Arlene Motika?VINCENTGirl from sixth grade, you don'tknow her.CU - MIAlowers the camcorder from in front of her face and we get ourfirst full-on look at her. When we do, we get a pretty goodidea why Marsellus feels the way he does. She breaks out in ablinding smile.MIACut. 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 allbasically 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 theFats Domino Cheeseburger, or the Wolfman Jack Omelette, andover prices that pay for all this bullshit.But then there's JACKRABBIT SLIM'S, the big mama of 50'sdiners. Either the best or the worst, depending on your pointof view.Vincent's Malibu pulls up to the restaurant. A big sign witha neon figure of a cartoon surly cool cat jackrabbit in a redwindbreaker towers over the establishment. Underneath thecartoon is the name: JACKRABBIT SLIM'S. Underneath that isthe slogan: "Next best thing to a time machine."19. INT. JACKRABBIT SLIM'S - NIGHT pared to the interior, the exterior was that of a quaintEnglish pub. Posters from 50's A.I.P. movies are all over thewall ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OFTHE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths thatthe patrons sit in are made out of the cut up bodies of 50scars.In the middle of the restaurant in a dance floor. A big signon the wall states, "No shoes allowed." So wannabe beboppers(actually Melrose-types), do the twist in their socks orbarefeet.The picture windows don't look out the street, but instead,B & W movies of 50's street scenes play behind them. TheWAITRESSES and WAITERS are made up as replicas of 50's icons:MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN andLEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearingappropriate costumes.Vincent and Mia study the menu in a booth made out of a red'59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting abig button on his chest that says: "Hi I'm Buddy, pleasingyou please me."BUDDYHi I'm Buddy, what can I get'cha?VINCENTI'll have the Douglas Sirk steak.BUDDYHow d'ya want it, burnt to a crisp,or bloody as hell?VINCENTBloody as hell. And to drink, avanilla coke.BUDDYHow 'bout you, Peggy Sue?MIAI'll have the Durwood Kirby burger-- bloody -- and a five-dollarshake.BUDDYHow d'ya want that shake, Martinand Lewis, or Amos and Andy?MIAMartin and Lewis.VINCENTDid you just order a five-dollarshake?MIASure did.VINCENTA shake? Milk and ice cream?MIAUh-huh.VINCENTIt costs five dollars?BUDDYYep.VINCENTYou don't put bourbon in it oranything?BUDDYNope.VINCENTJust checking.Buddy exits.Vincent takes a look around the place. The YUPPIES aredancing, the DINERS are biting into big, juicy hamburgers, andthe icons are playing their parts. Marilyn is squealing, TheMidget is paging Philip Morris, Donna Reed is making hercustomers drink their milk, and Dean and Jerry are acting afool.MIAWhaddya think?VINCENTIt's like a wax museum with a pulserate.Vincent takes out his pouch of tobacco and begins rollinghimself a smoke.After a second of watching him --MIAWhat are you doing?VINCENTRollin' a smoke.MIAHere?VINCENTIt's just tobacco.MIAOh. Well in that case, will youroll me one, cowboy?As he finishes licking it --VINCENTYou can have his one, cowgirl.He hands her the rolled smoke. She takes it, putting it toher lips. Out of nowhere appears a Zippo lighter in Vincent'shand. He lights it.MIAThanks.VINCENTThink 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 asquare vent in the floor. An imaginary subway train BLOWS theskirt of her white dress around her ears as she lets out asqueal. The entire restaurant applauds.Back to Mia and VincentMIAMarsellus said you just got backfrom Amsterdam.VINCENTSure did. I heard you did a pilot.MIAThat was my fifteen minutes.VINCENTWhat was it?MIAIt was show about a team of femalesecret agents called "Fox ForceFive."VINCENTWhat?MIA"Fox Force Five." Fox, as in we'rea bunch of foxy chicks. Force, asin we're a force to be reckonedwith. Five, as in there's one..two..three..four..five of us. Therewas a blonde one, Sommerset O'Nealfrom that show "Baton Rouge," shewas the leader. A Japanese one, ablack one, a French one and abrunette one, me. We all hadspecial skills. Sommerset had aphotographic memory, the Japanesefox was a kung fu master, the blackgirl was a demolition expert, theFrench fox' specialty was sex...VINCENTWhat was your specialty?MIAKnives. The character I played,Raven McCoy, her background was shewas raised by circus performers.So she grew up doing a knife act.According to the show, she was thedeadliest woman in the world with aknife.But because she grew up in acircus, she was also something ofan acrobat. She could doillusions, she was a trapeze artist-- when you're keeping the worldsafe from evil, you never know whenbeing a trapeze artist's gonna comein handy. And she knew a zillionold jokes her grandfather, an oldvaudevillian, taught her. If wewoulda got picked up, they wouldaworked in a gimmick where everyepisode I woulda told and ol joke.VINCENTDo you remember any of the jokes?MIAWell I only got the chance to sayone, 'cause we only did one show.VINCENTTell me.MIANo. It's really corny.VINCENTC'mon, don't be that way.MIANo. You won't like it and I'll beembarrassed.VINCENTYou told it in front of fiftymillion people and you can't tellit to me? I promise I won't laugh.MIA(laughing)That's what I'm afraid of.VINCENTThat's not what I meant and youknow it.MIAYou're quite the silver tonguedevil, aren't you?VINCENTI meant I wouldn't laugh at you.MIAThat's not what you said Vince.Well now I'm definitely not gonnatell ya, 'cause it's been built uptoo much.VINCENTWhat a gyp.Buddy comes back with the drinks. Mia wraps her lips aroundthe straw of her shake.MIAYummy!VINCENTCan I have a sip of that? I'd liketo know what a five-dollar shaketastes like.MIABe my guest.She slides the shake over to him.MIAYou can use my straw, I don't havekooties.Vincent smiles.VINCENTYeah, but maybe I do.MIAKooties I can handle.He takes a sip.VINCENTGoddamn! That's a pretty fuckin'good milk shake.MIATold ya.VINCENTI don't know if it's worth fivedollars, but it's pretty fuckin'good.He slides the shake back.Then the first of an uncomfortable silence happens.MIADon't you hate that?VINCENTWhat?MIAUncomfortable silences. Why do wefeel it's necessary to yak aboutbullshit in order to becomfortable?VINCENTI don't know.MIAThat's when you know you foundsomebody special. When you canjust shit the fuck up for a minute,and comfortably share silence.VINCENTI don't think we're there yet. Butdon't feel bad, we just met eachother.MIAWell I'll tell you what, I'll go tothe bathroom and powder my nose,while you sit here and think ofsomething to say.VINCENTI'll do that.20. INT. JACKRABBIT SLIM'S (LADIES ROOM) - NIGHT 20.Mia powders her nose by doing a big line of coke off thebathroom 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, hiseyes scan the Hellsapopinish restaurant.Mia comes back to the table.MIADon't you love it when you go tothe bathroom and you come back tofind your food waiting for you?VINCENTWe're lucky we got it at all.Buddy Holly doesn't seem to be muchof a waiter. We shoulda sat inMarilyn Monroe's section.MIAWhich one, there's two MarilynMonroes.VINCENTNo there's not.Pointing at Marilyn in the white dress serving a table.VINCENTThat's Marilyn Monroe...Then, pointing at a BLONDE WAITRESS in a tight sweater andcapri pants, taking an order from a bunch of FILM GEEKS --VINCENT...and that's Mamie Van Doren. Idon't see Jayne Mansfield, so itmust be her night off.MIAPretty smart.VINCENTI have moments.MIADid ya think of something to say?VINCENTActually, there's something I'vewanted to ask you about, but youseem like a nice person, and Ididn't want to offend you.MIAOooohhhh, this doesn't sound likemindless, boring, getting-to-know-you chit-chat. This sounds likeyou actually have something to say.VINCENTOnly if you promise not to getoffended.MIAYou can't promise something likethat. I have no idea what you'regonna ask. You could ask me whatyou're gonna ask me, and my naturalresponse could be to be offended.Then, through no fault of my own, Iwoulda broken my promise.VINCENTThen let's just forget it.MIAThat is an impossibility. Tryingto forget anything as intriguing asthis would be an exercise infutility.VINCENTIs that a fact?Mia nods her head: "Yes."MIABesides, it's more exciting whenyou don't have permission.VINCENTWhat do you think about whathappened to Antwan?MIAWho's Antwan?VINCENTTony Rocky Horror.MIAHe fell out of a window.VINCENTThat's one way to say it. Anotherway is, he was thrown out. Anotherwas is, he was thrown out byMarsellus. And even another wayis, he was thrown out of a windowby Marsellus because of you.MIAIs that a fact?VINCENTNo it's not, it's just what Iheard.MIAWho told you this?VINCENTThey.Mia and Vincent smile.MIAThey talk a lot, don't they?VINCENTThey certainly do.MIAWell don't by shy Vincent, whatexactly did they say?Vincent is slow to answerMIALet me help you Bashful, did itinvolve the F-word?VINCENTNo. They just said Rocky Horrorgave you a foot massage.MIAAnd...?VINCENTNo and, that's it.MIAYou heard Marsellus threw RockyHorror out of a four-story windowbecause he massaged my feet?VINCENTYeah.MIAAnd you believed that?VINCENTAt the time I was told, it seemedreasonable.MIAMarsellus throwing Tony out of afour-story window for giving me afoot massage seemed reasonable?VINCENTNo, it seemed excessive. But thatdoesn't mean it didn't happen. Iheard Marsellus is very protectiveof you.MIAA husband being protective of hiswife is one thing. A husbandalmost killing another man fortouching his wife's feet issomething else.VINCENTBut did it happen?MIAThe only thing Antwan ever touchedof mine was my hand, when he shookit. I met Anwan once -- at mywedding -- then never again. Thetruth is, nobody knows whyMarsellus tossed Tony Rocky Horrorout of that window except Marsellusand Tony Rocky Horror. But whenyou scamps get together, you'reworse than a sewing circle.VINCENTAre you mad?MIANot at all. Being the subject ofback-fence gossip goes with theright, I guess.She takes a sip of her five-dollar shake, and says:MIAThanks.VINCENTWhat for?MIAAsking my side.At that moment, a great oldie-but-goodie BLASTS from thejukebox.MIAI wanna dance.VINCENTI'm not much of a dancer.MIANow I'm the one gettin' gyped. Ido believe Marsellus told you totake me out and do whatever Iwanted. Well, now I want to dance.Vincent smiles and begins taking off his boots. Miatriumphantly casts hers off. He takes her hand, escorting herto the dance floor. The two face each other for that briefmoment before you begin to dance, than they both break into adevilish twist. Mia's version of the twist is that of a sexycat. 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 samething, but Vincent and Mia seem to be strangely shaking theirasses in sync. The two definitely share a rhythm and sharesmiles as they SING ALONG with the last verse of the GoldenOldie.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 theprevious scene. They finish their little dance, laughing.Then...The two just stand face to face looking at each other.VINCENTWas than an uncomfortable silence?MIAI don't know what that was.(pause)Music and drinks!Mia moves away to attend to both. Vincent hangs up hisovercoat on a big bronze coat rack in the alcove.VINCENTI'm gonna take a piss.MIAThat was a little bit moreinformation 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 andselects one: k.d. lang. The speakers BLAST OUT a high energycountry number, which Mia plays air-guitar to. She dances herway around the room and finds herself by Vincent's overcoathanging 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 onsome rolling paper. Imitating what he did earlier, licks thepaper and rolls it into a pretty good cigarette. Maybe alittle too fat, but not bad for a first try. Mia thinks soanyway. Her hand reaches back in the pocket and pulls out hisZippo lighter. She SLAPS the lighter against her leg, tryingto light it fancy-style like Vince did. What do you know, shedid it! Mia's one happy clam. She triumphantly brings thefat flame up to her fat smoke, lighting it up, then LOUDLYSNAPS the Zippo closed.The Mia-made cigarette is brought up to her lips, and shetakes a long, cool drag. Her hand slides the Zippo back inthe overcoat pocket. But wait, her fingers touch somethingelse. Those fingers bring out a plastic bag with white powderinside, the madman that Vincent bought earlier from Lance.Wearing a big smile, Mia brings the bag of heroin up to herface.MIA(like you would sayBingo!)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 tohimself in the mirror.VINCENTOne drink and leave. Don't berude, but drink your drink quickly,say goodbye, walk out the door, getin your car, and go down the road.LIVING ROOMMia has the unbeknownst-to-her heroin cut up into big lines onher glass top coffee table. Taking her trusty hundred dollarbill like a human Dust-Buster, she quickly snorts the fatline.CU - MIAher head JERKS back. Her hands go to her nose (which feelslike it's on fucking fire), something is terribly wrong.Then...the rush hits...BATHROOMVincent dries his hands on a towel while he continues hisdialogue with the mirror.VINCENT...it's a moral test of yourself,whether or not you can maintainloyalty. Because when people areloyal to each other, that's verymeaningful.LIVING ROOMMia is on all fours trying to crawl to the bathroom, but it'slike she's trying to crawl with the bones removed from herknees. Blood begins to drip from Mia's nose. Then herstomach gets into the act and she VOMITS.BATHROOMVince continues.VINCENTSo you're gonna go out there, drinkyour drink, say "Goodnight, I'vehad a very lovely evening," gohome, and jack off. And that's allyou're gonna do.Now that he's given himself a little pep talk, Vincent's readyfor whatever's waiting for him on the other side of that door.So he goes through it.LIVING ROOMWe follow behind Vincent as he walks from the bathroom to theliving room, where he finds Mia lying on the floor like a ragdoll. She's twisted on her back. Blood and puke are down herfront. And her face is contorted. Not out of the tightnessof pain, but just the opposite, the muscles in her face are sorelaxed, she lies still with her mouth wide open. Slack-jawed.VINCENTJesus Christ!Vincent moves like greased lightning to Mia's fallen body.Bending down where she lays, he puts his fingers on her neckto 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 lostmumbles, but they're not distinctive enough to be calledwords.