
                           
                           P U L P   F I C T I O N

                              written & directed

                                      by

                              Quentin Tarantino

                                    stories
                                      by

                              Quentin Tarantino
                                      &
                             Roger Roberts Avery




1.      INT. COFFEE SHOP - MORNING                                      1.

        A normal Denny's, Spires-like coffee shop in Los Angeles.
        It's about 9:00 in the morning.  While the place isn't jammed,
        there's a healthy number of people drinking coffee, munching
        on bacon and eating eggs.

        Two of these people are a YOUNG MAN and a YOUNG WOMAN.  The
        Young Man has a slight working-class English accent and, like
        his fellow countryman, smokes cigarettes like they're going
        out of style.

        It is impossible to tell where the Young Woman is from or how
        old she is; everything she does contradicts something she did.
        The boy and girl sit in a booth.  Their dialogue is to be said
        in a rapid-pace "HIS GIRL FRIDAY" fashion.

                                  YOUNG MAN
                       No, forget it, it's too risky.  I'm
                       through doin' that shit.

                                  YOUNG WOMAN
                       You always say that, the same thing
                       every time: never again, I'm
                       through, too dangerous.

                                   YOUNG MAN
                       I know that's what I always say.
                       I'm always right too, but --

                                  YOUNG WOMAN
                       -- but you forget about it in a day
                       or two --

                                  YOUNG MAN
                       -- yeah, well, the days of me
                       forgittin' are over, and the days
                       of me rememberin' have just begun.

                                  YOUNG WOMAN
                       When you go on like this, you know
                       what you sound like?

                                  YOUNG MAN
                       I sound like a sensible fucking
                       man, is what I sound like.

                                  YOUNG WOMAN
                       You sound like a duck.
                            (imitates a duck)
                       Quack, quack, quack, quack, quack,
                       quack, quack...

                                  YOUNG MAN
                       Well take heart, 'cause you're
                       never gonna hafta hear it again.
                       Because since I'm never gonna do it
                       again, you're never gonna hafta
                       hear me quack about how I'm never
                       gonna do it again.

                                  YOUNG WOMAN
                       After tonight.

        The boy and girl laugh, their laughter putting a pause in
        there, back and forth.

                                  YOUNG MAN
                            (with a smile)
                       Correct.  I got all tonight to
                       quack.

        A WAITRESS comes by with a pot of coffee.

                                  WAITRESS
                       Can I get anybody anymore coffee?

                                  YOUNG WOMAN
                       Oh yes, thank you.

        The Waitress pours the Young Woman's coffee.  The Young Man
        lights up another cigarette.

                                  YOUNG MAN
                       I'm doin' fine. 
                      
        The Waitress leaves.  The Young Man takes a drag off of his
        smoke.  The Young Woman pours a ton of cream and sugar into
        her coffee.

        The Young Man goes right back into it.

                                  YOUNG MAN
                       I mean the way it is now, you're
                       takin' the same fuckin' risk as
                       when you rob a bank.  You take more
                       of a risk.  Banks are easier!
                       Federal banks aren't supposed to
                       stop you anyway, during a robbery.
                       They're insured, why should they
                       care?  You don't even need a gun in
                       a federal bank.
                       I heard about this guy, walked into
                       a federal bank with a portable
                       phone, handed the phone to the
                       teller, the guy on the other end of
                       the phone said: "We got this guy's
                       little girl, and if you don't give
                       him all your money, we're gonna
                       kill 'er."

                                  YOUNG WOMAN
                       Did it work?

                                  YOUNG MAN
                       Fuckin' A it worked, that's what
                       I'm talkin' about!  Knucklehead
                       walks in a bank with a telephone,
                       not a pistol, not a shotgun, but a
                       fuckin' phone, cleans the place
                       out, and they don't lift a fuckin'
                       finger.

                                  YOUNG WOMAN
                       Did they hurt the little girl?

                                  YOUNG MAN
                       I don't know.  There probably never
                       was a little girl -- the point of
                       the story isn't the little girl.
                       The point of the story is they
                       robbed the bank with a telephone.

                                  YOUNG WOMAN
                       You wanna rob banks?

                                  YOUNG MAN
                       I'm not sayin' I wanna rob banks,
                       I'm just illustrating that if we
                       did, it would be easier than what
                       we been doin'.

                                  YOUNG WOMAN
                       So you don't want to be a bank
                       robber?

                                  YOUNG MAN
                       Naw, all those guys are goin' down
                       the same road, either dead or
                       servin' twenty.

                                  YOUNG WOMAN
                       And no more liquor stores?

                                  YOUNG MAN
                       What have we been talking about?
                       Yeah, no-more-liquor-stores.
                       Besides, it ain't the giggle it
                       usta be.  Too many foreigners own
                       liquor stores.  Vietnamese,
                       Koreans, they can't fuckin' speak
                       English.  You tell 'em: "Empty out
                       the register," and they don't know
                       what it fuckin' means.  They make
                       it too personal.  We keep on, one
                       of those gook motherfuckers' gonna
                       make us kill 'em.

                                  YOUNG WOMAN
                       I'm not gonna kill anybody.

                                  YOUNG MAN
                       I don't wanna kill anybody either.
                       But they'll probably put us in a
                       situation where it's us of them.
                       And if it's not the gooks, it these
                       old Jews who've owned the store for
                       fifteen fuckin' generations.  Ya
                       got Grandpa Irving sittin' behind
                       the counter with a fuckin' Magnum.
                       Try walkin' into one of those
                       stores with nothin' but a
                       telephone, see how far it gets you.
                       Fuck it, forget it, we're out of
                       it.

                                  YOUNG WOMAN
                       Well, what else is there, day jobs?

                                  YOUNG MAN
                            (laughing)
                       Not this life.

                                  YOUNG WOMAN
                       Well what then?

        He calls to the Waitress.

                                  YOUNG MAN
                       Garcon!  Coffee!

        Then looks to his girl.

                                  YOUNG MAN
                       This place.

        The Waitress comes by, pouring him some more.

                                  WAITRESS
                            (snotty)
                       "Garcon" means boy.

        She splits.

                                  YOUNG WOMAN
                       Here?  It's a coffee shop.

                                  YOUNG MAN
                       What's wrong with that?  People
                       never rob restaurants, why not?
                       Bars, liquor stores, gas stations,
                       you get your head blown off
                       stickin' up one of them.
                       Restaurants, on the other hand, you
                       catch with their pants down.
                       They're not expecting to get
                       robbed, or not as expecting.

                                  YOUNG WOMAN
                            (taking to idea)
                       I bet in places like this you could 
                       cut down on the hero factor.

                                  YOUNG MAN
                       Correct.  Just like banks, these
                       places are insured.  The managers
                       don't give a fuck, they're just
                       tryin' to get ya out the door
                       before you start pluggin' diners.
                       Waitresses, forget it, they ain't
                       takin' a bullet for the register.
                       Busboys, some wetback gettin' paid
                       a dollar fifty a hour gonna really
                       give a fuck you're stealin' from
                       the owner.  Customers are sittin'
                       there with food in their mouths,
                       they don't know what's goin' on.
                       One minute they're havin' a Denver
                       omelette, next minute somebody's
                       stickin' a gun in their face.

        The Young Woman visibly takes in the idea.  The Young Man
        continues in a low voice.

                                  YOUNG MAN
                       See, I got the idea last liquor
                       store we stuck up.  'Member all
                       those customers kept comin' in?

                                  YOUNG WOMAN
                       Yeah.

                                  YOUNG MAN
                       They you got the idea to take
                       everybody's wallet.

                                  YOUNG WOMAN
                       Uh-huh.

                                  YOUNG MAN
                       That was a good idea.

                                  YOUNG WOMAN
                       Thank you.

                                  YOUNG MAN
                       We made more from the wallets then
                       we did the register.

                                  YOUNG WOMAN
                       Yes we did.

                                  YOUNG MAN
                       A lot of people go to restaurants.

                                  YOUNG WOMAN
                       A lot of wallets.

                                  YOUNG MAN
                       Pretty smart, huh?

        The Young Woman scans the restaurant with this new
        information.  She sees all the PATRONS eating, lost in
        conversations.  The tires WAITRESS, taking orders.  The
        BUSBOYS going through the motions, collecting dishes.  The
        MANAGER complaining to the COOK about something.  A smiles
        breaks out on the Young Woman's face.

                                  YOUNG WOMAN
                       Pretty smart.
                            (into it)
                       I'm ready, let's go, right here,
                       right now.

                                  YOUNG MAN
                       Remember, same as before, you're
                       crowd control, I handle the
                       employees.

                                  YOUNG WOMAN
                       Got it.

        They both take out their .32-caliber pistols and lay them on
        the table.  He looks at her and she back at him.

                                  YOUNG WOMAN
                       I love you, Pumpkin.

                                  YOUNG MAN
                       I love you, Honey Bunny.

        And with that, Pumpkin and Honey Bunny grab their weapons,
        stand up and rob the restaurant.  Pumpkin's robbery persona is
        that of the in-control professional.  Honey Bunny's is that of
        the psychopathic, hair-triggered, loose cannon.

                                  PUMPKIN
                            (yelling to all)
                       Everybody be cool this is a
                       robbery!

                                  HONEY BUNNY
                       Any of you fuckin' pricks move and
                       I'll execute every one of you
                       motherfuckers!  Got that?

                                                        CUT TO:

        CREDIT SEQUENCE:

                                PULP FICTION

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

        An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down
        a homeless-ridden street in Hollywood.  In the front seat are
        two young fellas -- one white, one black -- both wearing cheap
        black suits with thin black ties under long green dusters.
        Their names are VINCENT VEGA (white) and JULES WINNFIELD
        (black).  Jules is behind the wheel.

                                  JULES
                       -- okay now, tell me about the hash
                       bars?

                                  VINCENT
                       What so you want to know?

                                  JULES
                       Well, hash is legal there, right?

                                  VINCENT
                       Yeah, it's legal, but is ain't a
                       hundred percent legal.  I mean you
                       can't walk into a restaurant, roll
                       a joint, and start puffin' away.
                       You're only supposed to smoke in
                       your home or certain designated
                       places.

                                  JULES
                       Those are hash bars?

                                  VINCENT
                       Yeah, it breaks down like this:
                       it's legal to buy it, it's legal to
                       own it and, if you're the
                       proprietor of a hash bar, it's
                       legal to sell it.  It's legal to
                       carry it, which doesn't really
                       matter 'cause -- get a load of this
                       -- if the cops stop you, it's
                       illegal for this to search you.
                       Searching you is a right that the
                       cops in Amsterdam don't have.

                                  JULES
                       That did it, man -- I'm fuckin'
                       goin', that's all there is to it.

                                  VINCENT
                       You'll dig it the most.  But you
                       know what the funniest thing about
                       Europe is?

                                  JULES
                       What?

                                  VINCENT
                       It's the little differences.  A
                       lotta the same shit we got here,
                       they got there, but there they're a
                       little different.

                                  JULES
                       Examples?

                                  VINCENT
                       Well, in Amsterdam, you can buy
                       beer in a movie theatre.  And I
                       don't mean in a paper cup either.
                       They give you a glass of beer, like
                       in a bar.  In Paris, you can buy
                       beer at MacDonald's.  Also, you
                       know what they call a Quarter
                       Pounder with Cheese in Paris?

                                  JULES
                       They don't call it a Quarter
                       Pounder with Cheese?

                                  VINCENT
                       No, they got the metric system
                       there, they wouldn't know what the
                       fuck a Quarter Pounder is.

                                  JULES
                       What'd they call it?

                                  VINCENT
                       Royale with Cheese.

                                  JULES
                            (repeating)
                       Royale with Cheese.  What'd they
                       call a Big Mac?

                                  VINCENT
                       Big Mac's a Big Mac, but they call
                       it Le Big Mac.

                                  JULES
                       What do they call a Whopper?

                                  VINCENT
                       I dunno, I didn't go into a Burger
                       King.  But you know what they put
                       on french fries in Holland instead
                       of ketchup?

                                  JULES
                       What?

                                  VINCENT
                       Mayonnaise.

                                  JULES
                       Goddamn!

                                  VINCENT
                       I seen 'em do it.  And I don't mean
                       a little bit on the side of the
                       plate, they fuckin' drown 'em in
                       it.

                                  JULES
                       Uuccch!

                                                        CUT TO:

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

        The trunk of the Chevy OPENS UP, Jules and Vincent reach
        inside, taking out two .45 Automatics, loading and cocking
        them.

                                  JULES
                       We should have shotguns for this
                       kind of deal.

                                  VINCENT
                       How many up there?

                                  JULES
                       Three or four.

                                  VINCENT
                       Counting our guy?

                                  JULES
                       I'm not sure.

                                  VINCENT
                       So there could be five guys up
                       there?

                                  JULES
                       It's possible.

                                  VINCENT
                       We should have fuckin' shotguns.

        They CLOSE the trunk.

                                                        CUT TO:

4.      EXT. APARTMENT BUILDING COURTYARD - MORNING                     4.

        Vincent and Jules, their long matching overcoats practically
        dragging on the ground, walk through the courtyard of what
        looks like a hacienda-style Hollywood apartment building.

        We TRACK alongside.

                                  VINCENT
                       What's her name?

                                  JULES
                       Mia.

                                  VINCENT
                       How did Marsellus and her meet?

                                  JULES
                       I dunno, however people meet
                       people.  She usta be an actress.

                                  VINCENT
                       She ever do anything I woulda saw?

                                  JULES
                       I think her biggest deal was she
                       starred in a pilot.

                                  VINCENT
                       What's a pilot?

                                  JULES
                       Well, you know the shows on TV?

                                  VINCENT
                       I don't watch TV.

                                  JULES
                       Yes, but you're aware that there's
                       an invention called television, and
                       on that invention they show shows?

                                  VINCENT
                       Yeah.

                                  JULES
                       Well, the way they pick the shows
                       on TV is they make one show, and
                       that show's called a pilot.  And
                       they show that one show to the
                       people who pick the shows, and on
                       the strength of that one show, they
                       decide if they want to make more
                       shows.  Some get accepted and
                       become TV programs, and some don't,
                       and become nothing.  She starred in
                       one of the ones that became
                       nothing.

        They enter the apartment building.

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

        Vincent and Jules walk through the reception area and wait for
        the elevator.

                                  JULES
                       You remember Antwan Rockamora?
                       Half-black, half-Samoan, usta call
                       him Tony Rocky Horror.

                                  VINCENT
                       Yeah maybe, fat right?

                                  JULES
                       I wouldn't go so far as to call the
                       brother fat.  He's got a weight
                       problem.  What's the nigger gonna
                       do, he's Samoan.

                                  VINCENT
                       I think I know who you mean, what
                       about him?

                                  JULES
                       Well, Marsellus fucked his ass up
                       good.  And word around the
                       campfire, it was on account of
                       Marsellus Wallace's wife.

        The elevator arrives, the men step inside.

6.      INT. ELEVATOR - MORNING                                         6.

                                  VINCENT
                       What'd he do, fuck her?

                                  JULES
                       No no no no no no no, nothin' that
                       bad.

                                  VINCENT
                       Well what then?

                                  JULES
                       He gave her a foot massage.

                                  VINCENT
                       A foot massage?

        Jules nods his head: "Yes."

                                  VINCENT
                       That's all?

        Jules nods his head: "Yes."

                                  VINCENT
                       What did Marsellus do?

                                  JULES
                       Sent a couple of guys over to his
                       place.  They took him out on the
                       patio of his apartment, threw his
                       ass over the balcony.  Nigger fell
                       four stories.  They had this garden
                       at the bottom, enclosed in glass,
                       like one of them greenhouses --
                       nigger fell through that.  Since
                       then, he's kinda developed a speech
                       impediment.

        The elevator doors open, Jules and Vincent exit.

                                  VINCENT
                       That's a damn shame.

7.      INT. APARTMENT BUILDING HALLWAY - MORNING                       7.

        STEADICAM in front of Jules and Vincent as they make a beeline
        down the hall.

