Pulp fiction screen_play-_quentin_tarantino___john_avary


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Pulp fiction screen_play-_quentin_tarantino___john_avary

  1. 1. PULP FICTIONbyQuentin Tarantino & Roger Avary
  2. 2. PULP [pulp] n.1. A soft, moist, shapelessmass or matter.2. A magazine or book containing luridsubject matter and being characteristicallyprinted on rough, unfinished paper.American Heritage Dictionary: New College EditionINT. COFFEE SHOP – MORNINGA normal Dennys, Spires-like coffee shop in Los Angeles. Itsabout 9:00 in the morning. While the place isnt jammed, theres ahealthy number of people drinking coffee, munching on bacon andeating eggs.Two of these people are a YOUNG MAN and a YOUNG WOMAN. The YoungMan has a slight working-class English accent and, like his fellowcountryman, smokes cigarettes like theyre going out of style.It is impossible to tell where the Young Woman is from or how oldshe is; everything she does contradicts something she did. The boyand girl sit in a booth. Their dialogue is to be said in a rapid-pace "HIS GIRL FRIDAY" fashion.YOUNG MANNo, forget it, its too risky. Im throughdoin that shit.YOUNG WOMANYou always say that, the same thing everytime: never again, Im through, toodangerous.YOUNG MANI know thats what I always say. Imalways right too, but –YOUNG WOMAN– but you forget about it in a day or two–YOUNG MAN– yeah, well, the days of me forgittinare over, and the days of me rememberinhave just begun.YOUNG WOMANWhen you go on like this, you know whatyou sound like?YOUNG MANI sound like a sensible fucking man, iswhat I sound like.
  3. 3. YOUNG WOMANYou sound like a duck.(imitates a duck)Quack, quack, quack, quack, quack, quack,quack...YOUNG MANWell take heart, cause youre never gonnahafta hear it again. Because since Imnever gonna do it again, youre nevergonna hafta hear me quack about how Imnever gonna do it again.YOUNG WOMANAfter 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.WAITRESSCan I get anybody anymore coffee?YOUNG WOMANOh yes, thank you.The Waitress pours the Young Womans coffee. The Young Man lightsup another cigarette.YOUNG MANIm 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 MANI mean the way it is now, youre takinthe same fuckin risk as when you rob abank. You take more of a risk. Banks areeasier! Federal banks arent supposed tostop you anyway, during a robbery. Theyreinsured, why should they care? You donteven need a gun in a federal bank. I heardabout this guy, walked into a federal bankwith a portable phone, handed the phone tothe teller, the guy on the other end ofthe phone said: "We got this guys littlegirl, and if you dont give him all yourmoney, were gonna kill er."YOUNG WOMANDid it work?
  4. 4. YOUNG MANFuckin A it worked, thats what Imtalkin about! Knucklehead walks in a bankwith a telephone, not a pistol, not ashotgun, but a fuckin phone, cleans theplace out, and they dont lift a fuckinfinger.YOUNG WOMANDid they hurt the little girl?YOUNG MANI dont know. There probably never was alittle girl – the point of the story isntthe little girl. The point of the story isthey robbed the bank with a telephone.YOUNG WOMANYou wanna rob banks?YOUNG MANIm not sayin I wanna rob banks, Im justillustrating that if we did, it would beeasier than what we been doin.YOUNG WOMANSo you dont want to be a bank robber?YOUNG MANNaw, all those guys are goin down thesame road, either dead or servin twenty.YOUNG WOMANAnd no more liquor stores?YOUNG MANWhat have we been talking about? Yeah, no-more-liquor-stores. Besides, it aint thegiggle it usta be. Too many foreigners ownliquor stores. Vietnamese, Koreans, theycant fuckin speak English. You tell em:"Empty out the register," and they dontknow what it fuckin means. They make ittoo personal. We keep on, one of thosegook motherfuckers gonna make us killem.YOUNG WOMANIm not gonna kill anybody.
  5. 5. YOUNG MANI dont wanna kill anybody either. Buttheyll probably put us in a situationwhere its us of them. And if its not thegooks, it these old Jews whove owned thestore for fifteen fuckin generations. Yagot Grandpa Irving sittin behind thecounter with a fuckin Magnum. Try walkininto one of those stores with nothin buta telephone, see how far it gets you. Fuckit, forget it, were out of it.YOUNG WOMANWell, what else is there, day jobs?YOUNG MAN(laughing)Not this life.YOUNG WOMANWell what then?He calls to the Waitress.YOUNG MANGarcon! Coffee!Then looks to his girl.YOUNG MANThis place.The Waitress comes by, pouring him some more.WAITRESS(snotty)"Garcon" means boy.She splits.YOUNG WOMANHere? Its a coffee shop.YOUNG MANWhats wrong with that? People never robrestaurants, why not? Bars, liquor stores,gas stations, you get your head blown offstickin up one of them. Restaurants, onthe other hand, you catch with their pantsdown. Theyre not expecting to get robbed,or not as expecting.YOUNG WOMAN(taking to idea)I bet in places like this you couldcutdown on the hero factor.
  6. 6. YOUNG MANCorrect. Just like banks, these places areinsured. The managers dont give a fuck,theyre just tryin to get ya out the doorbefore you start pluggin diners.Waitresses, forget it, they aint takin abullet for the register. Busboys, somewetback gettin paid a dollar fifty a hourgonna really give a fuck youre stealinfrom the owner. Customers are sittinthere with food in their mouths, theydont know whats goin on. One minutetheyre havin a Denver omelette, nextminute somebodys stickin a gun in theirface.The Young Woman visibly takes in the idea. The Young Man continuesin a low voice.YOUNG MANSee, I got the idea last liquor store westuck up. Member all those customers keptcomin in?YOUNG WOMANYeah.YOUNG MANThey you got the idea to take everybodyswallet.YOUNG WOMANUh-huh.YOUNG MANThat was a good idea.YOUNG WOMANThanks.YOUNG MANWe made more from the wallets then we didthe register.YOUNG WOMANYes we did.YOUNG MANA lot of people go to restaurants.YOUNG WOMANA lot of wallets.YOUNG MANPretty smart, huh?The Young Woman scans the restaurant with this new information.She sees all the PATRONS eating, lost in conversations. The tiresWAITRESS, taking orders. The BUSBOYS going through the motions,
  7. 7. collecting dishes. The MANAGER complaining to the COOK aboutsomething. A smiles breaks out on the Young Womans face.YOUNG WOMANPretty smart.(into it)Im ready, lets go, right here, rightnow.YOUNG MANRemember, same as before, youre crowdcontrol, I handle the employees.YOUNG WOMANGot it.They both take out their .32-caliber pistols and lay them on thetable. He looks at her and she back at him.YOUNG WOMANI love you, Pumpkin.YOUNG MANI love you, Honey Bunny.And with that, Pumpkin and Honey Bunny grab their weapons, standup and rob the restaurant. Pumpkins robbery persona is that ofthe in-control professional. Honey Bunnys is that of thepsychopathic, hair-triggered, loose cannon.PUMPKIN(yelling to all)Everybody be cool this is a robbery!HONEY BUNNYAny of you fuckin pricks move and Illexecute every one of you motherfuckers!Got that?CUT TO:CREDIT SEQUENCE:"PULP FICTION"INT. 74 CHEVY (MOVING) – MORNINGAn old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down ahomeless-ridden street in Hollywood. In the front seat are twoyoung fellas – one white, one black – both wearing cheap blacksuits with thin black ties under long green dusters. Their namesare VINCENT VEGA (white) and JULES WINNFIELD (black). Jules isbehind the wheel.JULES– Okay now, tell me about the hash bars?
  8. 8. VINCENTWhat so you want to know?JULESWell, hash is legal there, right?VINCENTYeah, its legal, but is aint a hundredpercent legal. I mean you cant walk intoa restaurant, roll a joint, and startpuffin away. Youre only supposed tosmoke in your home or certain designatedplaces.JULESThose are hash bars?VINCENTYeah, it breaks down like this: its legalto buy it, its legal to own it and, ifyoure the proprietor of a hash bar, itslegal to sell it. Its legal to carry it,which doesnt really matter cause – get aload of this – if the cops stop you, itsillegal for this to search you. Searchingyou is a right that the cops in Amsterdamdont have.JULESThat did it, man – Im fuckin goin,thats all there is to it.VINCENTYoull dig it the most. But you know whatthe funniest thing about Europe is?JULESWhat?VINCENTIts the little differences. A lotta thesame shit we got here, they got there, butthere theyre a little different.JULESExamples?VINCENTWell, in Amsterdam, you can buy beer in amovie theatre. And I dont mean in a papercup either. They give you a glass of beer,like in a bar. In Paris, you can buy beerat MacDonalds. Also, you know what theycall a Quarter Pounder with Cheese inParis?JULESThey dont call it a Quarter Pounder withCheese?
  9. 9. VINCENTNo, they got the metric system there, theywouldnt know what the fuck a QuarterPounder is.JULESWhatd they call it?VINCENTRoyale with Cheese.JULES(repeating)Royale with Cheese. Whatd they call a BigMac?VINCENTBig Macs a Big Mac, but they call it LeBig Mac.JULESLe Big Mac. What do they call a Whopper?VINCENTI dunno, I didnt go into a Burger King.But you know what they put on french friesin Holland instead of ketchup?JULESWhat?VINCENTMayonnaise.JULESGoddamn!VINCENTI seen em do it. And I dont mean alittle bit on the side of the plate, theyfuckin drown em in it.JULESUuccch!CUT TO:INT. CHEVY (TRUNK) – MORNINGThe trunk of the Chevy OPENS UP, Jules and Vincent reach inside,taking out two .45 Automatics, loading and cocking them.JULESWe should have shotguns for this kind ofdeal.VINCENTHow many up there?
  10. 10. JULESThree or four.VINCENTCounting our guy?JULESIm not sure.VINCENTSo there could be five guys up there?JULESIts possible.VINCENTWe should have fuckin shotguns.They CLOSE the trunk.CUT TO:EXT. APARTMENT BUILDING COURTYARD – MORNINGVincent and Jules, their long matching overcoats practicallydragging on the ground, walk through the courtyard of what lookslike a hacienda-style Hollywood apartment building.We TRACK alongside.VINCENTWhats her name?JULESMia.VINCENTHow did Marsellus and her meet?JULESI dunno, however people meet people. Sheusta be an actress.VINCENTShe ever do anything I woulda saw?JULESI think her biggest deal was she starredin a pilot.VINCENTWhats a pilot?JULESWell, you know the shows on TV?VINCENTI dont watch TV.
  11. 11. JULESYes, but youre aware that theres aninvention called television, and on thatinvention they show shows?VINCENTYeah.JULESWell, the way they pick the shows on TV isthey make one show, and that shows calleda pilot. And they show that one show tothe people who pick the shows, and on thestrength of that one show, they decide ifthey want to make more shows. Some getaccepted and become TV programs, and somedont, and become nothing. She starred inone of the ones that became nothing.They enter the apartment building.INT. RECEPTION AREA (APARTMENT BUILDING) – MORNINGVincent and Jules walk through the reception area and wait for theelevator.JULESYou remember Antwan Rockamora? Half-black,half-Samoan, usta call him Tony RockyHorror.VINCENTYeah maybe, fat right?JULESI wouldnt go so far as to call thebrother fat. Hes got a weight problem.Whats the nigger gonna do, hes Samoan.VINCENTI think I know who you mean, what abouthim?JULESWell, Marsellus fucked his ass up good.And word around the campfire, it was onaccount of Marsellus Wallaces wife.The elevator arrives, the men step inside.INT. ELEVATOR – MORNINGVINCENTWhatd he do, fuck her?JULESNo no no no no no no, nothin that bad.