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 therack. 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 onyour feet.He reaches her and hoists the dead weight up in his arms.VINCENTWe're on our feet now, and nowwe'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 likeRobocop, both eyes staring straight ahead except when heglances over at Mia.Mia, slack-jawed expression, mouth gaping, posture of a bag ofwater.Vincent takes a cellular phone out of his pocket. He punchesa number.26. INT. LANCE'S HOUSE - NIGHT 26.At this late hour, Lance has transformed from a bon vivantdrug dealer to a bathrobe creature.He sits in a big comfy chair, ratty blue gym pants, a worn-outbut comfortable tee-shirt that has, written on it, "TAFT,CALIFORNIA," and a moth-ridden terry cloth robe. In his handis a bowl of Cap'n Crunch with Crunch Berries. In front ofhim on the coffee table is a jug of milk, the box the Cap'nCrunch with Crunch Berries came out of, and a hash pipe in anashtray.On the big-screen TV in front of the table is the ThreeStooges, 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'mgonna tell this fuckin' assholeright 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 MALIBUVincent is still driving like a stripe-assed ape, clutchingthe phone to his ear. WE CUT BACK AND FORTH during theconversation.VINCENTLance, this is Vincent, I'm in bigfuckin' trouble man, I'm on my wayto your place.LANCEWhoa, hold you horses man, what'sthe problem?VINCENTYou still got an adrenalin shot?LANCE(dawning on him)Maybe.VINCENTI need it man, I got a chick she'sfuckin' O.D.ing on me.LANCEDon't bring her here! I'm not evenfuckin' joking with you, don't yoube bringing some fucked up pooh-butt to my house!VINCENTNo choice.LANCEShe's O.D.in'?VINCENTYeah. She's dyin'.LANCEThen bite the fuckin' bullet, take'er to a hospital and call alawyer!VINCENTNegative.LANCEShe ain't my fuckin' problem, youfucked her up, you deal with it --are you talkin' to me on a cellularphone?VINCENTSorry.LANCEI don't know you, who is this,don't come here, I'm hangin' up.VINCENTToo late, I'm already here.At that moment inside Lance's house, WE HEAR Vincent's Malibucoming up the street. Lance hangs up the phone, goes to hiscurtains and YANKS the cord. The curtains open with a WHOOSHin time to see Vincent's Malibu DRIVING UP on his front lawnand CRASHING into his house. THe window Lance is looking outof 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.LANCEHave you lost your mind?! Youcrashed your car in my fuckin'house! You talk about drug shit ona cellular fuckin' phone --VINCENTIf you're through havin' yourlittle hissy fit, this chick isdyin', get your needle and git itnow!LANCEAre you deaf? You're not bringin'that fucked up bitch in my house!VINCENTThis fucked up bitch is MarsellusWallace's wife. Now if she fuckin'croaks on me, I'm a grease spot.But before he turns me into a barsoap, I'm gonna be forced to tell'im about how you coulda saved herlife, but instead you let her dieon 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'swearing a long tee-shirt with a picture of Fred Flintstone onit.We follow HANDHELD behind her as she opens the door, walkingthrough the hall into the living room.JODYIt's only one-thirty in the goddamnmornin'! What the fuck's goin' onout here?As she walks in the living room, she sees Vincent and Lancestanding over Mia, who's lying on the floor in the middle ofthe room.From here on in, everything in this scene is frantic, like aDOCUMENTARY in an emergency ward, with the big difference herebeing nobody knows what the fuck they're doing.JODYWho's she?Lance looks up at Jody.LANCEGet that black box in the bedroom Ihave with the adrenalin shot.JODYWhat's wrong with her?VINCENTShe's O.D.ing on us.JODYWell get her the hell outta here!LANCE AND VINCENT(in stereo)Get the fuckin' shot!JODYDon't yell and me!She angrily turns and disappears into the bedroom looking forthe shot.WE MOVE into the room with the two men.VINCENT(to Lance)You two are a match made in heaven.LANCELook, just keep talkin' to her,okay? While she's gettin' theshot, I gotta get a medical book.VINCENTWhat do you need a medical bookfor?LANCETo tell me how to do it. I'venever given an adrenalin shotbefore.VINCENTYou've had that thing for six yearsand you never used it?LANCEI never had to use it. I don't gojoy-poppin' with bubble-gummers,all of my friends can handle theirhighs!VINCENTWell then get it.LANCEI am, if you'll let me.VINCENTI'm not fuckin' stoppin' you.LANCEStop talkin' to me, and starttalkin' 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 scanningthe 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?LANCEMy black medical book!As he continues searching, flipping and knocking over shit,Jody appears in the doorway.JODYWhata re you looking for?LANCEMy black fuckin' medical book.It's like a text book they give tonurses.JODYI never saw a medical book.LANCETrust me, I have one.JODYWell if it's that important, whydidn't you keep it with the shot?Lance spins toward her.LANCEI don't know! Stop bothering me!JODYWhile you're lookin' for it, thatgirl's gonna die on our carpet.You're never gonna find it in allthis shit. For six months now,I've been telling you to clean thisroom --VINCENT (OS)-- get your ass in here, fuck thebook!Lance angrily knocks over a pile of shit and leaves the SHOTheading for the living room.30. LIVING ROOM 30.Vincent is bent over Mia, talking softly to her, when Lancereenters the room.VINCENTQuit fuckin' around man and giveher the shot!Lance bends down by the black case brought in by Jody. Heopens it and begins preparing the needle for injection.LANCEWhile I'm doing this, take hershirt off and find her heart.Vince rips her blouse open.Jody stumbles back in the room, hanging back from the action.VINCENTDoes it have to be exact?LANCEYeah, it has to be exact! I'mgiving her an injection in theheart, so I gotta exactly hit herin the heart.VINCENTWell, I don't know exactly whereher heart is, I think it's here.Vince points to Mia's right breast. Lance glances over andnods.LANCEThat's it.As Lance readies the injection, Vincent looks up at Jody.VINCENTI need a big fat magic marker, gotone?JODYWhat?VINCENTI need a big fat magic marker, anyfelt pen'll do, but a magic markerwould be great.JODYHold on.Jody runs to the desk, opens the top drawer and, in herenthusiasm, she pulls the drawer out of the desk, the contentsof which (bills, papers, pens) spill to the floor.The injection is ready. Lance hands Vincent the needle.LANCEIt's ready, I'll tell you what todo.VINCENTYou're gonna give her the shot.LANCENo, you're gonna give her the shot.VINCENTI've never does this before.LANCEI've never does this before either,and I ain't starting now. Youbrought 'er here, that means yougive her the shot. The day I bringan 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 magicmarker in her hand.JODYGot it.Vincent grabs the magic marker out of Jody's hand and makes abig red dot in Mia's body where her heart is.VINCENTOkay, what do I do?LANCEWell, you're giving her aninjection of adrenalin straight toher heart. But she's got a breastplate in front of her heart, so yougotta pierce through that. So whatyou gotta do is bring the needledown in a stabbing motion.Lance demonstrates a stabbing motion, which looks like "TheShape" killing its victims in "HALLOWEEN."VINCENTI gotta stab her?LANCEIf you want the needle to piercethrough to her heart, you gottastab her hard. Then once you do,push down on the plunger.VINCENTWhat happens after that?LANCEI'm curious about that myself.VINCENTThis ain't a fuckin' joke man!LANCEShe's supposed to come out of itlike --(snaps his fingers)-- that.Vincent lifts the needle up above his head in a stabbingmotion. He looks down on Mia.Mia is fading fast. Soon nothing will help her.Vincent's eyes narrow, ready to do this.VINCENTCount to three.Lance, on this knees right beside Vincent, does not know whatto expect.LANCEOne...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 thechest.Mia's head if JOLTED from the impact.The syringe plunger is pushed down, PUMPING the adrenalin outthrough the needle.Mia's eyes POP WIDE OPEN and she lets out a HELLISH cry of thebanshee. She BOLTS UP in a sitting position, needle stuck inher chest -- SCREAMING.Vincent, Lance and Jody, who were in sitting positions infront of Mia, JUMP BACK, scared to death.Mia's scream runs out. She slowly starts taking breaths ofair.The other three, now scooted halfway across the room, shakento their bones, look to see if she's alright.LANCEIf you're okay, say something.Mia, still breathing, not looking up at them, says in arelatively normal voice.MIASomething.Vincent and Lance collapse on their backs, exhausted andshaking from how close to death Mia came.JODYAnybody want a beer?CUT TO:31. INT. VINCENT'S MALIBU (MOVING) - NIGHT 31.Vincent is behind the wheel driving Mia home. No one saysanything, 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 sayinga word (still in a daze) and begins walking down the walkwaytoward her front door.VINCENT (OS)Mia!She turns around.Vincent's out of the car, standing on the walkway, a bigdistance between the two.VINCENTWhat are your thoughts on how tohandle this?MIAWhat's yours?VINCENTWell I'm of the opinion thatMarsellus can live his whole liveand never ever hear of thisincident.Mia smiles.MIADon't worry about it. If Marsellusever heard of this, I'd be in asmuch trouble as you.VINCENTI seriously doubt that.MIAIf you can keep a secret, so can I.VINCENTLet's shake on it.The two walk toward each other, holding out their hands toshake and shake they do.VINCENTMum'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.VINCENTIf you'll excuse me, I gotta gohome and have a heart attack.Mia giggles.Vincent turns to leave.MIAYou still wanna hear my "FOX FORCEFIVE" joke?Vincent turns around.VINCENTSure, but I think I'm still alittle too petrified to laugh.MIAUh-huh. You won't laugh becauseit's not funny. But if you stillwanna hear it, I'll tell it.VINCENTI can't wait.MIAThree tomatoes are walking down thestreet, a poppa tomato, a mommatomato, and a little baby tomato.The baby tomato is lagging behindthe poppa and momma tomato. Thepoppa tomato gets mad, goes over tothe momma tomato and stamps onhim --(STAMPS on the ground)-- and says: catch up.They both smile, but neither laugh.MIASee ya 'round, Vince.Mia turns and walks inside her house.CU - VINCENTafter Mia walks inside. Vincent continues to look at whereshe was. He brings his hands to his lips and blows her akiss. Then exits FRAME leaving it empty. WE HEAR his MalibuSTART UP and DRIVE AWAY.FADE TO BLACK33. FADE UP: 33.ON THE CARTOON "SPEED RACER."Speed is giving a detailed description of all the features onhis race car "The Mac-5," which he does at the beginning ofevery episode.OFF SCREEN we hear a WOMAN'S VOICE....WOMAN'S VOICE (OS)Butch.DISSOLVE TO:BUTCH'S POVWe're in the living room of a modest two bedroom house inAlhambra, California, in the year 1972.BUTCH'S MOTHER, 35ish, stands in the doorway leading into theliving room. Next to her is a man dressed in the uniform ofan American Air Force officer. The CAMERA is the perspectiveof a five-year old boy.MOTHERButch, stop watching TV a second.We got a special visitor. Now doyou remember when I told you yourdaddy dies in a P.O.W. camp?BUTCH (OS)Uh-huh.MOTHERWell this here is Capt. Koons. Hewas in the P.O.W. camp with Daddy.CAPT. KOONS steps inside the room toward the little boy andbends down on one knee to bring him even with the boy'seyeline. When Koons speaks, he speaks with a slight Texasaccent.CAPT. KOONSHello, little man. Boy I sureheard a bunch about you. See, Iwas a good friend of your Daddy's.We were in that Hanoi pit of hellover five years together.Hopefully, you'll never have toexperience this yourself, but whentwo men are in a situation like meand your Daddy were, for as long aswe were, you take on certainresponsibilities of the other. Ifit had been me who had not made it,Major Coolidge would be talkin'right now to my son Jim. But theway it worked out is I'm talkin' toyou, Butch. I got somethin' forya.The Captain pulls a gold wrist watch out of his pocket.CAPT. KOONSThis watch I got here was firstpurchased by your great-granddaddy.It was bought during the FirstWorld War in a little general storein Knoxville, Tennessee. It wasbought by private Doughboy ErnieCoolidge the day he set sail forParis. It was your great-granddaddy's war watch, made by thefirst company to ever make wristwatches. You see, up until then,people just carried pocket watches.Your great-granddaddy wore thatwatch every day he was in the war.Then when he had done his duty, hewent home to your great-grandmother, took the watch off hiswrist and put it in an ol' coffeecan. And in that can it stayed'til your grandfather Dane Coolidgewas called upon by his country togo overseas and fight the Germansonce again. This time they calledit World War Two.Your great-granddaddy gave it toyour granddad for good luck.Unfortunately, Dane's luck wasn'tas good as his old man's. Yourgranddad was a Marine