                                  VINCENT
                       Still I hafta say, play with
                       matches, ya get burned.

                                  JULES
                       Whaddya mean?

                                  VINCENT
                       You don't be givin' Marsellus
                       Wallace's new bride a foot massage.

                                  JULES
                       You don't think he overreacted?

                                  VINCENT
                       Antwan probably didn't expect
                       Marsellus to react like he did, but
                       he had to expect a reaction.

                                  JULES
                       It was a foot massage, a foot
                       massage is nothing, I give my
                       mother a foot massage.

                                  VINCENT
                       It's laying hands on Marsellus
                       Wallace's new wife in a familiar
                       way.  Is it as bad as eatin' her
                       out -- no, but you're in the same
                       fuckin' ballpark.

        Jules stops Vincent.

                                  JULES
                       Whoa...whoa...whoa...stop right
                       there.  Eatin' a bitch out, and
                       givin' a bitch a foot massage ain't
                       even the same fuckin' thing.

                                  VINCENT
                       Not the same thing, the same
                       ballpark.

                                  JULES
                       It ain't no ballpark either.  Look
                       maybe your method of massage
                       differs from mine, but touchin' his
                       lady's feet, and stickin' your
                       tongue in her holyiest of holyies,
                       ain't the same ballpark, ain't the
                       same league, ain't even the same
                       fuckin' sport.  Foot massages don't
                       mean shit.

                                  VINCENT
                       Have you ever given a foot massage?

                                  JULES
                       Don't be tellin' me about foot
                       massages -- I'm the fuckin' foot
                       master.

                                  VINCENT
                       Given a lot of 'em?

                                  JULES
                       Shit yeah.  I got my technique down
                       man, I don't tickle or nothin'.

                                  VINCENT
                       Have you ever given a guy a foot
                       massage?

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

                                  JULES
                       Fuck you.

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

                                  VINCENT
                       How many?

                                  JULES
                       Fuck you.

                                  VINCENT
                       Would you give me a foot massage --
                       I'm kinda tired.

                                  JULES
                       Man, you best back off, I'm gittin'
                       pissed -- this is the door.

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

                                  JULES
                       What time is it?

                                  VINCENT
                            (checking his watch)
                       Seven-twenty-two in the morning.

                                  JULES
                       It ain't quite time, let's hang
                       back.

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

                                  JULES
                       Look, just because I wouldn't give
                       no man a foot massage, don't make
                       it right for Marsellus to throw
                       Antwan off a building into a glass-
                       motherfuckin-house, fuckin' up the
                       way the nigger talks.  That ain't
                       right, man.  Motherfucker do that
                       to me, he better paralyze my ass,
                       'cause I'd kill'a motherfucker.

                                  VINCENT
                       I'm not sayin' he was right, but
                       you're sayin' a foot massage don't
                       mean nothing, and I'm sayin' it
                       does.  I've given a million ladies
                       a million foot massages and they
                       all meant somethin'.  We act like
                       they don't, but they do.  That's
                       what's so fuckin' cool about 'em.
                       This sensual thing's goin' on that
                       nobody's talkin about, but you know
                       it and she knows it, fuckin'
                       Marsellus knew it, and Antwan
                       shoulda known fuckin' better.
                       That's his fuckin' wife, man.  He
                       ain't gonna have a sense of humor
                       about that shit.

                                  JULES
                       That's an interesting point, but
                       let's get into character.

                                  VINCENT
                       What's her name again?

                                  JULES
                       Mia.  Why you so interested in big
                       man's wife?

                                  VINCENT
                       Well, Marsellus is leavin' for
                       Florida and when he's gone, he
                       wants me to take care of Mia.

                                  JULES
                       Take care of her?

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

                                  VINCENT
                       Not that!  Take her out.  Show her
                       a good time.  Don't let her get
                       lonely.

                                  JULES
                       You're gonna be takin' Mia Wallace
                       out on a date?

                                  VINCENT
                       It ain't a date.  It's like when
                       you and your buddy's wife go to a
                       movie or somethin'.  It's just...
                       you know...good company.

        Jules just looks at him.

                                  VINCENT
                       It's not a date.

        Jules just looks at him.

                                  VINCENT
                       I'm not gonna be a bad boy.

        Jules shakes his head and mumbles to himself.

                                  JULES
                       Bitch gonna kill more niggers than
                       time.

                                  VINCENT
                       What was that?

                                  JULES
                       Nothin'.  Let's get into character.

                                  VINCENT
                       What'd you say?

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

                                  VINCENT
                       Don't play with me, you said
                       somethin', now what was it?

                                  JULES
                            (referring to the job)
                       Do you wanna do this?

                                  VINCENT
                       I want you to repeat what you said.

                                  JULES
                       That door's gonna open in about
                       thirty seconds, so git yourself
                       together --

                                  VINCENT
                       -- my self is together --

                                  JULES
                       -- bullshit it is.  Stop thinkin'
                       'bout that Ho, and get yourself
                       together like a qualified pro.

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

        THREE YOUNG GUYS, obviously in over their heads, sit at a
        table with hamburgers, french fries and soda pops laid out.

        One of them flips the LOUD BOLT on the door, opening it to
        REVEAL Jules and Vincent in the hallway.

                                  JULES
                       Hey kids.

        The two men stroll inside.

        The three young caught-off-guard Guys are:

        MARVIN
        The black young man, who open the door, will, as the scene
        progresses, back into the corner.

        ROGER
        A young blond-haired surfer kid with a "Flock of Seagulls"
        haircut, who has yet to say a word, sits at the table with a
        big sloppy hamburger in his hand.

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

        Vincent and Jules take in the place, with their hands in their
        pockets.  Jules is the one who does the talking.

                                  JULES
                       How you boys doin'?

        No answer.

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

                                  BRETT
                       We're doin' okay.

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

                                  JULES
                       Do you know who we are?

        Brett shakes his head: "No."

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

        No answer.

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

                                  BRETT
                       I'm Brett.

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

                                  BRETT
                       I remember him.

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

                                  BRETT
                       Hamburgers.

                                  JULES
                       Hamburgers.  The cornerstone of any
                       nutritious breakfast.  What kinda
                       hamburgers?

                                  BRETT
                       Cheeseburgers.

                                  JULES
                       No, I mean where did you get'em?
                       MacDonald's, Wendy's, Jack-in-the-
                       Box, where?

                                  BRETT
                       Big Kahuna Burger.

                                  JULES
                       Big Kahuna Burger.  That's that
                       Hawaiian burger joint.  I heard
                       they got some tasty burgers.  I
                       ain't never had one myself, how are
                       they?

                                  BRETT
                       They're good.

                                  JULES
                       Mind if I try one of yours?

                                  BRETT
                       No.

                                  JULES
                       Yours is this one, right?

                                  BRETT
                       Yeah.

        Jules grabs the burger and take a bite of it.

                                  JULES
                       Uuummmm, that's a tasty burger.
                            (to Vincent)
                       Vince, you ever try a Big Kahuna
                       Burger?

                                  VINCENT
                       No.

        Jules holds out the Big Kahuna.

                                  JULES
                       You wanna bite, they're real good.

                                  VINCENT
                       I ain't hungry.

                                  JULES
                       Well, if you like hamburgers give
                       'em a try sometime.  Me, I can't
                       usually eat 'em 'cause my
                       girlfriend's a vegetarian.  Which
                       more or less makes me a vegetarian,
                       but I sure love the taste of a good
                       burger.
                            (to Brett)
                       You know what they call a Quarter
                       Pounder with Cheese in France?

                                  BRETT
                       No.

                                  JULES
                       Tell 'em, Vincent.

                                  VINCENT
                       Royale with Cheese.

                                  JULES
                       Royale with Cheese, you know why
                       they call it that?

                                  BRETT
                       Because of the metric system?

                                  JULES
                       Check out the big brain on Brett.
                       You'a smart motherfucker, that's
                       right.  The metric system.
                            (he points to a fast
                              food drink cup)
                       What's in this?

                                  BRETT
                       Sprite.

                                  JULES
                       Sprite, good, mind if I have some
                       of your tasty beverage to wash this
                       down with?

                                  BRETT
                       Sure.

        Jules grabs the cup and takes a sip.

                                  JULES
                       Uuuuummmm, hit's the spot!
                            (to Roger)
                       You, Flock of Seagulls, you know
                       what we're here for?

        Roger nods his head: "Yes."

                                  JULES
                       Then why don't you tell my boy here
                       Vince, where you got the shit hid.

                                  MARVIN
                       It's under the be --

                                  JULES
                       -- I don't remember askin' you a
                       goddamn thing.
                            (to Roger)
                       You were sayin'?

                                  ROGER
                       It's under the bed.

        Vincent moves to the bed, reaches underneath it, pulling out a
        black snap briefcase.

                                  VINCENT
                       Got it.

        Vincent flips the two locks, opening the case.  We can't see
        what's inside, but a small glow emits from the case.  Vincent
        just stares at it, transfixed.

                                  JULES
                       We happy?

        No answer from the transfixed Vincent.

                                  JULES
                       Vincent!

        Vincent looks up at Jules.

                                  JULES
                       We happy?

        Closing the case.

                                  VINCENT
                       We're happy.

                                  BRETT
                            (to Jules)
                       Look, what's your name?  I got his
                       name's Vincent, but what's yours?

                                  JULES
                       My name's Pitt, and you ain't
                       talkin' your ass outta this shit.

                                  BRETT
                       I just want you to know how sorry
                       we are about how fucked up things
                       got between us and Mr. Wallace.
                       When we entered into this thing, we
                       only had the best intentions --

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

        Vince smiles to himself.  Jules has got style.

        Brett has just shit his pants.  He's not crying or whimpering,
        but he's so full of fear, it's as if his body is imploding.

                                  JULES
                            (to Brett)
                       Oh, I'm sorry.  Did that break your
                       concentration?  I didn't mean to do
                       that.  Please, continue.  I believe
                       you were saying something about
                       "best intentions."

        Brett can't say a word.

                                  JULES
                       Whatsamatter?  Oh, you were through
                       anyway.  Well, let me retort.
                       Would you describe for me what
                       Marsellus Wallace looks like?

        Brett still can't speak.

        Jules SNAPS, SAVAGELY TIPPING the card table over, removing
        the only barrier between himself and Brett.  Brett now sits in
        a lone chair before Jules like a political prisoner in front
        of an interrogator.

                                  JULES
                       What country you from!

                                  BRETT
                            (petrified)
                       What?

                                  JULES
                       "What" ain't no country I know!  Do
                       they speak English in "What?"

                                  BRETT
                            (near heart attack)
                       What?

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

                                  BRETT
                       Yes.

                                  JULES
                       Then you understand what I'm
                       sayin'?

                                  BRETT
                       Yes.

                                  JULES
                       Now describe what Marsellus Wallace
                       looks like!

                                  BRETT
                            (out of fear)
                       What?

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

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

        Brett is regressing on the spot.

                                  JULES
                       Now describe to me what Marsellus
                       Wallace looks like!

        Brett does his best.

                                  BRETT
                       Well he's ...he's...black --

                                  JULES
                       -- go on!

                                  BRETT
                       ...and he's...he's...tall --

                                  JULES
                       -- does he look like a bitch?!

                                  BRETT
                            (without thinking)
                       What?

        Jules' eyes go to Vincent, Vincent smirks, Jules rolls his
        eyes and SHOOT Brett in the shoulder.

        Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in the
        chair.

                                  JULES
                       Does-he-look-like-a-bitch?!

                                  BRETT
                            (in agony)
                       No.

                                  JULES
                       Then why did you try to fuck 'im
                       like a bitch?!

                                  BRETT
                            (in spasm)
                       I didn't.

        Now in a lower voice.

                                  JULES
                       Yes ya did Brett.  Ya tried ta fuck
                       'im.  You ever read the Bible,
                       Brett?

                                  BRETT
                            (in spasm)
                       Yes.

                                  JULES
                       There's a passage I got memorized,
                       seems appropriate for this
                       situation: Ezekiel 25:17. "The path
                       of the righteous man is beset on
                       all sides by the inequities of the
                       selfish and the tyranny of evil
                       men.  Blessed is he who, in the
                       name of charity and good will,
                       shepherds the weak through the
                       valley of darkness, for he is truly
                       his brother's keeper and the finder
                       of lost children.  And I will
                       strike down upon thee with great
                       vengeance and furious anger those
                       who attempt to poison and destroy
                       my brothers.  And you will know my
                       name is the Lord when I lay my
                       vengeance upon you."

        The two men EMPTY their guns at the same time on the sitting
        Brett.

        When they are finished, the bullet-ridden carcass just sits
        there for a moment, then TOPPLES over.

        All is quiet.

        The only SOUND is Marvin MUTTERING in the corner.

                                  MARVIN
                       ...goddamn...goddamn...that was
                       fucked up...goddamn, that was cold-
                       blooded...

                                  VINCENT
                            (pointing to Marvin)
                       Friend of yours?

                                  JULES
                       Yeah, Marvin-Vincent-Vincent-
                       Marvin.

                                  VINCENT
                       Tell 'em to shut up, he's gettin'
                       on my nerves.

                                  JULES
                       Marvin, I'd knock that shit off if
                       I was you.

        Then suddenly the bathroom door BURSTS OPEN, and a FOURTH MAN
        (as young as the rest) comes CHARGING out, a silver Magnum in
        his hand.

        We DOLLY into a MEDIUM on him.

                                  FOURTH MAN
                       Die...die...die...die...die...die!

        The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in
        the direction of Vincent and Jules.  He SCREAMS a maniacal cry
        of revenge until he's DRY FIRING.

        Then...his face does a complete change of expression.  It goes
        from a "Vengeance is mine" expression, to a "What the fuck"
        blank look.

                                  FOURTH MAN
                       I don't understand --

        The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by
        bullets that TEAR HIM TO SHREDS.

        He leaves the FRAME EMPTY.

                                                        FADE TO BLACK

        Against black, TITLE CARD:

                                "VINCENT VEGA
                                     AND
                           MARSELLUS WALLACE'S WIFE"

                                                        FADE IN:

9.      MEDIUM SHOT - BUTCH COOLIDGE                                    9.
        We FADE UP on Butch Coolidge, a white, 26-year-old
        prizefighter.  Butch sits at a table wearing a red and blue
        high school athletic jacket.  Talking to him OFF SCREEN is
        everybody's boss MARSELLUS WALLACE.  The black man sounds like
        a cross between a gangster and a king.

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

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

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

                                  BUTCH
                       I got no problem with that.

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

        Butch nods his head: "yes."

                                  MARSELLUS (OS)
                       Say it!

                                  BUTCH
                       In the fifth, my ass goes down.

                                                        CUT TO:

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

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

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

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

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

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

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

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

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

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

                                  VINCENT
                       Where's the big man?

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

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

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

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

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

                                  VINCENT
                       At Marsellus' request.

                                  ENGLISH DAVE
                       Have you met Mia?

                                  VINCENT
                       Not yet.

        English Dave smiles to himself.

                                  VINCENT
                       What's so funny?

                                  ENGLISH DAVE
                       Not a goddamn thing.

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

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

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

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

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

                                  ENGLISH DAVE
                       Filters?

                                  BUTCH
                       Non.

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

                                  BUTCH
                       Lookin' at somethin', friend?

                                  VINCENT
                       I ain't your friend, palooka.

        Butch does a slow burn toward Vincent.

                                  BUTCH
                       What was that?

                                  VINCENT
                       I think ya heard me just fine,
                       punchy.

        Butch turns his body to Vincent, when...

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

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

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

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

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

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

                                                        DISSOLVE TO:

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

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

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

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

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

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

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

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

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

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

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

                                  LANCE (OS)
                       Vince, you can come in now!

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

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

        Three bags of heroin lie on Lance's bed.

        Lance and Vincent stand at the foot of the bed.

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

                                  VINCENT
                       Remember, I just got back from
                       Amsterdam.

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

                                  VINCENT
                       That's a bold statement.