  12. 12. VINCENTWell what then?JULESHe gave her a foot massage.VINCENTA foot massage?Jules nods his head: "Yes."VINCENTThats all?Jules nods his head: "Yes."VINCENTWhat did Marsellus do?JULESSent a couple of guys over to his place.They took him out on the patio of hisapartment, threw his ass over the balcony.Nigger fell four stories. They had thisgarden at the bottom, enclosed in glass,like one of them greenhouses – nigger fellthrough that. Since then, hes kindadeveloped a speech impediment.The elevator doors open, Jules and Vincent exit.VINCENTThats a damn shame.INT. APARTMENT BUILDING HALLWAY – MORNINGSTEADICAM in front of Jules and Vincent as they make a beelinedown the hall.VINCENTStill I hafta say, play with matches, yaget burned.JULESWhaddya mean?VINCENTYou dont be givin Marsellus Wallacesnew bride a foot massage.JULESYou dont think he overreacted?VINCENTAntwan probably didnt expect Marsellus toreact like he did, but he had to expect areaction.
  13. 13. JULESIt was a foot massage, a foot massage isnothing, I give my mother a foot massage.VINCENTIts laying hands on Marsellus Wallacesnew wife in a familiar way. Is it as badas eatin her out – no, but youre in thesame fuckin ballpark.Jules stops Vincent.JULESWhoa... whoa... whoa... stop right there.Eatin a bitch out, and givin a bitch afoot massage aint even the same fuckinthing.VINCENTNot the same thing, the same ballpark.JULESIt aint no ballpark either. Look maybeyour method of massage differs from mine,but touchin his ladys feet, and stickinyour tongue in her holyiest of holyies,aint the same ballpark, aint the sameleague, aint even the same fuckin sport.Foot massages dont mean shit.VINCENTHave you ever given a foot massage?JULESDont be tellin me about foot massages –Im the foot fuckin master.VINCENTGiven a lot of em?JULESShit yeah. I got my technique down man, Idont tickle or nothin.VINCENTHave you ever given a guy a foot massage?Jules looks at him a long moment – hes been set up.JULESFuck you.He starts walking down the hall.Vincent, smiling, walks a littlebit behind.VINCENTHow many?JULESFuck you.
  14. 14. VINCENTWould you give me a foot massage – Imkinda tired.JULESMan, you best back off, Im gittin pissed– this is the door.The two men stand in front of the door numbered "49."They whisper.JULESWhat time is it?VINCENT(checking his watch)Seven-twenty-two in the morning.JULESIt aint quite time, lets hang back.They move a little away from the door, facing each other, stillwhispering.JULESLook, just because I wouldnt give no mana foot massage, dont make it right forMarsellus to throw Antwan off a buildinginto a glass-motherfuckin-house, fuckinup the way the nigger talks. That aintright, man. Motherfucker do that to me, hebetter paralyze my ass, cause Id killamotherfucker.VINCENTIm not sayin he was right, but youresayin a foot massage dont mean nothing,and Im sayin it does. Ive given amillion ladies a million foot massages andthey all meant somethin. We act like theydont, but they do. Thats whats sofuckin cool about em. This sensualthings goin on that nobodys talkinabout, but you knowit and she knows it, fuckinMarsellus knewit, and Antwan shoulda known fuckinbetter. Thats his fuckin wife, man. Heaint gonna have a sense of humor aboutthat shit.JULESThats an interesting point, but lets getinto character.VINCENTWhats her name again?JULESMia. Why you so interested in big manswife?
  15. 15. VINCENTWell, Marsellus is leavin for Florida andwhen hes gone, he wants me to take careof Mia.JULESTake care of her?Making a gun out of his finger and placing it to his head.VINCENTNot that! Take her out. Show her a goodtime. Dont let her get lonely.JULESYoure gonna be takinMIA Wallace out on adate?VINCENTIt aint a date. Its like when you andyour buddys wife go to a movie orsomethin. Its just... you know... goodcompany.Jules just looks at him.VINCENTIts not a date.Jules just looks at him.INT. APARTMENT (ROOM 49) – MORNINGTHREE YOUNG GUYS, obviously in over their heads, sit at a tablewith hamburgers, french fries and soda pops laid out.One of them flips the LOUD BOLT on the door, opening it to REVEALJules and Vincent in the hallway.JULESHey 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 sceneprogresses, 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 bigsloppy 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 theirpockets. Jules is the one who does the talking.
  16. 16. JULESHow you boys doin?No answer.JULES(to Brett)Am I trippin, or did I just ask you aquestion.BRETTWere doin okay.As Jules and Brett talk, Vincent moves behind the young Guys.JULESDo you know who we are?Brett shakes his head: "No."JULESWere associates of your business partnerMarsellus Wallace, you remember yourbusiness partner dontya?No answer.JULES(to Brett)Now Im gonna take a wild guess here:youre Brett, right?BRETTIm Brett.JULESI thought so. Well, you remember yourbusiness partner Marsellus Wallace,dontya Brett?BRETTI remember him.JULESGood for you. Looks like me and Vincentcaught you at breakfast, sorry bout that.Whatcha eatin?BRETTHamburgers.JULESHamburgers. The cornerstone of anynutritious breakfast. What kindahamburgers?BRETTCheeseburgers.
  17. 17. JULESNo, I mean where did you getem?MacDonalds, Wendys, Jack-in-the-Box,where?BRETTBig Kahuna Burger.JULESBig Kahuna Burger. Thats that Hawaiianburger joint. I heard they got some tastyburgers. I aint never had one myself, howare they?BRETTTheyre good.JULESMind if I try one of yours?BRETTNo.JULESYours is this one, right?BRETTYeah.Jules grabs the burger and take a bite of it.JULESUuummmm, thats a tasty burger.(to Vincent)Vince, you ever try a Big Kahuna Burger?VINCENTNo.Jules holds out the Big Kahuna.JULESYou wanna bite, theyre real good.VINCENTI aint hungry.JULESWell, if you like hamburgers give em atry sometime. Me, I cant usually eat emcause my girlfriends a vegetarian. Whichmore or less makes me a vegetarian, but Isure love the taste of a good burger.(to Brett)You know what they call a Quarter Pounderwith Cheese in France?BRETTNo.
  18. 18. JULESTell em, Vincent.VINCENTRoyale with Cheese.JULESRoyale with Cheese, you know why they callit that?BRETTBecause of the metric system?JULESCheck out the big brain on Brett. Youasmart motherfucker, thatsright. The metric system.(he points to a fast fooddrink cup)Whats in this?BRETTSprite.JULESSprite, good, mind if I have some of yourtasty beverage to wash this down with?BRETTSure.Jules grabs the cup and takes a sip.JULESUuuuummmm, hits the spot!(to Roger)You, Flock of Seagulls, you know whatwere here for?Roger nods his head: "Yes."JULESThen why dont you tell my boy here Vince,where you got the shit hid.MARVINIts under the be –JULES– I dont remember askin you a goddamnthing.(to Roger)You were sayin?ROGERIts under the bed.Vincent moves to the bed, reaches underneath it, pulling out ablack snap briefcase.
  19. 19. VINCENTGot it.Vincent flips the two locks, opening the case. We cant see whatsinside, but a small glow emits from the case. Vincent just staresat it, transfixed.JULESWe happy?No answer from the transfixed Vincent.JULESVincent!Vincent looks up at Jules.JULESWe happy?Closing the case.VINCENTWere happy.BRETT(to Jules)Look, whats your name? I got hisnamesVINCENT, but whats yours?JULESMy names Pitt, and you aint talkin yourass outta this shit.BRETTI just want you to know how sorry we areabout how fucked up things got between usand Mr. Wallace. When we entered into thisthing, we only had the best intentions –As Brett talks, Jules takes out his gun and SHOOTS Roger threetimes in the chest, BLOWING him out of his chair.Vince smiles to himself. Jules has got style.Brett has just shit his pants. Hes not crying or whimpering, buthes so full of fear, its as if his body is imploding.JULES(to Brett)Oh, Im sorry. Did that break yourconcentration? I didnt mean to do that.Please, continue. I believe you weresaying something about "best intentions."Brett cant say a word.
  20. 20. JULESWhatsamatter? Oh, you were through anyway.Well, let me retort. Would you describefor me what Marsellus Wallace looks like?Brett still cant speak.Jules SNAPS, SAVAGELY TIPPING the card table over, removing theonly barrier between himself and Brett. Brett now sits in a lonechair before Jules like a political prisoner in front of aninterrogator.JULESWhat country you from!BRETT(petrified)What?JULES"What" aint no country I know! Do theyspeak English in "What?"BRETT(near heart attack)What?JULESEnglish-motherfucker-can-you-speak-it?BRETTYes.JULESThen you understand what Im sayin?BRETTYes.JULESNow describe what Marsellus Wallace lookslike!BRETT(out of fear)What?Jules takes his .45 and PRESSES the barrel HARD in Bretts cheek.JULESSay "What" again! Cmon, say "What" again!I dare ya, I double dare ya motherfucker,say "What" one more goddamn time!Brett is regressing on the spot.JULESNow describe to me what Marsellus Wallacelooks like!
  21. 21. Brett does his best.BRETTWell hes... hes... black –JULES– go on!BRETT... and hes... hes... bald –JULES– does he look like a bitch?!BRETT(without thinking)What?Jules eyes go to Vincent, Vincent smirks, Jules rolls his eyesand SHOOT Brett in the shoulder.Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in thechair.JULESDoes-he-look-like-a-bitch?!BRETT(in agony)No.JULESThen why did you try to fuck im like abitch?!BRETT(in spasm)I didnt.Now in a lower voice.JULESYes ya did Brett. Ya tried ta fuck im.You ever read the Bible, Brett?BRETT(in spasm)Yes.
  22. 22. JULESTheres a passage I got memorized, seemsappropriate for this situation: Ezekiel25:17. "The path of the righteous man isbeset on all sides by the inequities ofthe selfish and the tyranny of evil men.Blessed is he who, in the name of charityand good will, shepherds the weak throughthe valley of darkness, for he is trulyhis brothers keeper and the finder oflost children. And I will strike down uponthee with great vengeance and furiousanger those who attempt to poison anddestroy my brothers. And you will know myname is the Lord when I lay my vengeanceupon you."The two men EMPTY their guns at the same time on the sittingBrett.AGAINST BLACK, TITLE CARD:"VINCENT VEGA AND MARSELLUS WALLACES WIFE"FADE IN:MEDIUM SHOT – BUTCH COOLIDGEWe FADE UP on BUTCH COOLIDGE, a white, 26-year-oldprizefighter.Butch sits at a table wearing a red and blue highschool athletic jacket. Talking to him OFF SCREEN is everybodysboss MARSELLUS WALLACE. The black man sounds like a cross betweena gangster and a king.MARSELLUS (O.S.)I think youre gonna find – when all thisshit is over and done – I think youregonna find yourself one smilinmotherfucker. Thing is Butch, right nowyou got ability. But painful as it may be,ability dont last. Now thats a hardmotherfuckin fact of life, but its afact of life your ass is gonna hafta gitrealistic about. This business is filledto the brim with unrealistic motherfuckerswho thought their ass aged like wine.Besides, even if you went all the way,what would you be? Feather-weight championof the world. Who gives a shit? I doubtyou can even get a credit card based onthat.A hand lays an envelope full of money on the table in front ofButch. Butch picks it up.