and he waskilled with all the other Marinesat the battle of Wake Island. Yourgranddad was facing death and heknew it. None of those boys hadany illusions about ever leavin'that island alive. So three daysbefore the Japanese took theisland, your 22-year oldgrandfather asked a gunner on anAir Force transport named Winocki,a man he had never met before inhis life, to deliver to his infantson, who he had never seen in theflesh, his gold watch. Three dayslater, your grandfather was dead.But Winocki kept his word. Afterthe war was over, he paid a visitto your grandmother, delivering toyour infant father, his Dad's goldwatch. This watch. This watch wason your Daddy's wrist when he wasshot down over Hanoi. He wascaptured and put in a Vietnameseprison camp. Now he knew if thegooks ever saw the watch it's beconfiscated. The way your Daddylooked at it, that watch was yourbirthright. And he'd be damned ifand slopeheads were gonna put theirgreasy yella hands on his boy'sbirthright. So he hid it in theone place he knew he could hidesomethin'. His ass. Five longyears, he wore this watch up hisass. Then when he died ofdisentary, he gave me the watch. Ihid with uncomfortable hunk ofmetal up my ass for two years.Then, after seven years, I was senthome to my family. And now, littleman, I give the watch to you.Capt. Koons hands the watch to Butch. A little hand comesinto 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 fewzzzzzz's before his big fight. Almost as soon as WE CUT tohim, 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 alittle, sticking his head in the room. Pandemonium seems tobe breaking out behind Klondike in the hallway.KLONDIKEIt's time, Butch.BUTCHI'm ready.Klondike steps inside, closing the door on the WILD MOBoutside. He goes to the long yellow robe hanging on a hook.Butch hops off the table and, without a word, Klondike helpshim on with the robe, which says on the back: "BATTLING BUTCHCOOLIDGE."The two men head for the door. Klondike opens the door forButch. As Butch steps into the hallway, the Crowd goesapeshit. Klondike closes the door behind him, leaving us inthe quiet, empty locker room.FADE TO BLACKTITLE CARD:"THE GOLD WATCH"WE HEAR OVER THE BLACK AND TITLE:SPORTSCASTER #1 (OS)-- well Dan, that had to be thebloodiest and, hands-down, the mostbrutal fight this city has everseen.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. Thesky is PISSIN' DOWN RAIN. WE SLOWLY DOLLY toward the parkedcar. The SOUND of the CAR RADIO can be heard coming frominside.SPORTSCASTER #1 (OS)...Coolidge was out of there fasterthan I've ever seen a victoriousboxer vacate the ring. Do youthink he knew Willis was dead?SPORTSCASTER #2 (OS)My guess would be yes, Richard. Icould see from my position here,the frenzy in his eyes give way tothe realization of what he wasdoing. I think any man would'veleft the ring that fast.DISSOLVE TO:36. INT. TAXI (PARKED/RAINING) - NIGHT 38.Inside the taxi, behind the wheel, is a female cabbie namedESMARELDA VILLALOBOS. A young woman, with Spanish looks, sitsparked, drinking a steaming hot cup of coffee out of a whitestyrofoam cup.The Sportscasters continue their coverage.SPORTSCASTER #1 (OS)Do you feel this ring death tragedywill have an effect on the world ofboxing?SPORTSCASTER #2 (OS)Oh Dan, a tragedy like this can'thelp but shake the world of boxingto its very foundation. But it'sof paramount importance that duringthe sad weeks ahead, the eyes ofthe W.B.A. remain firmly fixed onthe -- CLICK --Esmarelda shuts off the radio.She takes a sip of coffee, then hears a NOISE behind her inthe alley. She sticks her head out of the car door to see:37. A window about three stories high opens on the auditorium-sideof the alley. A gym bag is tossed out into a garbage dumpsterbelow the window. Then, Butch Coolidge, still dressed inboxing trunks, shoes, gloves and yellow robe, LEAPS to thedumpster below.ESMARELDA'S REACTION takes in the strangeness of this sight.Gym bag in hand, Butch CLIMBS out of the dumpster and RUNS tothe taxi. Before he climbs in, he takes off his robe andthrows 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 therearview mirror:ESMARELDA(Spanish accent)Are you the man I was supposed topick up?BUTCHIf you're the cab I called, I'm theguy you're supposed to pick up.ESMARELDAWhere to?BUTCHOutta 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 wetpavement 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 throughthe pandemonium which is going on outside in the hall,shutting the door on the madness. Once inside, English Davetakes 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. HisTRAINER is on his knees, head on Floyd's chest, crying overthe body.The huge figure that is Marsellus Wallace stands at the table,hand on the Trainer's shoulder, lending emotional support. Westill 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 DAVEHe booked.MARSELLUS (OS)I'm prepared to scour the earth forthis motherfucker. If Butch goesto Indo China, I want a niggerhidin' in a bowl of rice, ready topop a cap in his ass.ENGLISH DAVEI'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'tfind the roll bar.BUTCHHey, how do I open the window backhere?ESMARELDAI have to do it.She presses a button and the back window moves down. Butchtosses his boxing glove out the window, then starts untyingthe other one.Esmarelda can't keep quiet anymore.ESMARELDAHey, mister?BUTCH(still working on theglove)What?ESMARELDAYou were in that fight? The fighton the radio -- you're the fighter?As he tosses his other glove out the window.BUTCHWhatever gave you that idea?ESMARELDANo c'mon, you're him, I know you'rehim, tell me you're him.BUTCH(drying himself with agym towel)I'm him.ESMARELDAYou killed the other boxing man.BUTCHHe's dead?ESMARELDAThe 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.ESMARELDAWhat does it feel like?BUTCH(finds his shirt)What does what feel like?ESMARELDAKilling a man. Beating another manto death with your bare hands.Butch pulls on his tee-shirt.BUTCHAre you some kinda weirdo?ESMARELDANo, it's a subject I have muchinterest in. You are the firstperson I ever met who has killedsomebody. So, what was it like tokill a man?BUTCHTell ya what, you give me one ofthem cigarettes, I'll give you ananswer.Esmarelda bounces in her seat with excitment.ESMARELDADeal!Butch leans forward. Esmarelda, keeping her eyes on the road,passes a cigarette back to him. He takes it. Then, still notlooking 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.BUTCHSo....He looks at her licenseBUTCH...Esmarelda Villalobos -- is thatMexican?ESMARELDAThe name is Spanish, but I'mColumbian.BUTCHIt's a very pretty name.ESMARELDAIt mean "Esmarelda of the wolves."BUTCHThat's one hell of a name you gotthere, sister.ESMARELDAThank you. And what is your name?BUTCHButch.ESMARELDAButch. What does it mean?BUTCHI'm an American, our names don'tmean shit. Anyway, moving rightalong, what is it you wanna know,Esmarelda?ESMARELDAI want to know what it feels liketo kill a man --BUTCH-- I couldn't tell ya. I didn'tknow he was dead 'til you told mehe was dead. Now I know he's dead,do you wanna know how I feel aboutit?Esmarelda nods her head: "yes."BUTCHI don't feel the least little bitbad. You wanna know why,Esmarelda?Esmarelda nods her head: "yes."BUTCH'Cause I'm a boxer. And afteryou've said that, you've saidpretty much all there is to sayabout me. Now maybe that son-of-a-bitch tonight was once at one timea boxer. If he was, then he wasdead before his ass ever stepped inthe ring. I just put the poorbastard outta his misery. And ifhe never was a boxer --(Butch takes a drag)That's what he gets for fuckin' upmy 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 wordgot out a fix was in, the oddswould be outta control.Hey, if he was a better fighterhe's be alive. If he never lacedup his gloves in the first place,which he never shoulda done, he'dbe alive. Enough about the poorunfortunate Mr. Floyd, let's talkabout the rich and prosperous Mr.Butch. How many bookies you spreadit around with?(pause)Eight? How long to collect?(pause)So by tomorrow evening, you'll haveit all?(pause)Good news Scotty, real good news --I understand a few stragglersaside. Me an' Fabian're gonnaleave in the morning. It shouldtake us a couple days to get intoKnoxville. Next time we see eachother, it'll be on Tennessee time.Butch hangs up the phone. He looks at the cab waiting to takehim wherever he wants to go.BUTCH(to himself in Frenchwith Englishsubtitles)Fabian my love, our adventurebegins.CUT TO:43. EXT. MOTEL (STOPPED RAINING) - NIGHT 43.Esmarelda's tax pulled into the motel parking lot. The rainhas stopped, but the night is still soaked. Butch gets out,now fully dressed in tee-shirt, jeans and high school athleticjacket. He leans in the driver's side window.ESMARELDAForty-five sixty.Handing her the money.BUTCHMerci beaucoup. And here's alittle something for the effort.Butch holds up a hundred dollar bill.Esmarelda's eyes light up. She goes to take it. Butch holdsit out of reach.BUTCHNow if anybody should ask you aboutwho your fare was tonight, what'reyou gonna tell 'em?ESMARELDAThe truth. Three well-dressed,slightly toasted, Mexicans.He gives her the bill.BUTCHBon 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 usis Butch's French girlfriend, FABIAN.FABIANKeep the light off.Butch flicks the switch back, making the room dark again.BUTCHIs that better, sugar pop?FABIANOui. Hard day at the office?BUTCHPretty hard. I got into a fight.FABIANPoor 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.FABIANI was looking at myself in themirror.BUTCHUh-huh?FABIANI wish I had a pot.BUTCHYou were lookin' in the mirror andyou wish you had some pot?FABIANA pot. A pot belly. Pot belliesare sexy.BUTCHWell you should be happy, 'causeyou do.FABIANShut up, Fatso! I don't have apot! I have a bit of a tummy, likeMadonna when she did "Lucky Star,"it's not the same thing.BUTCHI didn't realize there was adifference between a tummy and apot belly.FABIANThe difference is huge.BUTCHYou want me to have a pot?FABIANNo. Pot bellies make a man lookeither oafish, or like a gorilla.But on a woman, a pot belly is verysexy. The rest of you is normal.Normal face, normal legs, normalhips, normal ass, but with a big,perfectly round pot belly. If Ihad one, I'd wear a tee-shirt twosizes too small to accentuate it.BUTCHYou think guys would find thatattractive?FABIANI don't give a damn what men findattractive. It's unfortunate whatwe find pleasing to the touch andpleasing to the eye is seldom thesame.BUTCHIf I had a pot belly, I'd punch youin it.FABIANYou'd punch me in my belly?BUTCHRight in the belly.FABIANI'd smother you. I'd drop it onyour right on your face 'til youcouldn't breathe.BUTCHYou'd do that to me?FABIANYes!BUTCHDid you get everything, sugar pop?FABIANYes, I did.BUTCHGood job.FABIANDid everything go as planned?BUTCHYou didn't listen to the radio?FABIANI never listen to your fights.Were you the winner?BUTCHI won alright.FABIANAre you still retiring?BUTCHSure am.FABIANWhat about the man you fought?BUTCHFloyd retired too.FABIAN(smiling)Really?! He won't be fighting nomore?!BUTCHNot no more.FABIANSo it all worked out in the finish?BUTCHWe ain't at the finish, baby.Fabian rolls over and Butch gets on top of her. They kiss.FABIANWe're in a lot of danger, aren'twe?Butch nods his head: "yes."FABIANIf they find us, they'll kill us,won't they?Butch nods his head: "yes."FABIANBut they won't find us, will they?Butch nods his head: "no."FABIANDo you still want me to go withyou?Butch nods his head: "yes."FABIANI don't want to be a burden or anuisance --Butch's hand goes out of frame and starts massaging hercrotch.Fabian reacts.FABIANSay it!BUTCHFabian, I want you to be with me.FABIANForever?BUTCH...and ever.Fabian lies her head back.Butch continues to massage her crotch.FABIANDo you love me?BUTCHOui.FABIANButch? Will you give me oralpleasure?Butch kisses her on the mouth.BUTCHWill you kiss it?She nods her head: "yes."FABIANBut you first.Butch's head goes down out of frame to carry out the oralpleasure. Fabian's face is alone in the frame.FABIAN(in French, withEnglish subtitles)Butch my love, the adventurebeginsFADE TO BLACKFADE UP:45. MOTEL ROOM 45.Same motel room, except empty. WE HEAR THE SHOWER RUNNING inthe bathroom. The CAMERA MOVES to the bathroom doorway. Wesee Fabian in a white terry cloth robe that seems to swallowher up. She's drying her head with a towel. Butch is insidethe shower washing up. We see the outline of his naked bodythrough the smoky glass of the shower door. Steam fills thebathroom. Butch turns the shower off and opens the door,popping his head out.BUTCHI think I cracked a rib.FABIANGiving me oral pleasure?BUTCHNo retard, from the fight.FABIANDon't call me retard.BUTCH(in a Mongoloid voice)My name is Fabby! My name isFabby!FABIANShut up fuck head! I hate thatMongoloid voice.BUTCHOkay, sorry, sorry, sorry, I takeit back! Can I have a towelplease, Miss Beautiful Tulip.FABIANOh I like that, I like being calleda tulip. Tulip is much better thanMongoloid.She finishes drying her hair and wraps the towel like a turbanon her head.BUTCHI didn't call you a Mongoloid, Icalled you a retard, but I took itback.She hands him a towel.BUTCHMerci beaucoup.FABIANButch?BUTCH(drying his head)Yes, lemon pie.FABIANWhere are we going to go?BUTCHI'm not sure yet. Wherever youwant. We're gonna get a lot ofmoney from this. But it ain'tgonna be so much, we can live likehogs in the fat house forever. Iwas thinking we could go somewherein the South Pacific. The kindamoney we'll have'll carry us a longway down there.FABIANSo if we wanted, we could live inBora Bora?BUTCHYou betcha. And if after awhileyou don't dig Bora Bora, then wecan move over to Tahiti or Mexico.FABIANBut I do not speak Spanish.BUTCHYou don't speak