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

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

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

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

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

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

        Vincent and Lance giggle at the "faux pas."

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

                                  LANCE
                       No problem?

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

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

                                  LANCE
                       Me casa, su casa.

                                  VINCENT
                       Mucho gracias.

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

                                  LANCE
                       Still got your Malibu?

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

                                  LANCE
                       What?

                                  VINCENT
                       Fuckin' keyed it.

                                  LANCE
                       Oh man, that's fucked up.

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

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

        As he cooks his heroin --

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

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

        CU - THE NEEDLE
        going into Vincent's vein.

        CU - BLOOD
        spurting back into the syringe, mixing with the heroin.

        CU OF VINCENT'S THUMB
        pushing down on the plunger.

                                                        CUT TO:

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

        Vincent walks up to the driveway leading to Marsellus
        Wallace's front door.  When he gets to the door, he hears
        MUSIC on the other side, and a note in plain view taped to it.
        He rips it off.

        CU - NOTE

                        "Hi Vincent,

                        I'm getting dressed.  The door's
                        open.  Come inside and make
                        yourself a drink.

                                            Mia"

        Vincent neatly folds the note up, sticks it in his pocket,
        takes a here-goes-nothing breath and turns the knob.

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

        As Vincent steps inside, the MUSIC that was behind the door,
        SWELLS drastically.  Vincent, hands in pockets, strolls
        inside, checking out his boss' home.

                                  VINCENT
                            (yelling)
                       Hello!  I'm here!

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

17.     INT. DRESSING ROOM - NIGHT                                      17.

        We're inside the room where the MUSIC is PLAYING.  In the f.g.
        MIA WALLACE, naked with her back to us, talks to Vincent
        through a crack in the door.  The door shields the front of
        her body from Vincent.

                                  MIA
                       Vincent Vega?

                                  VINCENT
                       I'm Vincent, you Mia?

                                  MIA
                       That's me, pleased to meetcha.  I'm
                       still getting dressed.  To your
                       left, past the kitchen, is a bar.
                       Why don't you make yourself a
                       drink, have a seat in the living
                       room, and I'll be out within three
                       shakes of a lamb's tail.

                                  VINCENT
                       Take your time.

        Mia closes the door.  Before she can fully turn around and
        show us her face...

                                                        WE CUT:

        BACK TO VINCENT
        standing where he was, MUSIC beating, looking at the closed
        door.  We slowly ZOOM to the door.

        We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he
        contemplates what's on the other side of the door.  When we
        reach a CU, he walks OUT OF FRAME, breaking the spell.

        Vincent walks to the bar and pours himself a drink.

        WE JUXTAPOSE
        as the MUSIC plays.

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

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

        Mia, her back to CAMERA, dressed in her pretty dress, checks
        herself in the mirror.  We DOLLY towards her.  Her face is
        still obscured.

        CU - PORTRAIT OF MIA
        hanging on the living room wall, showing Mia sensually
        reclining on a couch.

        HIGH ANGLE SHOT OF VINCENT
        looking up at the portrait.

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

        Vincent sits on a plush, comfy couch.

        CU - MIA'S NOSE
        snorting the line from a rolled up dollar bill.

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

        CU - CD PLAYER OPENING
        Mia's hand comes in and takes the CD out.

        The CAMERA follows behind Mia's bare feet as she walks out of
        the dressing room, through the dining room, through the
        kitchen and into the living room.

        SHOT THROUGH A VIDEO CAMERA
        Mia has a camcorder and is videotaping Vincent on the couch.
        He looks up and sees her.

                                  MIA (OS)
                       Smile, you're on Mia's camera!

                                  VINCENT
                       Ready to go?

                                  MIA (OS)
                       Not yet.  I'm going to interview you
                       first.  Are you any relation to
                       Suzanne Vega?

                                  VINCENT
                       Yeah, she's my cousin.

                                  MIA (OS)
                       Suzanne Vega the folk singer is
                       your cousin?

                                  VINCENT
                       Suzanne Vega's my cousin.  If she's
                       become a folk singer, I sure as
                       hell don't know nothin' about it.
                       But then I haven't been to too many
                       Thanksgivings lately.

                                  MIA (OS)
                       Now I'm gonna ask you a bunch of
                       quick questions I've come up with
                       that more of less tell me what kind
                       of person I'm having dinner with.
                       My theory is that when it comes to
                       important subjects, there's only
                       two ways a person can answer.  For
                       instance, there's two kinds of
                       people in this world, Elvis people
                       and Beatles people.  Now Beatles
                       people can like Elvis.  And Elvis
                       people can like the Beatles.  But
                       nobody likes them both equally.
                       Somewhere you have to make a
                       choice.  And that choice tells me
                       who you are.

                                  VINCENT
                       I can dig it.

                                  MIA (OS)
                       I knew you could.  First question,
                       Brady Bunch or the Partridge
                       Family?

                                  VINCENT
                       The Partridge Family all the way,
                       no comparison.

                                  MIA (OS)
                       On "Rich Man, Poor Man," who did
                       you like, Peter Strauss or Nick
                       Nolte?

                                  VINCENT
                       Nick Nolte, of course.

                                  MIA (OS)
                       Are you a "Bewitched" man, or a
                       "Jeannie" man?

                                  VINCENT
                       "Bewitched," all the way, though I
                       always dug how Jeannie always
                       called Larry Hagman "master."

                                  MIA (OS)
                       If you were "Archie," who would you
                       fuck first, Betty or Veronica?

                                  VINCENT
                       Betty.  I never understood Veronica
                       attraction.

                                  MIA (OS)
                       Have you ever fantasized about
                       being beaten up by a girl?

                                  VINCENT
                       Sure.

                                  MIA (OS)
                       Who?

                                  VINCENT
                       Emma Peel on "The Avengers."  That
                       tough girl who usta hang out with
                       Encyclopedia Brown.  And Arlene
                       Motika.

                                  MIA (OS)
                       Who's Arlene Motika?

                                  VINCENT
                       Girl from sixth grade, you don't
                       know her.

        CU - MIA
        lowers the camcorder from in front of her face and we get our
        first full-on look at her.  When we do, we get a pretty good
        idea why Marsellus feels the way he does.  She breaks out in a
        blinding smile.

                                  MIA
                       Cut.  Print.  Let's go eat.

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

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

        But then there's JACKRABBIT SLIM'S, the big mama of 50's
        diners.  Either the best or the worst, depending on your point
        of view.

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

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

        Compared to the interior, the exterior was that of a quaint
        English pub.  Posters from 50's A.I.P. movies are all over the
        wall ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF
        THE CRAB MONSTER," and "MACHINE GUN KELLY").  The booths that
        the patrons sit in are made out of the cut up bodies of 50s
        cars.

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

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

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

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

                                  VINCENT
                       I'll have the Douglas Sirk steak.

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

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

                                  BUDDY
                       How 'bout you, Peggy Sue?

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

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

                                  MIA
                       Martin and Lewis.

                                  VINCENT
                       Did you just order a five-dollar
                       shake?

                                  MIA
                       Sure did.

                                  VINCENT
                       A shake?  Milk and ice cream?

                                  MIA
                       Uh-huh.

                                  VINCENT
                       It costs five dollars?

                                  BUDDY
                       Yep.

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

                                  BUDDY
                       Nope.

                                  VINCENT
                       Just checking.

        Buddy exits.

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

                                  MIA
                       Whaddya think?

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

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

        After a second of watching him --

                                  MIA
                       What are you doing?

                                  VINCENT
                       Rollin' a smoke.

                                  MIA
                       Here?

                                  VINCENT
                       It's just tobacco.

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

        As he finishes licking it --

                                  VINCENT
                       You can have his one, cowgirl.

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

                                  MIA
                       Thanks.

                                  VINCENT
                       Think nothing of it.

        He begins rolling one for himself.

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

        Back to Mia and Vincent

                                  MIA
                       Marsellus said you just got back
                       from Amsterdam.

                                  VINCENT
                       Sure did.  I heard you did a pilot.

                                  MIA
                       That was my fifteen minutes.

                                  VINCENT
                       What was it?

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

                                  VINCENT
                       What?

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

                                  VINCENT
                       What was your specialty?

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

                                  VINCENT
                       Do you remember any of the jokes?

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

                                  VINCENT
                       Tell me.

                                  MIA
                       No.  It's really corny.

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

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

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

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

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

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

                                  VINCENT
                       I meant I wouldn't laugh at you.

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

                                  VINCENT
                       What a gyp.

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

                                  MIA
                       Yummy!

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

                                  MIA
                       Be my guest.

        She slides the shake over to him.

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

        Vincent smiles.

                                  VINCENT
                       Yeah, but maybe I do.

                                  MIA
                       Kooties I can handle.

        He takes a sip.

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

                                  MIA
                      Told ya.

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

        He slides the shake back.

        Then the first of an uncomfortable silence happens.

                                  MIA
                       Don't you hate that?

                                  VINCENT
                       What?

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

                                  VINCENT
                       I don't know.

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

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

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

                                  VINCENT
                       I'll do that.

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

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

                                  MIA
                            (imitating Steppenwolf)
                       I said goddamn!

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

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

        Mia comes back to the table.

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

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

                                  MIA
                       Which one, there's two Marilyn
                       Monroes.

                                  VINCENT
                       No there's not.

        Pointing at Marilyn in the white dress serving a table.

                                  VINCENT
                       That's Marilyn Monroe...

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

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

                                  MIA
                       Pretty smart.

                                  VINCENT
                       I have moments.

                                  MIA
                       Did ya think of something to say?

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

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

                                  VINCENT
                       Only if you promise not to get
                       offended.

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

                                  VINCENT
                       Then let's just forget it.

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

                                  VINCENT
                       Is that a fact?

        Mia nods her head: "Yes."

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

                                  VINCENT
                       What do you think about what
                       happened to Antwan?

                                  MIA
                       Who's Antwan?

                                  VINCENT
                       Tony Rocky Horror.

                                  MIA
                       He fell out of a window.

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

                                  MIA
                       Is that a fact?

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

                                  MIA
                       Who told you this?

                                  VINCENT
                       They.

        Mia and Vincent smile.

                                  MIA
                       They talk a lot, don't they?

                                  VINCENT
                       They certainly do.

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

        Vincent is slow to answer

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

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

                                  MIA
                       And...?

                                  VINCENT
                       No and, that's it.

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

                                  VINCENT
                       Yeah.

                                  MIA
                       And you believed that?

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

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

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

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

                                  VINCENT
                       But did it happen?

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

                                  VINCENT
                       Are you mad?

                                  MIA
                       Not at all.  Being the subject of
                       back-fence gossip goes with the
                       right, I guess.

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

                                  MIA
                       Thanks.

                                  VINCENT
                       What for?

                                  MIA
                       Asking my side.

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

                                  MIA
                       I wanna dance.

                                  VINCENT
                       I'm not much of a dancer.

                                  MIA
                       Now I'm the one gettin' gyped.  I
                       do believe Marsellus told you to
                       take me out and do whatever I
                       wanted.  Well, now I want to dance.

        Vincent smiles and begins taking off his boots.  Mia
        triumphantly casts hers off.  He takes her hand, escorting her
        to the dance floor.  The two face each other for that brief
        moment before you begin to dance, than they both break into a
        devilish twist.  Mia's version of the twist is that of a sexy
        cat.  Vincent is pure Mr. Cool as he gets into a hip-
        swivelling rhythm that would make Mr. Checker proud.

        The OTHER DANCERS on the floor are trying to do the same
        thing, but Vincent and Mia seem to be strangely shaking their
        asses in sync.  The two definitely share a rhythm and share
        smiles as they SING ALONG with the last verse of the Golden
        Oldie.

                                                        CUT TO:

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

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

        Then...

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

                                  VINCENT
                       Was than an uncomfortable silence?

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

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

                                  VINCENT
                       I'm gonna take a piss.

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

        Vincent shuffles off to the john.

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

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

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

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

                                                        CUT TO:

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

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

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

        LIVING ROOM

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

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

        BATHROOM

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

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

        LIVING ROOM

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

        BATHROOM

        Vince continues.

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

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

        LIVING ROOM

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

                                  VINCENT
                       Jesus Christ!

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

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

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

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

        Vincent props her eyelids open and sees the story.

                                  VINCENT
                            (to himself)
                       I'll be a sonofabitch.
                            (to Mia)
                       Mia!  Mia!  What did you take?
                       Answer me honey, what did you take?

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

        Vincent SPRINGS up and RUNS to his overcoat, hanging on the
        rack.  He goes through the pockets FRANTICALLY.  It's gone.
        Vincent makes a beeline to Mia.  We follow.

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

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

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

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

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

        INSERT SPEEDOMETER: red needle on a hundred.

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

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

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

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

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

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

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

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

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

        The phone RINGS.

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

        It RINGS again.

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

                                  JODY (OS)
                       Lance!  The phone's ringing!

                                  LANCE
                            (calling back)
                       I can hear it!

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

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

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

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

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

                                  VINCENT
                       You still got an adrenalin shot?

                                  LANCE
                            (dawning on him)
                       Maybe.

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

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

                                  VINCENT
                       No choice.

                                  LANCE
                       She's O.D.in'?

                                  VINCENT
                       Yeah.  She's dyin'.

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

                                  VINCENT
                       Negative.

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

                                  VINCENT
                       Sorry.

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

                                  VINCENT
                       Too late, I'm already here.

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

                                  JODY (OS)
                       What the hell was that?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                  JODY
                       Who's she?

        Lance looks up at Jody.

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

                                  JODY
                       What's wrong with her?

                                  VINCENT
                       She's O.D.ing on us.

                                  JODY
                       Well get her the hell outta here!

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

                                  JODY
                       Don't yell and me!

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

        WE MOVE into the room with the two men.

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

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

                                  VINCENT
                       What do you need a medical book
                       for?

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

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

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

                                  VINCENT
                       Well then get it.

                                  LANCE
                       I am, if you'll let me.

                                  VINCENT
                       I'm not fuckin' stoppin' you.

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

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

29.     SPARE ROOM                                                      29.
        with a bunch of junk in it.  He frantically starts scanning
        the junk for the book he's looking for, repeating the words,
        "Come on," endlessly.

        From OFF SCREEN we hear:

                                  VINCENT (OS)
                       Hurry up man!  We're losin' her!

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

        Lance continues his frenzied search.

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

                                  JODY (OS)
                       What's he lookin' for?

                                  VINCENT (OS)
                       I dunno, some medical book.

        Jody calls to Lance.

                                  JODY (OS)
                       What are you lookin' for?

                                  LANCE
                       My black medical book!

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

                                  JODY
                       Whata re you looking for?

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

                                  JODY
                       I never saw a medical book.

                                  LANCE
                       Trust me, I have one.

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

        Lance spins toward her.

                                  LANCE
                       I don't know!  Stop bothering me!

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

                                  VINCENT (OS)
                       -- get your ass in here, fuck the
                       book!

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

30.     LIVING ROOM                                                     30.
        Vincent is bent over Mia, talking softly to her, when Lance
        reenters the room.

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

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

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

        Vince rips her blouse open.

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

                                  VINCENT
                       Does it have to be exact?

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

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

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

                                  LANCE
                       That's it.

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

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

                                  JODY
                       What?

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

                                  JODY
                       Hold on.

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

        The injection is ready.  Lance hands Vincent the needle.

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

                                  VINCENT
                       You're gonna give her the shot.

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

                                  VINCENT
                       I've never does this before.

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

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

                                  JODY
                       Got it.

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

                                  VINCENT
                       Okay, what do I do?

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

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

                                  VINCENT
                       I gotta stab her?

                                  LANCE
                       If you want the needle to pierce
                       through to her heart, you gotta
                       stab her hard.  Then once you do,
                       push down on the plunger.

                                  VINCENT
                       What happens after that?

                                  LANCE
                       I'm curious about that myself.

                                  VINCENT
                       This ain't a fuckin' joke man!

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

        Vincent lifts the needle up above his head in a stabbing
        motion.  He looks down on Mia.