  23. 23. MARSELLUS (O.S.)Now the night of the fight, you may fell aslight sting, thats pride fuckin wit ya.Fuck pride! Pride only hurts, it neverhelps. Fight through that shit. Cause ayear from now, when youre kickin it inthe Caribbean youre gonna say, "MarsellusWallace was right."BUTCHI got no problem with that.MARSELLUS (O.S.)In the fifth, your ass goes down.Butch nods his head: "yes."MARSELLUS (O.S.)Say it!BUTCHIn the fifth, my ass goes down.CUT TO:INT. CAR (MOVING) – DAYVincent Vega looks really cool behind the wheel of a 1964 cherry-red Chevy Malibu convertible. From the car radio, ROCKABILLY MUSICPLAYS. The b.g. is a COLORFUL PROCESS SHOT.EXT. SALLY LeROYS – DAYSally LeRoys is a large topless bat by LAX that Marsellus owns.Vincents classic Malibu WHIPS into the near empty parking lot andparks 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. Daveisnt really English, hes a young black man from Baldwin Park,who has run a few clubs for Marsellus, including Sally LeRoys.ENGLISH DAVEVincent Vega, our man in Amsterdam, gityour ass on in here.Vincent, carrying the black briefcase from the scene betweenVincent and Jules, steps inside. English Dave SLAMS the door inour faces.INT. SALLY LeROYS – DAYThe spacious club is empty this time of day. English Dave crossesto the bar, and Vince follows.
  24. 24. VINCENTWheres the big man?ENGLISH DAVEHes over there, finishing up somebusiness.VINCENTS POV: Butch shakes hands with a huge figure with his backto us. The huge figure is the infamous and as of yet still UNSEENMarsellus.ENGLISH DAVE (O.S.)Hand back for a second or two, and whenyou see the white boy leave, go on over.In the meanwhile, can I make you anespresso?VINCENTHow bout a cup of just plain olAmerican?ENGLISH DAVEComin up. I hear youre taking Mia outtomorrow?VINCENTAt Marsellus request.ENGLISH DAVEHave you met Mia?VINCENTNot yet.English Dave smiles to himself.VINCENTWhats so funny?ENGLISH DAVENot a goddamn thing.VINCENTLook, Im not a idiot. Shes the big mansfuckin wife. Im gonna sit across atable, chew my food with my mouth closed,laugh at her jokes and thats all Imgonna do.English Dave puts Vinces coffee in front of him.ENGLISH DAVEMy names Paul, and this is between yall.Butch bellies up to the bar next to Vincent, drinking his cup of"Plain ol American."BUTCH(to English Dave)Can I get a packa Red Apples?
  25. 25. ENGLISH DAVEFilters?BUTCHNon.While Butch waits for his smokes, Vincent just sips his coffee,staring at him. Butch looks over at him.BUTCHLookin at somethin, friend?VINCENTI aint your friend, palooka.Butch does a slow turn toward Vincent.BUTCHWhat was that?VINCENTI think ya heard me just fine, punchy.Butch turns his body to Vincent, when...MARSELLUS (O.S.)Vincent Vega has entered the building, gityour ass over here!Vincent walks forward OUT OF FRAME, never giving Butch anotherglance. We DOLLY INTO CU on Butch, left alone in the FRAME,looking like hes ready to go into the manners-teaching business.BUTCHS POV: Vincent hugging and kissing the obscured figure thatis Marsellus.Butch makes the wise decision that is this assholes a friend ofMarsellus, he better let it go – for now.ENGLISH DAVE (O.S.)Pack of Red Apples, dollar-forty.Butch is snapped out of his ass-kicking thoughts. He pays EnglishDave and walks out of the SHOT.DISSOLVE TO:INT. LANCES HOUSE (KITCHEN) – NIGHTCLOSEUP – JODYA woman who appears to have a fondness for earrings. Both of herears are pierced five times. She also sports rings in her lips,eyebrows and nose.JODY... Ill lend it to you. Its a great bookon body piercing.
  26. 26. Jody, Vincent and a young woman named TRUDI sit at the kitchentable of a suburban house in Echo Park. Even though Vince is atthe same table, hes not included in the conversation.TRUDIYou know how they use that gun when theypierce your ears? They dont use that whenthey pierce your nipples, do they?JODYForget that gun. That gun goes against theentire idea behind piercing. All of mypiercing, sixteen places on my body, everyone of em done with a needle. Five ineach ear. One through the nipple on myleft breast. One through my right nostril.One through my left eyebrow. One throughmy lip. One in my clit. And I wear a studin my tongue.Vince has been letting this conversation go through one ear andout the other, until that last remark.VINCENT(interrupting)Excuse me, sorry to interrupt. Imcurious, why would you get a stud in yourtongue?Jody looks at him and says as if it were the most obvious thing inthe world.JODYIts a sex thing. It helps fellatio.That thought never occurred to Vincent, but he cant deny it makessense. Jody continues talking to Trudi, leaving Vincent to ponderthe truth of her statement.LANCE (O.S.)Vince, you can come in now!INT. LANCES BEDROOM – NIGHTLance, late 20s, is a young man with a wild and woolly appearancethat goes hand-in-hand with his wild and woolly personality. LANCEhas been selling drugs his entire adult life. Hes never had a dayjob, never filed a tax return and has never been arrested. Hewears a red flannel shirt over a "Speed Racer" tee-shirt.Three bags of heroin lie on Lances bed.Lance and Vincent stand at the foot of the bed.
  27. 27. LANCENow this is Panda, from Mexico. Very goodstuff. This is Bava, different, butequally good. And this is Choco from theHartz Mountains of Germany. Now the firsttwo are the same, forty-five an ounce –those are friend prices – but this one...(pointing to the Choco)... this ones a little more expensive.Its fifty-five. But when you shoot it,youll know where that extra money went.Nothing wrong with the first two. Itsreal, real, real, good shit. But thisones a fuckin madman.VINCENTRemember, I just got back from Amsterdam.LANCEAm I a nigger? Are you in Inglewood? No.Youre in my house. White people who knowthe difference between good shit and badshit, this is the house they come to. Myshit, Ill take the Pepsi Challenge withAmsterdam shit any ol day of the fuckinweek.VINCENTThats a bold statement.LANCEThis aint Amsterdam, Vince. This is asellers market. Coke is fuckin dead asdisco. Heroins comin back in a bigfuckin way. Its this whole seventiesretro. Bell bottoms, heroin, theyre ashot as hell.Vincent takes out a roll of money that would choke a horse todeath.VINCENTGive me three hundred worth of the madman.If its as good as you say, Ill be backfor a thousand.LANCEI just hope I still have it. Whaddya thinkof Trudi? She aint got a boyfriend, wannahand out an get high?VINCENTWhich ones Trudi? The one with all theshit in her face?LANCENo, thats Jody. Thats my wife.Vincent and Lance giggle at the "faux pas."
  28. 28. VINCENTIm on my way somewhere. I got a dinnerengagement. Rain check?LANCENo problem?Vincent takes out his case of the works (utensils for shootingup).VINCENTYou dont mind if I shoot up here?LANCEMe casa, su casa.VINCENTMucho gracias.Vincent takes his works out of his case and, as the two continueto talk, Vince shoots up.LANCEStill got your Malibu?VINCENTYou know what some fucker did to it theother day?LANCEWhat?VINCENTFuckin keyed it.LANCEOh man, thats fucked up.VINCENTTell me about it. I had the goddamn thingin storage three years. Its out fivefuckin days – five days, and somedickless piece of shit fucks with it.LANCEThey should be fuckin killed. No trial,no jury, straight to execution.As he cooks his heroin...VINCENTI just wish I caught em doin it, yaknow? Oh man, Id give anything to catchem doin it. Ita been worth his doinit, if I coulda just caught em, you knowwhat I mean?LANCEIts chicken shit. You dont fuck anothermans vehicle.
  29. 29. CLOSEUP – THE NEEDLEGoing into Vincents vein.CLOSEUP – BLOODSpurting back into the syringe, mixing with the heroin.CLOSEUP – VINCENTS THUMBPushing down on the plunger.CUT TO:EXT. MARSELLUS WALLACES HOUSE – NIGHTVincent walks toward the house and pulls a note off the doorCLOSEUP – NOTEThe Not reads:"Hi Vincent,Im getting dressed. The doorsopen. Come inside and makeyourself a drink.Mia"MIA (V.O.)Hi, Vincent. Im getting dressed. Thedoors open. Come inside and make yourselfa drink.FADE TO WHITE(music in)FADE TO:INT. MARCELLUS HOUSE / LIVING ROOM – NIGHTVincent enters on the background.VINCENTHello?INT. MARCELLUS HOUSE / DRESSING ROOM – NIGHTMIA, Marcellus beautiful young wife. Video screens are in thebackground. Dusty Springfield is singing "SON OF A PREACHER MAN".Mias mouth comes toward a microphone.
  30. 30. MIA(into microphone)Vincent.INT. MARCELLUS HOUSE / LIVING ROOM – NIGHTVincent turns.MIA(over intercom)Vincent. Im on the intercom.INT. MARCELLUS HOUSE / DRESSING ROOM – NIGHTMIA(into microphone)Its on the wall by the two Africanfellas.INT. MARCELLUS HOUSE / LIVING ROOM – NIGHTMIA(over intercom)To your right.Vincent walks.MIA... warm. Warmer. Disco.Vincent finds the intercom on the wall.VINCENTHello.MIA(over intercom)Push the button if you want to talk.VINCENT(into intercom)Hello.INT. MARCELLUS HOUSE / DRESSING ROOM – NIGHTMIA(into microphone)Go make yourself a drink., and Ill bedown in two shakes of a lambs tail.INT. MARCELLUS HOUSE / LIVING ROOM – NIGHTMIA(over intercom)The bars by the fireplace.
  31. 31. VINCENT(into intercom)Okay.(licks lips)INT. MARCELLUS HOUSE / DRESSING ROOM – NIGHTA video screen with an image of Vincent, walking. The DustySpringfield song continues.Mia turns a knob which controls the movement of the video camerain Marcellus living room.INT. MARCELLUS HOUSE / LIVING ROOM – NIGHTVincent picks up a bottle of scotch. He sniffs the bottle, andthen pours it into a glass.INT. MARCELLUS HOUSE / DRESSING ROOM – NIGHTA razor blade cuts cocaine on a mirror.INT. MARCELLUS HOUSE / LIVING ROOM – NIGHTVincent drinks a glass of scotch.INT. MARCELLUS HOUSE / DRESSING ROOM – NIGHTMia sniffs the cocaine.INT. MARCELLUS HOUSE / LIVING ROOM – NIGHTVincent ips the drink and looks at a portrait of Mia on the wall.Mia walks into the room, and takes the needle off a record. TheDusty Springfield song stops.MIALets go.EXT. JACKRABBIT SLIMS – NIGHTIn the past six years, 50s diners have sprung up all over L.A.,giving Thai restaurants a run for their money. Theyre allbasically the same. Decor out of an "Archie" comic book, GoldenOldies constantly emanating from a bubbly Wurlitzer, saucywaitresses in bobby socks, menus with items like the Fats DominoCheeseburger, or the Wolfman Jack Omelette, and over prices thatpay for all this bullshit.But then theres JACKRABBIT SLIMS, the big mama of 50s diners.Either the best or the worst, depending on your point of view.