Bora Boran either.Besides, Mexican is easy: Dondeesta el zapataria?FABIANWhat does that mean?BUTCHWhere's the shoe store?FABIANDonde esta el zapataria?BUTCHExcellent pronunciation. You'll bemy little mama ceta in no time.Butch exits the bathroom. We stay on FAbian as she brushesher teeth.Butch keeps on from the other room.BUTCH (OS)Que hora es?FABIANQue hora es?BUTCH (OS)What time is it?FABIANWhat 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.FABIANButch.She walks out of the bathroom to ask Butch a question, only tofind him sound asleep in bed.She looks at him for a moment.FABIANForget it.She exits frame, going back in the bathroom. WE STAY on theWIDE SHOT of the unconscious Butch in bed.FADE TO BLACKFADE UP:46. MOTEL ROOM - MORNING 46.SAME SHOT AS BEFORE, the next morning. We find Butch stillasleep in bed.Fabian brushes her teeth half in and half out of the bathroomso she can watch TV at the same time. She still wears theterry cloth robe from the night before.ON TV: WILLIAM SMITH and a bunch of Hell's Angels are takingon the entire Vietnamese army in the film "THE LOSERS."Butch wakes from his sleep, as if a scary monster was chasinghim. His start startles Fabian.FABIANMerde! You startled me. Did youhave a bad dream?Butch squints down the front of the bed at her, trying tofocus.BUTCH...yeah...are you still brushingyour teeth?FABIANThis is me. I brush my teeth allnight long and into the earlymorning. Do you think I have aproblem?Fabian goes back into the bathroom to spit.If that was supposed to be sarcasm, it was lost on Butch atthis early hour.Butch, still trying to chase the cobwebs away, sees on TVHell's Angels tear-assin' through a Vietnamese prison camp.BUTCHWhat are you watching?FABIANA motorcycle movie, I'm not surethe name.BUTCHAre you watchin' it?Fabian enters the room.FABIANIn a way. Why? Would you like forme to switch it off?BUTCHWould you please?She reaches over and turns off the TV.BUTCHIt's a little too early in themorning for explosions and war.FABIANWhat was it about?BUTCHHow should I know, you were the onewatchin' it.Fabian laughs.FABIANNo, imbecile, what was your dreamabout?BUTCHOh, I...don't remember. It'sreally rare I remember a dream.FABIANYou just woke up from it.BUTCHFabian, I'm not lying to you, Idon't remember.FABIANWell, let's look at the grumpy manin the morning. I didn't say youwere lying, it's just odd you don'tremember your dreams. I alwaysremember mine. Did you know youtalk in your sleep?BUTCHI don't talk in my sleep, do I talkin my sleep?FABIANYou did last night.BUTCHWhat did I say?Laying on top of him.FABIANI don't know. I couldn'tunderstand you.She kisses Butch.FABIANWhy don't you get up and we'll getsome breakfast at that breakfastplace with the pancakes.BUTCHOne more kiss and I'll get up.Fabian gives Butch a sweet long kiss.FABIANSatisfied?BUTCHYep.FABIANThen get up, lazy bones.Butch climbs out of bed and starts pulling clothes out of thesuitcase that Fabian brought.BUTCHWhat time is it?FABIANAlmost nine in the morning. Whattime does our train arrive?BUTCHEleven.Seeing him looking at a pair of pants.FABIANThose pants are very nice. Can youwear those with that nice blueshirt you have?He pulls a blue shirt of the suitcase.BUTCHThis one?FABIANThat's the one. That matches.BUTCHOkay.He puts the cloths on.FABIANI'm gonna order a big plate ofblueberry pancakes with maplesyrup, eggs over easy, and fivesausages.BUTCH(surprised at herpotential appetite)Anything to drink with that?Butch is finished dressing.FABIAN(referring to hisclothes)Oh yes, that looks nice. To drink,a tall glass or orange juice and ablack cup of coffee. After that,I'm going to have a slice of pie.As he goes through the suitcase.BUTCHPie for breakfast?FABIANAny time of the day is a good timefor pie. Blueberry pie to go withthe pancakes. And on top, a thinslice of melted cheese --BUTCH-- where's my watch?FABIANIt's there.BUTCHNo, it's not. It's not here.FABIANHave you looked?By now, Butch is frantically rummaging through the suitcase.BUTCHYes I've fuckin' looked!!He's now throwing clothes.BUTCHWhat the fuck do you think I'mdoing?! Are you sure you got it?Fabian can hardly speak, she's never seen Butch this way.FABIANUhhh...yes...beside the tabledrawer --BUTCH-- on the little kangaroo.FABIANYes, it was on your littlekangaroo.BUTCHWell it's not here!FABIAN(on the verge of tears)Well it should be!BUTCHOh it most definitely should behere, but it's not. So where isit?Fabian is crying and scared.Butch lowers his voice, which only serves to make him moremenacing.BUTCHFabian, that was my father'sfuckin' watch. You know what myfather went through to git me thatwatch?...I don't wanna get into itright now...but he went through alot. Now all this other shit, youcoulda set on fire, but Ispecifically reminded you not toforget my father's watch. Nowthink, did you get it?FABIANI believe so....BUTCHYou believe so? You either did, oryou didn't, now which one is it?FABIANThen I did.BUTCHAre 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.BUTCHIf you did leave it at theapartment, it's not your fault. Ihad you bring a bunch of stuff. Ireminded you about it, but I didn'tillustrate how personal the watchwas to me. If all I gave a fuckabout was my watch, I should'vetold you. You ain't a mind reader.He kisses her hand. Then rises.Fabian is still sniffling.Butch goes to the closet.FABIANI'm sorry.Butch puts on his high school jacket.BUTCHDon't be. It just means I won't beable to eat breakfast with you.FABIANWhy does it mean that?BUTCHBecause I'm going back to myapartment to get my watch.FABIANWon't the gangsters be looking foryou there?BUTCHThat's what I'm gonna find out. Ifthey are, and I don't think I canhandle it, I'll split.Rising from the floor.FABIANMy darling, I don't want you to bemurdered over a silly watch.BUTCHOne, it's not a silly watch. Two,I'm not gonna be murdered. Andthree, don't be scared. I won'tlet anything get in the way of usliving a happy life together.Butch brings her close and puts his hands on her face.BUTCHDon't feel bad, sugar pop. Nothingyou could ever do would make mepermanently angry at you.(pause)I love you, remember?(he digs some money outof his wallet)Now here's some money, order thosepancakes and have a greatbreakfast.FABIANDon't go.BUTCHI'll be back before you can say,blueberry pie.FABIANBlueberry pie.BUTCHWell maybe not that fast, but fast.Okay? Okay?FABIANOkay.He kisses her once more and heads for the door.BUTCHBye-bye, sugar pop.FABIANBye.BUTCHI'm gonna take your Honda.FABIANOkay.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 hisfists as he drives down the street.BUTCHOf all the fuckin' things shecoulda forgot, she forgets myfather's watch. I specificallyreminded her not to forget it."Bedside table -- on the kangaroo."I said the words: "Don't forget myfather's watch."48. EXT. CITY STREET - DAY 48.The little Honda races toward its destination as fast as itslittle engine will take it.49. INT. HONDA (MOVING) - DAY 49.Butch continues:BUTCHWhat the fuck am I doin'? Have Itaken one too many hits to thehead? That's gotta be it. Braindamage is the only excuse for thisdumb a move. Stop the car, Butch.(he keeps on driving)Stop the car, Butch.(he pays no attentionto 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.BUTCHI ain't gonna do this. This is apunchy move and I ain't punchy!Daddy would totally fuckin'understand. If he was here rightnow, he'd say, "Butch, git a grip.It's a fuckin' watch, man. Youlose one, ya git another. This isyour life you're fuckin' aroundwith, which you shouldn't be doin''cause you only got one.Butch continues to pace, but now he's silent. Then....BUTCHThis is my war. You see, Butch,what you're forgettin' is thiswatch isn't just a device thatenables you to keep track of time.This watch is a symbol. It's asymbol of how your father, and hisfather before him, and his fatherbefore him, distinguishedthemselves in war. And when I tookMarsellus Wallace's money, Istarted a war. This is my WorldWar Two. That apartment in NorthHollywood, that's my Wake Island.In fact, if you look at it thatway, it's almost kismet that Fabianleft it behind. And using thatperspective, going back for itisn't stupid. It may be dangerous,but it's not stupid. Because thereare certain things in this worldthat are worth going back for.That's it, Butch has talked himself into it again. He HOPS inthe car, starts it up and TAKES OFF.CUT TO:A parking meter red flag rises up, then out, leaving the arrowpointing at one hour.51. EXT. RESIDENTIAL STREET CORNER - DAY 51.Butch isn't completely reckless. He has parked his car acouple of blocks from his apartment to check things out beforehe 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 ofcars in the street. None of the parked cars appear out ofplace. None of them have a couple of goons sitting inside.Basically, it looks like normal morning activity in front ofButch's home.Butch peers around a wall, taking in the vital information.BUTCH(to himself)Everything looks hunky dorie.Looks can be deceiving, but thistime I don't think they are. Whywaste the manpower to stake out myplace. I'd have to be a fuckin'idiot to come back here. That'show you're gonna beat 'em Butch,they keep underestimating you.Butch walks out of the alley and is ready for anything. Hecrosses the street and enters his apartment courtyard.Across the street from Butch's building, on the corner, is acombination donut shop and Japanese restaurant. A big signsticks up in the air, with the name "Teriyaki Donut" and agraphic 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 apartmentbuilding. Once again, everything appears normal -- thelaundry room, the pool, his apartment door -- nothing appearsdisturbed.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 openingit.55. INT. BUTCH'S APARTMENT - DAY 55.His apartment hasn't been touched.He cautiously steps inside, shuts the door and takes a quicklook around. Obviously, no one is there.Butch walks into his modest kitchen, and opens therefrigerator. He takes out a carton of milk and drinks fromit.With carton in hard, Butch surveys the apartment. Then hegoes to the bedroom.His bedroom is like the rest of the apartment -- neat, cleanand anonymous. The only things personal in his room are a fewboxing trophies, an Olympic silver medal, a framed issue of"Ring Magazine" with Butch on the cover, and a poster of JerryQuarry and one of George Chuvalo.Sure enough, there's the watch just like he said it was: onthe bedside table, hanging on his little kangaroo statue.He walks through the apartment and back into the kitchen. Heopens a cupboard and takes out a box of Pop Tarts. Puttingdown the milk, he opens the box, takes out two Pop Tarts andputs 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 witha huge silencer on it, lying on his kitchen counter.BUTCH(softly)Holy shit.He picks up the intimidating peace of weaponary and examinesit.Then...a toilet FLUSHES.Butch looks up to the bathroom door, which is parallel to thekitchen. There is someone behind it.Like a rabbit caught in a radish patch, Butch freezes, notknowing what to do.The bathroom door opens and Vincent Vega steps out of thebathroom, 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'sdirection.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 bulletsSIMULTANEOUSLY -- LIFTING him off his feet, PROPELLING himthrough the air and CRASHING through the glass shower door atthe end of the bathroom.By the time Butch removes his finger from the trigger, Vincentis annihilated.Butch stands frozen, amazed at what just happened. His lookgoes from the grease spot in the bathroom that was onceVincent, down to the powerful piece of artillery in his grip.With the respect it deserves, Butch carefully places the M61back on the kitchen counter.Then he exits the apartment, quickly.56. EXT. APARTMENT COURTYARD - DAY 56.Butch, not running, but walking very rapidly, crosses thecourtyard.......