        Mia is fading fast.  Soon nothing will help her.

        Vincent's eyes narrow, ready to do this.

                                  VINCENT
                       Count to three.

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

                                  LANCE
                       One...

        RED DOT on Mia's body.

        Needle raised ready to strike.

                                  LANCE (OS)
                       ...two...

        Jody's face is alive with anticipation.

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

                                  LANCE (OS)
                       ...three!

        The needle leaves frame, THRUSTING down hard.

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

        Mia's head if JOLTED from the impact.

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

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

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

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

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

                                  LANCE
                       If you're okay, say something.

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

                                  MIA
                       Something.

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

                                  JODY
                       Anybody want a beer?

                                                        CUT TO:

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

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

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

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

                                  VINCENT (OS)
                       Mia!

        She turns around.

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

                                  VINCENT
                       What are your thoughts on how to
                       handle this?

                                  MIA
                       What's yours?

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

        Mia smiles.

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

                                  VINCENT
                       I seriously doubt that.

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

                                  VINCENT
                       Let's shake on it.

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

                                  VINCENT
                       Mum's the word.

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

        Vincent smiles.

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

        Mia giggles.

        Vincent turns to leave.

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

        Vincent turns around.

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

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

                                  VINCENT
                       I can't wait.

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

        They both smile, but neither laugh.

                                  MIA
                       See ya 'round, Vince.

        Mia turns and walks inside her house.

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

                                                        FADE TO BLACK

33.     FADE UP:                                                        33.

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

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

                                  WOMAN'S VOICE (OS)
                       Butch.

        DISSOLVE TO:

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

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

                                  BUTCH (OS)
                       Uh-huh.

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

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

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

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

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

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

                                                        CUT TO:

34.     INT. LOCKER ROOM - NIGHT                                        34.

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

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

                                  KLONDIKE
                       It's time, Butch.

                                  BUTCH
                       I'm ready.

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

        The two men head for the door.  Klondike opens the door for
        Butch.  As Butch steps into the hallway, the Crowd goes
        apeshit.  Klondike closes the door behind him, leaving us in
        the quiet, empty locker room.

                                                        FADE TO BLACK

        TITLE CARD:

                            "THE GOLD WATCH"

        WE HEAR OVER THE BLACK AND TITLE:

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

        The SOUND of chaos in the b.g.

        FADE IN:

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

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

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

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

                                                        DISSOLVE TO:

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

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

        The Sportscasters continue their coverage.

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

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

        Esmarelda shuts off the radio.

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

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

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

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

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

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

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

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

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

                                  ESMARELDA
                       Where to?

                                  BUTCH
                       Outta here.

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

        The meter is FLIPPED on.

        Esmarelda's bare foot STOMPS on the gas pedal.

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

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

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

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

        In the room, black boxer FLOYD RAY WILLIS lies on a table --
        dead.  His face looks like he went dunking for bees.  His
        TRAINER is on his knees, head on Floyd's chest, crying over
        the body.

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

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

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

                                  MARSELLUS (OS)
                       What'cha got?

                                  ENGLISH DAVE
                       He booked.

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

                                  ENGLISH DAVE
                       I'll take care of it.

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

        Butch gets one of his boxing gloves off.

        Esmarelda watches in the rearview mirror.

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

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

                                  ESMARELDA
                       I have to do it.

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

        Esmarelda can't keep quiet anymore.

                                  ESMARELDA
                       Hey, mister?

                                  BUTCH
                            (still working on the
                              glove)
                       What?

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

        As he tosses his other glove out the window.

                                  BUTCH
                       Whatever gave you that idea?

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

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

                                  ESMARELDA
                       You killed the other boxing man.

                                  BUTCH
                       He's dead?

                                  ESMARELDA
                       The radio said he was dead.

        He finished wiping himself down.

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

        He tosses the towel out the window.

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

                                  ESMARELDA
                       What does it feel like?

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

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

        Butch pulls on his tee-shirt.

                                  BUTCH
                       Are you some kinda weirdo?

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

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

        Esmarelda bounces in her seat with excitment.

                                  ESMARELDA
                       Deal!

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

        He takes a long drag.

                                  BUTCH
                       So....

        He looks at her license

                                  BUTCH
                       ...Esmarelda Villalobos -- is that
                       Mexican?

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

                                  BUTCH
                       It's a very pretty name.

                                  ESMARELDA
                       It mean "Esmarelda of the wolves."

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

                                  ESMARELDA
                       Thank you.  And what is your name?

                                  BUTCH
                       Butch.

                                  ESMARELDA
                       Butch.  What does it mean?

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

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

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

        Esmarelda nods her head: "yes."

                                  BUTCH
                       I don't feel the least little bit
                       bad.  You wanna know why,
                       Esmarelda?

        Esmarelda nods her head: "yes."

                                  BUTCH
                       'Cause I'm a boxer.  And after
                       you've said that, you've said
                       pretty much all there is to say
                       about me.  Now maybe that son-of-a-
                       bitch tonight was once at one time
                       a boxer.  If he was, then he was
                       dead before his ass ever stepped in
                       the ring.  I just put the poor
                       bastard outta his misery.  And if
                       he never was a boxer --
                            (Butch takes a drag)
                       That's what he gets for fuckin' up
                       my sport.

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

        We DOLLY around a phone booth as Butch talks inside.

                                  BUTCH
                            (into phone)
                       What's I tell ya, soon as the word
                       got out a fix was in, the odds
                       would be outta control.
                       Hey, if he was a better fighter
                       he's be alive.  If he never laced
                       up his gloves in the first place,
                       which he never shoulda done, he'd
                       be alive.  Enough about the poor
                       unfortunate Mr. Floyd, let's talk
                       about the rich and prosperous Mr.
                       Butch.  How many bookies you spread
                       it around with?
                            (pause)
                       Eight?  How long to collect?
                            (pause)
                       So by tomorrow evening, you'll have
                       it all?
                            (pause)
                       Good news Scotty, real good news --
                       I understand a few stragglers
                       aside.  Me an' Fabian're gonna
                       leave in the morning.  It should
                       take us a couple days to get into
                       Knoxville.  Next time we see each
                       other, it'll be on Tennessee time.

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

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

                                                        CUT TO:

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

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

                                  ESMARELDA
                       Forty-five sixty.

        Handing her the money.

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

        Butch holds up a hundred dollar bill.

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

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

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

        He gives her the bill.

                                  BUTCH
                       Bon soir, Esmarelda.

                                  ESMARELDA
                            (in Spanish)
                       Sleep well, Butch.

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

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

        Butch enters and turns on the light.

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

                                  FABIAN
                       Keep the light off.

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

                                  BUTCH
                       Is that better, sugar pop?

                                  FABIAN
                       Oui.  Hard day at the office?

                                  BUTCH
                       Pretty hard.  I got into a fight.

                                  FABIAN
                       Poor baby.  Can we make spoons?

        Butch climbs into bed, spooning Fabian from behind.

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

                                  FABIAN
                       I was looking at myself in the
                       mirror.

                                  BUTCH
                       Uh-huh?

                                  FABIAN
                       I wish I had a pot.

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

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

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

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

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

                                  FABIAN
                       The difference is huge.

                                  BUTCH
                       You want me to have a pot?

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

                                  BUTCH
                       You think guys would find that
                       attractive?

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

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

                                  FABIAN
                       You'd punch me in my belly?

                                  BUTCH
                       Right in the belly.

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

                                  BUTCH
                       You'd do that to me?

                                  FABIAN
                       Yes!

                                  BUTCH
                       Did you get everything, sugar pop?

                                  FABIAN
                       Yes, I did.

                                  BUTCH
                       Good job.

                                  FABIAN
                       Did everything go as planned?

                                  BUTCH
                       You didn't listen to the radio?

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

                                  BUTCH
                       I won alright.

                                  FABIAN
                       Are you still retiring?

                                  BUTCH
                       Sure am.

                                  FABIAN
                       What about the man you fought?

                                  BUTCH
                       Floyd retired too.

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

                                  BUTCH
                       Not no more.

                                  FABIAN
                       So it all worked out in the finish?

                                  BUTCH
                       We ain't at the finish, baby.

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

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

        Butch nods his head: "yes."

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

        Butch nods his head: "yes."

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

        Butch nods his head: "no."

                                  FABIAN
                       Do you still want me to go with
                       you?

        Butch nods his head: "yes."

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

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

        Fabian reacts.

                                  FABIAN
                       Say it!

                                  BUTCH
                       Fabian, I want you to be with me.

                                  FABIAN
                       Forever?

                                  BUTCH
                       ...and ever.

        Fabian lies her head back.

        Butch continues to massage her crotch.

                                  FABIAN
                       Do you love me?

                                  BUTCH
                       Oui.

                                  FABIAN
                       Butch?  Will you give me oral
                       pleasure?

        Butch kisses her on the mouth.

                                  BUTCH
                       Will you kiss it?

        She nods her head: "yes."

                                  FABIAN
                       But you first.

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

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

                                                        FADE TO BLACK

        FADE UP:

45.     MOTEL ROOM                                                      45.

        Same motel room, except empty.  WE HEAR THE SHOWER RUNNING in
        the bathroom.  The CAMERA MOVES to the bathroom doorway.  We
        see Fabian in a white terry cloth robe that seems to swallow
        her up.  She's drying her head with a towel.  Butch is inside
        the shower washing up.  We see the outline of his naked body
        through the smoky glass of the shower door.  Steam fills the
        bathroom.  Butch turns the shower off and opens the door,
        popping his head out.

                                  BUTCH
                       I think I cracked a rib.

                                  FABIAN
                       Giving me oral pleasure?

                                  BUTCH
                       No retard, from the fight.

                                  FABIAN
                       Don't call me retard.

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

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

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

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

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

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

        She hands him a towel.

                                  BUTCH
                       Merci beaucoup.

                                  FABIAN
                       Butch?

                                  BUTCH
                            (drying his head)
                       Yes, lemon pie.

                                  FABIAN
                       Where are we going to go?

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

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

                                  BUTCH
                       You betcha.  And if after awhile
                       you don't dig Bora Bora, then we
                       can move over to Tahiti or Mexico.
                       
                                  FABIAN
                       But I do not speak Spanish.

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

                                  FABIAN
                       What does that mean?

                                  BUTCH
                       Where's the shoe store?

                                  FABIAN
                       Donde esta el zapataria?

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

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

        Butch keeps on from the other room.

                                  BUTCH (OS)
                       Que hora es?

                                  FABIAN
                       Que hora es?

                                  BUTCH (OS)
                       What time is it?

                                  FABIAN
                       What time is it?

                                  BUTCH (OS)
                       Time for bed.  Sweet dream,
                       jellybean.

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

                                  FABIAN
                       Butch.

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

        She looks at him for a moment.

                                  FABIAN
                       Forget it.

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

                                                        FADE TO BLACK

        FADE UP:

46.     MOTEL ROOM - MORNING                                            46.

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

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

        ON TV: WILLIAM SMITH and a bunch of Hell's Angels are taking
        on the entire Vietnamese army in the film "THE LOSERS."

        Butch wakes from his sleep, as if a scary monster was chasing
        him.  His start startles Fabian.

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

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

                                  BUTCH
                       ...yeah...are you still brushing
                       your teeth?

                                  FABIAN
                       This is me.  I brush my teeth all
                       night long and into the early
                       morning.  Do you think I have a
                       problem?

        Fabian goes back into the bathroom to spit.

        If that was supposed to be sarcasm, it was lost on Butch at
        this early hour.

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

                                  BUTCH
                       What are you watching?

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

                                  BUTCH
                       Are you watchin' it?

        Fabian enters the room.

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

                                  BUTCH
                       Would you please?

        She reaches over and turns off the TV.

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

                                  FABIAN
                       What was it about?

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

        Fabian laughs.

                                  FABIAN
                       No, imbecile, what was your dream
                       about?

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

                                  FABIAN
                       You just woke up from it.

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

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

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

                                  FABIAN
                       You did last night.

                                  BUTCH
                       What did I say?

        Laying on top of him.

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

        She kisses Butch.

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

                                  BUTCH
                       One more kiss and I'll get up.

        Fabian gives Butch a sweet long kiss.

                                  FABIAN
                       Satisfied?

                                  BUTCH
                       Yep.

                                  FABIAN
                       Then get up, lazy bones.

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

                                  BUTCH
                       What time is it?

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

                                  BUTCH
                       Eleven.

        Seeing him looking at a pair of pants.

                                  FABIAN
                       Those pants are very nice.  Can you
                       wear those with that nice blue
                       shirt you have?

        He pulls a blue shirt of the suitcase.

                                  BUTCH
                       This one?

                                  FABIAN
                       That's the one.  That matches.

                                  BUTCH
                       Okay.

        He puts the cloths on.

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

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

        Butch is finished dressing.

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

        As he goes through the suitcase.

                                  BUTCH
                       Pie for breakfast?

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

                                  BUTCH
                       -- where's my watch?

                                  FABIAN
                       It's there.

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

                                  FABIAN
                       Have you looked?

        By now, Butch is frantically rummaging through the suitcase.

                                  BUTCH
                       Yes I've fuckin' looked!!

        He's now throwing clothes.

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

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

                                  FABIAN
                       Uhhh...yes...beside the table
                       drawer --

                                  BUTCH
                       -- on the little kangaroo.

                                  FABIAN
                       Yes, it was on your little
                       kangaroo.

                                  BUTCH
                       Well it's not here!

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

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

        Fabian is crying and scared.

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

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

                                  FABIAN
                       I believe so....

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

                                  FABIAN
                       Then I did.

                                  BUTCH
                       Are you sure?

                                  FABIAN
                            (shaking)
                       No.

        Butch freaks out, he punches the air.

        Fabian SCREAMS and backs into a corner,

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

        Fabian SCREAMS IN HORROR.

        Butch looks toward her, suddenly calm.

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

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

        He touches her hand, she flinches.

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

        He kisses her hand.  Then rises.

        Fabian is still sniffling.

        Butch goes to the closet.

                                  FABIAN
                       I'm sorry.

        Butch puts on his high school jacket.

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

                                  FABIAN
                       Why does it mean that?

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

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

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

        Rising from the floor.

                                  FABIAN
                       My darling, I don't want you to be
                       murdered over a silly watch.

                                  BUTCH
                       One, it's not a silly watch.  Two,
                       I'm not gonna be murdered.  And
                       three, don't be scared.  I won't
                       let anything get in the way of us
                       living a happy life together.

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

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

                                  FABIAN
                       Don't go.

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

                                  FABIAN
                       Blueberry pie.

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

                                  FABIAN
                       Okay.

        He kisses her once more and heads for the door.

                                  BUTCH
                       Bye-bye, sugar pop.

                                  FABIAN
                       Bye.

                                  BUTCH
                       I'm gonna take your Honda.

                                  FABIAN
                       Okay.

        And with that, he's out the door.

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

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

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

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

48.     EXT. CITY STREET - DAY                                          48.

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

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

        Butch continues:

                                  BUTCH
                       What the fuck am I doin'?  Have I
                       taken one too many hits to the
                       head?  That's gotta be it.  Brain
                       damage is the only excuse for this
                       dumb a move.  Stop the car, Butch.
                            (he keeps on driving)
                       Stop the car, Butch.
                            (he pays no attention
                              to himself)
                       Butch, I'm talkin' to you.  Put-
                       your-foot-on-the-break!

        Butch's foot SLAMS down hard on the break.

50.     EXT. CITY STREET - DAY                                          50.

        The little Honda SKIDS to a stop in the middle of the street.
        Butch HOPS out of the car like it was on fire.

        Butch begins PACING back and forth, talking to himself,
        oblivious to PASSERSBY and traffic.

                                  BUTCH
                       I ain't gonna do this.  This is a
                       punchy move and I ain't punchy!
                       Daddy would totally fuckin'
                       understand.  If he was here right
                       now, he'd say, "Butch, git a grip.
                       It's a fuckin' watch, man.  You
                       lose one, ya git another.  This is
                       your life you're fuckin' around
                       with, which you shouldn't be doin'
                       'cause you only got one.