  32. 32. Vincents Malibu pulls up to the restaurant. A big sign with aneon figure of a cartoon surly cool cat jackrabbit in a redwindbreaker towers over the establishment. Underneath the cartoonis the name: JACKRABBIT SLIMS. Underneath that is theslogan:"Next best thing to a time machine."VINCENTWhat the fuck is this place?MIAThis is Jackrabbit Slims. An Elvis manshould love it.VINCENTCome on, Mia, lets go get a steak.MIAYou can get a steak here, daddy-o. Dontbe a...Mia draws a square with her hands. Dotted lines appear on thescreen, forming a sqaure. The lines disperse.VINCENTAfter you, kitty-cat.INT. JACKRABBIT SLIMS – NIGHTCompared to the interior, the exterior was that of a quaintEnglish pub. Posters from 50s A.I.P. movies are all over the wall("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF THE CRABMONSTER," and "MACHINE GUN KELLY"). The booths that the patronssit 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 onthe wall states, "No shoes allowed."So wannabe beboppers (actuallyMelrose-types), do the twist in their socks or barefeet.The picture windows dont look out the street, but instead, B & Wmovies of 50s street scenes play behind them. The WAITRESSES andWAITERS are made up as replicas of 50s icons: MARILYN MONROE,ZORRO, JAMES DEAN, DONNA REED, MARTIN and LEWIS, and THE PHILIPMORRIS MIDGET, wait on tables wearing appropriate costumes.Vincent and Mia study the menu in a booth made out of a red 59Edsel. BUDDY HOLLY (their waiter), comes over, sporting a bigbutton on his chest that says:"Hi Im Buddy, pleasing you pleaseme."BUDDYHi Im Buddy, what can I getcha?VINCENTIll have the Douglas Sirk steak.BUDDYHow dya want it, burnt to a crisp, orbloody as hell?
  33. 33. VINCENTBloody as hell. And to drink, a vanillacoke.BUDDYHow bout you, Peggy Sue?MIAIll have the Durwood Kirby burger –bloody – and a five-dollar shake.BUDDYHow dya want that shake, Martin andLewis, or Amos and Andy?MIAMartin and Lewis.VINCENTDid you just order a five-dollar shake?MIASure did.VINCENTA shake? Milk and ice cream?MIAUh-huh.VINCENTIt costs five dollars?BUDDYYep.VINCENTYou dont put bourbon in it or anything?BUDDYNope.VINCENTJust checking.Buddy exits.Vincent takes a look around the place. The YUPPIES are dancing,the DINERS are biting into big, juicy hamburgers, and the iconsare playing their parts. Marilyn is squealing, The Midget ispaging Philip Morris, Donna Reed is making her customers drinktheir milk, and Dean and Jerry are acting a fool.MIAWhaddya think?VINCENTIts like a wax museum with a pulse rate.
  34. 34. Vincent takes out his pouch of tobacco and begins rolling himselfa smoke.After a second of watching him –MIAWhat are you doing?VINCENTRollin a smoke.MIAHere?VINCENTIts just tobacco.MIAOh. Well in that case, will you roll meone, cowboy?As he finishes licking it –VINCENTYou can have his one, cowgirl.He hands her the rolled smoke. She takes it, putting it to herlips. Out of nowhere appears a Zippo lighter in Vincents hand. Helights it.MIAThanks.VINCENTThink nothing of it.He begins rolling one for himself.As this time, the SOUND of a subway car fills the diner, makingeverything SHAKE and RATTLE. Marilyn Monroe runs to a square ventin the floor. An imaginary subway train BLOWS the skirt of herwhite dress around her ears as she lets out a squeal. The entirerestaurant applauds.Back to Mia and Vincent.MIAMarsellus said you just got back fromAmsterdam.VINCENTSure did. I heard you did a pilot.MIAThat was my fifteen minutes.VINCENTWhat was it?
  35. 35. MIAIt was show about a team of female secretagents called "Fox Force Five."VINCENTWhat?MIA"Fox Force Five."Fox, as in were a bunchof foxy chicks. Force, as in were a forceto be reckoned with. Five, as in theresone... two ... three... four... five ofus. There was a blonde one, SommersetONeal from that show "Baton Rouge," shewas the leader. A Japanese one, a blackone, a French one and a brunette one, me.We all had special skills. Sommerset had aphotographic memory, the Japanese fox wasa kung fu master, the black girl was ademolition expert, the French foxspecialty was sex...VINCENTWhat was your specialty?MIAKnives. The character I played, RavenMcCoy, her background was she was raisedby circus performers. So she grew up doinga knife act. According to the show, shewas the deadliest woman in the world witha knife. But because she grew up in acircus, she was also something of anacrobat. She could do illusions, she was atrapeze artist – when youre keeping theworld safe from evil, you never know whenbeing a trapeze artists gonna come inhandy. And she knew a zillion old jokesher grandfather, an old vaudevillian,taught her. If we woulda got picked up,they woulda worked in a gimmick whereevery episode I woulda told and ol joke.VINCENTDo you remember any of the jokes?MIAWell I only got the chance to say one,cause we only did one show.VINCENTTell me.MIANo. Its really corny.VINCENTCmon, dont be that way.
  36. 36. MIANo. You wont like it and Ill beembarrassed.VINCENTYou told it in front of fifty millionpeople and you cant tell it to me? Ipromise I wont laugh.MIA(laughing)Thats what Im afraid of.VINCENTThats not what I meant and you know it.MIAYoure quite the silver tongue devil,arent you?VINCENTI meant I wouldnt laugh at you.MIAThats not what you said Vince. Well nowIm definitely not gonna tell ya, causeits been built up too much.VINCENTWhat a gyp.Buddy comes back with the drinks. Mia wraps her lips around thestraw of her shake.MIAYummy!VINCENTCan I have a sip of that? Id like to knowwhat a five-dollar shake tastes like.MIABe my guest.She slides the shake over to him.MIAYou can use my straw, I dont havekooties.Vincent smiles.VINCENTYeah, but maybe I do.MIAKooties I can handle.He takes a sip.
  37. 37. VINCENTGoddamn! Thats a pretty fuckin goodmilk shake.MIATold ya.VINCENTI dont know if its worth five dollars,but its pretty fuckin good.He slides the shake back.Then the first of an uncomfortable silence happens.MIADont you hate that?VINCENTWhat?MIAUncomfortable silences. Why do we feelits necessary to yak about bullshit inorder to be comfortable?VINCENTI dont know.MIAThats when you know you found somebodyspecial. When you can just shit the fuckup for a minute, and comfortably sharesilence.VINCENTI dont think were there yet. But dontfeel bad, we just met each other.MIAWell Ill tell you what, Ill go to thebathroom and powder my nose, while you sithere and think of something to say.VINCENTIll do that.INT. JACKRABBIT SLIMS (LADIES ROOM) – NIGHTMia powders her nose by doing a big line of coke off the bathroomsink. Her head jerks up from the rush.MIA(imitating Steppenwolf)I said goddamn!
  38. 38. INT. JACKRABBIT SLIMS (DINING AREA) – NIGHTVincent digs into his Douglas Sirk steak. As he chews, his eyesscan the Hellsapopinish restaurant.Mia comes back to the table.MIADont you love it when you go to thebathroom and you come back to find yourfood waiting for you?VINCENTWere lucky we got it at all. Buddy Hollydoesnt seem to be much of a waiter. Weshoulda sat in Marilyn Monroes section.MIAWhich one, theres two Marilyn Monroes.VINCENTNo theres not.Pointing at Marilyn in the white dress serving a table.VINCENTThats Marilyn Monroe...Then, pointing at a BLONDE WAITRESS in a tight sweater and capripants, taking an order from a bunch of FILM GEEKS –VINCENT... and thats Mamie Van Doren. I dontsee Jayne Mansfield, so it must be hernight off.MIAPretty smart.VINCENTI have moments.MIADid ya think of something to say?VINCENTActually, theres something Ive wanted toask you about, but you seem like a niceperson, and I didnt want to offend you.MIAOooohhhh, this doesnt sound likemindless, boring, getting-to-know-youchit-chat. This sounds like you actuallyhave something to say.VINCENTOnly if you promise not to get offended.
  39. 39. MIAYou cant promise something like that. Ihave no idea what youre gonna ask. Youcould ask me what youre gonna ask me, andmy natural response could be to beoffended. Then, through no fault of myown, I woulda broken my promise.VINCENTThen lets just forget it.MIAThat is an impossibility. Trying to forgetanything as intriguing as this would be anexercise in futility.VINCENTIs that a fact?Mia nods her head: "Yes."MIABesides, its more exciting when you donthave permission.VINCENTWhat do you think about what happened toAntwan?MIAWhos Antwan?VINCENTTony Rocky Horror.MIAHe fell out of a window.VINCENTThats one way to say it. Another way is,he was thrown out. Another was is, he wasthrown out by Marsellus. And even anotherway is, he was thrown out of a window byMarsellus because of you.MIAIs that a fact?VINCENTNo its not, its just what I heard.MIAWho told you this?VINCENTThey.Mia and Vincent smile.
  40. 40. MIAThey talk a lot, dont they?VINCENTThey certainly do.MIAWell dont by shyVincent, what exactly didthey say?Vincent is slow to answer.MIALet me help you Bashful, did it involvethe F-word?VINCENTNo. They just said Rocky Horror gave you afoot massage.MIAAnd...?VINCENTNo and, thats it.MIAYou heard Marsellus threw Rocky Horror outof a four-story window because he massagedmy feet?VINCENTYeah.MIAAnd you believed that?VINCENTAt the time I was told, it seemedreasonable.MIAMarsellus throwing Tony out of a four-story window for giving me a foot massageseemed reasonable?VINCENTNo, it seemed excessive. But that doesntmean it didnt happen. I heard Marsellusis very protective of you.MIAA husband being protective of his wife isone thing. A husband almost killinganother man for touching his wifes feetis something else.VINCENTBut did it happen?
  41. 41. MIAThe only thing Antwan ever touched of minewas my hand, when he shook it. I met Anwanonce – at my wedding – then never again.The truth is, nobody knows why Marsellustossed Tony Rocky Horror out of thatwindow except Marsellus and Tony RockyHorror. But when you scamps get together,youre worse than a sewing circle.CUT TO:ED SULLIVAN AND MARILYN MONROE STAND ON STAGEED SULLIVAN(into microphone)Ladies and gentlemen, now the momentyouve all been waiting for, the world-famous Jackrabbit Slims twist contest.Patrons cheer.Ed Sullivan is with Marilyn Monroe, who holds a trophy.ED SULLIVAN... One lucky couple will win thishandsome trophy that Marilyn here isholding.Marilyn holds the trophy.ED SULLIVAN... Now, who will be our firstcontestants?Mia holds her hand.MIARight here.Vincent reacts.MIAI wanna dance.VINCENTNo, no, no no, no, no, no, no.MIA(overlapping)No, no, no, no, no, no, no. I do believeMarsellus, my husband, your boss, told youto take me out and do whatever I wanted,Now, I want to dance. I want to win. Iwant that trophy.