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 widesmile of a survivor breaks across his face.58. EXT. APARTMENT BUILDING STREET - DAY 58.The Honda turns down the alley and slowly cruises by hisapartment building.59. INT. HONDA - DAY 59.Butch looks out the window at his former home.BUTCHThat's how you're gonna beat 'em,Butch. They keep underestimatin'ya.This makes the boxer laugh out loud. As he laughs, he flips atape in the cassette player. When the MUSIC starts, he SINGSalong with it.He drives by the apartment, but is stopped at the light on thecorner across from Teriyaki Donut.Butch is still chuckling, singing along with the song, as wesee:THROUGH THE WINDSHIELDthe big man himself, Marsellus Wallace, exit Teriyaki Donut,carrying a box of a dozen donuts and two large styrofoam cupsof coffee. He steps off the curb, crossing the street infront of Butch's car. This is the first time we see Marsellusclearly.Laughing boy stops when he sees the big man directly in frontof him.When Marsellus is in front of Butch's car, he casually glancesto 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 donutsand the coffee HITTING the pavement at thirty miles an hour.Butch CUTS into cross traffic and is BROAD-SIDED by a goldCamaro Z-28, BREAKING all the windows in the Honda and sendingit up on the sidewalk.Butch sits dazed and confused in the crumpled mess of what atone time was Fabian's Honda. Blood flows from his nostrils.The still-functional tape player continues to play. APEDESTRIAN pokes his head inside.PEDESTRIANJesus, are you okay?Butch look at him, spaced-out.BUTCHI guess.Marsellus Wallace lies sprawled out in the street. GAWKERSgather 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 #2If you need a witness in court,I'll be glad to help. He was adrunken maniac. He hit you andcrashed into that car.MARSELLUS(still incoherent)Who?GAWKER #2(pointing at Butch)Him.Marsellus follows the Gawker's finger and sees Butch Coolidgedown the street, looking a shambles.MARSELLUSWell, I'll be damned.The big man takes out a .45 Automatic and the Gawkers backaway. Marsellus starts moving toward Butch.Butch sees the fierce figure making a wobbly bee-line towardhim.BUTCHSacre 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 theground, screaming.LOOKY-LOO WOMANOh 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 asign that reads "MASON-DIXIE PAWNSHOP."60. INT. MASON-DIXIE PAWNSHOP - DAY 60.MAYNARD, a hillbilly-lookin' boy, stands behind the counter ofhis pawnshop when, all of a sudden, chaos in the form of ButchRACES into his world.MAYNARDCan I help you wit' somethin'?BUTCHShut up!Butch quickly takes measure of the situation, than stands nextto the door.MAYNARDNow you just wait one goddamnminute --Before Maynard can finish his threat, Marsellus CHARGES in.He doesn't get past the doorway because Butch LANDS his fistin Marsellus' face.The gangster's feet go out from under him and the big manFALLS FLAT on his back.Outside, two police cars with their SIRENS BLARING race by.Butch POUNCES on the fallen body, PUNCHING him twice more inthe face.Butch takes the gun out of Marsellus' hand, than grabs aholdof his middle finger.BUTCHSo you like chasing people, huh?He BREAKS the finger. Marsellus lets out a pain sound. Butchthen places the barrel of the .45 between his eyes, PULLS backthe hammer and places his open hand behind the gun to shieldthe splatter.BUTCHWell guess what, big man, youcaught me --MAYNARD (OS)-- hold it right there, godammit!Butch and Marsellus look up at Maynard, who's brandishing apump-action shotgun, aimed at the two men.BUTCHLook mister, this ain't any of yourbusiness --MAYNARD-- I'm makin' it my business! Nowtoss that gun!Butch does.MAYNARDNow you on top, stand up and cometo the counter.Butch slowly gets up and moves to the counter. As soon as hegets there, Maynard HAULS OFF, HITTING him hard in the facewith the butt of the shotgun, knocking Butch down and out.After Butch goes down, Maynard calmly lays the shotgun on thecounter and moves to the telephone.Marsellus Wallace, from his position on the floor, groggilywatches the pawnshop owner dial a number. Maynard waits onthe line while the other end rings. Then it picks up.MAYNARDZed? It's Maynard. The spiderjust caught a coupl'a flies.Marsellus passes out.FADE TO BLACKFADE UP:61. INT. PAWNSHOP BACK ROOM - DAY 61.TWO SHOT - BUTCH AND MARSELLUSare tied up in two separate chairs. In their mouths are twoS&M-style ball gags (a belt goes around their heads and alittle red ball sticks in their mouths). Both men areunconscious. Maynard steps in with a fire extinguisher andSPRAYS 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 onehand, shotgun in the other, and Marsellus' .45 sticking in hisbelt.MAYNARDNobody kills anybody in my place ofbusiness except me or Zed.A BUZZER buzzes.MAYNARDThat' Zed.Without saying another word, Maynard climbs up the stairs thatlead to red curtains and goes through them.WE HEAR, on the other side of the curtains, Maynard let Zedinside the store.Butch and Marsellus look around the room. The basement of thepawnshop has been converted into a dungeon. After taking intheir predicament, Butch and Marsellus look at each other, alltraces of hostility gone, replaced by a terror they both shareat what they've gotten themselves into.Maynard and ZED come through the curtains. Zed is an evenmore intense version of Maynard, if such a thing is possible.The two hillbillys are obviously brothers. Where Maynard is avicious pitbull, Zed is a deadly cobra. Zed walks in andstands in front of the two captives. He inspects them for along time, then says:ZED(to Maynard)You said you waited for me?MAYNARDI did.ZEDThen how come they're all beat up?MAYNARDThey did that to each other. Theywas fightin' when they came in.This one was gonna shoot that one.ZED(to Butch)You were gonna shoot him?Butch makes no reply.ZEDHey, is Grace gonna be okay infront of this place?MAYNARDYeah, it ain't Tuesday is it?ZEDNo, it's Thursday.MAYNARDThen she'll be fine.ZEDBring out The Gimp.MAYNARDI think The Gimp's asleep.ZEDWell, I guess you'll just wake 'emup 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 aleash. 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 blackleather bondage gear. There are zippers, buckles and studshere and there on the body. On his head is a black leathermask with two eye holes and a zipper (closed) for a mouth.They keep him in a hole in the floor big enough for a largedog.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.MAYNARDWho's first?ZEDI 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 hisfinger 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 leftto right, then it stops.TWO SHOT - BUTCH AND MARSELLUSafter a beat, THE CAMERA MOVES to the right, zeroing in onMarsellus.Zed stands up.ZEDWanna do it here?MAYNARDNaw, drag big boy to Russell's oldroom.Zed grabs Marsellus' chair and DRAGS him into Russell's oldroom. Russell, no doubt, was some other poor bastard that hasthe misfortune of stumbling into the Mason-Dixie pawnshop.Whatever happened to Russell is known only to Maynard and Zedbecause his old room, a back room in the back of the backroom, is empty.As Marsellus is dragged away, he locks eyes with Butch beforehe 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 onthe ceiling.MAYNARDKeep an eye on this one.The Gimp bows its head: "yes." Maynard disappears intoRussell's old room. There must be a stereo in there becausesuddenly The Judds, singing in harmony, fills the air.Butch looks at The Gimp. The Gimp giggles from underneath themask as if this were the funniest moment in the history ofcomedy.From behind the door we hear country MUSIC, struggling, and:MAYNARD (OS)Whoa, this boy's got a bit of fightin '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 laughingIn the back room, we hear:MAYNARD (OS)That's it...that's it boy, you'regoin' fine. Oooooooh, just likethat...that's good.(grunting faster)Stay still...stay still goddamn ya!Zed goddammit, git over here andhold 'em!Butch stops struggling and lifts up on his arms. Then, quiteeasily, the padded chair back slides up and off as if it werenever connected by a bolt.The Gimp sees this and its eyes widen.THE GIMPHuhng?The Gimp FLAILS WILDLY, trying to get the leash off the hook.He tries to yell, but all that comes out are excited gurglesand grunts.Butch is out of his chair, quickly dispensing three BOXER'SPUNCHES to its face. The punches knock The Gimp out, makinghim fall to his knees, this HANGING HIMSELF by the leashattached to the hook,Butch removes the ball gag, then silently makes his waythrough 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 connectedto the ring. Grabbing them, he's about to go out when hestops and listens to the hillbilly psychopaths having theirway with Marsellus.Butch decides for the life of him, he can't leave anybody in asituation like that. Se he begins rooting around the pawnshopfor a weapon to bash those hillbillies' heads in with.He picks up a big destructive-looking hammer, then discardsit: not destructive enough. He picks up a chainsaw, thinksabout it for a moment, then puts it back. Next, a largeLouisville slugger he tries on for size. But then he spotswhat he's been looking for:A Samurai sword.It hands in its hand-carved wood sheath from a nail on thewall, next to a neon "DAD'S OLD-FASHIONED ROOT BEER" sign.Butch takes the sword off the wall, removing it from itssheath. It's a magnificent piece of steel. It seems toglisten in the low-wattage light of the pawnshop. Butchtouches his thumb to the blade to see if the sword is just forshow. Not on your life. It's as sharp as it gets. Thisweapon seems made to order for the Brothers Grimm downstairs.Holding the sword pointed downward, Takakura Ken-style, hedisappears 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 behindthe 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. Itswings open silently, revealing the rapists, who have switchedpositions. Zed is now bent over Marsellus, who is bent over awooden horse. Maynard watches. Both have their backs toButch.Maynard faces the CAMERA, grinning, while Butch comes upbehind him with the sword.Miserable, violated, and looking like a rag doll, Marsellus,red ball gag still in mouth, opens his watery eyes to seeButch coming up behind Maynard. His eyes widen.BUTCHHey hillbilly.Maynard turns and sees Butch holding the sword.Butch SCREAMS...with one mighty SWING, SLASHES Maynard acrossthe 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 swordbehind him, SKEWERING Maynard, then EXTRACTS it, pointing theblade toward Zed. Maynard COLLAPSES.Zed disengages from Marsellus in a hurry and his eyes go fromthe tip of Butch's sword to Marsellus' .45 Automatic, whichlies within reach.Butch's eyes follow Zed's.BUTCHYou want that gun, Zed? Pick itup.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 inAGONY.Marsellus, looking down at his whimpering rapist, EJECTS theused shotgun shell.Butch lowers the sword and hangs back. Not a word, until:BUTCHYou okay?MARSELLUSNaw man. I'm pretty fuckin' farfrom okay!Long pause.BUTCHWhat now?MARSELLUSWhat now? Well let me tell youwhat now. I'm gonna call a couplepipe-hittin' niggers, who'll go towork on homes here with a pair ofpliers and a blow torch.(to Zed)Hear me talkin' hillbilly boy?! Iain't through with you by a damnsight. I'm gonna git Medieval onyour ass.BUTCHI meant what now, between me andyou?MARSELLUSOh, that what now? Well, let metell ya what now between me an'you. There is no me an' you. Notno more.BUTCHSo we're cool?MARSELLUSYeah man, we're cool. One thing Iask -- two things I ask: don'ttell nobody about this. Thisshit's between me and you and thesoon-to-be-livin'-the-rest-of-his-short-ass-life-in-agonizing-pain,Mr. Rapist here. It ain't nobodyelse's business. Two: leave town.Tonight. Right now. And whenyou're gone, stay gone. You'velost your Los Angeles privileges.Deal?BUTCHDeal.The two men shake hands, then hug one another.MARSELLUSGo 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. Helooks ahead and sees, parked in front of the establishment,Zed's Big Chrome Chopper with a teardrop gas tank that has thename "GRACE" on it. He climbs aboard, takes out the keys withthe big Z on them and starts up the huge hog. It RUMBLES tolife, making sounds like a rocket fighting for orbit. Butchtwists 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 BOOMBOX.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 themotel room, while we stay outside with the bike.FABIAN (OS)Butch, I was so worried!BUTCHHoney, grab your radio and yourpurse and let's go!FABIAN (OS)But what about all our bags?BUTCHFuck the bags. We'll miss ourtrain if we don't split now.FABIAN (OS)Is everything well? Are we indanger?BUTCHWe're cool. In fact, we're super-cool. But we gots to go. I'llwait for you outside.Butch runs out and hops back on the bike. Fabian exits themotel room with the boom box and a large purse. When she seesButch on the chopper, she stops dead.FABIANWhere did you get this motorcycle?BUTCH(he KICK-STARTS it)It's a chopper, baby, hop on.Fabian slowly approaches the two-wheel demon.FABIANWhat happened to my Honda?BUTCHSorry baby, I crashed the Honda.FABIANYou're hurt?BUTCHI might've broke my nose, nobiggie. Hop on.She doesn't move.Butch looks at her.BUTCHHoney, we gotta hit the fuckin'road!Fabian starts to cry.Butch realizes that this is not the way to get her on thebike. He turns off the engine and reaches out, taking herhand.BUTCHI'm sorry, baby-love.FABIAN(crying)You were gone so long, I started tothink dreadful thoughts.BUTCHI'm sorry I worried you, sweetie.Everything's fine. Hey, how wasbreakfast?FABIAN(waterworks drying alittle)It was good --BUTCH-- did you get the blueberrypancakes?FABIANNo, they didn't have blueberrypancakes, I had to get buttermilk-- are you sure you're okay?BUTCHBaby-love, from the moment I leftyou, this has been without a doubtthe single weirdest day of myentire life. Climb on an' I'lltell ya about it.Fabian does climb on. Butch STARTS her up.FABIANButch, whose motorcycle is this?BUTCHIt's a chopper.FABIANWhose chopper is this?BUTCHZed's.FABIANWho's Zed?BUTCHZed's dead, baby, Zed's dead.And with that, the two lovebirds PEEL AWAY on Grace, as theSONG on the BOOM BOX RISES.FADE TO BLACKTITLE CARD:"JULESVINCENTJIMMIE&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 thissituation: Ezekiel 25:17. "Thepath of the righteous man is beseton all sides by the inequities ofthe selfish and the tyranny of evilmen...."FADE UP:69. INT. BATHROOM - DAY 69.We're in the bathroom of the Hollywood apartment we were inearlier. 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 hardto what's being said on the other side of the door, tightlyCLUTCHING his huge silver ,357 Magnum.JULES (OS)"...blessed is he who, in the nameof charity and good will, shepheredthe weak through the valley ofdarkness. And I will strike downupon thee with great vengeance andfurious anger those who attempt topoison and destroy my brothers.And you will know I am the Lordwhen 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 backwall, gun outstretched in front of him, a look of yellow fearon his face, ready to blow in half anybody fool enough tostick 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 thedoor and blowing them all away while they're fuckin' around isthe 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 handcannon.FOURTH MANDie...die...die...die...!DOLLY INTO Fourth Man, same as before.He SCREAM until he's dry firing. Then a look of confusioncrosses his face.TWO SHOT - JULES AND VINCENTstanding 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'reas confused at the shooter. After looking at each other, theybring their looks up to the Fourth Man.FOURTH MANI don't understand --The Fourth Man is taken out of the scenario by the two men'sbullets who, unlike his, HIT their marks. He drops DEAD.The two men lower their guns. Jules, obviously shaken, sitsdown in a chair. Vincent, after a moment of respect, shrugsit off. Then heads toward Marvin in the corner.VINCENTWhy the fuck didn't you tell usabout that guy in the bathroom?Slip your mind? Forget he was inthere with a goddamn hand cannon?JULES(to himself)We should be fuckin' dead rightnow.