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

                                  BUTCH
                       This is my war.  You see, Butch,
                       what you're forgettin' is this
                       watch isn't just a device that
                       enables you to keep track of time.
                       This watch is a symbol.  It's a
                       symbol of how your father, and his
                       father before him, and his father
                       before him, distinguished
                       themselves in war.  And when I took
                       Marsellus Wallace's money, I
                       started a war.  This is my World
                       War Two.  That apartment in North
                       Hollywood, that's my Wake Island.
                        In fact, if you look at it that
                       way, it's almost kismet that Fabian
                       left it behind.  And using that
                       perspective, going back for it
                       isn't stupid.  It may be dangerous,
                       but it's not stupid.  Because there
                       are certain things in this world
                       that are worth going back for.

        That's it, Butch has talked himself into it again.  He HOPS in
        the car, starts it up and TAKES OFF.

                                                        CUT TO:

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

51.     EXT. RESIDENTIAL STREET CORNER - DAY                            51.

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

52.     EXT. ALLEY - DAY                                                52.

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

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

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

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

                                  BUTCH
                            (to himself)
                       Everything looks hunky dorie.
                       Looks can be deceiving, but this
                       time I don't think they are.  Why
                       waste the manpower to stake out my
                       place.  I'd have to be a fuckin'
                       idiot to come back here.  That's
                       how you're gonna beat 'em Butch,
                       they keep underestimating you.

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

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

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

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

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

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

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

        His apartment hasn't been touched.

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

        Butch walks into his modest kitchen, and opens the
        refrigerator.  He takes out a carton of milk and drinks from
        it.

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

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

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

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

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

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

                                  BUTCH
                            (softly)
                       Holy shit.

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

        Then...a toilet FLUSHES.

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

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

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

        Vincent and Butch lock eyes.

        Vincent freezes.

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

        Neither man opens his mouth.

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

        That's all the situation needed.

        Butch's finger HITS the trigger.

        MUFFLED FIRE SHOOTS out of the end of the gun.

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

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

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

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

        Then he exits the apartment, quickly.

56.     EXT. APARTMENT COURTYARD - DAY                                  56.

        Butch, not running, but walking very rapidly, crosses the
        courtyard....

        ...comes out of the apartment building, crosses the street....

        ...goes through the alley....

        ...and into his car in one STEADICAM SHOT.

57.     EXT. HONDA - DAY                                                57.

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

58.     EXT. APARTMENT BUILDING STREET - DAY                            58.

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

59.     INT. HONDA - DAY                                                59.

        Butch looks out the window at his former home.

                                  BUTCH
                       That's how you're gonna beat 'em,
                       Butch.  They keep underestimatin'
                       ya.

        This makes the boxer laugh out loud.  As he laughs, he flips a
        tape in the cassette player.  When the MUSIC starts, he SINGS
        along with it.

        He drives by the apartment, but is stopped at the light on the
        corner across from Teriyaki Donut.

        Butch is still chuckling, singing along with the song, as we
        see:

        THROUGH THE WINDSHIELD
        the big man himself, Marsellus Wallace, exit Teriyaki Donut,
        carrying a box of a dozen donuts and two large styrofoam cups
        of coffee.  He steps off the curb, crossing the street in
        front of Butch's car.  This is the first time we see Marsellus
        clearly.

        Laughing boy stops when he sees the big man directly in front
        of him.

        When Marsellus is in front of Butch's car, he casually glances
        to his left, sees Butch, continues walking...then STOPS!

        DOUBLE-TAKE: "Am I really seeing what I'm seeing?"

        Butch doesn't wait for the big man to answer his own question.
        He STOMPS on the gas pedal.

        The little Honda SLAMS into Marsellus, sending him, the donuts
        and the coffee HITTING the pavement at thirty miles an hour.

        Butch CUTS into cross traffic and is BROAD-SIDED by a gold
        Camaro Z-28, BREAKING all the windows in the Honda and sending
        it up on the sidewalk.

        Butch sits dazed and confused in the crumpled mess of what at
        one time was Fabian's Honda.  Blood flows from his nostrils.
        The still-functional tape player continues to play.  A
        PEDESTRIAN pokes his head inside.

                                  PEDESTRIAN
                       Jesus, are you okay?

        Butch look at him, spaced-out.

                                  BUTCH
                       I guess.

        Marsellus Wallace lies sprawled out in the street.  GAWKERS
        gather around the body.

                                  GAWKER #1
                            (to the others)
                       He's dead!  He's dead!

        This jerk's yelling makes Marsellus come to.

        TWO PEDESTRIANS help the shaken Butch out of the wreckage.

        The woozy Marsellus gets to his feet.

                                  GAWKER #2
                       If you need a witness in court,
                       I'll be glad to help.  He was a
                       drunken maniac.  He hit you and
                       crashed into that car.

                                  MARSELLUS
                            (still incoherent)
                       Who?

                                  GAWKER #2
                            (pointing at Butch)
                       Him.

        Marsellus follows the Gawker's finger and sees Butch Coolidge
        down the street, looking a shambles.

                                  MARSELLUS
                       Well, I'll be damned.

        The big man takes out a .45 Automatic and the Gawkers back
        away.  Marsellus starts moving toward Butch.

        Butch sees the fierce figure making a wobbly bee-line toward
        him.

                                  BUTCH
                       Sacre bleu.

        Marsellus brings up his weapon and FIRES, but he's so hurt,
        shaky and dazed that his arm goes wild.

        He HITS a LOOKY-LOO WOMAN in the hip.  She falls to the
        ground, screaming.

                                  LOOKY-LOO WOMAN
                       Oh my God, I've been shot!

        That's all Butch needs to see.  He's outta here.

        Marsellus RUNS after him.

        The CROWD looks agape.

        Butch is in a mad, limping RUN.

        The big man's hot on his ass with a cockeyed wobbly run.

        Butch cuts across traffic and dashes into a business with a
        sign that reads "MASON-DIXIE PAWNSHOP."

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

        MAYNARD, a hillbilly-lookin' boy, stands behind the counter of
        his pawnshop when, all of a sudden, chaos in the form of Butch
        RACES into his world.

                                  MAYNARD
                       Can I help you wit' somethin'?

                                  BUTCH
                       Shut up!

        Butch quickly takes measure of the situation, than stands next
        to the door.

                                  MAYNARD
                       Now you just wait one goddamn
                       minute --

        Before Maynard can finish his threat, Marsellus CHARGES in.
        He doesn't get past the doorway because Butch LANDS his fist
        in Marsellus' face.

        The gangster's feet go out from under him and the big man
        FALLS FLAT on his back.

        Outside, two police cars with their SIRENS BLARING race by.

        Butch POUNCES on the fallen body, PUNCHING him twice more in
        the face.

        Butch takes the gun out of Marsellus' hand, than grabs ahold
        of his middle finger.

                                  BUTCH
                       So you like chasing people, huh?

        He BREAKS the finger.  Marsellus lets out a pain sound.  Butch
        then places the barrel of the .45 between his eyes, PULLS back
        the hammer and places his open hand behind the gun to shield
        the splatter.

                                  BUTCH
                       Well guess what, big man, you
                       caught me --

                                  MAYNARD (OS)
                       -- hold it right there, godammit!

        Butch and Marsellus look up at Maynard, who's brandishing a
        pump-action shotgun, aimed at the two men.

                                  BUTCH
                       Look mister, this ain't any of your
                       business --

                                  MAYNARD
                       -- I'm makin' it my business!  Now
                       toss that gun!

        Butch does.

                                  MAYNARD
                       Now you on top, stand up and come
                       to the counter.

        Butch slowly gets up and moves to the counter.  As soon as he
        gets there, Maynard HAULS OFF, HITTING him hard in the face
        with the butt of the shotgun, knocking Butch down and out.

        After Butch goes down, Maynard calmly lays the shotgun on the
        counter and moves to the telephone.

        Marsellus Wallace, from his position on the floor, groggily
        watches the pawnshop owner dial a number.  Maynard waits on
        the line while the other end rings.  Then it picks up.

                                  MAYNARD
                       Zed?  It's Maynard.  The spider
                       just caught a coupl'a flies.

        Marsellus passes out.

                                                        FADE TO BLACK

        FADE UP:

61.     INT. PAWNSHOP BACK ROOM - DAY                                   61.

        TWO SHOT - BUTCH AND MARSELLUS
        are tied up in two separate chairs.  In their mouths are two
        S&M-style ball gags (a belt goes around their heads and a
        little red ball sticks in their mouths).  Both men are
        unconscious.  Maynard steps in with a fire extinguisher and
        SPRAYS both guys until they're wide awake and wet as otters.
        The two prisoners look up at their captors.

        Maynard stands in front of them, fire extinguisher in one
        hand, shotgun in the other, and Marsellus' .45 sticking in his
        belt.

                                  MAYNARD
                       Nobody kills anybody in my place of
                       business except me or Zed.

        A BUZZER buzzes.

                                  MAYNARD
                       That' Zed.

        Without saying another word, Maynard climbs up the stairs that
        lead to red curtains and goes through them.

        WE HEAR, on the other side of the curtains, Maynard let Zed
        inside the store.

        Butch and Marsellus look around the room.  The basement of the
        pawnshop has been converted into a dungeon.  After taking in
        their predicament, Butch and Marsellus look at each other, all
        traces of hostility gone, replaced by a terror they both share
        at what they've gotten themselves into.

        Maynard and ZED come through the curtains.  Zed is an even
        more intense version of Maynard, if such a thing is possible.
        The two hillbillys are obviously brothers.  Where Maynard is a
        vicious pitbull, Zed is a deadly cobra.  Zed walks in and
        stands in front of the two captives.  He inspects them for a
        long time, then says:

                                  ZED
                            (to Maynard)
                       You said you waited for me?

                                  MAYNARD
                       I did.

                                  ZED
                       Then how come they're all beat up?

                                  MAYNARD
                       They did that to each other.  They
                       was fightin' when they came in.
                       This one was gonna shoot that one.

                                  ZED
                            (to Butch)
                       You were gonna shoot him?

        Butch makes no reply.

                                  ZED
                       Hey, is Grace gonna be okay in
                       front of this place?

                                  MAYNARD
                       Yeah, it ain't Tuesday is it?

                                  ZED
                       No, it's Thursday.

                                  MAYNARD
                       Then she'll be fine.

                                  ZED
                       Bring out The Gimp.

                                  MAYNARD
                       I think The Gimp's asleep.

                                  ZED
                       Well, I guess you'll just wake 'em
                       up then, won't you?

        Maynard opens a trap door in the floor.

                                  MAYNARD
                            (yelling in the hole)
                       Wake up!

        Maynard reaches into the hole and comes back holding onto a
        leash.  He gives it a rough yank and, from below the floor,
        rises THE GIMP.

        The Gimp is a man they keep dressed from head to toe in black
        leather bondage gear.  There are zippers, buckles and studs
        here and there on the body.  On his head is a black leather
        mask with two eye holes and a zipper (closed) for a mouth.
        They keep him in a hole in the floor big enough for a large
        dog.

        Zed takes the chair, sits it in front of the two prisoners,
        then lowers into it.  Maynard hands The Gimp's leash to Zed,
        then backs away.

                                  MAYNARD
                            (to The Gimp)
                       Down!
        
        The Gimp gets on its knees.

        Maynard hangs back while Zed appraises the two men.

                                  MAYNARD
                       Who's first?

                                  ZED
                       I ain't fer sure yet.

        Then with his little finger, Zed does a silent "Eenie, meany,
        miney, moe..." just his mouth mouthing the words and his
        finger going back and forth between the two.

        Butch are Marsellus are terrified.

        Maynard looks back and forth at the victims.

        The Gimps's eyes go from one to the other inside the mask.

        Zed continues his silent sing-song with his finger moving left
        to right, then it stops.

        TWO SHOT - BUTCH AND MARSELLUS
        after a beat, THE CAMERA MOVES to the right, zeroing in on
        Marsellus.

        Zed stands up.

                                  ZED
                       Wanna do it here?

                                  MAYNARD
                       Naw, drag big boy to Russell's old
                       room.

        Zed grabs Marsellus' chair and DRAGS him into Russell's old
        room.  Russell, no doubt, was some other poor bastard that has
        the misfortune of stumbling into the Mason-Dixie pawnshop.
        Whatever happened to Russell is known only to Maynard and Zed
        because his old room, a back room in the back of the back
        room, is empty.

        As Marsellus is dragged away, he locks eyes with Butch before
        he disappears behind the door of Russell's old room.

                                  MAYNARD
                            (to The Gimp)
                       Up!

        The Gimp rises.  Maynard ties The Gimp's leash to a hook on
        the ceiling.

                                  MAYNARD
                       Keep an eye on this one.

        The Gimp bows its head: "yes."  Maynard disappears into
        Russell's old room.  There must be a stereo in there because
        suddenly The Judds, singing in harmony, fills the air.

        Butch looks at The Gimp.  The Gimp giggles from underneath the
        mask as if this were the funniest moment in the history of
        comedy.

        From behind the door we hear country MUSIC, struggling, and:

                                  MAYNARD (OS)
                       Whoa, this boy's got a bit of fight
                       in 'em!

        We the HEAR Maynard and Zed beat on Marsellus.

                                  ZED (OS)
                       You wanna fight?  You wanna fight?
                       Good, I like to fight!

        Butch pauses, listens to the voices.  Then, in a panic,
        hurriedly struggles to get free.

        The Gimp is laughing wildly.

        The ropes are on too tight and Butch can't break free.

        The Gimp slaps his knee laughing

        In the back room, we hear:

                                  MAYNARD (OS)
                       That's it...that's it boy, you're
                       goin' fine.  Oooooooh, just like
                       that...that's good.
                            (grunting faster)
                       Stay still...stay still goddamn ya!
                       Zed goddammit, git over here and
                       hold 'em!

        Butch stops struggling and lifts up on his arms.  Then, quite
        easily, the padded chair back slides up and off as if it were
        never connected by a bolt.

        The Gimp sees this and its eyes widen.

                                  THE GIMP
                       Huhng?

        The Gimp FLAILS WILDLY, trying to get the leash off the hook.
        He tries to yell, but all that comes out are excited gurgles
        and grunts.

        Butch is out of his chair, quickly dispensing three BOXER'S
        PUNCHES to its face.  The punches knock The Gimp out, making
        him fall to his knees, this HANGING HIMSELF by the leash
        attached to the hook,

        Butch removes the ball gag, then silently makes his way
        through the red curtains.

62.     INT. PAWNSHOP - DAY                                             62.

        Butch sneaks to the door.

        On the counter is a big set of keys with a large Z connected
        to the ring.  Grabbing them, he's about to go out when he
        stops and listens to the hillbilly psychopaths having their
        way with Marsellus.

        Butch decides for the life of him, he can't leave anybody in a
        situation like that.  Se he begins rooting around the pawnshop
        for a weapon to bash those hillbillies' heads in with.

        He picks up a big destructive-looking hammer, then discards
        it:  not destructive enough.  He picks up a chainsaw, thinks
        about it for a moment, then puts it back.  Next, a large
        Louisville slugger he tries on for size.  But then he spots
        what he's been looking for:

        A Samurai sword.

        It hands in its hand-carved wood sheath from a nail on the
        wall, next to a neon "DAD'S OLD-FASHIONED ROOT BEER" sign.
        Butch takes the sword off the wall, removing it from its
        sheath.  It's a magnificent piece of steel.  It seems to
        glisten in the low-wattage light of the pawnshop.  Butch
        touches his thumb to the blade to see if the sword is just for
        show.  Not on your life.  It's as sharp as it gets.  This
        weapon seems made to order for the Brothers Grimm downstairs.
        Holding the sword pointed downward, Takakura Ken-style, he
        disappears through the red curtains to take care of business.

63.     INT. PAWNSHOP BACK ROOM - DAY                                   63.

        Butch quietly sneaks down the stairs leading to the dungeon.
        Sodomy and the Judds can still be heard going string behind
        the closed door that leads to Russell's old room.