  42. 42. VINCENT(sighs)All right.MIASo, dance good.VINCENTAll right, you asked for it.Vincent and Mia walk onto the dance floor, toward Ed Sullivan.ED SULLIVAN(into microphone)Lets hear it for our first contestants.Patrons cheer.Vincent and Mia walk up to the microphone.ED SULLIVANNow lets meet our first contestants herethis evening. Young lady, what is yourname?MIA(into microphone)Missus Mia Wallace.ED SULLIVAN(into microphone)And, uh, how bout your fella here?MIA(into microphone)Vincent Vega.ED SULLIVAN(into microphone)All right, lets see what you can do. Takeit away!Mia and Vincent dance to Chuck Berrys "YOU NEVER CAN TELL". Theymake hand movements as they dance.INT. MARSELLUS WALLACES HOME – NIGHTThe front door FLINGS open, and Mia and Vincent dance tango-styleinto the house, singing a cappella the song from the previousscene. They finish their little dance, laughing.Then...The two just stand face to face looking at each other.VINCENTWas than an uncomfortable silence?
  43. 43. MIAI dont know what that was.(pause)Music and drinks!Mia moves away to attend to both. Vincent hangs up his overcoat ona big bronze coat rack in the alcove.VINCENTIm gonna take a piss.MIAThat was a little bit more informationthan I needed to know, but for rightahead.Vincent shuffles off to the john.Mia moves to her CD player, thumbs through a stack of CDs andselects one: k.d. lang. The speakers BLAST OUT a high energycountry number, which Mia plays air-guitar to. She dances her wayaround the room and finds herself by Vincents overcoat hanging onthe rack. She touches its sleeve. It feels good.Her hand hoes in its pocket and pulls out his tobacco pouch. Likea little girl playing cowboy, she spreads the tobacco on somerolling paper. Imitating what he did earlier, licks the paper androlls it into a pretty good cigarette. Maybe a little too fat, butnot bad for a first try. Mia thinks so anyway. Her hand reachesback in the pocket and pulls out his Zippo lighter. She SLAPS thelighter against her leg, trying to light it fancy-style like Vincedid. What do you know, she did it! Mias one happy clam. Shetriumphantly brings the fat flame up to her fat smoke, lighting itup, then LOUDLY SNAPS the Zippo closed.The Mia-made cigarette is brought up to her lips, and she takes along, cool drag. Her hand slides the Zippo back in the overcoatpocket. But wait, her fingers touch something else. Those fingersbring out a plastic bag with white powder inside, the madman thatVincent bought earlier from Lance. Wearing a big smile, Mia bringsthe bag of heroin up to her face.MIA(like you would say Bingo!)Disco! Vince, you little cola nut, youvebeen holding out on me.CUT TO:INT. BATHROOM (MARSELLUS WALLACES HOUSE) – NIGHTVincent stands at the sink, washing his hands, talking to himselfin the mirror.VINCENTOne drink and leave. Dont be rude, butdrink your drink quickly, say goodbye,walk out the door, get in your car, and godown the road.
  44. 44. LIVING ROOMMia has the unbeknownst-to-her heroin cut up into big lines on herglass top coffee table. Taking her trusty hundred dollar bill likea human Dust-Buster, she quickly snorts the fat line.CLOSEUP – MIAHer head JERKS back. Her hands go to her nose (which feels likeits on fucking fire), something is terribly wrong. Then... therush hits...BATHROOMVincent dries his hands on a towel while he continues his dialoguewith the mirror.VINCENT... Its a moral test of yourself, whetheror not you can maintain loyalty. Becausewhen people are loyal to each other,thats very meaningful.LIVING ROOMMia is on all fours trying to crawl to the bathroom, but its likeshes trying to crawl with the bones removed from her knees. Bloodbegins to drip from Mias nose. Then her stomach gets into the actand she VOMITS.BATHROOMVince continues.VINCENTSo youre gonna go out there, drink yourdrink, say "Goodnight, Ive had a verylovely evening," go home, and jack off.And thats all youre gonna do.Now that hes given himself a little pep talk, Vincents ready forwhatevers waiting for him on the other side of that door. So hegoes through it.LIVING ROOMWe follow behind Vincent as he walks from the bathroom to theliving room, where he finds Mia lying on the floor like a ragdoll. Shes twisted on her back. Blood and puke are down herfront. And her face is contorted. Not out of the tightness ofpain, but just the opposite, the muscles in her face are sorelaxed, she lies still with her mouth wide open. Slack-jawed.VINCENTJesus Christ!
  45. 45. Vincent moves like greased lightning to Mias fallen body. Bendingdown where she lays, he puts his fingers on her neck to check herpulse. She slightly stirs.Mia is aware of Vincent over her, speaking to her.VINCENT(sounding weird)Mia! MIA! What the hell happened?But shes unable to communicate Mia makes a few lost mumbles, buttheyre not distinctive enough to be called words.Vincent props her eyelids open and sees the story.VINCENT(to himself)Ill be a son-of-a-bitch.(to Mia)Mia! MIA! What did you take? Answer mehoney, 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. Its gone. Vincent makesa beeline to Mia. We follow.VINCENT(yelling toMia)Okay honey, were getting you on yourfeet.He reaches her and hoists the dead weight up in his arms.VINCENTWere on our feet now, and now were gonnatalk out to the car. Here we go, watch uswalk.We follow behind as he hurriedly walks the practically-unconsciousMia through the house and out the front door.EXT.VINCENTS HOT ROD (MOVING) – NIGHTINSERT SPEEDOMETER: red needle on a hundred.Vincent driving like a madman in a town without traffic laws,speeds the car into turns and up and over hills.INT.VINCENTS HOT ROD (MOVING) – NIGHTVincent, one hand firmly on the wheel, the other shifting likeRobocop, both eyes staring straight ahead except when he glancesover at Mia.Mia, slack-jawed expression, mouth gaping, posture of a bag ofwater.
  46. 46. Vincent takes a cellular phone out of his pocket. He punches anumber.INT. LANCES HOUSE – NIGHTAt this late hour, LANCE has transformed from a bon vivant drugdealer to a bathrobe creature.He sits in a big comfy chair, ratty blue gym pants, a worn-out butcomfortable tee-shirt that has, written on it, "TAFT, CALIFORNIA",and a moth-ridden terry cloth robe. In his hand is a bowl of CapnCrunch with Crunch Berries. In front of him on the coffee table isa jug of milk, the box the Capn Crunch with Crunch Berries cameout of, and a hash pipe in an ashtray.On the big-screen TV in front of the table is the Three Stooges,and theyre getting married.PREACHER (EMIL SIMKUS)(on TV)Hold hands, you love birds.The phone RINGS.Lance puts down his cereal and makes his way to the phone.It RINGS again.Jody, his wife, CALLS from the bedroom, obviously woken up.JODY (O.S.)Lance! The phones ringing!LANCE(calling back)I can hear it!JODY (O.S.)I thought you told those fuckin assholesnever to call this late!LANCE(by the phone)I told em and thats what Im gonna tellthis fuckin asshole right now!(he answers the phone)Hello, do you know how late it is? Yourenot supposed to be callin me this fuckinlate.BACK TO:VINCENT IN THE MALIBUVincent is still driving like a stripe-assed ape, clutching thephone to his ear. WE CUT BACK AND FORTH during the conversation.
  47. 47. VINCENTLance, this is Vincent, Im in big fuckintrouble man, Im on my way to your place.LANCEWhoa, hold you horses man, whats theproblem?VINCENTYou still got an adrenalin shot?LANCE(dawning on him)Maybe.VINCENTI need it man, I got a chick shes fuckinODing on me.LANCEDont bring her here! Im not even fuckinjoking with you, dont you be bringingsome fucked up pooh-butt to my house!VINCENTNo choice.LANCEShes ODin?VINCENTYeah. Shes dyin.LANCEThen bite the fuckin bullet, take er toa hospital and call a lawyer!VINCENTNegative.LANCEShe aint my fuckin problem, you fuckedher up, you deal with it – are you talkinto me on a cellular phone?VINCENTSorry.LANCEI dont know you, who is this, dont comehere, Im hangin up.VINCENTToo late, Im already here.At that moment insideLances house, WE HEARVINCENTs Malibu comingup the street. Lance hangs up the phone, goes to his curtains and
  48. 48. YANKS the cord. The curtains open with a WHOOSH in time to seeVincents Malibu DRIVING UP on his front lawn and CRASHING intohis house. The window Lance is looking out of SHATTERS from theimpact.JODY (O.S.)What the hell was that?Lance CHARGES from the window, out the door to his front lawn.EXT. LANCES HOUSE – NIGHTVincent is already out of the car, working on getting Mia out.LANCEHave you lost your mind?! You crashed yourcar in my fuckin house! You talk aboutdrug shit on a cellular fuckin phone –VINCENTIf youre through havin your little hissyfit, this chick is dyin, get your needleand git it now!LANCEAre you deaf? Youre not bringin thatfucked up bitch in my house!VINCENTThis fucked up bitch is MarsellusWallaces wife. Now if she fuckin croakson me, Im a grease spot. But before heturns me into a bar soap, Im gonna beforced to tell im about how you couldasaved her life, but instead you let herdie on your front lawn.INT. LANCES HOUSE – NIGHTWE START in Lances and Jodys bedroom.Jody, in bed, throws off the covers and stands up. Shes wearing along tee-shirt with a picture of Fred Flintstone on it.We follow HANDHELD behind her as she opens the door, walkingthrough the hall into the living room.JODYIts only one-thirty in the goddamnmornin! What the fucks goin on outhere?As she walks in the living room, she sees Vincent and Lancestanding over Mia, whos lying on the floor in the middle of theroom.
  49. 49. From here on in, everything in this scene is frantic, like aDOCUMENTARY in an emergency ward, with the big difference herebeing nobody knows what the fuck theyre doing.JODYWhos she?Lance looks up at Jody.LANCEGet that black box in the bedroom I havewith the adrenalin shot.JODYWhats wrong with her?VINCENTShes ODing on us.JODYWell get her the hell outta here!LANCE ANDVINCENT(in stereo)Get the fuckin shot!JODYDont yell and me!She angrily turns and disappears into the bedroom looking for theshot.WE MOVE into the room with the two men.VINCENT(to Lance)You two are a match made in heaven.LANCELook, just keep talkin to her, okay?While shes gettin the shot, I gotta geta medical book.VINCENTWhat do you need a medical book for?LANCETo tell me how to do it. Ive never givenan adrenalin shot before.VINCENTYouve had that thing for six years andyou never used it?LANCEI never had to use it. I dont go joy-poppin with bubble-gummers, all ofmyfriends can handle their highs!
  50. 50. VINCENTWell then get it.LANCEI am, if youll let me.VINCENTIm not fuckin stoppin you.LANCEStop talkin to me, and start talkin toher.WE FOLLOW Lance as he runs out of the living room into a...INT. SPARE ROOMWith a bunch of junk in it. He frantically starts scanning thejunk for the book hes looking for, repeating the words, "Comeon," endlessly.From OFF SCREEN we hear:VINCENT (O.S.)Hurry up man! Were losin her!LANCE(calling back)Im looking as fast as I can!Lance continues his frenzied search.WE HEAR Jody in the living room now as she talks to Vincent.JODY (O.S.)Whats he lookin for?VINCENT (O.S.)I dunno, some medical book.Jody calls to LANCE.JODY (O.S.)What are you lookin for?LANCEMy black medical book!As he continues searching, flipping and knocking over shit, Jodyappears in the doorway.JODYWhata re you looking for?LANCEMy black fuckin medical book. Its like atext book they give to nurses.