(pause)Did you see that gun he fired atus? It was bigger than him.VINCENT.357.JULESWe should be fuckin' dead!VINCENTYeah, we were lucky.Jules rises, moving toward Vincent.JULESThat shit wasn't luck. That shitwas somethin' else.Vincent prepares to leave.VINCENTYeah, maybe.JULESThat was...divine intervention.You know what divine interventionis?VINCENTYeah, I think so. That means Godcame down from Heaven and stoppedthe bullets.JULESYeah, man, that's what is means.That's exactly what it means! Godcame down from Heaven and stoppedthe bullets.VINCENTI think we should be going now.JULESDon't do that! Don't you fuckin'do that! Don't blow this shit off!What just happened was a fuckin'miracle!VINCENTChill the fuck out, Jules, thisshit happens.JULESWrong, wrong, this shit doesn'tjust happen.VINCENTDo you wanna continue thistheological discussion in the car,or at the jailhouse with the cops?JULESWe should be fuckin' dead now, myfriend! We just witnessed amiracle, and I want you to fuckin'acknowledge it!VINCENTOkay man, it was a miracle, can weleave 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 andMarvin in the back.VINCENT...ever seen that show "COPS?" Iwas watchin' it once and this copwas on it who was talkin' aboutthis time he got into this gunfight with a guy in a hallway. Heunloads on this guy and he doesn'thit anything. And these guys werein a hallway. It's a freak, but ithappens.JULESIf you wanna play blind man, thengo walk with a Shepherd. But me,my eyes are wide fuckin' open.VINCENTWhat the fuck does that mean?JULESThat's it for me. For here on in,you can consider my ass retired.VINCENTJesus Christ!JULESDon't blaspheme!VINCENTGoddammit, Jules --JULES-- I said don't do that --VINCENT-- you're fuckin' freakin' out!JULESI'm tellin' Marsellus today I'mthrough.VINCENTWhile you're at it, be sure to tell'im why.JULESDon't worry, I will.VINCENTI'll bet ya ten thousand dollars,he laughs his ass off.JULESI don't give a damn if he does.Vincent turns to the backseat with the .45 casually in hisgrip.VINCENTMarvin, what do you make of allthis?MARVINI don't even have an opinion.VINCENTC'mon, Marvin. Do you think Godcame down from Heaven and stoppedthe bullets?Vincent's .45 goes BANG!Marvin is hit in the upper chest, below the throat. HeGURGLES blood and SHAKES.JULESWhat the fuck's happening?VINCENTI just accidentally shot Marvin inthe throat.JULESWhy the fuck did you do that?VINCENTI didn't mean to do it. I said itwas an accident.JULESI've seen a lot of crazy-ass shitin my time --VINCENT-- chill out, man, it was anaccident, okay? You hit a bump orsomethin' and the gun went off.JULESThe car didn't hit no motherfuckin'bump!VINCENTLook! I didn't mean to shoot thisson-of-a-bitch, the gun just wentoff, don't ask me how! Now I thinkthe humane thing to do is put himout of his misery.JULES(can't believe it)You wanna shoot 'im again?VINCENTThe guy's sufferin'. It's theright thing to do.Marvin, suffering though he is, is listening to this debate,not believing what he's hearing.JULESThis is really uncool.Vincent turns to the backseat, places the barrel of the .45against Marvin's forehead. Marvin's eyes are as big assaucers. He tries to talk Vince out of this, but when heopens his mouth, only GURGLES come out.JULESMarvin, I just wanna apologize. Igot nothin' to do with this shit.And I want you to know I think it'sfucked up.VINCENTOkay, Pontius Pilot, when I countthree, 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 coveredin blood. It's all over everything, including Jules andVincent.JULESJesus Christ Almighty!VINCENT(to himself)Fuck.JULESLook at this mess! We're drivin'around on a city street in broaddaylight --VINCENT-- I know, I know, I wasn'tthinkin' about the splatter.JULESWell you better be thinkin' aboutit now, motherfucker! We gotta getthis car off the road. Cops tendto notice shit like you're drivinga car drenched in fuckin' blood.VINCENTCan't we just take it to a friendlyplace?JULESThis is the Valley, Vincent.Marsellus don't got no friendlyplaces in the Valley.VINCENTWell, don't look at me, this isyour town, Jules.Jules takes out a cellular phone and starts punching digits.VINCENTWho ya callin'?JULESA buddy of mine in Toluca Lake.VINCENTWhere's Toluca Lake.JULESOn the other side of the hill, byBurbank Studios. If Jimmie's assain't home, I don't know what thefuck we're gonna go. I ain't gotany other partners in 818.(into phone)Jimmie! How you doin' man, it'sJules.(pause)Listen up man, me an' my homeboyare in some serious shit. We're ina car we gotta get off the road,pronto! I need to use your garagefor a couple hours.(pause)Jimmie, you know I can't get intothis shit on a cellular fuckin'phone. But what I can say is myass is out in the cold and I'maskin' you for some sanctuary 'tilour people can bring us in.(pause)I appreciate this, man --(pause)We'll be gone by then.(pause)-- Jimmie, I'm aware of yoursituation. I ain't gonna fuckthings up for you. I give you myword, partner, she'll never know wewere there.(pause)Five minutes. Later.He folds up the phone, turns to Vincent.JULESWe're set. But his wife come homefrom work in an hour and a half andwe gotta be outta there by then,73. EXT. JIMMIE'S HOUSE - MORNING 73.The Nova pulls into the garage of a two-bedroom suburbanhouse.74. INT. JIMMIE'S BATHROOM - DAY 74.Jules is bent over a sink, washing his bloody hands whileVincent stands behind him.JULESWe gotta be real fuckin' delicatewith this Jimmie's situation. He'sone remark away from kickin' ourasses out the door.VINCENTIf he kicks us out, whadda we do?JULESWell, we ain't leavin' 'til we madea couple phone calls. But I neverwant it to reach that pitch.Jimmie's my friend and you don'tbust in your friend's house andstart tellin' 'im what's what.Jules rises and dries his hands. Vincent takes his place atthe sink.VINCENTJust tell 'im not to be abusive.He kinda freaked out back therewhen he saw Marvin.JULESPut yourself in his position. It'seight o'clock in the morning. Hejust woke up, he wasn't preparedfor this shit. Don't forget who'sdoin' who a favor.Vincent finishes, then dries his hands on a white towel.VINCENTIf the price of that favor is Igotta take shit, he can stick hisfavor straight up his ass.When Vincent is finished drying his hands, the towel isstained with red.JULESWhat the fuck did you just do tohis towel?VINCENTI was just dryin' my hands.JULESYou're supposed to wash 'em first.VINCENTYou watched me wash 'em.JULESI watched you get 'em wet.VINCENTI washed 'em. Blood's real hard toget off. Maybe if he had someLava, I coulda done a better job.JULESI used the same soap you did andwhen I dried my hands, the toweldidn't look like a fuckin' Maxiepad. Look, fuck it, alright. Whocares? But it's shit like thisthat's gonna bring this situationto a boil. If he were to come inhere and see that towel likethat...I'm tellin' you Vincent, youbest be cool. 'Cause if I gottaget in to it with Jimmie on accountof you....Look, I ain't threatenin'you, I respect you an' all, justdon't put me in that position.JULESJules, you ask me nice like that,no problem. He's your friend, youhandle him.75. INT. JIMMIE'S KITCHEN - MORNING 75.Three men are standing in Jimmie's kitchen, each with a mug ofcoffee. Jules, Vincent and JIMMIE DIMMICK, a young man in hislate-20s dressed in a bathrobe.JULESGoddamn Jimmie, this is someserious gourmet shit. Me an'Vincent woulda been satisfied withfreeze-dried Tasters Choice. Youspring this gourmet fuckin' shit onus. What flavor is this?JIMMIEKnock it off, Julie.JULESWhat?JIMMIEI'm not a cobb or corn, so you canstop butterin' me up. I don't needyou to tell me how good my coffeeis. I'm the one who buys it, Iknow how fuckin' good it is. WhenBonnie goes shoppin;, she buysshit. I buy the gourmet expensivestuff 'cause when I drink it, Iwanna taste it. But what's on mymind at this moment isn't thecoffee in my kitchen, it's the deadnigger in my garage.JULESJimmie --JIMMIE-- I'm talkin'. Now let me ask youa question, Jules. When you drovein here, did you notice a sign outfront that said, "Dead niggerstorage?"Jules starts to "Jimmie" him --JIMMIE-- answer to question. Did you seea sign out in front of my housethat said, "Dead nigger storage?"JULES(playing along)Naw man, I didn't.JIMMIEYou know why you didn't see thatsign?JULESWhy?JIMMIE'Cause storin' dead niggers ain'tmy fuckin' business!Jules starts to "Jimmie" him.JIMMIE-- I ain't through! Now don't youunderstand that if Bonnie comeshome and finds a dead body in herhouse, I'm gonna get divorced. Nomarriage counselor, no trialseparation -- fuckin' divorced.And I don't wanna get fuckin'divorced. The last time me an'Bonnie talked about this shit wasgonna be the last time me an'Bonnie talked about this shit. NowI wanna help ya out Julie, I reallydo. But I ain't gonna lose my wifedoin' it.JULESJimmie --JIMMIE-- don't fuckin' Jimmie me, man, Ican't be Jimmied. There's nothin'you can say that's gonna make meforget I love my wife. Now she'sworkin' the graveyard shift at thehospital. She'll be comin' home inless than an hour and a half. Makeyour phone calls, talk to yourpeople, than get the fuck out of myhouse.JULESThat's all we want. We don't wannafuck up your shit, We just need tocall our people to bring us in.JIMMIEThen 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 agood fuckin' friend!JIMMIE(to himself)Yeah, yeah, yeah, yeah, yeah. I'ma real good friend. Good friend,bad husband, soon to be ex-husband.(look up and seesVincent)Who the fuck are you?VINCENTI'm Vincent. And Jimmie, thank abunch,The two men laugh.JIMMIEDon't mention it.76. INT. MARSELLUS WALLACE'S DINING ROOM - MORNING 76.Marsellus Wallace sits at his dining table in a big comfyrobe, 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. Thatain't no kinda answer. You know'er, I don't. How bad, a lot or alittle?77. INT. JIMMIE'S BEDROOM - MORNING 77.Jules paces around in Jimmie's bedroom on the phone.JULESYou got to appreciate what anexplosive element this Bonniesituation is. If she comes homefrom a hard day's work and finds abunch of gangsters doin' a bunch ofgangsta' shit in her kitchen, ain'tno tellin' what she's apt to do.MARSELLUSLet us speak of the unspeakable.JULESPossibility exists, but unlikely.MARSELLUSWhy possible but unlikely?JULES'Cause if push met shove, you knowI'll take care of business. Butpush ain't never gonna meet shove.Because You're gonna solve thisshit for us. You're gonna take ourasses outta the cold and bring itinside where it's warm. 'Cause ifI gotta get into it with my friendabout his wife over your boyVincent, I'm gonna have badfeelings.MARSELLUSI've grasped that, Jules. All I'mdoin' is contemplating the "ifs."JULESI don't wanna hear about nomotherfuckin' "ifs." What I wannahear from your ass is: "you ain'tgot no problems, Jules. I'm on themotherfucker. Go back in there,chill them niggers out and wait forthe cavalry, which should be comin'directly."MARSELLUSYou ain't got no problems, Jules.I'm on the motherfucker. Go backin there, chill them niggers outand wait for The Wolf, who shouldbe comin' directly.JULESYou sendin' The Wolf?MARSELLUSFeel better?JULESShit Negro, that's all you had tosay.78. INT. HOTEL SUITE - MORNING 78.The CAMERA looks through the bedroom doorway of a hotel suiteinto the main area. We SEE a crap game being played on afancy crap table by GAMBLERS in tuxedos and LUCKY LADIES infancy evening gowns. The CAMERA PANS to the right revealing:sitting on a bed, phone in hand with his back to us, thetuxedo-clad WINSTON WOLF aka "THE WOLF."We also see The Wolf has a small notepad that he jots detailsin.THE WOLF(into phone)Is she the hysterical type?(pause)When she due?(jotting down)Give me the principals' namesagain?(jots down)Jules....We SEE his book. The page has written on it:1265 Riverside DriveToluca Lake1 body (no head)Bloody shot-up carJules (black)THE WOLF...Vincent...Jimmie...Bonnie....He writes:Vincent (Dean Martin)Jimmie (house)Bonnie (9:30)THE WOLFExpect a call around 10:30. It'sabout thirty minutes away. I'll bethere 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, inHYPER DRIVE. Easily doing 135 mph, the Porsche stops on adime 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, thetuxedo-clad man. He looks down to his notebook, then up atJimmie.THE WOLFYou're Jimmie, right? This is yourhouse?JIMMIEYeah.THE WOLF(stick his hand out)I'm Winston Wolf, I solve problems.JIMMIEGood, 'cause we got one.THE WOLFSo I heard. May I come in?JIMMIEPlease do.The two men walk to the dining room.THE WOLFI want to convey Mr. Wallace'sgratitude with the help you'reproviding on this matter. Let meassure you Jimmie, Mr. Wallace'sgratitude is worth having.In the dining room, Jules and Vincent stand up.THE WOLFYou must be Jules, which would makeyou Vincent. Let's get down tobrass tacks, gentlemen. If I wasinformed correctly, the clock isticking, is that right, Jimmie?JIMMIE100%.THE WOLFYour wife, Bonnie...