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

        Butch's hand comes into frame, pushing the door open.  It
        swings open silently, revealing the rapists, who have switched
        positions.  Zed is now bent over Marsellus, who is bent over a
        wooden horse.  Maynard watches.  Both have their backs to
        Butch.

        Maynard faces the CAMERA, grinning, while Butch comes up
        behind him with the sword.

        Miserable, violated, and looking like a rag doll, Marsellus,
        red ball gag still in mouth, opens his watery eyes to see
        Butch coming up behind Maynard.  His eyes widen.

                                  BUTCH
                       Hey hillbilly.

        Maynard turns and sees Butch holding the sword.

        Butch SCREAMS...with one mighty SWING, SLASHES Maynard across
        the front, moving past him, eyes and blade now locked on Zed.

        Maynard stands trembling, his front sliced open, in shock.

        Butch, while never taking his eyes off Zed, THRUSTS the sword
        behind him, SKEWERING Maynard, then EXTRACTS it, pointing the
        blade toward Zed.  Maynard COLLAPSES.

        Zed disengages from Marsellus in a hurry and his eyes go from
        the tip of Butch's sword to Marsellus' .45 Automatic, which
        lies within reach.

        Butch's eyes follow Zed's.

                                  BUTCH
                       You want that gun, Zed?  Pick it
                       up.

        Zed's hand inches toward the weapon.

        Butch GRIPS the sword tighter.

        Zed studies Butch,

        Butch looks hard at Zed.

        Then a VOICE says:

                                  MARSELLUS (OS)
                       Step aside, Butch.

        Butch steps aside, REVEALING Marsellus standing behind him,
        holding Maynard's pump-action shotgun.

        KABOOM!!!!

        Zed is BLASTED in the groin.  Down he goes, SCREAMING in
        AGONY.

        Marsellus, looking down at his whimpering rapist, EJECTS the
        used shotgun shell.

        Butch lowers the sword and hangs back.  Not a word, until:

                                  BUTCH
                       You okay?

                                  MARSELLUS
                       Naw man.  I'm pretty fuckin' far
                       from okay!

        Long pause.

                                  BUTCH
                       What now?

                                  MARSELLUS
                       What now?  Well let me tell you
                       what now.  I'm gonna call a couple
                       pipe-hittin' niggers, who'll go to
                       work on homes here with a pair of
                       pliers and a blow torch.
                            (to Zed)
                       Hear me talkin' hillbilly boy?!  I
                       ain't through with you by a damn
                       sight.  I'm gonna git Medieval on
                       your ass.

                                  BUTCH
                       I meant what now, between me and
                       you?

                                  MARSELLUS
                       Oh, that what now?  Well, let me
                       tell ya what now between me an'
                       you.  There is no me an' you.  Not
                       no more.

                                  BUTCH
                       So we're cool?

                                  MARSELLUS
                       Yeah man, we're cool.  One thing I
                       ask -- two things I ask:  don't
                       tell nobody about this.  This
                       shit's between me and you and the
                       soon-to-be-livin'-the-rest-of-his-
                       short-ass-life-in-agonizing-pain,
                       Mr. Rapist here.  It ain't nobody
                       else's business.  Two: leave town.
                       Tonight.  Right now.  And when
                       you're gone, stay gone.  You've
                       lost your Los Angeles privileges.
                       Deal?

                                  BUTCH
                       Deal.

        The two men shake hands, then hug one another.

                                  MARSELLUS
                       Go on now, get your ass outta here.

        Butch leaves Russell's old room through the red curtains.
        Marsellus walks over to a phone, dialing a number.

                                  MARSELLUS
                            (into the phone)
                       Hello Mr. Wolf, it's Marsellus.
                       Gotta bit of a situation.

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

        Butch, still shaking in his boots, exits the pawnshop.  He
        looks ahead and sees, parked in front of the establishment,
        Zed's Big Chrome Chopper with a teardrop gas tank that has the
        name "GRACE" on it.  He climbs aboard, takes out the keys with
        the big Z on them and starts up the huge hog.  It RUMBLES to
        life, making sounds like a rocket fighting for orbit.  Butch
        twists the accelerator handle and SPEEDS off.

        WE CUT BACK AND FORTH BETWEEN...

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

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

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

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

        The SONG in the motel room PLAYS OVER this.

68.     EXT. MOTEL ROOM - DAY                                           68.

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

                                  FABIAN (OS)
                       Butch, I was so worried!

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

                                  FABIAN (OS)
                       But what about all our bags?

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

                                  FABIAN (OS)
                       Is everything well?  Are we in
                       danger?

                                  BUTCH
                       We're cool.  In fact, we're super-
                       cool.  But we gots to go.  I'll
                       wait for you outside.

        Butch runs out and hops back on the bike.  Fabian exits the
        motel room with the boom box and a large purse.  When she sees
        Butch on the chopper, she stops dead.

                                  FABIAN
                       Where did you get this motorcycle?

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

        Fabian slowly approaches the two-wheel demon.

                                  FABIAN
                       What happened to my Honda?

                                  BUTCH
                       Sorry baby, I crashed the Honda.

                                  FABIAN
                       You're hurt?

                                  BUTCH
                       I might've broke my nose, no
                       biggie.  Hop on.

        She doesn't move.

        Butch looks at her.

                                  BUTCH
                       Honey, we gotta hit the fuckin'
                       road!

        Fabian starts to cry.

        Butch realizes that this is not the way to get her on the
        bike.  He turns off the engine and reaches out, taking her
        hand.

                                  BUTCH
                       I'm sorry, baby-love.

                                  FABIAN
                            (crying)
                       You were gone so long, I started to
                       think dreadful thoughts.

                                  BUTCH
                       I'm sorry I worried you, sweetie.
                       Everything's fine.  Hey, how was
                       breakfast?

                                  FABIAN
                            (waterworks drying a
                              little)
                       It was good --

                                  BUTCH
                       -- did you get the blueberry
                       pancakes?

                                  FABIAN
                       No, they didn't have blueberry
                       pancakes, I had to get buttermilk
                       -- are you sure you're okay?

                                  BUTCH
                       Baby-love, from the moment I left
                       you, this has been without a doubt
                       the single weirdest day of my
                       entire life.  Climb on an' I'll
                       tell ya about it.

        Fabian does climb on.  Butch STARTS her up.

                                  FABIAN
                       Butch, whose motorcycle is this?

                                  BUTCH
                       It's a chopper.

                                  FABIAN
                       Whose chopper is this?

                                  BUTCH
                       Zed's.

                                  FABIAN
                       Who's Zed?

                                  BUTCH
                       Zed's dead, baby, Zed's dead.

        And with that, the two lovebirds PEEL AWAY on Grace, as the
        SONG on the BOOM BOX RISES.

                                                        FADE TO BLACK

        TITLE CARD:

                                "JULES
                                VINCENT
                                JIMMIE
                                   &
                                THE WOLF"

        TITLE DISAPPEARS.

        Over black, we can HEAR in the distance, men talking.

                                  JULES (OS)
                       You ever read the Bible, Brett?

                                  BRETT (OS)
                       Yes!

                                  JULES (OS)
                       There's a passage I got memorized,
                       seems appropriate for this
                       situation: Ezekiel 25:17. "The
                       path of the righteous man is beset
                       on all sides by the inequities of
                       the selfish and the tyranny of evil
                       men...."  
                       
        FADE UP:

69.     INT. BATHROOM - DAY                                             69.

        We're in the bathroom of the Hollywood apartment we were in
        earlier.  In fact, we're there at exactly the same time.
        Except this time, we're in the bathroom with the FOURTH MAN.
        The Fourth Man is pacing around the small room, listening hard
        to what's being said on the other side of the door, tightly
        CLUTCHING his huge silver ,357 Magnum.

                                  JULES (OS)
                       "...blessed is he who, in the name
                       of charity and good will, shephered
                       the weak through the valley of
                       darkness.  And I will strike down
                       upon thee with great vengeance and
                       furious anger those who attempt to
                       poison and destroy my brothers.
                       And you will know I am the Lord
                       when I lay my vengeance upon you."

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

        The Fourth Man freaks out.  He THROWS himself against the back
        wall, gun outstretched in front of him, a look of yellow fear
        on his face, ready to blow in half anybody fool enough to
        stick their head through that door.

        Then he listens to them talk.

                                  VINCENT (OS)
                       Friend of yours?

                                  JULES (OS)
                       Yeah, Marvin-Vincent-Vincent-
                       Marvin.

        Waiting for them isn't the smartest move.  Bursting out the
        door and blowing them all away while they're fuckin' around is
        the way to go.

70.     INT. APARTMENT - DAY                                            70.

        The bathroom door BURSTS OPEN and the Fourth Man CHARGES out,
        silver Magnum raised, FIRING SIX BOOMING SHOTS from his hand
        cannon.

                                  FOURTH MAN
                       Die...die...die...die...!

        DOLLY INTO Fourth Man, same as before.

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

        TWO SHOT - JULES AND VINCENT
        standing next to each other, unharmed.  Amazing as it seems,
        none of the Fourth Man's shots appear to have hit anybody.
        Jules and Vincent exchange looks like, "Are we hit?"  They're
        as confused at the shooter.  After looking at each other, they
        bring their looks up to the Fourth Man.

                                  FOURTH MAN
                       I don't understand --

        The Fourth Man is taken out of the scenario by the two men's
        bullets who, unlike his, HIT their marks.  He drops DEAD.

        The two men lower their guns.  Jules, obviously shaken, sits
        down in a chair.  Vincent, after a moment of respect, shrugs
        it off.  Then heads toward Marvin in the corner.

                                  VINCENT
                       Why the fuck didn't you tell us
                       about that guy in the bathroom?
                       Slip your mind?  Forget he was in
                       there with a goddamn hand cannon?

                                  JULES
                            (to himself)
                       We should be fuckin' dead right
                       now.
                            (pause)
                       Did you see that gun he fired at
                       us?  It was bigger than him.

                                  VINCENT
                       .357.

                                  JULES
                       We should be fuckin' dead!

                                  VINCENT
                       Yeah, we were lucky.

        Jules rises, moving toward Vincent.

                                  JULES
                       That shit wasn't luck.  That shit
                       was somethin' else.

        Vincent prepares to leave.

                                  VINCENT
                       Yeah, maybe.

                                  JULES
                       That was...divine intervention.
                       You know what divine intervention
                       is?

                                  VINCENT
                       Yeah, I think so.  That means God
                       came down from Heaven and stopped
                       the bullets.

                                  JULES
                       Yeah, man, that's what is means.
                       That's exactly what it means!  God
                       came down from Heaven and stopped
                       the bullets.

                                  VINCENT
                       I think we should be going now.

                                  JULES
                       Don't do that!  Don't you fuckin'
                       do that!  Don't blow this shit off!
                       What just happened was a fuckin'
                       miracle!

                                  VINCENT
                       Chill the fuck out, Jules, this
                       shit happens.

                                  JULES
                       Wrong, wrong, this shit doesn't
                       just happen.

                                  VINCENT
                       Do you wanna continue this
                       theological discussion in the car,
                       or at the jailhouse with the cops?

                                  JULES
                       We should be fuckin' dead now, my
                       friend!  We just witnessed a
                       miracle, and I want you to fuckin'
                       acknowledge it!

                                  VINCENT
                       Okay man, it was a miracle, can we
                       leave now?

71.     EXT. HOLLYWOOD APARTMENT BUILDING - MORNING                     71.

        The Chevy Nova PROPELS itself into traffic.

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

        Jules is behind the wheel, Vincent in the passenger seat and
        Marvin in the back.

                                  VINCENT
                       ...ever seen that show "COPS?"  I
                       was watchin' it once and this cop
                       was on it who was talkin' about
                       this time he got into this gun
                       fight with a guy in a hallway.  He
                       unloads on this guy and he doesn't
                       hit anything.  And these guys were
                       in a hallway.  It's a freak, but it
                       happens.

                                  JULES
                       If you wanna play blind man, then
                       go walk with a Shepherd.  But me,
                       my eyes are wide fuckin' open.

                                  VINCENT
                       What the fuck does that mean?

                                  JULES
                       That's it for me.  For here on in,
                       you can consider my ass retired.

                                  VINCENT
                       Jesus Christ!

                                  JULES
                       Don't blaspheme!

                                  VINCENT
                       Goddammit, Jules --

                                  JULES
                       -- I said don't do that --

                                  VINCENT
                       -- you're fuckin' freakin' out!

                                  JULES
                       I'm tellin' Marsellus today I'm
                       through.

                                  VINCENT
                       While you're at it, be sure to tell
                       'im why.

                                  JULES
                       Don't worry, I will.

                                  VINCENT
                       I'll bet ya ten thousand dollars,
                       he laughs his ass off.

                                  JULES
                       I don't give a damn if he does.

        Vincent turns to the backseat with the .45 casually in his
        grip.

                                  VINCENT
                       Marvin, what do you make of all
                       this?

                                  MARVIN
                       I don't even have an opinion.

                                  VINCENT
                       C'mon, Marvin.  Do you think God
                       came down from Heaven and stopped
                       the bullets?

        Vincent's .45 goes BANG!

        Marvin is hit in the upper chest, below the throat.  He
        GURGLES blood and SHAKES.

                                  JULES
                       What the fuck's happening?

                                  VINCENT
                       I just accidentally shot Marvin in
                       the throat.

                                  JULES
                       Why the fuck did you do that?

                                  VINCENT
                       I didn't mean to do it.  I said it
                       was an accident.

                                  JULES
                       I've seen a lot of crazy-ass shit
                       in my time --

                                  VINCENT
                       -- chill out, man, it was an
                       accident, okay?  You hit a bump or
                       somethin' and the gun went off.

                                  JULES
                       The car didn't hit no motherfuckin'
                       bump!

                                  VINCENT
                       Look!  I didn't mean to shoot this
                       son-of-a-bitch, the gun just went
                       off, don't ask me how!  Now I think
                       the humane thing to do is put him
                       out of his misery.

                                  JULES
                            (can't believe it)
                       You wanna shoot 'im again?

                                  VINCENT
                       The guy's sufferin'.  It's the
                       right thing to do.

        Marvin, suffering though he is, is listening to this debate,
        not believing what he's hearing.

                                  JULES
                       This is really uncool.

        Vincent turns to the backseat, places the barrel of the .45
        against Marvin's forehead.  Marvin's eyes are as big as
        saucers.  He tries to talk Vince out of this, but when he
        opens his mouth, only GURGLES come out.

                                  JULES
                       Marvin, I just wanna apologize.  I
                       got nothin' to do with this shit.
                       And I want you to know I think it's
                       fucked up.

                                  VINCENT
                       Okay, Pontius Pilot, when I count
                       three, honk your horn.  One...
                       two...

        CU of the steering wheel.

                                  VINCENT (OS)
                       ...three.

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

        When we CUT BACK to the two men, the car is completely covered
        in blood.  It's all over everything, including Jules and
        Vincent.

                                  JULES
                       Jesus Christ Almighty!

                                  VINCENT
                            (to himself)
                       Fuck.

                                  JULES
                       Look at this mess!  We're drivin'
                       around on a city street in broad
                       daylight --

                                  VINCENT
                       -- I know, I know, I wasn't
                       thinkin' about the splatter.

                                  JULES
                       Well you better be thinkin' about
                       it now, motherfucker!  We gotta get
                       this car off the road.  Cops tend
                       to notice shit like you're driving
                       a car drenched in fuckin' blood.

                                  VINCENT
                       Can't we just take it to a friendly
                       place?

                                  JULES
                       This is the Valley, Vincent.
                       Marsellus don't got no friendly
                       places in the Valley.

                                  VINCENT
                       Well, don't look at me, this is
                       your town, Jules.

        Jules takes out a cellular phone and starts punching digits.

                                  VINCENT
                       Who ya callin'?

                                  JULES
                       A buddy of mine in Toluca Lake.