  51. 51. JODYI never saw a medical book.LANCETrust me, I have one.JODYWell if its that important, why didntyou keep it with the shot?Lance spins toward her.LANCEI dont know! Stop bothering me!JODYWhile youre lookin for it, that girlsgonna die on our carpet. Youre nevergonna find it in all this shit. For sixmonths now, Ive been telling you to cleanthis room –VINCENT (O.S.)– get your ass in here, fuck the book!Lance angrily knocks over a pile of shit and leaves the SHOTheading for the living room.LIVING ROOMVincent is bent over Mia, talking softly to her, when Lancereenters the room.VINCENTQuit fuckin around man and give her theshot!Lance bends down by the black case brought in by Jody. He opens itand begins preparing the needle for injection.LANCEWhile Im doing this, take her shirt offand find her heart.Vince rips her blouse open.Jody stumbles back in the room, hanging back from the action.VINCENTDoes it have to be exact?LANCEYeah, it has to be exact! Im giving heran injection in the heart, so I gottaexactly hit her in the heart.VINCENTWell, I dont know exactly where her heartis, I think its here.
  52. 52. Vince points to Mias right breast.Lance glances over and nods.LANCEThats it.As Lance readies the injection, Vincent looks up at Jody.VINCENTI need a big fat magic marker, got one?JODYWhat?VINCENTI need a big fat magic marker, any feltpenll do, but a magic marker would begreat.JODYHold on.Jody runs to the desk, opens the top drawer and, in herenthusiasm, she pulls the drawer out of the desk, the contents ofwhich (bills, papers, pens) spill to the floor.The injection is ready. Lance hands Vincent the needle.LANCEIts ready, Ill tell you what to do.VINCENTYoure gonna give her the shot.LANCENo, youre gonna give her the shot.VINCENTIve never does this before.LANCEIve never done this before either, and Iaint starting now. You brought er here,that means you give her the shot. The dayI bring an ODing bitch to your place, thenI gotta give her the shot.Jody hurriedly joins them in the huddle, a big fat red magicmarker in her hand.JODYGot it.Vincent grabs the magic marker out of Jodys hand and makes a bigred dot inMIAs body where her heart is.VINCENTOkay, what do I do?
  53. 53. LANCEWell, youre giving her an injection ofadrenalin straight to her heart. But shesgot a breast plate in front of her heart,so you gotta pierce through that. So whatyou gotta do is bring the needle down in astabbing motion.Lance demonstrates a stabbing motion, which looks like "The Shape"killing its victims in "HALLOWEEN".VINCENTI gotta stab her?LANCEIf you want the needle to pierce throughto her heart, you gotta stab her hard.Then once you do, push down on theplunger.VINCENTWhat happens after that?LANCEIm curious about that myself.VINCENTThis aint a fuckin joke man!LANCEShes 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.Vincents eyes narrow, ready to do this.VINCENTCount to three.Lance, on this knees right beside Vincent, does not know what toexpect.LANCEOne...RED DOT on Mias body.Needle raised ready to strike.LANCE (O.S.)... two...Jodys face is alive with anticipation.NEEDLE in that air, poised like a rattler ready to strike.
  54. 54. LANCE (O.S.)... three!The needle leaves frame, THRUSTING down hard.Vincent brings the needle down hard, STABBING Mia in the chest.Mias head if JOLTED from the impact.The syringe plunger is pushed down, PUMPING the adrenalin outthrough the needle.Mias eyes POP WIDE OPEN and she lets out a HELLISH cry of thebanshee. She BOLTS UP in a sitting position, needle stuck in herchest – SCREAMING.Vincent, Lance and Jody, who were in sitting positions in front ofMia, JUMP BACK, scared to death.Mias scream runs out. She slowly starts taking breaths of air.The other three, now scooted halfway across the room, shaken totheir bones, look to see if shes alright.LANCEIf youre okay, say something.Mia, still breathing, not looking up at them, says in a relativelynormal voice.MIASomething.Vincent and Lance collapse on their backs, exhausted and shakingfrom how close to death Mia came.JODYAnybody want a beer?CUT TO:INT. VINCENTS MALIBU (MOVING) – NIGHTVincent is behind the wheel driving Mia home. No one saysanything, both are still too shaken.EXT. FRONT OF MARSELLUS WALLACES HOUSE – NIGHTThe Malibu pulls up to the front. Mia gets out without saying aword (still in a daze) and begins walking down the walkway towardher front door.VINCENT (O.S.)Mia!She turns around.
  55. 55. Vincents out of the car, standing on the walkway, a big distancebetween the two.VINCENTWhat are your thoughts on how to handlethis?MIAWhats yours?VINCENTWell Im of the opinion that Marsellus canlive his whole live and never ever hear ofthis incident.Mia smiles.MIADont worry about it. If Marsellus everheard of this, Id be in as much troubleas you.VINCENTI seriously doubt that.MIAIf you can keep a secret, so can I.VINCENTLets shake on it.The two walk toward each other, holding out their hands to shakeand shake they do.VINCENTMums the word.Mia lets go of Vincents hand and silently makes the see-no-evil,hear-no-evil, and speak-no-evil sign with her hands.Vincent smiles.VINCENTIf youll excuse me, I gotta go home andhave a heart attack.Mia giggles.Vincent turns to leave.MIAYou still wanna hear my "FOX FORCE FIVE"joke?Vincent turns around.VINCENTSure, but I think Im still a little toopetrified to laugh.
  56. 56. MIAUh-huh. You wont laugh because its notfunny. But if you still wanna hear it,Ill tell it.VINCENTI cant wait.MIAThree tomatoes are walking down thestreet, a poppa tomato, a momma tomato,and a little baby tomato. The baby tomatois lagging behind the poppa and mommatomato. The poppa tomato gets mad, goesover to the momma tomato and stamps on him–(stamps on the ground)– and says: catch up.They both smile, but neither laugh.MIASee ya round, Vince.Mia turns and walks inside her house.CLOSEUP – VINCENTAfter Mia walks inside. Vincent continues to look at where shewas. He brings his hands to his lips and blows her a kiss. Thenexits FRAME leaving it empty. WE HEAR his Malibu START UP andDRIVE AWAY.FADE TO BLACKFADE UPOn the cartoon "SPEED RACER." Speed is giving a detaileddescription of all the features on his race car "The Mac-5," whichhe does at the beginning of every episode.OFF SCREEN we hear a WOMANS VOICE... .WOMANS VOICE (O.S.)Butch.DISSOLVE TO:BUTCHS POVWere in the living room of a modest two bedroom house inAlhambra, California, in the year 1972. BUTCHS MOTHER, 35ish,stands in the doorway leading into the living room. Next to her isa man dressed in the uniform of an American Air Force officer. TheCAMERA is the perspective of a five-year old boy.
  57. 57. MOTHERButch, stop watching TV a second. We got aspecial visitor. Now do you remember whenI told you your daddy dies in a P.O.W.camp?BUTCH (O.S.)Uh-huh.MOTHERWell this here is Capt. Koons. He was inthe P.O.W. camp with Daddy.CAPT. KOONS steps inside the room toward the little boy and bendsdown on one knee to bring him even ith the boys eyeline. WhenKoons speaks, he speaks with a slight Texas accent.CAPT. KOONSHello, little man. Boy I sure heard abunch about you. See, I was a good friendof your Daddys. We were in that Hanoi pitof hell over five years together.Hopefully, youll never have to experiencethis yourself, but when two men are in asituation like me and your Daddy were, foras long as we were, you take on certainresponsibilities of the other. If it hadbeen me who had not made it, MajorCoolidge would be talkin right now to myson Jim. But the way it worked out is Imtalkin to you, Butch. I got somethin forya.The Captain pulls a gold wrist watch out of his pocket.CAPT. KOONSThis watch I got here was first purchasedby your great-granddaddy. It was boughtduring the First World War in a littlegeneral store in Knoxville, Tennessee. Itwas bought by private Doughboy ErnieCoolidge the day he set sail for Paris. Itwas your great-granddaddys war watch,made by the first company to ever makewrist watches. You see, up until then,people just carried pocket watches. Yourgreat-granddaddy wore that watch every dayhe was in the war. Then when he had donehis duty, he went home to your great-grandmother, took the watch off his wristand put it in an ol coffee can. And inthat can it stayed til your grandfatherDane Coolidge was called upon by hiscountry to go overseas and fight theGermans once again. This time they calledit World War Two. Your great-granddaddygave it to your granddad for good luck.Unfortunately, Danes luck wasnt as goodas his old mans. Your granddad was a(MORE)
  58. 58. CAPT. KOONS (CONTD)Marine and he was killed with all theother Marines at the battle of WakeIsland. Your granddad was facing death andhe knew it. None of those boys had anyillusions about ever leavin that islandalive. So three days before the Japanesetook the island, your 22-year oldgrandfather asked a gunner on an Air Forcetransport named Winocki, a man he hadnever met before in his life, to deliverto his infant son, who he had never seenin the flesh, his gold watch. Three dayslater, your grandfather was dead. ButWinocki kept his word. After the war wasover, he paid a visit to your grandmother,delivering to your infant father, hisDads gold watch. This watch. This watchwas on your Daddys wrist when he was shotdown over Hanoi. He was captured and putin a Vietnamese prison camp. Now he knewif the gooks ever saw the watch its beconfiscated. The way your Daddy looked atit, that watch was your birthright. Andhed be damned if and slopeheads weregonna put their greasy yella hands on hisboys birthright. So he hid it in the oneplace he knew he could hide somethin. Hisass. Five long years, he wore this watchup his ass. Then when he died ofdisentary, he gave me the watch. I hidwith uncomfortable hunk of metal up my assfor two years. Then, after seven years, Iwas 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 intoFRAME to accept it.CUT TO:INT. LOCKER ROOM – NIGHTThe 27-year old Butch Coolidge is dressed in boxing regalia:trunks, shoes and gloves. He lies on a table catching a fewzzzzzzs before his big fight. Almost as soon as WE CUT to him, hewakes up with a start. Shaken by the bizarre memory, he wipes hissweaty 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 breakingout behind Klondike in the hallway.KLONDIKEIts time, Butch.BUTCHIm ready.
  59. 59. Klondike steps inside, closing the door on the WILD MOB outside.He goes to the long yellow robe hanging on a hook. Butch hops offthe table and, without a word, Klondike helps him on with therobe, 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. Klondikecloses the door behind him, leaving us in the quiet, empty lockerroom.FADE TO BLACKTITLE CARD:"THE GOLD WATCH"WE HEAR OVER THE BLACK AND WHITE TITLE:SPORTSCASTER #1 (O.S.)– Well Dan, that had to be the bloodiestand, hands-down, the most brutal fightthis city has ever seen.The SOUND of chaos in the b.g.FADE IN:EXT. ALLEY (RAINING) – NIGHTA taxi is parked in a dark alley next to an auditorium. The sky isPISSIN DOWN RAIN. WE SLOWLY DOLLY toward the parked car. TheSOUND of the CAR RADIO can be heard coming from inside.SPORTSCASTER #1 (O.S.)... Coolidge was out of there faster thanIve ever seen a victorious boxer vacatethe ring. Do you think he knew Willis wasdead?SPORTSCASTER #2 (O.S.)My guess would be yes, Richard. I couldsee from my position here, the frenzy inhis eyes give way to the realization ofwhat he was doing. I think any manwouldve left the ring that fast.DISSOLVE TO:INT. TAXI (PARKED/RAINING) – NIGHTInside the taxi, behind the wheel, is a female cabbie namedESMARELDA VILLALOBOS. A young woman, with Spanish looks, sitsparked, drinking a steaming hot cup of coffee out of a whitestyrofoam cup.The Sportscasters continue their coverage.