(refers to his pad)...comes home at 9:30 in the AM, isthat correct?JIMMIEUh-huh.THE WOLFI was led to believe if she comeshome and finds us here, shewouldn't appreciate it none toomuch.JIMMMIEShe won't at that.THE WOLFThat give use forty minutes to getthe fuck outta Dodge, which, if youdo what I say when I say it, shouldby plenty. Now you got a corpse ina 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. Hestudies the car in silence, opening the door, looking inside,circling it.THE WOLFJimmie?JIMMIEYes.THE WOLFDo me a favor, will ya? Thought Ismelled some coffee in there.Would you make me a cup?JIMMIESure, how do you take it?THE WOLFLotsa cream, lotsa sugar.Jimmie exists. The Wolf continues his examination.THE WOLFAbout the car, is there anything Ineed to know? Does it stall, doesit make a lot of noise, does itsmoke, is there gas in it,anything?JULESAside from how it looks, the car'scool.THE WOLFPositive? Don't get me out on theroad and I find out the brakelights don't work.JULESHey man, as far as I know, themotherfucker's tip-top.THE WOLFGood enough, let's go back to thekitchen.82. INT. KITCHEN - MORNING 82.Jimmie hands The Wolf a cup of coffee.THE WOLFThank you, Jimmie.He takes a sip, then, pacing as he thinks, lays out for thethree men the plan of action.THE WOLFOkay first thing, you two.(meaning Jules andVincent)Take the body, stick it in thetrunk. Now Jimmie, this looks tobe a pretty domesticated house.That would lead me to believe thatin the garage or under the sink,you got a bunch of cleaners andcleaners and shit like that, am Icorrect?JIMMIEYeah. Exactly. Under the sink.THE WOLFGood. What I need you two fellasto do is take those cleaningproducts and clean the inside ofthe car. And I'm talkin' fast,fast, fast. You need to go in thebackseat, scoop up all those littlepieces of brain and skull. Get itout of there. Wipe down theupholstery -- now when it comes toupholstery, it don't need to bespic and span, you don't need toeat off in. Give it a good onceover. What you need to take careof are the really messy parts. Thepools of blood that have collected,you gotta soak that shit up. Butthe windows are a different story.Them you really clean. Get theWindex, 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 darkerthe better. No whites, can't use'em. We need to camouflage theinterior of the car. We're gonnaline the front seat and thebackseat and the floor boards withquilts and blankets. If a copstops us and starts stickin' hisbig snout in the car, thesubterfuge won't last. But at aglance, the car will appear to benormal. Jimmie -- lead the way,boys -- get to work.The Wolf and Jimmie turn, heading for the bedroom, leavingVincent and Jules standing in the kitchen.VINCENT(calling after him)A "please" would be nice.The Wolf stops and turns around.THE WOLFCome again?VINCENTI said a "please" would be nice.The Wolf takes a step toward him.THE WOLFSet is straight, Buster. I'm nothere to say "please." I'm here totell you want to do. And if self-preservation is an instinct youpossess, you better fuckin' do itand do it quick. I'm here to help.If my help's not appreciated, lotsaluck gentlemen.JULESIt ain't that way, Mr. Wolf. Yourhelp is definitely appreciated.VINCENTI don't mean any disrespect. Ijust don't like people barkin'orders at me.THE WOLFIf I'm curt with you, it's becausetime is a factor. I think fast, Italk fast, and I need you guys toact fast if you want to get out ofthis. So pretty please, with sugaron top, clean the fuckin' car.83. INT. JIMMIE'S BEDROOM - MORNING 83.Jimmie's gathering all the bedspreads, quilts and linen hehas. The Wolf is on the phone.THE WOLF(into phone)It's a 1974 Chevy Nova.(pause)White.(pause)Nothin', except for the messinside.(pause)About twenty minutes.(pause)Nobody who'll be missed.(pause)You're a good man, Joe. See yasoon.(he looks at Jimmie)How we comin', Jimmie?Jimmie comes over with a handful of linen.JIMMIEMr. Wolf, you gotta understandsomethin' --THE WOLF-- Winston, Jimmie -- please,Winston.JIMMIEYou gotta understand something,Winston. I want to help you guysout and all, but that's my bestlinen. It was a wedding presentfrom my Uncle Conrad and AuntGinny, and they ain't with usanymore --THE WOLF-- let me ask you a question, ifyou don't mind?JIMMIESure.THE WOLFWere you Uncle Conrad and AuntGinny millionaires?JIMMIENo.THE WOLFWell, your Uncle Marsellus is. AndI'm positive if Uncle Conrad andAunt Ginny were millionaires, theywould've furnished you with a wholebedroom set, which your UncleMarsellus is more than happy to do.(takes out a roll ofbills)I like oak myself, that's what's inmy bedroom. How 'bout you Jimmie,you an oak man?JIMMIEOak'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 isin the backseat, picking up little pieces of skull and gobs ofbrain. Both are twice as bloody as they were before.JULESI will never forgive your ass forthis shit. This is some fucked-uprepugnant shit!VINCENTDid you ever hear the philosophythat once a man admits he's wrong,he's immediately forgiven for allwrong-doings?JULESMan, get outta my face with thatshit! The motherfucker who saidthat never had to pick up itty-bitty pieces of skull with hisfingers on account of your dumbass.VINCENTI got a threshold, Jules. I got athreshold for the abuse I'll take.And you're crossin' it. I'm a racecar and you got me in the red.Redline 7000, that's where you are.Just know, it's fuckin' dangerousto be drivin' a race car when it'sin the red. It could blow.JULESYou're gettin' ready to blow? I'ma mushroom-cloud-layin'motherfucker! Every time myfingers touch brain I'm "SUPERFLYT.N.T," I'm the "GUNS OF NAVARONE."I'm what Jimmie Walker usta talkabout. In fact, what the fuck am Idoin' in the back? You're themotherfucker should be on braindetail. We're tradin'. I'mwashin' 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 withbedspreads and quilts. Believe it or not, what looked like aportable slaughterhouse can actually pass for a non-descriptvehicle.The Wolf circles the car examining it.Jules and Vincent stand aside, their clothes are literally abloody mess, but they do have a sense of pride in what a goodjob they've done.THE WOLFFine job, gentlemen. We may getout of this yet.JIMMIEI can't believe that's the samecar.THE WOLFWell, let's not start suckin' eachother's dicks quite yet. Phase oneis complete, clean the car, whichmoves 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 aplastic Hefty trash bag, while The Wolf holds a garden hosewith one of those guns nossles attached.THE WOLFStrip.VINCENTAll the way?THE WOLFTo your bare ass.As they follow directions, The Wolf enjoys a smoke.THE WOLFQuickly gentlemen, we got aboutfifteen minutes before Jimmie'sbetter-half comes pulling into thedriveway.JULESThis morning air is some chillyshit.VINCENTAre you sure this is absolutelynecessary?THE WOLFYou know what you two look like?VINCENTWhat?THE WOLFLike a couple of guys who just blewoff somebody's head. Yes,strippin' off those bloody rags isabsolutely necessary. Toss theclothes in Jim's garbage bag.JULESNow Jimmie, don't do nothin' stupidlike puttin' that out in front ofyour house for Elmo the garbage manto take away.THE WOLFDon't worry, we're takin' it withus. Jim, the soap.He hands the now-naked men a bar of soap.THE WOLFOkay gentlemen, you're both been toCounty before, I'm sure. Here itcomes.He hits the trigger, water SHOOTS OUT, SMACKING both men.JULESGoddamn, that water's fuckin' cold!THE WOLFBetter you than me, gentlemen.The two men, trembling, scrub themselves.THE WOLFDon't be afraid of the soap, spreadit around.The Wolf stops the hose, tossing it on the ground.THE WOLFTowel 'em.Jimmie tosses them each a towel, which they rub furiouslyacross their bodies.THE WOLFYou're dry enough, give 'em theirclothes.JIMMIEOkay fellas, in the one-size-fits-all category, we got swim trunks,one red -- one white. And twoextra-large tee-shirts. A UC SantaCruz shirt and an "I'm with Stupid"shirt.JULESI 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 millionmiles away from the black-suited, bad-asses we first met.THE WOLFPerfect. Perfect. We couldn't'veplanned this better. You guys looklike...what do they look like,Jimmie?JIMMIEDorks. They look like a couple ofdorks.The Wolf and Jimmie laugh.JULESHa ha ha. They're your clothes,motherfucker.JIMMIEI guess you just gotta know how towear them.JULESYeah, well, out asses ain't theexpert on wearin' dorky shit thatyour is.THE WOLFC'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.JIMMIEWait a minute, before you guyssplit, I wanna get a picture ofthis.JULESJimmie, have you forgotten aboutyour wife comin' home?JIMMIEIt won't take a second.VINCENTI don't like this photograph shit.JIMMIESorry -- 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 WOLFGentlemen, let's get our rules ofthe road straight. We're going toa place called Monster Joe's Truckand Tow. Monster Joe and hisdaughter Raquel are sympathetic toout dilemma. The place is NorthHollywood, so a few twist and turnsaside, we'll be goin' up HollywoodWay. Now I'll drive the taintedcar. Jules, you ride with me.Vincent, you follow in my Porsche.Now if we cross the path of anyJohn Q. Laws, nobody does a fuckin'thing 'til I do something.(to Jules)What did I say?JULESDon't do shit unless --THE WOLF-- unless what?JULESUnless you do it first.THE WOLFSpoken like a true prodigy.(to Vincent)How 'bout you, Lash Larue? Can youkeep your spurs from jingling andjangling?VINCENTI'm cool, Mr. Wolf. My gun justwent off, I dunno how.THE WOLFFair enough.(he throws Vince hiscar keys)I drive real fuckin' fast, so keepup. If I get my car back anydifferent than I gave it, MonsterJoe's gonna be disposing of twobodies.JULESWhy do you drive fast?THE WOLFBecause it's a lot of fun.Jules and Vincent laugh.THE WOLFLet's move.Jimmie comes through the door, camera in hand.JIMMIEWait a minute, I wanna take apicture.JULESWe ain't got time, man.JIMMIEWe got time for one picture. Youand Vincent get together.Jules and Vincent stand next to each other.JIMMIEOkay, you guys put your arms aroundeach other.The two men look at each other and, after a long beat, a smilebreaks out. They put their arms around each other.JIMMIEOkay Winston, get in there.THE WOLFI ain't no model.JIMMIEAfter what a cool guy I've been, Ican't believe you do me like this.It's the only thing I asked.JULES & VINCENTC'mon, Mr. Wolf....THE WOLFOkay, one photo and we go.SLOW DOLLY TOWARD A LONE CAMERAJIMMIE (OS)Everybody say Pepsi.JULES (OS)I ain't fuckin' sayin' Pepsi.JIMMIE (OS)Smile, Winston.THE WOLFI 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 toJimmie' whose arm is around The Wolf. Everyone is smilingexcept you-know-who.89. INT. MONSTER JOE'S TRUCK AND TOW - MORNING 89.Winston is counting out three thousand dollars to an older manin 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 JOEI've said it before, I'll say itagain, your business is alwayswelcome.WINSTONI would think by now I've earnedthe equivalent of Frequent Flyermiles.MONSTER JOEI'll tell ya what, if you ever needit, I'll dispose of a body part forfree.WINSTONHow 'bout an upgrade, you dispose awhole body for the price of a bodypart.The two men laugh.MONSTER JOEThat one I need to speak with myaccountant on.WINSTONWhere's that reprobate daughter ofyours?MONSTER JOEOut 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 armsaround each other's waists.RAQUELHello, Boyfriend!WINSTONHello, Girlfriend. I swear,heartbreaker, Joe should change thename of this place to Beauty andthe Beast Truck and Tow.RAQUELYou're prejudiced because you loveme.WINSTONGuilty.RAQUELNow business is done, it's time forpleasure.WINSTONThe time it is, is time for bed.RAQUELContre senior Lobo.WINSTONDo you have a different idea?RAQUELMost definitely.WINSTONWhat do you think?RAQUELI think you're taking me out tobreakfast.WINSTONWell, you thought wrong.RAQUELThat's no fair! I never get to seeyou.WINSTONRaquel, I been up all night. Ineed sleep. You understand theconcept of sleep?RAQUELYes, sleep is what you do afteryou've taken me to breakfast. Justget used to the idea, indulging meis the price of doing business atMonster Joe's Truck and Tow.WINSTONRaquel --RAQUELI haven't seen you in a long time.I miss you, we're going tobreakfast. So it is written, soshall it be done.They exit the tow yard. Jules and Vincent wait by Winston'sPorsche.JULESWe cool?WINSTONLike it never happened.Jules and Vincent bump fists.JULESI apologize for bein' in your shitlike I was.VINCENTYou had every right, I fucked up.RAQUEL(to Winston)Are they having a moment?WINSTONBoys, this is Raquel. Someday, allthis will be hers.RAQUEL(to the boys)Hi. You know, if they ever do "ISPY: THE MOTION PICTURE," you guys,I'd be great. What's with theoutfits. You guys going to avolleyball game?Winston laughs, the boys groan.WINSTONI'm takin' m'lady out to breakfast.Maybe I can drop you two off.Where do you live?VINCENTRedondo Beach.JULESInglewood.Winston grabs Jules' wrist and pantomimes like he's in a "DEADZONE" trance.WINSTON(painfully)It's your future: I see...a cabride.(dropping the act)Sorry guys, move out of the sticks.(to Raquel)Say goodbye, RaquelRAQUELGoodbye, Raquel.WINSTONI'll see you two around, and stayoutta trouble, you crazy kids.Winston turns to leave.JULESMr. Wolf.He turns around.JULESI was a pleasure watchin' youwork.The Wolf smiles.WINSTONCall me Winston.He turns and banters with Raquel as they get in the Porsche.WINSTONYou hear that, young lady?Respect. You could lean a lotfrom those two fine specimens.Respect for one's elders showscharacter.RAQUELI have character.WINSTONJust because you are a characterdoesn't mean you have character.RAQUELOh you're so funny, oh you're sofunny.The Porsche SHOOTS OFF down the road.The two men left alone look at each other.JULESWanna share a cab?VINCENTYou know I could go for somebreakfast. What to have breakfastwith me?JULESSure.91. INT. COFFEE SHOP - MORNING 91.Jules and Vincent sit at a booth. In front of Vincent is abig stack of pancakes and sausages, which he eats with gusto.Jules, on the other hand, just has a cup of coffee and amuffin. He seems far away in thought. The Waitress pours arefill for both men,VINCENTThanks a bunch.