                                  VINCENT
                       Where's Toluca Lake.

                                  JULES
                       On the other side of the hill, by
                       Burbank Studios.  If Jimmie's ass
                       ain't home, I don't know what the
                       fuck we're gonna go.  I ain't got
                       any other partners in 818.
                            (into phone)
                       Jimmie!  How you doin' man, it's
                       Jules.
                            (pause)
                       Listen up man, me an' my homeboy
                       are in some serious shit.  We're in
                       a car we gotta get off the road,
                       pronto!  I need to use your garage
                       for a couple hours.
                            (pause)
                       Jimmie, you know I can't get into
                       this shit on a cellular fuckin'
                       phone.  But what I can say is my
                       ass is out in the cold and I'm
                       askin' you for some sanctuary 'til
                       our people can bring us in.
                            (pause)
                       I appreciate this, man --
                            (pause)
                       We'll be gone by then.
                            (pause)
                       -- Jimmie, I'm aware of your
                       situation.  I ain't gonna fuck
                       things up for you.  I give you my
                       word, partner, she'll never know we
                       were there.
                            (pause)
                       Five minutes.  Later.

        He folds up the phone, turns to Vincent.

                                  JULES
                       We're set.  But his wife come home
                       from work in an hour and a half and
                       we gotta be outta there by then,

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

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

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

        Jules is bent over a sink, washing his bloody hands while
        Vincent stands behind him.

                                  JULES
                       We gotta be real fuckin' delicate
                       with this Jimmie's situation.  He's
                       one remark away from kickin' our
                       asses out the door.

                                  VINCENT
                       If he kicks us out, whadda we do?

                                  JULES
                       Well, we ain't leavin' 'til we made
                       a couple phone calls.  But I never
                       want it to reach that pitch.
                       Jimmie's my friend and you don't
                       bust in your friend's house and
                       start tellin' 'im what's what.

        Jules rises and dries his hands.  Vincent takes his place at
        the sink.

                                  VINCENT
                       Just tell 'im not to be abusive.
                       He kinda freaked out back there
                       when he saw Marvin.

                                  JULES
                       Put yourself in his position.  It's
                       eight o'clock in the morning.  He
                       just woke up, he wasn't prepared
                       for this shit.  Don't forget who's
                       doin' who a favor.

        Vincent finishes, then dries his hands on a white towel.

                                  VINCENT
                       If the price of that favor is I
                       gotta take shit, he can stick his
                       favor straight up his ass.

        When Vincent is finished drying his hands, the towel is
        stained with red.

                                  JULES
                       What the fuck did you just do to
                       his towel?

                                  VINCENT
                       I was just dryin' my hands.

                                  JULES
                       You're supposed to wash 'em first.

                                  VINCENT
                       You watched me wash 'em.

                                  JULES
                       I watched you get 'em wet.

                                  VINCENT
                       I washed 'em.  Blood's real hard to
                       get off.  Maybe if he had some
                       Lava, I coulda done a better job.

                                  JULES
                       I used the same soap you did and
                       when I dried my hands, the towel
                       didn't look like a fuckin' Maxie
                       pad.  Look, fuck it, alright.  Who
                       cares?  But it's shit like this
                       that's gonna bring this situation
                       to a boil.  If he were to come in
                       here and see that towel like
                       that...I'm tellin' you Vincent, you
                       best be cool.  'Cause if I gotta
                       get in to it with Jimmie on account
                       of you....Look, I ain't threatenin'
                       you, I respect you an' all, just
                       don't put me in that position.

                                  JULES
                       Jules, you ask me nice like that,
                       no problem.  He's your friend, you
                       handle him.

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

        Three men are standing in Jimmie's kitchen, each with a mug of
        coffee.  Jules, Vincent and JIMMIE DIMMICK, a young man in his
        late-20s dressed in a bathrobe.

                                  JULES
                       Goddamn Jimmie, this is some
                       serious gourmet shit.  Me an'
                       Vincent woulda been satisfied with
                       freeze-dried Tasters Choice.  You
                       spring this gourmet fuckin' shit on
                       us.  What flavor is this?

                                  JIMMIE
                       Knock it off, Julie.

                                  JULES
                       What?

                                  JIMMIE
                       I'm not a cobb or corn, so you can
                       stop butterin' me up.  I don't need
                       you to tell me how good my coffee
                       is.  I'm the one who buys it, I
                       know how fuckin' good it is.  When
                       Bonnie goes shoppin;, she buys
                       shit.  I buy the gourmet expensive
                       stuff 'cause when I drink it, I
                       wanna taste it.  But what's on my
                       mind at this moment isn't the
                       coffee in my kitchen, it's the dead
                       nigger in my garage.

                                  JULES
                       Jimmie --

                                  JIMMIE
                       -- I'm talkin'.  Now let me ask you
                       a question, Jules.  When you drove
                       in here, did you notice a sign out
                       front that said, "Dead nigger
                       storage?"

        Jules starts to "Jimmie" him --

                                  JIMMIE
                       -- answer to question.  Did you see
                       a sign out in front of my house
                       that said, "Dead nigger storage?"

                                  JULES
                            (playing along)
                       Naw man, I didn't.

                                  JIMMIE
                       You know why you didn't see that
                       sign?

                                  JULES
                       Why?

                                  JIMMIE
                       'Cause storin' dead niggers ain't
                       my fuckin' business!

        Jules starts to "Jimmie" him.

                                  JIMMIE
                       -- I ain't through!  Now don't you
                       understand that if Bonnie comes
                       home and finds a dead body in her
                       house, I'm gonna get divorced.  No
                       marriage counselor, no trial
                       separation -- fuckin' divorced.
                       And I don't wanna get fuckin'
                       divorced.  The last time me an'
                       Bonnie talked about this shit was
                       gonna be the last time me an'
                       Bonnie talked about this shit.  Now
                       I wanna help ya out Julie, I really
                       do.  But I ain't gonna lose my wife
                       doin' it.

                                  JULES
                       Jimmie --

                                  JIMMIE
                       -- don't fuckin' Jimmie me, man, I
                       can't be Jimmied.  There's nothin'
                       you can say that's gonna make me
                       forget I love my wife.  Now she's
                       workin' the graveyard shift at the
                       hospital.  She'll be comin' home in
                       less than an hour and a half.  Make
                       your phone calls, talk to your
                       people, than get the fuck out of my
                       house.

                                  JULES
                       That's all we want.  We don't wanna
                       fuck up your shit,  We just need to
                       call our people to bring us in.

                                  JIMMIE
                       Then I suggest you get to it.
                       Phone's in my bedroom.

        As Jules crosses the room, exiting.

                                  JULES
                            (calling behind him)
                       You're a friend, Jimmie, you're a
                       good fuckin' friend!

                                  JIMMIE
                            (to himself)
                       Yeah, yeah, yeah, yeah, yeah.  I'm
                       a real good friend.  Good friend,
                       bad husband, soon to be ex-husband.
                            (look up and sees
                              Vincent)
                       Who the fuck are you?

                                  VINCENT
                       I'm Vincent.  And Jimmie, thank a
                       bunch,

        The two men laugh.

                                  JIMMIE
                       Don't mention it.

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

        Marsellus Wallace sits at his dining table in a big comfy
        robe, eating his large breakfast, while talking on the phone.

                                  MARSELLUS
                       ...well, say she comes home.
                       Whaddya think she'll do?
                            (pause)
                       No fuckin' shit she'll freak.  That
                       ain't no kinda answer.  You know
                       'er, I don't.  How bad, a lot or a
                       little?

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

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

                                  JULES
                       You got to appreciate what an
                       explosive element this Bonnie
                       situation is.  If she comes home
                       from a hard day's work and finds a
                       bunch of gangsters doin' a bunch of
                       gangsta' shit in her kitchen, ain't
                       no tellin' what she's apt to do.

                                  MARSELLUS
                       Let us speak of the unspeakable.

                                  JULES
                       Possibility exists, but unlikely.

                                  MARSELLUS
                       Why possible but unlikely?

                                  JULES
                       'Cause if push met shove, you know
                       I'll take care of business.  But
                       push ain't never gonna meet shove.
                       Because You're gonna solve this
                       shit for us.  You're gonna take our
                       asses outta the cold and bring it
                       inside where it's warm.  'Cause if
                       I gotta get into it with my friend
                       about his wife over your boy
                       Vincent, I'm gonna have bad
                       feelings.

                                  MARSELLUS
                       I've grasped that, Jules.  All I'm
                       doin' is contemplating the "ifs."

                                  JULES
                       I don't wanna hear about no
                       motherfuckin' "ifs."  What I wanna
                       hear from your ass is: "you ain't
                       got no problems, Jules.  I'm on the
                       motherfucker.  Go back in there,
                       chill them niggers out and wait for
                       the cavalry, which should be comin'
                       directly."

                                  MARSELLUS
                       You ain't got no problems, Jules.
                       I'm on the motherfucker.  Go back
                       in there, chill them niggers out
                       and wait for The Wolf, who should
                       be comin' directly.

                                  JULES
                       You sendin' The Wolf?

                                  MARSELLUS
                       Feel better?

                                  JULES
                       Shit Negro, that's all you had to
                       say.

78.     INT. HOTEL SUITE - MORNING                                      78.

        The CAMERA looks through the bedroom doorway of a hotel suite
        into the main area.  We SEE a crap game being played on a
        fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in
        fancy evening gowns.  The CAMERA PANS to the right revealing:
        sitting on a bed, phone in hand with his back to us, the
        tuxedo-clad WINSTON WOLF aka "THE WOLF."

        We also see The Wolf has a small notepad that he jots details
        in.

                                  THE WOLF
                            (into phone)
                       Is she the hysterical type?
                            (pause)
                       When she due?
                            (jotting down)
                       Give me the principals' names
                       again?
                            (jots down)
                       Jules....

        We SEE his book.  The page has written on it:

                       1265 Riverside Drive
                       Toluca Lake
                       1 body (no head)
                       Bloody shot-up car
                       Jules (black)

                                  THE WOLF
                       ...Vincent...Jimmie...Bonnie....

        He writes:

                       Vincent (Dean Martin)
                       Jimmie (house)
                       Bonnie (9:30)

                                  THE WOLF
                       Expect a call around 10:30.  It's
                       about thirty minutes away.  I'll be
                       there in ten.

        He hangs up.  We never see his face.

                                                        CUT TO:

        TITLE CARD OVER BLACK:

            "NINE MINUTES AND THIRTY-SEVEN SECONDS LATER"

                                                        CUT TO:

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

        A silver Porsche WHIPS the corner leading to Jimmie's home, in
        HYPER DRIVE.  Easily doing 135 mph, the Porsche stops on a
        dime in front of Jimmie's house.

        A ringed finger touches the doorbell:  DING DONG.

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

        Jimmie opens the door.  We see, standing in the doorway, the
        tuxedo-clad man.  He looks down to his notebook, then up at
        Jimmie.

                                  THE WOLF
                       You're Jimmie, right?  This is your
                       house?

                                  JIMMIE
                       Yeah.

                                  THE WOLF
                            (stick his hand out)
                       I'm Winston Wolf, I solve problems.

                                  JIMMIE
                       Good, 'cause we got one.

                                  THE WOLF
                       So I heard.  May I come in?

                                  JIMMIE
                       Please do.

        The two men walk to the dining room.

                                  THE WOLF
                       I want to convey Mr. Wallace's
                       gratitude with the help you're
                       providing on this matter.  Let me
                       assure you Jimmie, Mr. Wallace's
                       gratitude is worth having.

        In the dining room, Jules and Vincent stand up.

                                  THE WOLF
                       You must be Jules, which would make
                       you Vincent.  Let's get down to
                       brass tacks, gentlemen.  If I was
                       informed correctly, the clock is
                       ticking, is that right, Jimmie?

                                  JIMMIE
                       100%.

                                  THE WOLF
                       Your wife, Bonnie...
                            (refers to his pad)
                       ...comes home at 9:30 in the AM, is
                       that correct?

                                  JIMMIE
                       Uh-huh.

                                  THE WOLF
                       I was led to believe if she comes
                       home and finds us here, she
                       wouldn't appreciate it none too
                       much.

                                  JIMMMIE
                       She won't at that.

                                  THE WOLF
                       That give use forty minutes to get
                       the fuck outta Dodge, which, if you
                       do what I say when I say it, should
                       by plenty.  Now you got a corpse in
                       a car, minus a head, in a garage.
                       Take me to it.

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

        The three men hand back as The Wolf examines the car.  He
        studies the car in silence, opening the door, looking inside,
        circling it.

                                  THE WOLF
                       Jimmie?

                                  JIMMIE
                       Yes.

                                  THE WOLF
                       Do me a favor, will ya?  Thought I
                       smelled some coffee in there.
                       Would you make me a cup?

                                  JIMMIE
                       Sure, how do you take it?

                                  THE WOLF
                       Lotsa cream, lotsa sugar.

        Jimmie exists.  The Wolf continues his examination.

                                  THE WOLF
                       About the car, is there anything I
                       need to know?  Does it stall, does
                       it make a lot of noise, does it
                       smoke, is there gas in it,
                       anything?

                                  JULES
                       Aside from how it looks, the car's
                       cool.

                                  THE WOLF
                       Positive?  Don't get me out on the
                       road and I find out the brake
                       lights don't work.

                                  JULES
                       Hey man, as far as I know, the
                       motherfucker's tip-top.

                                  THE WOLF
                       Good enough, let's go back to the
                       kitchen.

82.     INT. KITCHEN - MORNING                                          82.

        Jimmie hands The Wolf a cup of coffee.

                                  THE WOLF
                       Thank you, Jimmie.

        He takes a sip, then, pacing as he thinks, lays out for the
        three men the plan of action.

                                  THE WOLF
                       Okay first thing, you two.
                            (meaning Jules and
                              Vincent)
                       Take the body, stick it in the
                       trunk.  Now Jimmie, this looks to
                       be a pretty domesticated house.
                       That would lead me to believe that
                       in the garage or under the sink,
                       you got a bunch of cleaners and
                       cleaners and shit like that, am I
                       correct?

                                  JIMMIE
                       Yeah.  Exactly.  Under the sink.

                                  THE WOLF
                       Good.  What I need you two fellas
                       to do is take those cleaning
                       products and clean the inside of
                       the car.  And I'm talkin' fast,
                       fast, fast.  You need to go in the
                       backseat, scoop up all those little
                       pieces of brain and skull.  Get it
                       out of there.  Wipe down the
                       upholstery -- now when it comes to
                       upholstery, it don't need to be
                       spic and span, you don't need to
                       eat off in.  Give it a good once
                       over.  What you need to take care
                       of are the really messy parts.  The
                       pools of blood that have collected,
                       you gotta soak that shit up.  But
                       the windows are a different story.
                       Them you really clean.  Get the
                       Windex, do a good job.  Now Jimmie,
                       we need to raid your linen closet.
                       I need blankets, I need comforters,
                       I need quilts, I need bedspreads.
                       The thicker the better, the darker
                       the better.  No whites, can't use
                       'em.  We need to camouflage the
                       interior of the car.  We're gonna
                       line the front seat and the
                       backseat and the floor boards with
                       quilts and blankets.  If a cop
                       stops us and starts stickin' his
                       big snout in the car, the
                       subterfuge won't last.  But at a
                       glance, the car will appear to be
                       normal.  Jimmie -- lead the way,
                       boys -- get to work.

        The Wolf and Jimmie turn, heading for the bedroom, leaving
        Vincent and Jules standing in the kitchen.

                                  VINCENT
                            (calling after him)
                       A "please" would be nice.

        The Wolf stops and turns around.

                                  THE WOLF
                       Come again?

                                  VINCENT
                       I said a "please" would be nice.

        The Wolf takes a step toward him.

                                  THE WOLF
                       Set is straight, Buster.  I'm not
                       here to say "please."  I'm here to
                       tell you want to do.  And if self-
                       preservation is an instinct you
                       possess, you better fuckin' do it
                       and do it quick.  I'm here to help.
                       If my help's not appreciated, lotsa
                       luck gentlemen.