  60. 60. SPORTSCASTER #1 (O.S.)Do you feel this ring death tragedy willhave an effect on the world of boxing?SPORTSCASTER #2 (O.S.)Oh Dan, a tragedy like this cant help butshake the world of boxing to its veryfoundation. But its of paramountimportance that during the sad weeksahead, the eyes of the W.B.A. remainfirmly fixed on the – CLICK –Esmarelda shuts off the radio.She takes a sip of coffee, then hears a NOISE behind her in thealley. She sticks her head out of the car door to see:EXT. BOXING AUDITORIUM (RAINING) – NIGHTA window about three stories high opens on the auditorium-side ofthe alley. A gym bag is tossed out into a garbage dumpster belowthe window. Then, Butch Coolidge, still dressed in boxing trunks,shoes, gloves and yellow robe, LEAPS to the dumpster below.ESMARELDAS REACTION takes in the strangeness of this sight.Gym bag in hand, Butch CLIMBS out of the dumpster and RUNS to thetaxi. Before he climbs in, he takes off his robe and throws it tothe ground.INT. TAXI (PARKED / RAINING) – NIGHTButch, soaking wet, naked except for trunks, shoes and gloves,HOPS in the backseat, SLAMMING the door.Esmarelda, staring straight ahead, talks to Butch through therearview mirror:ESMARELDA(Spanish accent)Are you the man I was supposed to pick up?BUTCHIf youre the cab I called, Im the guyyoure supposed to pick up.ESMARELDAWhere to?BUTCHOutta here.The ignition key is TWISTED. The engine ROARS to life.The meter is FLIPPED on.Esmareldas bare foot STOMPS on the gas pedal.
  61. 61. EXT. BOXING AUDITORIUM (RAINING) – NIGHTThe cab WHIPS out of the alley, FISH-TAILING on the wet pavementin front of the auditorium at a rapid pace.INT. WILLIS LOCKER ROOM (AUDITORIUM) – NIGHTLocker room door opens, Enghlish Dave fights his way through thepandemonium which is going on outside in the hall, shutting thedoor on the madness. Once inside, English Dave takes time toadjust his suit and tie. Mia is standing by the door. She seesVincent with English Dave.VINCENTMia. How you doin?MIAGreat. I never thanked you for the dinner.In the room, black boxer FLOYD RAY WILLIS lies on a table – dead.His face looks like he went dunking for bees. His TRAINER is onhis knees, head on Floyds chest, crying over the body.The huge figure that is Marsellus Wallace stands at the table,hand on the Trainers shoulder, lending emotional support. Westill do not see Marsellus clearly, only that he is big.Mia sits in a chair at the far end of the room.Marsellus looks up, sees English Dave and walks over to him.MARSELLUS (O.S.)Whatcha got?ENGLISH DAVEHe booked.MARSELLUS (O.S.)Im prepared to scour the earth for thismotherfucker. 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 DAVEIll take care of it.INT. CAB (MOVING / RAINING) – NIGHTButch gets one of his boxing gloves off.Esmeralda watches in the rearview mirror.He tries to roll down one of the backseat windows, but cant findthe roll bar.BUTCHHey, how do I open the window back here?
  62. 62. ESMARELDAI have to do it.She presses a button and the back window moves down. Butch tosseshis boxing glove out the window, then starts untying the otherone.Esmeralda cant keep quiet anymore.ESMARELDAHey, mister?BUTCH(still working on the glove)What?ESMARELDAYou were in that fight? The fight on theradio – youre the fighter?As he tosses his other glove out the window.BUTCHWhatever gave you that idea?ESMARELDANo cmon, youre him, I know youre him,tell me youre him.BUTCH(drying himself with a gym towel)Im him.ESMARELDAYou killed the other boxing man.BUTCHHes dead?ESMARELDAThe radio said he was dead.He finished wiping himself down.BUTCH(to himself)Sorry bout that, Floyd.He tosses the towel out the window.Silence, as Butch digs in his bag for a t-shirt.ESMARELDAWhat does it feel like?BUTCH(finds his shirt)What does what feel like?
  63. 63. ESMARELDAKilling a man. Beating another man todeath with your bare hands.Butch pulls on his tee-shirt.BUTCHAre you some kinda weirdo?ESMARELDANo, its a subject I have much interestin. You are the first person I ever metwho has killed somebody. So, what was itlike to kill a man?BUTCHTell ya what, you give me one of themcigarettes, Ill give you an answer.Esmarelda bounces in her seat with excitment.ESMARELDADeal!Butch leans forward. Esmarelda, keeping her eyes on the road,passes a cigarette back to him. He takes it. Then, still notlooking behind her, she brings up her hand, a lit match in it.Butch lights his smoke, then blows out the match.He takes a long drag.BUTCHSo...He looks at her licenseBUTCH... Esmarelda Villalobos – is thatMexican?ESMARELDAThe name is Spanish, but Im Columbian.BUTCHIts a very pretty name.ESMARELDAIt mean "Esmarelda of the wolves."BUTCHThats one hell of a name you got there,sister.ESMARELDAThank you. And what is your name?BUTCHButch.
  64. 64. ESMARELDAButch. What does it mean?BUTCHIm an American, our names dont meanshit. Anyway, moving right along, what isit you wanna know, Esmarelda?ESMARELDAI want to know what it feels like to killa man –BUTCH– I couldnt tell ya. I didnt know he wasdead til you told me he was dead. Now Iknow hes dead, do you wanna know how Ifeel about it?Esmarelda nods her head: "yes."BUTCHI dont feel the least little bit bad.EXT. PHONE BOOTH (RAINING) – NIGHTWe DOLLY around a phone booth as Butch talks inside.BUTCH(into phone)Whats I tell ya, soon as the word got outa fix was in, the odds would be outtacontrol. Hey, if he was a better fighterhes be alive. If he never laced up hisgloves in the first place, which he nevershoulda done, hed be alive. Enough aboutthe poor unfortunate Mr. Floyd, lets talkabout the rich and prosperous Mr. Butch.How many bookies you spread it aroundwith?(pause)Eight? How long to collect?(pause)So by tomorrow evening, youll have itall?(pause)Good news Scotty, real good news – Iunderstand a few stragglers aside. Me anFabiennere gonna leave in the morning. Itshould take us a couple days to get intoKnoxville. Next time we see each other,itll be on Tennessee time.Butch hangs up the phone. He looks at the cab waiting to take himwherever he wants to go.BUTCH(to himself in French with Englishsubtitles)Fabienne my love, our adventure begins.
  65. 65. CUT TO:EXT. MOTEL (STOPPED / RAINING) – NIGHTEsmeraldas taxi pulled into the motel parking lot. The rain hasstopped, but the night is still soaked. Butch gets out, now fullydressed in tee-shirt, jeans and high school athletic jacket. Heleans in the drivers side window.ESMARELDAForty-five sixty.Handing her the money.BUTCHMerci beaucoup. And heres a littlesomething for the effort.Butch holds up a hundred dollar bill.Esmareldas eyes light up. She goes to take it. Butch holds it outof reach.BUTCHNow if anybody should ask you about whoyour fare was tonight, whatre you gonnatell em?ESMARELDAThe truth. Three well-dressed, slightlytoasted, Mexicans.He gives her the bill.BUTCHBon soir, Esmarelda.ESMARELDA(in Spanish)Sleep well, Butch.He tweaks her nose, she smiles, and he turns and walks away. Shedrives off.INT. MOTEL (ROOM SIX) – NIGHTButch enters and turns on the light.Lying curled up on the bed, fully dressed, with her back to us isButchs French girlfriend, FABIENNE.FABIENNEKeep the light off.Butch flicks the switch back, making the room dark again.BUTCHIs that better, sugar pop?
  66. 66. FABIENNEOui. Hard day at the office?BUTCHPretty hard. I got into a fight.FABIENNEPoor baby. Can we make spoons?Butch climbs into bed, spooning Fabienne from behind.When Butch and Fabienne speak to each other, they speak in baby-talk.FABIENNEI was looking at myself in the mirror.BUTCHUh-huh?FABIENNEI wish I had a pot.BUTCHYou were lookin in the mirror and youwish you had some pot?FABIENNEA pot. A pot belly. Pot bellies are sexy.BUTCHWell you should be happy, cause you do.FABIENNEShut up, Fatso! I dont have a pot! I havea bit of a tummy, like Madonna when shedid "Lucky Star," its not the same thing.BUTCHI didnt realize there was a differencebetween a tummy and a pot belly.FABIENNEThe difference is huge.BUTCHYou want me to have a pot?FABIENNENo. Pot bellies make a man look eitheroafish, or like a gorilla. But on a woman,a pot belly is very sexy. The rest of youis normal. Normal face, normal legs,normal hips, normal ass, but with a big,perfectly round pot belly. If I had one,Id wear a tee-shirt two sizes too smallto accentuate it.BUTCHYou think guys would find that attractive?
  67. 67. FABIENNEI dont give a damn what men findattractive. Its unfortunate what we findpleasing to the touch and pleasing to theeye is seldom the same.BUTCHIf I had a pot belly, Id punch you in it.FABIENNEYoud punch me in my belly?BUTCHRight in the belly.FABIENNEId smother you. Id drop it on your righton your face til you couldnt breathe.BUTCHYoud do that to me?FABIENNEYes!BUTCHDid you get everything, sugar pop?FABIENNEYes, I did.BUTCHGood job.FABIENNEDid everything go as planned?BUTCHYou didnt listen to the radio?FABIENNEI never listen to your fights. Were youthe winner?BUTCHI won alright.FABIENNEAre you still retiring?BUTCHSure am.FABIENNEWhat about the man you fought?BUTCHFloyd retired too.
  68. 68. FABIENNE(smiling)Really?! He wont be fighting no more?!BUTCHNot no more.FABIENNESo it all worked out in the finish?BUTCHWe aint at the finish, baby.Fabienne rolls over and Butch gets on top of her. They kiss.FABIENNEWere in a lot of danger, arent we?Butch nods his head: "yes."FABIENNEIf they find us, theyll kill us, wontthey?Butch nods his head: "yes."FABIENNEBut they wont find us, will they?Butch nods his head: "no."FABIENNEDo you still want me to go with you?Butch nods his head: "yes."FABIENNEI dont want to be a burden or a nuisance–Butchs hand goes out of frame and starts massaging her crotch.Fabienne reacts.FABIENNESay it!BUTCHFabienne, I want you to be with me.FABIENNEForever?BUTCH... and ever.Fabienne lies her head back.Butch continues to massage her crotch.
  69. 69. FABIENNEDo you love me?BUTCHOui.FABIENNEButch? Will you give me oral pleasure?Butch kisses her on the mouth.BUTCHWill you kiss it?She nods her head: "yes."FABIENNEBut you first.Butchs head goes down out of frame to carry out the oralpleasure. Fabiennes face is alone in the frame.FABIENNE(in French, with Englishsubtitles)Butch my love, the adventure begins.FADE TO BLACKFADE UP:MOTEL ROOMSame motel room, except empty. WE HEAR THE SHOWER RUNNING in thebathroom. The CAMERA MOVES to the bathroom doorway. We seeFabienne in a white terry cloth robe that seems to swallow her up.Shes drying her head with a towel. Butch is inside the showerwashing up. We see the outline of his naked body through the smokyglass of the shower door. Steam fills the bathroom. Butch turnsthe shower off and opens the door, popping his head out.BUTCHI think I cracked a rib.FABIENNEGiving me oral pleasure?BUTCHNo retard, from the fight.FABIENNEDont call me retard.BUTCH(in a Mongoloid voice)My name is Fabby! My name is Fabby!