(to Jules, who'snursing his coffee)Want a sausage?JULESNaw, I don't eat pork.VINCENTAre you Jewish?JULESI ain't Jewish man, I just don'tdig on swine.VINCENTWhy not?JULESThey're filthy animals. I don'teat filthy animals.VINCENTSausages taste good. Pork chopstaste good.JULESA sewer rat may taste like pumpkinpie. I'll never know 'cause evenif it did, I wouldn't eat thefilthy motherfucker. Pigs sleepand root in shit. That's a filthyanimal. I don't wanna eat nothin'that ain't got enough sense todisregard its own feces.VINCENTHow about dogs? Dogs eat their ownfeces.JULESI don't eat dog either.VINCENTYes, but do you consider a dog tobe a filthy animal?JULESI wouldn't go so far as to call adog filthy, but they're definitelydirty. But a dog's gotpersonality. And personality goesa long way.VINCENTSo by that rationale, if a pig hada better personality, he's cease tobe a filthy animal?JULESWe'd have to be talkin' 'bout onemotherfuckin' charmin' pig. It'dhave to be the Cary Grant of pigs.The two men laugh.VINCENTGood for you. Lighten up a little.You been sittin' there all quiet.JULESI just been sittin' here thinkin'.VINCENT(mouthful of food)About what?JULESThe miracle we witnessed.VINCENTThe miracle you witnessed. Iwitnessed a freak occurrence.JULESDo you know that a miracle is?VINCENTAn act of God.JULESWhat's an act of God?VINCENTI guess it's when God makes theimpossible possible. And I'm sorryJules, but I don't think whathappened this morning qualifies.JULESDon't you see, Vince, that shitdon't matter. You're judging thisthing the wrong way. It's notabout what. It could be Godstopped the bullets, he changedCoke into Pepsi, he found myfuckin' car keys. You don't judgeshit like this based on merit.Whether or not what we experiencedwas an according-to-Hoyle miracleis insignificant. What issignificant is I felt God's touch,God got involved.VINCENTBut why?JULESThat's what's fuckin' wit' me! Idon't know why. But I can't goback to sleep.VINCENTSo you're serious, you're reallygonna quit?JULESThe life, most definitely.Vincent takes a bite of food. Jules takes a sip of coffeeIn the b.g., we see a PATRON call the Waitress.PATRONGarcon! Coffee!We recognize the patron to be Pumpkin from the first scene ofPumpkin and Honey Bunny.VINCENTSo if you're quitting the life,what'll you do?JULESThat's what I've been sitting herecontemplating. First, I'm gonnadeliver this case to Marsellus.Then, basically, I'm gonna walk theearth.VINCENTWhat do you mean, walk the earth?JULESYou know, like Caine in "KUNG FU."Just walk from town to town, meetpeople, get in adventures.VINCENTHow long do you intend to walk theearth?JULESUntil God puts me where he want meto be.VINCENTWhat if he never does?JULESIf it takes forever, I'll waitforever.VINCENTSo you decided to be a bum?JULESI'll just be Jules, Vincent -- nomore, no less.VINCENTNo Jules, you're gonna be likethose pieces of shit out there whobeg for change. They walk aroundlike a bunch of fuckin' zombies,they sleep in garbage bins, theyeat what I throw away, and dogspiss on 'em. They got a word for'em, they're called bums. Andwithout a job, residence, or legaltender, that's what you're gonna be-- a fuckin' bum!JULESLook my friend, this is just whereme and you differ --VINCENT-- what happened was peculiar -- nodoubt about it -- but it wasn'twater into wine.JULESAll shapes and sizes, Vince.VINCENTStop fuckin' talkin' like that!JULESIf you find my answers frightening,Vincent, you should cease askin'scary questions.VINCENTWhen did you make this decision --while you were sitting there eatin'your muffin?JULESYeah. I was just sitting heredrinking my coffee, eating mymuffin, playin' the incident in myhead, when I had what alcoholicsrefer to as a "moment of clarity."VINCENTI gotta take a shit. To becontinued.Vincent exits for the restroom.Jules, alone, takes a mouthful of muffin, then...Pumpkin andHoney Bunny rise with guns raised.PUMPKINEverybody be cool, this is arobbery!HONEY BUNNYAny of you fuckin' pricks move andI'll execute every one of youmotherfuckers! Got that?!Jules looks up, not believing what he's seeing. Under thetable, Jules' hand goes to his .45 Automatic. He pulls itout, COCKING IT.PUMPKINCustomers stay seated, waitresseson the floor.HONEY BUNNYNow mean fuckin' now! Do it ordie, do it or fucking die!Like lightning, Pumpkin moves over to the kitchen. WhileHoney Bunny SCREAMS out threats to the PATRONS, keeping themterrified.PUMPKINYou Mexicans in the kitchen, getout here! Asta luego!Three COOKS and two BUSBOYS come out of the kitchen.PUMPKINOn the floor or I'll cook you ass,comprende?They comprende. The portly MANAGER speaks up.MANAGERI'm the manager here, there's noproblem, no problem at all --Pumpkin head his way.PUMPKINYou're gonna give me a problem?He reaches him and sticks the barrel of his gun hard in theManager's neck.PUMPKINWhat? You said you're gonna giveme a problem?MANAGERNo, I'm not. I'm not gonna giveyou any problem!PUMPKINI don't know, Honey Bunny. Helooks like the hero type to me!HONEY BUNNYDon't take any chances. Executehim!The Patrons SCREAM. Jules watches all this silently, his handtightly gripping the .45 Automatic under the table.MANAGERPlease don't! I'm not a hero. I'mjust a coffee shop manager. Takeanything you want.PUMPKINTell everyone to cooperate andit'll be all over.MANAGEREverybody just be calm andcooperate with them and this willbe all over soon!PUMPKINWell done, now git your fuckin' asson 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 thetill in his pocket. Then walks from behind the counter with atrash bag in his hand.PUMPKINOkay people, I'm going to go 'roundand collect your wallets. Don'ttalk, just toss 'em in the bag. Weclear?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 morerespectful, him manner more on guard.PUMPKINIn the bag.Jules DROPS his wallet in the bag. Using his gun as apointer, Pumpkin points to the briefcase.PUMPKINWhat's in that?JULESMy boss' dirty laundry.PUMPKINYou boss makes you do his laundry?JULESWhen he wants it clean.PUMPKINSounds like a shit job.JULESFunny, I've been thinkin' the samething.PUMPKINOpen 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 thegun right in the middle of Jules' face and pulls back thehammer.PUMPKINI didn't hear you.JULESYes, you did.This exchange has been kind of quiet, not everybody heard it,but Honey Bunny senses something's wrong.HONEY BUNNYWhat's goin' on?PUMPKINLooks like we got a vigilante inour midst.HONEY BUNNYShoot 'em in the face!JULESI don't mean to shatter your ego,but this ain't the first time I'vehad gun pointed at me.PUMPKINYou don't open up that case, it'sgonna be the last.MANAGER(on the ground)Quit causing problems, you'll getus all killed! Give 'em what yougot and get 'em out of here.JULESKeep your fuckin' mouth closed, fatman, this ain't any of your goddamnbusiness!PUMPKINI'm countin' to three, and if yourhand ain't off that case, I'm gonnaunload right in your fuckin' face.Clear? One...Jules closes his eyes.PUMPKIN...two...Jules SHOOTS Pumpkin twice, up through the table, sending himto the floor. While still in the booth, he SWINGS around toHoney Bunny, who has aimed at Jules, but slowed down by theshock of Pumpkin getting shot. He FIRES three times.Honey Bunny takes all three HITS in the chest. As she FALLSSCREAMING, she FIRES wildly, HITTING a SURFER PATRON.SURFERShe shot me! I'm dying! Sally!Sally!Jules now brings the gun down to Pumpkin's face. Pumpkin liesshot on the floor at Jules' feet. Pumpkin looks up at the biggun.JULESWrong guy, Ringo.Jules FIRES straight at the CAMERA, BLINDING UP with hisFLASH.Jules' eyes, still closed, suddenly open.Pumpkin still stands, holding the gun on him.PUMPKIN...three.JULESYou win.Jules raises his hand off the briefcase.JULESIt's all yours, Ringo.PUMPKINOpen it.Jules flips the locks and opens the case, revealing it toPumpkin but not to us. The same light SHINES from the case.Pumpkin's expression goes to amazement. Honey Bunny, acrossthe room, can't see shit.HONEY BUNNYWhat is it? What is it?PUMPKIN(softly)Is that what I think it is?Jules nods his head: "yes."PUMPKINIt's beautiful.Jules nods his head: "yes."HONEY BUNNYGoddammit, what is it?Jules SLAMS the case closed, then sits back, as if offeringthe case to Pumpkin. Pumpkin, one big smile, bends over topick up the case.Like a rattlesnake, Jules' free hand GRABS the wrist ofPumpkin's gun hand, SLAMMING it on the table. His other handcomes from under the table and STICKS the barrel of his .45hand under Pumpkin's chin.Honey Bunny freaks out, waving his gun in Jules' direction.HONEY BUNNYLet him go! Let him go! I'll blowyour fuckin' head off! I'll killya! I'll kill ya! You're gonnadie, you're gonna fuckin' die bad!JULES(to Pumpkin)Tell that bitch to be cool! Say,bitch be cool! Say, bitch be cool!PUMPKINChill out, honey!HONEY BUNNYLet him go!JULES(softly)Tell her it's gonna be okay.PUMPKINI'm gonna be okay.JULESPromise her.PUMPKINI promise.JULESTell her to chill.PUMPKINJust chill out.JULESWhat's her name?PUMPKINYolanda.Whenever Jules talks to Yolanda, he never looks at her, onlyat Pumpkin.JULES(to Yolanda)So, we cool Yolanda? We ain'tgonna do anything stupid, are we?YOLANDA(crying)Don't you hurt him.JULESNobody's gonna hurt anybody. We'regonna be like three Fonzies. Andwhat' Fonzie like?No answer,JULESC'mon Yolanda, what's Fonzie like?YOLANDA(through tears, unsure)He's cool?JULESCorrect-amundo! And that's whatwe're gonna be, we're gonna becool.(to Pumpkin)Now Ringo, I'm gonna count to threeand I want you to let go your gunand lay your palms flat on thetable. But when you do it, do itcool. Ready?Pumpkin looks at him.JULESOne...two...three.Pumpkin lets go of his gun and places both hands on the table.Yolanda can't stand it anymore.YOLANDAOkay, now let him go!JULESYolanda, I thought you were gonnabe cool. When you yell at me, itmakes me nervous. When I getnervous, I get scared. And whenmotherfuckers get scared, that'swhen motherfuckers get accidentallyshot.YOLANDA(more conversational)Just know: you hurt him, you die.JULESThat seems to be the situation.Now I don't want that and you don'twant that and Ringo here don't wantthat. So let's see what we can do.(to Ringo)Now this is the situation.Normally both of your asses wouldbe dead as fuckin' fried chicken.But you happened to pull this shitwhile I'm in a transitional period.I don't wanna kill ya, I want tohelp ya. But I'm afraid I can'tgive you the case. It don't belongto me. Besides, I went through toomuch shit this morning on accountof this case to just hand it overto 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 atYolanda.JULESIt'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.PUMPKINIt's cool, Honey Bunny, we're stillcool.VINCENT(gun raised)What the hell's goin' on, Jules?JULESNothin' I can't handle. I want youto just hang back and don't do shitunless it's absolutely necessary.VINCENTCheck.JULESYolanda, how we doin, baby?YOLANDAI gotta go pee! I want to go home.JULESJust hang in there, baby, you'redoing' great, Ringo's proud of youand so am I. It's almost over,(to Pumpkin)Now I want you to go in that bagand find my wallet.PUMPKINWhich one is it?JULESIt's the one that says BadMotherfucker on it.Pumpkin looks in the bag and -- sure enough -- there's awallet with "Bad Motherfucker" embroidered on it.JULESThat's my bad motherfucker. Nowopen it up and take out the cash.How much is there?PUMPKINAbout fifteen hundred dollars.JULESPut it in your pocket, it's yours.Now with the rest of them walletsand the register, that makes this apretty successful little score.VINCENTJules, if you give this nimrodfifteen hundred buck, I'm gonnashoot 'em on general principle.JULESYou 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?PUMPKINWhat?JULESYour life. I'm givin' you thatmoney so I don't hafta kill yourass. You read the Bible?PUMPKINNot regularly.JULESThere's a passage I got memorized.Ezekiel 25:17. "The path of therighteous man is beset on all sidesby the inequities of the selfishand the tyranny of evil men.Blessed is he who, in the name ofcharity and good will, shepherdsthe weak through the valley of thedarkness. For he is truly hisbrother's keeper and the finder oflost children.And I will strike down upon theewith great vengeance and furiousanger those who attempt to poisonand destroy my brothers. And youwill know I am the Lord when I laymy vengeance upon you." I beensayin' that shit for years. And ifyou ever heard it, it meant yourass. I never really questionedwhat it meant. I thought it wasjust a cold-blooded thing to say toa motherfucker 'fore you popped acap in his ass. But I saw someshit this mornin' made me thinktwice. Now I'm thinkin', it couldmean you're the evil man. And I'mthe righteous man. And Mr. .45here, he's the shepherd protectingmy righteous ass in the valley ofdarkness. Or is could by you'rethe righteous man and I'm theshepherd and it's the world that'sevil and selfish. I'd like that.But that shit ain't the truth. Thetruth is you're the weak. And I'mthe tyranny of evil men. But I'mtryin'. I'm tryin' real hard to bea shepherd.Jules lowers his gun, lying it on the table.Pumpkin looks at him, to the money in his hand, then toYolanda. She looks back.Grabbing the trash bag full of wallets, the two RUN out thedoor.Jules, who was never risen from his seat the whole time, takesa sip of coffee.JULES(to himself)It's cold.He pushes it aside.Vincent appears next to Jules.VINCENTI think we oughta leave now.JULESThat's probably a good idea.Vincent throws some money on the table and Jules grabs thebriefcase.Then, to the amazement of the Patrons, the Waitresses, theCooks, 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 ofthe coffee shop together without saying a word.THE END ................
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