                                  JULES
                       It ain't that way, Mr. Wolf.  Your
                       help is definitely appreciated.

                                  VINCENT
                       I don't mean any disrespect.  I
                       just don't like people barkin'
                       orders at me.

                                  THE WOLF
                       If I'm curt with you, it's because
                       time is a factor.  I think fast, I
                       talk fast, and I need you guys to
                       act fast if you want to get out of
                       this.  So pretty please, with sugar
                       on top, clean the fuckin' car.

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

        Jimmie's gathering all the bedspreads, quilts and linen he
        has.  The Wolf is on the phone.

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

        Jimmie comes over with a handful of linen.

                                  JIMMIE
                       Mr. Wolf, you gotta understand
                       somethin' --

                                  THE WOLF
                       -- Winston, Jimmie -- please,
                       Winston.

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

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

                                  JIMMIE
                       Sure.

                                  THE WOLF
                       Were you Uncle Conrad and Aunt
                       Ginny millionaires?

                                  JIMMIE
                       No.

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

                                  JIMMIE
                       Oak's nice.

84.     INT. GARAGE - MORNING                                           84.

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

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

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

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

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

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

85.     INT. CHEVY NOVA - MORNING                                       85.

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

        The Wolf circles the car examining it.

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

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

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

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

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

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

                                  THE WOLF
                       Strip.

                                  VINCENT
                       All the way?

                                  THE WOLF
                       To your bare ass.

        As they follow directions, The Wolf enjoys a smoke.

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

                                  JULES
                       This morning air is some chilly
                       shit.

                                  VINCENT
                       Are you sure this is absolutely
                       necessary?

                                  THE WOLF
                       You know what you two look like?

                                  VINCENT
                       What?

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

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

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

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

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

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

                                  JULES
                       Goddamn, that water's fuckin' cold!

                                  THE WOLF
                       Better you than me, gentlemen.

        The two men, trembling, scrub themselves.

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

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

                                  THE WOLF
                       Towel 'em.

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

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

                                  JIMMIE
                       Okay fellas, in the one-size-fits-
                       all category, we got swim trunks,
                       one red -- one white.  And two
                       extra-large tee-shirts.  A UC Santa
                       Cruz shirt and an "I'm with Stupid"
                       shirt.

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

        FADE UP ON:

87.     JULES AND VINCENT                                               87.
        in their tee-shirts and swim trunks.  They look a million
        miles away from the black-suited, bad-asses we first met.

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

                                  JIMMIE
                       Dorks.  They look like a couple of
                       dorks.

        The Wolf and Jimmie laugh.

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

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

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

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

        They start walking through the house to the garage.

                                  JIMMIE
                       Wait a minute, before you guys
                       split, I wanna get a picture of
                       this.

                                  JULES
                       Jimmie, have you forgotten about
                       your wife comin' home?

                                  JIMMIE
                       It won't take a second.

                                  VINCENT
                       I don't like this photograph shit.

                                  JIMMIE
                       Sorry -- my house, my rules.

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

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

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

                                  JULES
                       Don't do shit unless --

                                  THE WOLF
                       -- unless what?

                                  JULES
                       Unless you do it first.

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

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

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

                                  JULES
                       Why do you drive fast?

                                  THE WOLF
                       Because it's a lot of fun.

        Jules and Vincent laugh.

                                  THE WOLF
                       Let's move.

        Jimmie comes through the door, camera in hand.

                                  JIMMIE
                       Wait a minute, I wanna take a 
                       picture.

                                  JULES
                       We ain't got time, man.

                                  JIMMIE
                       We got time for one picture.  You
                       and Vincent get together.

        Jules and Vincent stand next to each other.

                                  JIMMIE
                       Okay, you guys put your arms around
                       each other.

        The two men look at each other and, after a long beat, a smile
        breaks out.  They put their arms around each other.

                                  JIMMIE
                       Okay Winston, get in there.

                                  THE WOLF
                       I ain't no model.

                                  JIMMIE
                       After what a cool guy I've been, I
                       can't believe you do me like this.
                       It's the only thing I asked.

                                  JULES & VINCENT
                       C'mon, Mr. Wolf....

                                  THE WOLF
                       Okay, one photo and we go.

        SLOW DOLLY TOWARD A LONE CAMERA

                                  JIMMIE (OS)
                       Everybody say Pepsi.

                                  JULES (OS)
                       I ain't fuckin' sayin' Pepsi.

                                  JIMMIE (OS)
                       Smile, Winston.

                                  THE WOLF
                       I don't smile in pictures.

        The camera goes off, FLASHING THE SCREEN WHITE.

        THE PHOTO FADES UP OVER WHITE.
        it's Jules and Vincent, their arms around each other, next to
        Jimmie' whose arm is around The Wolf.  Everyone is smiling
        except you-know-who.

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

        Winston is counting out three thousand dollars to an older man
        in a dirty tee-shirt, MONSTER JOE.  We're in Joe's office,
        which looks like the office of every tow yard on the planet.
        A filthy, disarrayed mess.

                                  MONSTER JOE
                       I've said it before, I'll say it
                       again, your business is always
                       welcome.

                                  WINSTON
                       I would think by now I've earned
                       the equivalent of Frequent Flyer
                       miles.

                                  MONSTER JOE
                       I'll tell ya what, if you ever need
                       it, I'll dispose of a body part for
                       free.

                                  WINSTON
                       How 'bout an upgrade, you dispose a
                       whole body for the price of a body
                       part.

        The two men laugh.

                                  MONSTER JOE
                       That one I need to speak with my
                       accountant on.

                                  WINSTON
                       Where's that reprobate daughter of
                       yours?

                                  MONSTER JOE
                       Out in the yard, up to no good.

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

        Winston steps outside and is joined by Monster Joe's daughter,
        RAQUEL.  They walk in step across the yard with their arms
        around each other's waists.

                                  RAQUEL
                       Hello, Boyfriend!

                                  WINSTON
                       Hello, Girlfriend.  I swear,
                       heartbreaker, Joe should change the
                       name of this place to Beauty and
                       the Beast Truck and Tow.

                                  RAQUEL
                       You're prejudiced because you love
                       me.

                                  WINSTON
                       Guilty.

                                  RAQUEL
                       Now business is done, it's time for
                       pleasure.

                                  WINSTON
                       The time it is, is time for bed.

                                  RAQUEL
                       Contre senior Lobo.

                                  WINSTON
                       Do you have a different idea?

                                  RAQUEL
                       Most definitely.

                                  WINSTON
                       What do you think?

                                  RAQUEL
                       I think you're taking me out to
                       breakfast.

                                  WINSTON
                       Well, you thought wrong.

                                  RAQUEL
                       That's no fair!  I never get to see
                       you.

                                  WINSTON
                       Raquel, I been up all night.  I
                       need sleep.  You understand the
                       concept of sleep?

                                  RAQUEL
                       Yes, sleep is what you do after
                       you've taken me to breakfast.  Just
                       get used to the idea, indulging me
                       is the price of doing business at
                       Monster Joe's Truck and Tow.

                                  WINSTON
                       Raquel --

                                  RAQUEL
                       I haven't seen you in a long time.
                       I miss you, we're going to
                       breakfast.  So it is written, so
                       shall it be done.

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

                                  JULES
                       We cool?

                                  WINSTON
                       Like it never happened.

        Jules and Vincent bump fists.

                                  JULES
                       I apologize for bein' in your shit
                       like I was.

                                  VINCENT
                       You had every right, I fucked up.

                                  RAQUEL
                            (to Winston)
                       Are they having a moment?

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

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

        Winston laughs, the boys groan.

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

                                  VINCENT
                       Redondo Beach.

                                  JULES
                       Inglewood.

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

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

                                  RAQUEL
                       Goodbye, Raquel.

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

        Winston turns to leave.

                                  JULES
                       Mr. Wolf.

        He turns around.

                                  JULES
                       I was a pleasure watchin' you
                       work.

        The Wolf smiles.

                                  WINSTON
                       Call me Winston.

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

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

                                  RAQUEL
                       I have character.

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

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

        The Porsche SHOOTS OFF down the road.

        The two men left alone look at each other.

                                  JULES
                       Wanna share a cab?

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

                                  JULES
                       Sure.

91.     INT. COFFEE SHOP - MORNING                                      91.

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

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

                                  JULES
                       Naw, I don't eat pork.

                                  VINCENT
                       Are you Jewish?

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

                                  VINCENT
                       Why not?

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

                                  VINCENT
                       Sausages taste good.  Pork chops
                       taste good.

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

                                  VINCENT
                       How about dogs?  Dogs eat their own
                       feces.

                                  JULES
                       I don't eat dog either.

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

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

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

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

        The two men laugh.

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

                                  JULES
                       I just been sittin' here thinkin'.

                                  VINCENT
                            (mouthful of food)
                       About what?

                                  JULES
                       The miracle we witnessed.

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

                                  JULES
                       Do you know that a miracle is?

                                  VINCENT
                       An act of God.

                                  JULES
                       What's an act of God?

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

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

                                  VINCENT
                       But why?

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

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

                                  JULES
                       The life, most definitely.

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

                                  PATRON
                       Garcon!  Coffee!

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

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

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

                                  VINCENT
                       What do you mean, walk the earth?

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

                                  VINCENT
                       How long do you intend to walk the
                       earth?

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

                                  VINCENT
                       What if he never does?

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

                                  VINCENT
                       So you decided to be a bum?

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

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

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

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

                                  JULES
                       All shapes and sizes, Vince.

                                  VINCENT
                       Stop fuckin' talkin' like that!

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

                                  VINCENT
                       When did you make this decision --
                       while you were sitting there eatin'
                       your muffin?

                                  JULES
                       Yeah.  I was just sitting here
                       drinking my coffee, eating my
                       muffin, playin' the incident in my
                       head, when I had what alcoholics
                       refer to as a "moment of clarity."

                                  VINCENT
                       I gotta take a shit.  To be
                       continued.

        Vincent exits  for the restroom.

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

                                  PUMPKIN
                       Everybody be cool, this is a
                       robbery!

                                  HONEY BUNNY
                       Any of you fuckin' pricks move and
                       I'll execute every one of you
                       motherfuckers!  Got that?!

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

                                  PUMPKIN
                       Customers stay seated, waitresses
                       on the floor.

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

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

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

        Three COOKS and two BUSBOYS come out of the kitchen.

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

        They comprende.  The portly MANAGER speaks up.

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

        Pumpkin head his way.

                                  PUMPKIN
                       You're gonna give me a problem?

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

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

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

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

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

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

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

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

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

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

92.     INT. COFFEE SHOP BATHROOM - MORNING                             92.

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

93.     INT. COFFEE SHOP - MORNING                                      93.

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

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

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

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

                                  PUMPKIN
                       In the bag.

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

                                  PUMPKIN
                       What's in that?

                                  JULES
                       My boss' dirty laundry.

                                  PUMPKIN
                       You boss makes you do his laundry?

                                  JULES
                       When he wants it clean.

                                  PUMPKIN
                       Sounds like a shit job.

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

                                  PUMPKIN
                       Open it up.

        Jules' free hand lays palm flat on the briefcase.

                                  JULES
                       'Fraid I can't do that.

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

                                  PUMPKIN
                       I didn't hear you.

                                  JULES
                       Yes, you did.

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

                                  HONEY BUNNY
                       What's goin' on?

                                  PUMPKIN
                       Looks like we got a vigilante in
                       our midst.

                                  HONEY BUNNY
                       Shoot 'em in the face!

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

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

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

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

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

        Jules closes his eyes.

                                  PUMPKIN
                       ...two...

        Jules SHOOTS Pumpkin twice, up through the table, sending him
        to the floor.  While still in the booth, he SWINGS around to
        Honey Bunny, who has aimed at Jules, but slowed down by the
        shock of Pumpkin getting shot.  He FIRES three times.

        Honey Bunny takes all three HITS in the chest.  As she FALLS
        SCREAMING, she FIRES wildly, HITTING a SURFER PATRON.

                                  SURFER
                       She shot me!  I'm dying!  Sally!
                       Sally!

        Jules now brings the gun down to Pumpkin's face.  Pumpkin lies
        shot on the floor at Jules' feet.  Pumpkin looks up at the big
        gun.

                                  JULES
                       Wrong guy, Ringo.

        Jules FIRES straight at the CAMERA, BLINDING UP with his
        FLASH.

        Jules' eyes, still closed, suddenly open.

        Pumpkin still stands, holding the gun on him.

                                  PUMPKIN
                       ...three.

                                  JULES
                       You win.

        Jules raises his hand off the briefcase.

                                  JULES
                       It's all yours, Ringo.

                                  PUMPKIN
                       Open it.

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

                                  HONEY BUNNY
                       What is it?  What is it?

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

        Jules nods his head: "yes."

                                  PUMPKIN
                       It's beautiful.

        Jules nods his head: "yes."

                                  HONEY BUNNY
                       Goddammit, what is it?

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

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

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

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

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

                                  PUMPKIN
                       Chill out, honey!

                                  HONEY BUNNY
                       Let him go!

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

                                  PUMPKIN
                       I'm gonna be okay.

                                  JULES
                       Promise her.

                                  PUMPKIN
                       I promise.

                                  JULES
                       Tell her to chill.

                                  PUMPKIN
                       Just chill out.

                                  JULES
                       What's her name?

                                  PUMPKIN
                       Yolanda.

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

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

                                  YOLANDA
                            (crying)
                       Don't you hurt him.

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

        No answer,

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

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

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

        Pumpkin looks at him.

                                  JULES
                       One...two...three.

        Pumpkin lets go of his gun and places both hands on the table.
        Yolanda can't stand it anymore.

                                  YOLANDA
                       Okay, now let him go!

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

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

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

                                  VINCENT (OS)
                       What the fuck's goin' on here?

        Yolanda WHIPS her gun toward the stranger.

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

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

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

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

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

                                  VINCENT
                       Check.

                                  JULES
                       Yolanda, how we doin, baby?

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

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

                                  PUMPKIN
                       Which one is it?

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

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

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

                                  PUMPKIN
                       About fifteen hundred dollars.

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

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

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

                                  PUMPKIN
                       What?

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

                                  PUMPKIN
                       Not regularly.

                                  JULES
                       There's a passage I got memorized.
                       Ezekiel 25:17.  "The path of the
                       righteous man is beset on all sides
                       by the inequities of the selfish
                       and the tyranny of evil men.
                       Blessed is he who, in the name of
                       charity and good will, shepherds
                       the weak through the valley of the
                       darkness.  For he is truly his
                       brother's keeper and the finder of
                       lost children.
                       And I will strike down upon thee
                       with great vengeance and furious
                       anger those who attempt to poison
                       and destroy my brothers.  And you
                       will know I am the Lord when I lay
                       my vengeance upon you."  I been
                       sayin' that shit for years.  And if
                       you ever heard it, it meant your
                       ass.  I never really questioned
                       what it meant.  I thought it was
                       just a cold-blooded thing to say to
                       a motherfucker 'fore you popped a
                       cap in his ass.  But I saw some
                       shit this mornin' made me think
                       twice.  Now I'm thinkin', it could
                       mean you're the evil man.  And I'm
                       the righteous man.  And Mr. .45
                       here, he's the shepherd protecting
                       my righteous ass in the valley of
                       darkness.  Or is could by you're
                       the righteous man and I'm the
                       shepherd and it's the world that's
                       evil and selfish.  I'd like that.
                       But that shit ain't the truth.  The
                       truth is you're the weak.  And I'm
                       the tyranny of evil men.  But I'm
                       tryin'.  I'm tryin' real hard to be
                       a shepherd.

        Jules lowers his gun, lying it on the table.

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

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

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

                                  JULES
                            (to himself)
                       It's cold.

        He pushes it aside.

        Vincent appears next to Jules.

                                  VINCENT
                       I think we oughta leave now.

                                  JULES
                       That's probably a good idea.

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

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

        