  70. 70. FABIENNEShut up fuck head! I hate that Mongoloidvoice.BUTCHOkay, sorry, sorry, sorry, I take it back!Can I have a towel please, Miss BeautifulTulip.FABIENNEOh I like that, I like being called atulip. Tulip is much better thanMongoloid.She finishes drying her hair and wraps the towel like a turban onher head.BUTCHI didnt call you a Mongoloid, I calledyou a retard, but I took it back.She hands him a towel.BUTCHMerci beaucoup.FABIENNEButch?BUTCH(drying his head)Yes, lemon pie.FABIENNEWhere are we going to go?BUTCHIm not sure yet. Wherever you want. Weregonna get a lot of money from this. But itaint gonna be so much, we can live likehogs in the fat house forever. I wasthinking we could go somewhere in theSouth Pacific. The kinda money wellhavell carry us a long way down there.FABIENNESo if we wanted, we could live in BoraBora?BUTCHYou betcha. And if after awhile you dontdig Bora Bora, then we can move over toTahiti or Mexico.FABIENNEBut I do not speak Spanish.
  71. 71. BUTCHYou dont speak Bora Boran either.Besides, Mexican is easy: Donde esta elzapataria?FABIENNEWhat does that mean?BUTCHWheres the shoe store?FABIENNEDonde esta el zapataria?BUTCHExcellent pronunciation. Youll be mylittle mama ceta in no time.Butch exits the bathroom. We stay on Fabienne as she brushes herteeth.Butch keeps on from the other room.BUTCH (O.S.)Que hora es?FABIENNEQue hora es?BUTCH (O.S.)What time is it?FABIENNEWhat time is it?BUTCH (O.S.)Time for bed. Sweet dream, jellybean.Fabienne brushes her teeth. We watch her for a moment or two, thenshe remember something.FABIENNEButch.She walks out of the bathroom to ask Butch a question, only tofind him sound asleep in bed.She looks at him for a moment.FABIENNEForget it.She exits frame, going back in the bathroom. WE STAY on the WIDESHOT of the unconscious Butch in bed.FADE TO BLACKFADE UP:
  72. 72. MOTEL ROOM – MORNINGSAME SHOT AS BEFORE, the next morning. We find Butch still asleepin bed.Fabienne brushes her teeth half in and half out of the bathroom soshe can watch TV at the same time. She still wears the terry clothrobe from the night before.ON TV: WILLIAM SMITH and a BUNCH OF HELLS ANGELS are taking onthe entire Vietnamese army in the film "THE LOSERS".Butch wakes from his sleep, as if a scary monster was chasing him.His start startles Fabienne.FABIENNEMerde! You startled me. Did you have a baddream?Butch squints down the front of the bed at her, trying to focus.Butch, still trying to chase the cobwebs away, sees on TV HellsAngels tear-assin through a Vietnamese prison camp.BUTCHWhat are you watching?FABIENNEA motorcycle movie, Im not sure the name.BUTCHAre you watchin it?Fabienne enters the room.FABIENNEIn a way. Why? Would you like for me toswitch it off?BUTCHWould you please?She reaches over and turns off the TV.BUTCHIts a little too early in the morning forexplosions and war.FABIENNEWhat was it about?BUTCHHow should I know, you were the onewatchin it.Fabienne laughs.FABIENNENo, imbecile, what was your dream about?
  73. 73. BUTCHOh, I... dont remember. Its really rareI remember a dream.FABIENNEYou just woke up from it.BUTCHFabienne, Im not lying to you, I dontremember.FABIENNEWell, lets look at the grumpy man in themorning. I didnt say you were lying, itsjust odd you dont remember your dreams. Ialways remember mine. Did you know youtalk in your sleep?BUTCHI dont talk in my sleep, do I talk in mysleep?FABIENNEYou did last night.BUTCHWhat did I say?Laying on top of him.FABIENNEI dont know. I couldnt understand you.She kisses Butch.FABIENNEWhy dont you get up and well get somebreakfast at that breakfast place with thepancakes.BUTCHOne more kiss and Ill get up.Fabienne gives Butch a sweet long kiss.FABIENNESatisfied?BUTCHYep.FABIENNEThen get up, lazy bones.Butch climbs out of bed and starts pulling clothes out of thesuitcase that Fabienne brought.BUTCHWhat time is it?
  74. 74. FABIENNEAlmost nine in the morning. What time doesour train arrive?BUTCHEleven.FABIENNEIm gonna order a big plate of blueberrypancakes with maple syrup, eggs over easy,and five sausages.BUTCH(surprised at her potential appetite)Anything to drink with that?Butch is finished dressing.FABIENNE(referring to his clothes)Oh yes, that looks nice. To drink, a tallglass or orange juice and a black cup ofcoffee. After that, Im going to have aslice of pie.As he goes through the suitcase.BUTCHPie for breakfast?FABIENNEAny time of the day is a good time forpie. Blueberry pie to go with thepancakes. And on top, a thin slice ofmelted cheese –BUTCH– wheres my watch?FABIENNEIts there.BUTCHNo, its not. Its not here.FABIENNEHave you looked?By now, Butch is frantically rummaging through the suitcase.BUTCHYes Ive fuckin looked!!Hes now throwing clothes.BUTCHWhat the fuck do you think Im doing?! Areyou sure you got it?Fabienne can hardly speak, shes never seen Butch this way.
  75. 75. FABIENNEUhhh... yes... beside the table drawer –BUTCH– on the little kangaroo.FABIENNEYes, it was on your little kangaroo.BUTCHWell its not here!FABIENNE(on the verge of tears)Well it should be!BUTCHOh it most definitely should be here, butits not. So where is it?Fabienne is crying and scared.Butch lowers his voice, which only serves to make him moremenacing.BUTCHFabienne, that was my fathers fuckinwatch. You know what my father wentthrough to git me that watch?... I dontwanna get into it right now... but he wentthrough a lot. Now all this other shit,you coulda set on fire, but I specificallyreminded you not to forget my fatherswatch. Now think, did you get it?FABIENNEI believe so...BUTCHYou believe so? You either did, or youdidnt, now which one is it?FABIENNEThen I did.BUTCHAre you sure?FABIENNE(shaking)No.Butch freaks out, he punches the air.Fabienne SCREAMS and backs into a corner,Butch picks up the motel TV and THROWS IT AGAINST the wall.Fabienne SCREAMS IN HORROR.
  76. 76. Butch looks toward her, suddenly calm.BUTCH(to Fabienne)No! Its not your fault.(he approached her)You left it at the apartment.He bends down in front of the woman who has sunk to the floor.He touches her hand, she flinches.BUTCHIf you did leave it at the apartment, itsnot your fault. I had you bring a bunch ofstuff. I reminded you about it, but Ididnt illustrate how personal the watchwas to me. If all I gave a fuck about wasmy watch, I shouldve told you. You ainta mind reader.He kisses her hand. Then rises.Fabienne is still sniffling.Butch goes to the closet.FABIENNEIm sorry.Butch puts on his high school jacket.BUTCHDont be. It just means I wont be able toeat breakfast with you.FABIENNEWhy does it mean that?BUTCHBecause Im going back to my apartment toget my watch.FABIENNEWont the gangsters be looking for youthere?BUTCHThats what Im gonna find out. If theyare, and I dont think I can handle it,Ill split.Rising from the floor.FABIENNEI was so dreadful. I saw your watch, Ithought I brought it. Im so sorry.Butch brings her close and puts his hands on her face.
  77. 77. BUTCHDont feel bad, sugar pop. Nothing youcould ever do would make me permanentlyangry at you.(pause)I love you, remember?(he digs some money out ofhis wallet)Now heres some money, order thosepancakes and have a great breakfast.FABIENNEDont go.BUTCHIll be back before you can say, blueberrypie.FABIENNEBlueberry pie.BUTCHWell maybe not that fast, but fast. Okay?Okay?FABIENNEOkay.He kisses her once more and heads for the door.BUTCHBye-bye, sugar pop.FABIENNEBye.BUTCHIm gonna take your Honda.FABIENNEOkay.And with that, hes out the door.Fabienne sits on the bed and looks at the money he gave her.INT. HONDA (MOVING) – DAYButch is beating the steering wheel and the dash with his fists ashe drives down the street.BUTCHOf all the fuckin things she couldaforgot, she forgets my fathers watch. Ispecifically reminded her not to forgetit. "Bedside table – on the kangaroo." Isaid the words: "Dont forget my fatherswatch."
  78. 78. EXT. CITY STREET – DAYThe little Honda races toward its destination as fast as is littleengine will take it.CUT TO:A parking meter red flag rises up, then out, leaving the arrowpointing at one hour.EXT. RESIDENTIAL STREET CORNER – DAYButch isnt completely reckless. He has parked his car a couple ofblocks from his apartment to check things out before he goesboppin through the front door.EXT. ALLEY – DAYButch walks down the alley until he gets to another street, thenhe discreetly glances out.EXT. STREET – BUTCHS APARTMENT – DAYEverything seems normal. More or less the right number of cars inthe street. None of the parked cars appear out of place. None ofthem have a couple of goons sitting inside. Basically, it lookslike normal morning activity in front of Butchs home.Butch peers around a wall, taking in the vital information.Butch walks out of the alley and is ready for anything. He crossesthe street and enters his apartment courtyard.Across the street from Butchs building, on the corner, is acombination donut shop and Japanese restaurant. A big sign sticksup in the air, with the name "Teriyaki Donut" and a graphic of adonut sticking out of a bowl of rice.EXT. BUTCHS APARTMENT COURTYARD – DAYButch is in the courtyard of his North Hollywood apartmentbuilding. Once again, everything appears normal – the laundryroom, the pool, his apartment door – nothing appears disturbed.Butch climbs the stairs leading to his apartment, number 12. Hesteps outside the door and listens inside. Nothing.Butch slowly inserts the key into the door, quietly opening it.INT. BUTCHS APARTMENT – DAYHis apartment hasnt been touched.
  79. 79. He cautiously steps inside, shuts the door and takes a quick lookaround. Obviously, no one is there.Butch walks into his modest kitchen, and opens the refrigerator.He takes out a carton of milk and drinks fromit.With carton in hard, Butch surveys the apartment. Then he goes tothe bedroom.His bedroom is like the rest of the apartment – neat, clean andanonymous. The only things personal in his room are a few boxingtrophies, an Olympic silver medal, a framed issue of "RingMagazine" with Butch on the cover, and a poster of Jerry Quarryand one of George Chuvalo.Sure enough, theres the watch just like he said it was: On thebedside table, hanging on his little kangaroo statue.He walks through the apartment and back into the kitchen. He opensa cupboard and takes out a box of Pop Tarts. Putting down themilk, he opens the box, takes out two Pop Tarts and puts them inthe toaster.Butch glances to his right, his eyes fall on something.What he sees is a small compact Czech M61 submachine gun with ahuge 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 thekitchen. There is someone behind it.Like a rabbit caught in a radish patch, Butch freezes, not knowingwhat to do.The bathroom door opens and Vincent Vega steps out of thebathroom, tightening his belt. In his hand is the book "MODESTYBLAISE" by Peter ODonnell.Vincent and Butch lock eyes.Vincent freezes.Butch doesnt move, except to point the M61 in Vincentsdirection.Neither man opens his mouth.Then... the toaster LOUDLY kicks up the Pop Tarts.Thats all the situation needed.